View allAll Photos Tagged statement
Photograph by: Ryan Nyenhuis
Sunday June 15th 2008, Fathers Day. Ryan and I woke with a plan. The plan being to sneak into the abandon R.L. Hearn Thermal Generation Power Plant which is located in the south east area of downtown Toronto. We wanted to photograph the beauty of decay.
We had made a trip over to the power plant a week prior to scout out the area, to see where guards were located and to find easy access inside.
Sneaking past the guard house located at the front of the property and making our way along the north west section of property towards the back of the plant where the barbed wire fence was weakest.
We then smoked three quarters of a joint together before working up the nerve to hop the fence. Ryan went first, watching him hop the fence and dart out into the yard and hiding behind scrap metal for cover then finally making it to the back of the building. Then it was my turn. What excitement that was, knowing your breaking the law to do something adventurous.
After getting onto the property we were standing at the back of the Hearn and looking for our way inside. To do so we had to hop up onto a metal fence post and from there had to reach up and grab a hold of plywood that covered up the tall entrance area. A good 15 foot climb up, over and in.
Once inside the first photo that was taken was the one of Ryan and I standing together, titled "final hours".
This place was like no other we had ever explored together. The shear size of it all was breathtaking and mind blowing at the same time. The beauty of destruction.
After the first photo was taken we started exploring the plant. Taking the necessary precautions we had come prepared with asbestos masks and flashlights.
We had made our way around on the ground floor, through locker rooms, showers, storage rooms. Then we started making our way up stairs to the 2nd and 3rd level offices, had the remainder of our joint together.
From the office levels we went back onto the factory area and started climbing the metal stairs up further still. Some photos show how high up we were in that building.
We then made ourselves up onto the roof. What a view from there looking out over the city core. Looking out over Lake Ontario we saw really dark storm clouds. Ryan pulled out a cigarette and had a smoke.
We were up on the roof for about a half hour before Ryan asked me "what do you want to do now man?". "Do you want to go home now or stay a bit longer and explore?". My camera battery had died at this point and being there any longer served no purpose for me. I was hesitant on a response because at the same time I wanted to keep exploring because the plan was to keep coming back weekend after weekend to explore and document the old structure.
I then agreed to keep exploring. We came in off the roof, coming down a level, walked through a doorway into a long looking dark room. All across the top level of The Hearn runs conveyor belts that run coal from one end to the other. Walking together along the metal grating flooring. Ryan was 2 feet in front of me.
I then ended up tripping over a small extruded piece of metal on the floor, and from that second on I pointed my flashlight directly onto the floor to see where I was walking.
Very shortly after this happens, in mid sentence Ryan just falls into blackness. All I see is from his waist up as he plunges into complete blackness and followed by about 4-5 seconds before hearing a sick crash far below.
I then look 2 feet in front of me and see there is no more floor. My imediant thought is that he is dead. Then my brain clicks "I have to get my best friend out of here".
I then tried my best to back track to get out of the building, taking a route that he and I had not taken to get to this point. All I knew is I had to get out of The Hearn and find someone that could help.
I don't even know how I got out of that place. When I did I came out on the back side of the building, ran around to the guard house screaming for help.
I screamed to the guard that my best friend just fell in there and is hurt really bad, he asked what we were doing in there and I told him we were just taking photos.
The guard then called like every paramedic, fire and police officer in the city. About 10 minutes after the call was made all I could hear were the sirens. Scared and relived at the same time I was.
Once they all showed up I told them Ryan was in there, that we were up high in the building and he fell. All the cops were telling me to retrace my steps, they wanted to see where we came in from. I screamed at them "we don't have time for that right now, my best friend is dying in there". I then started leading them to the front of the Hearn because I knew it was the closet way inside. We get to the front and all entrances were boarded up. One cops said to me "Ian there is no way in through this way, you have to show us where you came in from". I then demanded to the fire fighters that they bust this plywood down to get inside.
Once inside the cops started fucking with my mind, me being in total shock at the time they started asking me where we had explored, they wanted me to take them on what would have been a few hours of exploration, which we didn't have time for.
Then an officer finds his asbestos mask and glasses. My first thought is he was okay, that he somehow managed to crawl out under his own power. I was wrong. His mask and glasses had bounced off of objects on the fall and Ryan was nowhere to be found.
