Ağrı ile şu maddeler kastediliyor olabilir:

Biyoloji
 Ağrı (tıp), olmuş veya olası doku hasarıyla bağlantılı ya da bu tür bir hasar üzerinden tanımlanan nahoş bir duyusal veya duygusal deneyim
 Ağrı eşiği, ağrı duygusunun kişiden kişiye farklı şiddetlerde algılanması
 Nöropatik ağrı, sinir sistemindeki sinirlerin doğrudan hasar görmesinde ortaya çıkan bir ağrı türü
 Atipik fasiyal ağrı,
 Baş ağrısı
 Artralji, eklem ağrısı
 Ağrı kesici
 Ağrı engereği, engerekgiller (Viperidae) familyasından sırt bölgesi genel olarak kül renginde ya da grimsi kahverenkte olan bir engerek türü
 Algoloji, ağrıları inceleyen bilim dalı

Coğrafya
 Ağrı (il), Türkiye'nin bir ili
 Ağrı, aynı isimli ilin merkezi olan şehir
 Ağrı Dağı

Tarih
 Ağrı ayaklanmaları, 1926-1930 yılları arasında Ağrı Dağı ve civarında meydana gelen ayaklanmalar
 Birinci Ağrı Harekâtı
 İkinci Ağrı Harekâtı
 Üçüncü Ağrı Harekâtı
 Ağrı Milli Hareketi

Diğer
 Ağrı Barajı
 Ağrıdağı Efsanesi
 Ağrı İbrahim Çeçen Üniversitesi
 Ağrı milletvekilleri
 Ağrı Dağı Efsanesi (şarkı)
 Ağrı yöresi halk kültürü

Ağrı (anlam ayrımı)


ආට් ඩෙකෝ යනු 1925 සිට 1939 දක්වා කාළය තුල පැවැති ජාත්‍යන්තර නිර්මාණ ව්‍යාපාරයකි. එය ගෘහ නිර්මාණ ශිල්පය, අභ්‍යන්තර අලංකරණය, කාර්මික සැලසුම් ඇඳිම වැනි අලංකාරක කලාවන්ට මෙන්ම මෝස්තර, සිතුවම්කිරීම, ග‍්‍රැෆික් කලාව සහ චිත‍්‍රපට ආදී ලලිත කලාවන් කෙරෙහිද බලපෑම් ඇතිකරන ලදී. මෙය 20 වන සියවසේ මුල් භාගයේ පැවැති සාම්ප‍්‍රදායිකවාදය, ඝනිකවාදය, නූතනවාදය, බවුහවුස් ගුරුකුලය, ආට් නුවෝ සහ අනාගතවාදය ආදීවූ විවිධ ව්‍යාපාරයන්හි සංකලනයක් විය. 1920 ගණන්වලදී යුරෝපය තුල එහි ජනපි‍්‍රයත්වය උපරිම වූ අතර 1930 දශකය තුද එය එක්සත් ජනපදයේ බලවත්ව පැවතන. බොහෝ අලංකාරික ව්‍යාපාරයන්ට දේශපාලනික හෝ දාර්ශනික මූලයන් හෝ අරමුණු පැවතියද ආට් ඩෙකෝ හුදු සරසිල්ලක් පමණක් විය. එකල මෙම ශෛලිය දර්ශනීය, කෘත්‍යාත්මක හා නූතන ලෙස සැලකින.

ආට් ඩෙකෝ


Fællesregeringen er navnet på en overordnet instans i hertugdømmerne Slesvig (≈ Sønderjylland) og Holsten under landsdelingerne.

Fra 1490 til 1523 og igen fra 1544 til 1779 blev Slesvig og Holsten opdelt i flere herskabsområder og der regerede to eller flere hertuger ved siden af hinanden. Ud over den kongelige del opstod der den gottorpske, den sønderborgske og den fællesregerede del (i godsdistrikerne). Først i 1779 lykkedes det igen for den danske konge at være den eneste regerende hertug i hertugdømmerne. Mens hver hertug var ansvarlig for den lokale administration i sin herskabsområde, blev overordnede beslutninger, som gjaldt hertugdømmerne som helhed, truffet af hertugerne i samvirke i en fællesregering.

Efter at den slesvigske overret afløstes i 1834 blev der igen nedsat en fælles regering for begge hertugdømmer.

Eksterne henvisninger
 Grænseforeningen: Administrative forhold i Slesvig/Sønderjylland
 danmarkshistorien.dk: Delingerne af Slesvig-Holsten i 1490, 1544 og 1564

Sønderjyllands historie

Fællesregeringen (Slesvig og Holsten)


Thais Pereira Lourencini (Espírito Santo, 25 de outubro de 2004) é uma ginasta brasileira, que compete em provas de ginástica rítmica e integra a Seleção Brasileira da modalidade.