The police tried getting a hold of Rogers Communication to see if they could pin point his location with the cell phone he had on him. They ended up using thermal vision to locate him. He was trapped in a coal hopper located high up in the building.
I was escorted out at this point in time because I was too "hysterical" for the cops liking.
Two and a half hours went by, a fierce thunderstorm was passing through.
While they were working on getting Ryan out I was giving my statement to the police. Never gave one of those in my life. I told them everything that I am writing here right now, everything, even the joint smoking. I had Nothing to hide.
We went in undetected but I didn't care if the whole world was watching at this point, I was doing what any best friend would do. I was trying to save him. City Pulse News was there and I was trying to hide from them. I was scared that this is how his family would find out and how my family would find out, being Fathers days and all.
After two and a half hours of hell they finally got Ryan out. I watched them carry him out on a backboard and I yelled to him that I loved him.
Ryan was rushed to St. Micheal's Hospital, the best in all the city for trauma.
I followed about an hour after him, being escorted in a police car. On the drive one officer said to me "this is going to cost you and your buddy about a hundred thousand dollars for all that had to be done here today". What a jackass thing to say. I responded by saying "I don't give a fuck about money, take all I have from me I don't care, I'm loosing the most important person in my life right now".
We get to the hospital, I enter the trauma wing of St. Micheal's. They told me that I was going to be the one to call the home of the Nyenhuis'. I thought that was insane, and told them I could not make that call, that they would have to.
I then went into the waiting room, sat down. I remember the NBA finals were on the televisions in there and I ended up falling asleep somehow.
Waking to Stevie and Tammy's faces hours later (Stevie being Ryan's room mate and Tammy being Ryan's girlfriend).
Stevie told me that John and Cheryl were on their way and that we could go up stairs to the trauma ward to see Ryan.
The trauma centre, located on the 9th floor of St. Micheal's Hospital.
Hours passed by, as the night went on the news kept getting worse and worse about his condition.
I ended up leaving to come back to my apartment at 6am the following morning, I had to talk to my parents and try and shovel some food into my system. Still being in shock and never got treatment for shock when it happened.
I returned to the hospital at 3pm that day. Only to find nothing had changed with his condition.
Then came the worst words I ever had to hear, Ryan's father coming in the room and telling me it was time to say goodbye to Ryan.
We made our way into where he was being cared for. To see my best friend in the state he was in broke my heart. Blood coming out the back of his head, body black and blue bruised from head to toe, internal damage that could not be repaired, feeling his forehead and it being ice cold. He was laying there in front of us, dead. Machines were the only thing keeping him "alive".
I said my goodbyes to him, telling him that he can't leave me here, he can't leave the creation of Studies In Comfort behind, something that is so brilliant, that we were supposed to take over the world together and do all that was planned. I told him to haunt me.
I then looked at his eyes and saw tears. He may have been brain dead but I know he heard every word I said. Doctors did not give an explanation to what was coming out of his eyes.
If only I had said to Ryan "hey man watch your step" he might still be alive today. I have been told over and over again that I can not blame myself for what happened that day. I sometimes still do.
Ryan and I once had a conversation that if something ever happened to one of us that Studies In Comfort would stop, without a core creator there is no sense to continue it. Well I am going against those wishes. I can't lose what he and I created even before it took off the ground.
I now know my purpose in life. To carry on Studies In Comfort. I must continue on for him, finish off the 3 studio albums we had in the works and continue on with this art form.
Ryan died at the wheel and I have moved his lifeless body to the passengers seat and now a fucking insane madman is driving.
Ryan Nyenhuis, whos favourite artist was Nine Inch Nails, who lived on floor number 9, who wore a roman numeral 9 on his right arm, who died on the 9th floor at St. Micheal's Hospital, Toronto.
Thank you to 55 Division and all the paramedics and fire fighters who helped get Ryan out of that terrible dark place.
Ryan Nyenhuis is survived by his father, John, mother Cheryl, sisters, Jennifer and Leah, their beautiful children, myself and Studies In Comfort.
Ryan John Nyenhuis
July 28th 1981 - June 15th 2008
We love and miss you.
___________________________
All photographs were taken by Ryan Nyenhuis & Ian Levack with a Casio EX-Z1050 camera.
Originally part of the Queen's University Archives this photo found its way to Bon Echo. The date is unknown but likely pre-1936 when the Inn burned. The water tower completed in 1901 (9 metres tall) was not connected to the Inn but was located about 30m immediately west.
Part of the Bon Echo Provincial Park Album
Note: Commercial use of this image is prohibited without CDHS permission. All CDHS Flickr content is available for personal use providing our Rights Statement is followed:
Doorstep statement by NATO Secretary General Jens Stoltenberg at the start of the NATO Leaders meeting in London
True statement, I did leave my heart in the Tetons. Though, to be sure, there is much good about being home. Still, my heart lingers. Every night I dream of 399 and of capturing her in the evening or morning light, wandering in the wildflowers, feeding her cubs... My dreams go through all of the shots that I either didn't get or got and somehow messed up. I dream of waking up to the mountains, hearing the birds chirp and the water lap against the shore. I dream of it all, every minute and all of the seconds...
To me, as a photographer who loves wildlife, there is no greater treasure than the opportunities to be out in nature and to have so much that is beautiful surrounding me that I don't know what to shoot first. I just want to be there and to keep practicing my photography - getting a little bit better with each click.
One morning, just after sunrise, I stumbled from my tent (stumbling is a natural state for me) and down the path to the shore of Jackson Lake where I found this heart made of large stones that were lit up by the early morning light. The beautiful clouds and nearly calm water brought the scene alive and I set up the tripod and took some bracketed shots. This is two combined - the clouds had moved too much in the third one. The only downer about the scene was the shadow from my tripod (I put it on timer and ran backwards every time) and so I cut it out and used content aware to fill in the spaces.
Detective Chief Inspector Terry Crompton reads a statement on behalf of the family of Abdul Wahab Hafidah after the conviction of their son's murderers.
Eleven people have been convicted after Abdul Hafidah was murdered in Moss Side.
On Thursday 12 May 2016 Abdul Hafidah, 18, was murdered in Moss Side.
At about 5.15pm that day Wright, Ford, George, Walters, Wilson, Goodall, Neish, Cantrill, Samuels and a 14-year-old boy, chased Abdul from Princess Parkway and onto Moss Lane East, where they attacked him, one with a hammer.
After a considerable chase where Abdul was clearly exhausted, he was finally incapacitated after Williams drove his Vauxhall Corsa at him, knocking him to the ground.
Once on the floor, Abdul was viciously attacked by the group with punches, kicks and stamps.
The group then ran away in the direction of Quinney Crescent where the Corsa was waiting.
Witnesses called an ambulance for Abdul, but he sadly died in hospital on 14 May 2016.
A Home Office post mortem concluded that he died from two stab wounds to the neck and also had injuries to his head.
Detective Chief Inspector Terry Crompton of GMP’s Major Incident Team said: “Abdul Hafidah lost his life under such tragic circumstances. A family have lost their son and have been put through a tremendous amount of heartache.
“This is a tragedy for everyone involved; the parents of the young men jailed today have also lost their sons.
“Moss Side is a supportive and close-knit community; incidents like this do not represent the majority of the community.
“I hope that today’s convictions show that with violence and knife crime there are no winners, and we need to stand together as a community to ensure incidents like this one don’t happen ever again.”
Abdul Hafidah’s family has paid tribute to him: “Abdulwahab was a loving son, brother and uncle.
“He was selfless, putting everyone before himself. He cherished the good times he spent with his family and friends and was always smiling and laughing.
“Abdulwahab started each day by greeting his mother and father with a kiss on their foreheads.
“On the morning of 12 May 2016, Abdulwahab's parents were away on holiday when they received their last message from him which read "mum and dad I love you". He sent this without knowledge it would be for the last time.
“Abdulwahab did not die as a result of accident or ill health; he was hunted down, attacked and ripped away from our lives forever in a senseless act of brutality and we as a family are totally devastated by his loss
“We are consumed by the sadness and emptiness we feel knowing we will never see him again, but we will never forget him. His passing has left a void in our family that can never be replaced
“After a long investigation and trial of those involved we are relieved that justice has been done and those responsible have been made to account for their actions
“We do not hate those involved, but we hate what they have done. They have not only taken Abdulwahab’s life at a time when he had so much to live for; they have ruined our lives as well as theirs and their families
“We would like to thank the members of public who tried to help our son as he lay on the tarmac fighting for his life and the medical staff who tended to him in an attempt to bring him back to us. We would also like to extend out thanks to the Crown Prosecution Service, Investigation Team, Family Liaison Officers and Victim and Witness Support, who have helped us throughout this process.