Biografia
Thais iniciou sua atuação na ginástica rítmica aos oito anos de idade em um projeto social da Caixa Econômica Federal.

Ela competiu no Campeonato Sul-Americano de 2014, no qual conquistou a medalha de ouro no evento por equipes e terminou em quinto no individual geral na categoria Pré-Infantil.

Em 2020, aos quinze anos, foi convocada a integrar a seleção brasileira de conjuntos, sendo a componente mais nova da equipe.

No ano de 2022, foi selecionada para representar o Brasil na Gimnasíada em Caen, França.

!Artigos novos
Brasileiros de ascendência italiana
Ginastas rítmicos do Espírito Santo

Thais Lourencini


Tomomitsu Kobayashi (født 30. maj 1995) er en japansk fodboldspiller, som spiller for den japanske fodboldklub Gainare Tottori.

Referencer

Eksterne henvisninger

Fodboldspillere fra Japan

Tomomitsu Kobayashi


L'équipe de Belgique de football dispute en 1974 quatre matchs amicaux et amorce les éliminatoires du Championnat d'Europe.

Objectifs
Ayant manqué la qualification pour la Coupe du monde en Allemagne, les Diables Rouges peuvent se focaliser sur les éliminatoires du Championnat d'Europe et l'objectif de l'année est de bien entamer ceux-ci afin de viser les quarts de finale, quatre rencontres amicales sont au programme afin de leur permettre de préparer ceux-ci au mieux.

Résumé de la saison

Après ces deux participations encourageantes à des tournois internationaux, la Belgique entame les qualifications pour la Coupe du monde 1974 avec confiance. Les joueurs terminent invaincus sans encaisser le moindre but mais sont toutefois devancés à la différence de buts par les Pays-Bas, avec qui ils ont partagé deux fois (0-0), et sont donc éliminés alors que les Pays-Bas seront finalistes du Mondial. La Belgique confirme ses bonnes performances lors des éliminatoires de l'Euro 1976, en terminant en tête de leur groupe devant la RDA, la France et l'Islande. Ils sont ensuite sèchement battus par les Pays-Bas en quart de finale (5-0) et (1-2). Les Belges sont une nouvelle fois opposés à leurs voisins bataves lors des qualifications pour la Coupe du monde 1978. Le résultat final est identique, les Néerlandais remportant le groupe haut la main.

Bilan de l'année
Le départ des Belges pour les éliminatoires du Championnat d'Europe est excellent, ils occupent la tête du groupe à mi-parcours et peuvent sérieusement envisager une qualification pour les quarts de finale.

Championnat d'Europe 1976

Éliminatoires (Groupe 7)

|}

Les matchs

Les joueurs

Un « r » indique un joueur qui était parmi les remplaçants mais qui n'est pas monté au jeu.

Aspects socio-économiques

Couverture médiatique

Source : Programme TV dans Gazet van Antwerpen.

Sources

Archives

Références

1974
Belgique
Football en Belgique en 1974

Équipe de Belgique de football en 1974


أحمد الصالح (13 فبراير 1938  - 11 إبريل 2015)، ممثل كويتي.

حياته
بدأ عبر المسرح المدرسي، ثم مع «فرقة المسرح الشعبي». قدم بعام 1961 أول عمل مسرحي له وهي مسرحية مارد الكلب على القصاب. وهو الشقيق الأصغر للممثل جاسم الصالح.

وهو يعتبر أحد أبرز الرواد «بفرقة المسرح الشعبي»، حيث اشترك بأول عمل مسرحي قدمته بعد تأسيسها، كما كان نائبًا لرئيس مجلس الإدارة وذلك في موسم 1967 / 1968 ، ابتعد بعد ذلك موسمًا واحدًا عن مشاركته في مجلس الإدارة وعاد في موسمي 1969 / 1970، و 1970 / 1971 نائبًا للرئيس، ثم رئيسًا في موسم عام 1971 / 1972 ، وابتعد بعدها مجددًا عن المشاركة في مجلس الإدارة إلى عام 1977 / 1978 ، ثم أصبح رئيسًا لمجلس الإدارة في موسم عام 1982 / 1983.

أعماله

من المسلسلات

كما أنه شارك في برنامج الأطفال التعليمي افتح يا سمسم.