“We as a family ask that our privacy be respected to allow us time to grieve.
“Thank you.”
To find out more about Greater Manchester Police please visit www.gmp.police.uk
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
This statement bib necklace features rose pink, fuchsia and salmon pinked colored multi-faceted acrylic beads set in a fan shape held together by rose gold tone facets. The lower right hand corner features a hand enameled bumble bee with fuchsia crystals.
Buy from:
www.1928.com/pages-productinfo/category-22_31_538/product...
Hello Tuesday @Cosmopolitan Events & Shopping Town maps.secondlife.com/secondlife/No%20Comment/131/61/22
Audrey Dress/Corset/Skirt/Lingerie~Lemon
*BE Designs*
TMP Omega Physique Appliers
Available for purchase from www.ballaratheritage.com.au
VHR - springthorpe
Statement of Significance
What is significant?
The Springthorpe Memorial within the Boroondara Cemetery (VHR0049)commemorates Annie Springthorpe, and was erected in 1897 by her husband Dr John Springthorpe. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures. It contains twelve columns of deep green granite from Scotland supporting a Harcourt granite superstructure, and a glass dome roof of lead lighting.
How is it significant?
The Springthorpe Memorial is of historic and architectural significance to the State of Victoria
Why is it significant?
The Springthorpe Memorial is historically important in demonstrating nineteenth century social and cultural attitudes to death, and for reflecting the ideals of the Victorian Garden Cemetery movement which aimed at providing comfort for mourners. The memorial is important in demonstrating uniqueness, no other example being known of such aesthetic composition, architectural design and execution, or scale. It is important in exhibiting good design and aesthetic characteristics and for the richness and unusual integration of features. The Springthorpe Memorial is also important in illustrating the principal characteristics of the work of a number of artists including Desbrowe Annear, Mackennal, the glass manufacturers Auguste Fischer and the bronze work of Marriots.
VHR Statement of Significance
What is significant?
Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery
Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.
Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.
The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.
The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.
The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.
By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.
The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.
The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.
Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')
Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.
The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.
How is it significant?
Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.
Why is it significant?
The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.
The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.
The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.
The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.
The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.
The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.
Mercedes-Benz.
Once the clear producer of the finest automobiles, advertised under the marketing banner: 'The Best or Nothing' - a statement by one of the company's founders at the beginning of the firm's long history.
One of the core products of the Mercedes-Benz family is the mid-size 'family' car. Introduced post WWII with a unique series, chassis and body with the 1968 W114, and followed by the W123 of 1976, and W124 of 1985. In 1995 Mercedes-Benz released it's latest midsize model, the W210. In size and series it followed closely to the just superseded W124 Series. Inline 4 cylinder petrol and diesel engines, inline 5-cylinder diesel engines, inline 6-cylinder petrol and diesel engines, and with an eye on both performance, and the US market, V8 petrol engines.
Whereas the W124 series V8 engined models were built in low volumes, many under the AMG performance sub-brand banner, the W210 series had been designed to accommodate V8s from the outset on the standard assembly lines. There were still specific AMG model, bearing higher-output V8s and 'enhanced' bodywork.
A major change occurred in 1997, with a switch from inline 6-cylinder engines to V6 engines for the first time. The new V6 units were of similar capacity to the engines they directly replaces (2.8 and 3.2 litres), but produced slightly higher maximum power figures and equal torque. A new introduction was the V6 of 2.4 litre capacity replacing the previous 4-cylinder inline engine of 2.3 litres capacity, a model of which had been fitted with a supercharger (kompressor). Another key change to the new V6 engines, which was reflected in new V8 engines introduced with a one year delay, was the cylinder head arrangement, now featuring 3 valves per cylinder instead of four. Also, the V6 engines had the same 90 degree included angle, as the V8 engines instead of the usual 60 degrees, allowing the engines to be manufactured on the same production and machining lines.
The new bodies were of very similar dimensions to the earlier W124, with minor increases in length and width. Notably, the Coupe and Cabriolet bodystyles present in the W124 Series were now transferred to the smaller C-Class Platform under program code C208, though they were similar in size to the outgoing (shorter W124 wheelbase) models. The C208 Coupe and Cabriolet models featured many of the powertrain specifications introduced in the W210 Sedan and Estate models.
Unfortunately, one of the remaining core perceptions of the W210 E-Class Mid-size Mercedes-Benz, is that is represents the results in a change of philosophy of the great historic company, a shift from being 'Engineered like no other car', to 'Engineered for cost' with an accompanied reduction in engineering integrity and material quality. There are many documented quality failures, from paint, trim, electrical and mechanical failures. These failures were also seen first in the release of the W202 compact Mercedes-Benz, replacing the 190E-range in 1993, and the W220 Mercedes-Benz S-Class of 1998. Both these models, along with the W210 midrange, were to receive upgrades to address the early identified quality issues, though they never reached the standard achieved by their immediate predecessors, and contributed to the tarnishing of the once-revered 3-pointed star.
The replacement models, respectively the W203 C-Class, W211 E-Class and W221 S-Class all took actions during their development phases to reattain the hallowed quality mantle.
This Lego W210 E320 Sedan has been created for Flickr LUGNuts 84th Build Challenge, our 7th birthday, to the theme, - "LUGNuts Turns 7…or 49 in Dog Years", - where all the previous challenge themes are available to build to, in this case Challenge 42, - "Autos aus Deutschland", - for vehicles from the birthplace of the automobile, Germany
27-XII-2021 Lunes
______
Bueno a lo tonto
pero hoy voy a ir
para empezar a
tomar metadona
y así al menos
quitar - me
el mono malo
y dar el 1er paso
y así empezar
a moverme para
salir de esto.
Cuando acabe el
dolor voy a estar
en otras
condiciones
seguro, voy a
estar bien sin
consumir.
seguro.
voy a hacerlo
voy x ello
(Documento real, reflexión anónima encontrada en el suelo escrita en una etiqueta por alguien)
Sydney's Metro City and South West took an important step forward with the publication of the Environmental Impact Statement for the third and last section, the adaption of the suburban Bankstown Line between Sydenham and Bankstown to metro standards. This included artist's impressions of the changes envisaged to the railway stations along the line.
It is anticipated that the stations will be ready in 2020, with metrofication completed by 2024.
Graphic: Transport for New South Wales, Sydney Metro
Image source: www.archivessearch.qld.gov.au/items/ITM299140
Australia was approaching its bicentennial celebrations, and after Brisbane’s success hosting the 1982 Commonwealth Games, Brisbane City Council and the Queensland State Government were confident they could win the bid to hold the next World Exhibition.
Brisbane won the right to hold the event and Expo 88 was officially opened by Her Majesty Queen Elizabeth II on 30 April 1988. By the time it closed, it had changed the way the world saw Brisbane and helped shaped the city as we know it today.
Starting with an estimated budget of $645 million, the Queensland State Government developed a World Expo that would recoup and support its own costs and promote international investment in Queensland, both during and after the event. South Bank, badly damaged in the 1973–74 floods, was chosen and the site acquired for $150 million. Developers completed construction on time and within budget. The targets set for ticket sales were reached 11 weeks before Expo 88 had even opened. It was off to a smashing start.
Celebrating ‘Leisure in the age of technology’, there was an incredible range of pavilions, performances, parades, comedy and artwork on show. Guests could experience over 50 restaurants filled with flavours from around the globe. Hosted over six months, it drew more than 18 million people to the renewed South Bank parklands district. An average of 100,000 people a day entered the gates.
An influx of royalty, celebrities and international visitors came to Brisbane for the exhibition, but it was Queensland residents who attended the most often, purchasing 500,000 season tickets. Expo 88 provided something the city needed: an easy-to-access recreational facility with exciting things to do, see and experience. Brisbanites returned again and again to socialise and enjoy the festival atmosphere.
The monorail was one of the most popular attractions. Giving travellers a view of the entertainments from above, it operated along a 2.3-kilometre track during Expo 88, taking up to 44,000 visitors a day from one side of Expo to the other, along the Brisbane River. Built by Swedish manufacturer Von Roll, the monorail cost $12 million and comprised four MkII trains with nine carriages each. The idea of keeping the monorail operating after Expo and extending it into the Brisbane CBD was discussed. Ultimately, the existing monorail wasn’t a feasible long-term people-moving solution and it was disbursed. Three trains were sold back to Von Roll and were used in Germany’s Europa-Park. The remaining train and some tracks were incorporated into the Sea World theme park on the Gold Coast.
Some of the most significant installations, exhibitions and artworks from Expo 88 were relocated and continue to be enjoyed today. Ken Done AM, a prominent Australian artist and designer, was commissioned to produce the entry and exit statement art pieces for the Australia Pavilion. Using the word ‘Australia’, Done produced a sign nearly six metres tall that could not be missed by anyone who attended Expo 88. The letters have since been restored and are on display at the Caboolture Heritage Village. The Nepal Peace Pagoda was the only international pavilion that remained on-site, after a petition asking that it remain attracted about 70,000 signatures. The Japan Garden and Pond were gifted to the city of Brisbane and moved to the Botanic Gardens at Mt Coot-Tha.
The buzz of activity, the investment in South Bank’s infrastructure and the spotlight on Brisbane transformed the city. The physical legacy left by Expo 88 turned South Bank into a thriving social space and prominent cultural hotspot: 42 hectares was dedicated to the construction of the South Bank Parklands.
blogs.archives.qld.gov.au/2021/10/29/when-the-world-comes...
Today when "NS" came in with her shirt matching the bands on her braces we just had to do a photo with her buddies. I asked her if she did it on purpose and she swears she didn't.
Thanks to NS and buddies for being good sports :)
Composite view of four scenes at Camp Lejeune, labeled "Writing Home," "Mess," "Shining
Up," and "Playing Checkers." The card is numbered MA9 and 70479.
Digital Collection:
North Carolina Postcards
Publisher:
Tichnor Bros., Inc., Boston, Mass.;
Date:
1930; 1931; 1932; 1933; 1934; 1935; 1936; 1937; 1938; 1939; 1940; 1941; 1942; 1943;
1944; 1945
Location:
Camp Lejeune (N.C.); Onslow County (N.C.);
Collection in Repository
Durwood Barbour Collection of North Carolina Postcards (P077); collection guide available
online at www.lib.unc.edu/ncc/pcoll/77barbour/77barbour.html
New York: After years of relentless campaigning to ensure States negotiate a strong global treaty to regulate the arms trade, civil society groups have been denied participation in key discussions. As Member States have started negotiations this week at the UN Headquarters in New York, Chair Ambassador Roberto Garcia Moritan of Argentina, announced late on Wednesday (July 14) that civil society groups would no longer be allowed to be present during crucial discussions.
Ambassador Moritan is chairing the preparatory talks that are running until next week. The decision to close the meeting came as a surprise as numerous Member States had made earlier statements on the importance of openness and transparency in the process.
“Some States want to hide behind closed doors because they don’t want people to see how much they are prepared to protect trading interests at the expense of protecting the people that bear the brunt of illicit arms deals. This is a major let down during the first week of negotiations,” said Denis Mizne, Director at Sou da Paz in Brazil.
Mizne continued: “As soon as the negotiations turned to the content of the treaty, the doors have been slammed shut. This is giving in to demands from some states that want to strip the treaty of key provisions such as those on human rights and international humanitarian law.”
Civil society has initiated this process along with key governments and has been a constant voice to ensure that key provisions on development, human rights and international humanitarian law will be part of a future deal. Civil society groups are now urging Ambassador Moritan to reconsider and let them join a more transparent process.
“This is very disappointing and worrying. Without the experience and expertise of civil society, it will make it harder to get a strong treaty that reduces suffering and saves lives. This is pandering to a small number of states that want to undermine the treaty,” said Baffour Amoa, Director at WANSA in Ghana.
Civil society has been part of previous international negotiations such as for the Convention of Rights of Persons with Disability (CRPD) and during global climate change negotiations.
“Hundreds of civil society organisations around the world have been advocating to ensure that a future arms trade treaty would be truly effective in preventing the transfer of arms that fuel conflict, human rights abuses, corruption, crime, gender-based violence, terrorism and poverty.” said Helena Koumi, Programme Officer at Swefor.
Negotiations have finally started four years after the UN General Assembly decided by an overwhelming majority to negotiate an Arms Trade Treaty. The future treaty would establish international rules and standards to better regulate the arms trade and close current loopholes. The final negotiating conference is set to take place in 2012.
For more information: Louis Belanger +1 917 224 0834 +1 917 224 0834
File name: 10_03_002036a
Binder label: Perfume/Hair Products
Title: Ayer's Hair Vigor [front]
Date issued: 1870 - 1900 (approximate)
Physical description: 1 print : chromolithograph ; 13 x 9 cm.
Genre: Advertising cards
Subject: Women; Hair preparations
Notes: Title from item.
Statement of responsibility: J. C. Ayer & Co.
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
Chancellor of the Exchequer, George Osborne leaves HM Treasury with Chief Secretary to the Treasury, Danny Alexander on 05 December 2012.
Unknown date.
Part of the Bon Echo Provincial Park Album
Note: Commercial use of this image is prohibited without CDHS permission. All CDHS Flickr content is available for personal use providing our Rights Statement is followed:
The parliament debates recent developments in the Ukraine conflict with EU Foreign Affairs chief Federica Mogherini. On the agenda is the Merkel/Hollande peace initiative, Wednesday’s meeting of the presidents of Germany, France, Ukraine and Russia in Minsk (Belarus), a possible US arms delivery to Ukraine and new EU sanctions against Russia.
www.europarl.europa.eu/ep-live/en/plenary/video?date=10-0...
ec.europa.eu/avservices/ebs/schedule.cfm?page=2&date=...
This photo is free to use under Creative Commons licenses and must be credited: "© European Union 2015 - European Parliament".
(Attribution-NonCommercial-NoDerivatives CreativeCommons licenses creativecommons.org/licenses/by-nc-nd/4.0/).
For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu
redesign of a drawing i did a few years ago
www.flickr.com/photos/vanessarivera/3439980897/in/set-721...
08/07/2020. London, United Kingdom. Summer Statement Cabinet. The Prime Minister Boris Johnson and the Chancellor of the Exchequer Rishi Sunak brief members of the cabinet at the weekly Cabinet meeting inside No10 Downing Street, on the day the Chancellor delivers his summer statement to the House during the coronavirus. Picture by Andrew Parsons / No 10 Downing Street
This large-format, illuminated Timurid copy of the Qur’an is believed to have been produced in Northern India in the ninth century AH / fifteenth CE. The manuscript opens with a series of illuminated frontispieces. The main text is written in a large vocalized polychrome muḥaqqaq script. Marginal explanations of the readings of particular words and phrases are in thuluth and naskh scripts, and there is interlinear Persian translation in red naskh script. The fore-edge flap of the gold-tooled, brown leather binding is inscribed with verses 77 through 80 from Chapter 56 (Sūrat al-wāqiʿah). The seal of Sultan Bayezid II (1481-1512 CE) appears on fol. 8a. There is an erased bequest (waqf) statement and stamp of Sultan ʿUthmān Khān (1027-31 CE) on fol. 3a.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
A BBC video of the Exhibition from BBC World's 'Impact Asia' can be found here:
Exhibition and Charity Auction in aid of the British veterans of the Korean War.
A positive, dynamic and exciting exhibition of contemporary art by forty Korean Artists, reflecting on the Korean War and its legacy.
This exhibition thanked the men and women of Britain who came to Korea’s defence in the name of liberty in 1950.
Exhibition Dates: 16 June – 17 July 2010
The artworks were subsequently sold at a Charity Auction at the KCC with the kind support of Sotheby’s and The Royal British Legion.
The contributing artists for the exhibition PRESENT FROM THE PAST: The 60th Commemoration of the Korean War:
in alphabetical order:
Je BAAK, Seung Woo BACK, Chan-Hyo BAE, C Gene, Francesca CHO, Young-Jin CHOI, Sen CHUNG, Shan HUR, Yun Kyung JEONG, Eemyun KANG, KANG Yong Suk, Ayoung KIM, Hayoung KIM, Kira KIM, Dae Hun KWON, KWON Kyung-hwan, Changwon LEE, LEE Lee Nam, Sang Youp LEE, Sea Hyun LEE, Suejin LEE, Yongbaek LEE, NA Hyun, NANDA, Jae woo OH, Junggeun OH, Hyung Jin PARK, Jinhee PARK, PARK Jongha, PARK Jongwoo, PARK Sungsil, PARK Young Geun, SEO, Gunwoo SHIN, Meekyoung SHIN, Bada SONG, Yun-Hee TOH, Seungho YOO, YOO Hye-Sook, Jungu YOON
PRESENT FROM THE PAST: the 60th Commemoration of the Korean War
All Rights Reserved: The Korean Cultural Centre UK.