من المسرحيات

في السينما

وفاته
توفي الفنان أحمد الصالح في 11 أبريل لعام 2015 في إحدى مستشفيات الولايات المتحدة الأمريكية بعد صراع مع المرض بعد مسيرة فنية امتدت أكثر من أربعة وخمسون عاما.
توفي إثر التهاب رئوي وقد تم دفنه وتشييع جثمانه في بلده الكويت يوم الأربعاء الموافق 15 إبريل لعام 2015.

مراجع

كويتيون حازوا جائزة الدولة التقديرية
مدفونون في مقبرة الصليبخات
مسرحيون كويتيون
ممثلو أفلام كويتيون
ممثلو مسرح كويتيون
ممثلون كويتيون
ممثلون كويتيون في القرن 20
ممثلون كويتيون في القرن 21
مواليد 1356 هـ
مواليد 1938
مواليد في الكويت
وفيات 1436 هـ
وفيات 2015
وفيات بسبب الأمراض

أحمد الصالح


مؤسسة نهر الأردن هي مؤسسة غير ربحية مقرها عمان، الأردن. بدأت المؤسسة أعمالها في كانون الأول / ديسمبر 1985م. تهتم المؤسسة بعدة نواحٍ تنموية في المجتمع الأردني، وتركّز بشكلٍ خاص على الأطفال والنساء.
في عام 1985، أسست جلالة الملكة نور الحسين مؤسسة نهر الأردن لتساهم في رفع مستوى المعيشة خاصة في النواحي الاقتصادية والاجتماعية، وترأسها حالياً الملكة رانيا. تطبق مؤسسة نهر الأردن أفضل الممارسات العالمية القادرة على تحقيق أهدافها الرئيسة وتلبية الاحتياجات الاجتماعية والاقتصادية لمستفيديها، ومواجهة التحديات التي تعترض المجتمعات المحلية، وخاصة في مناطق جيوب الفقر والمناطق التي تتطلب التدخل السريع، وذلك عبر مشاريع ومبادرات المؤسسة لتمكين الشباب والنساء، وحماية الطفل والأسرة وتدريب وتأهيل منظمات المجتمع المحلي.

تهدف المؤسسة في خططها إلى، تمكين المجتمعات المحلية اقتصادياً واجتماعياً، مع تفعيل دور الشباب في عملية التنمية الاجتماعية والاقتصادية لمجتمعاتهم. وايضاً حماية حقوق الأطفال، وسلامتهم، وتعزيز ممارسات الوالدية السليمة، وتأييد ودعم التفاعلات الإيجابية بين أفراد الأسرة وتعزيزها من خلال رعاية الأطفال داخل أسرهم. على الصعيد الدولي تم تسجيل المؤسسة على المستوى الدولي، حيث تم تسجيلها رسميا في الولايات المتحدة الأمريكية وفرنسا والمملكة المتحدة.

تاريخها
عام 1995 أُسس برنامج نهر الأردن لتمكين المجتمعات بهدف تعزيز قدرة المجتمعات الأقل حظاً من خلال توفير فرص اقتصادية وتحسين مستوى المعيشة فيها. واحتضنت جلالة الملكة رانيا العبد الله مشروع تصاميم مؤسسة نهر الأردن لإضافة طابع أردني على منتجات الحرف اليدوية وتوفير فرص عمل للسيدات العاملات، ما ساهم في تحسين ظروف عيشهن وطوّر من معرفتهن ومهارتهن وقدرتهن على إدارة المشاريع. واتخدت المؤسسة من نهر الأردن اسماً لها. ويعد الصندوق العربي للإنماء الاقتصادي والاجتماعي www.arabfund.org.

نشاطاتها
تتركّز نشاطات عمل مؤسسة نهر الأردن في مجالين رئيسيين:
 حماية حقوق وحاجات الأطفال من خلال برنامج أطفال نهر الأردن.
 تمكين الأفراد والمجتمعات المحلية من خلال برنامج تمكين المجتمعات.

الرؤية والرسالة

القيم
تنطلق المؤسسة من قيم راسخة تتماشى مع اهدافها هي

الإدارة

مجلس الامناء

يتكون مجلس أمناء المؤسسة من أفراد يمثلون القطاعين العام والخاص، وقطاع المؤسسات غير الربحية الذين يعملون على تقديم التوجيه والخبرة في عملية التطوير الاستراتيجي لبرامج المؤسسة نهر الأردن.
  جلالة الملكة رانيا العبد الله - رئيسة مجلس الأمناء
 السيد أمين خليفات - نائب رئيسة مجلس الأمناء
 معالي السيدة سوزان عفانة
 العين الدكتورة نوال الفاعوري
 السيد سائد كراجه
 السيد طارق عوض
 السيد تيمة خوري قعوار
 السيد عمار الصفدي
 السيدة إنعام بريشي - المديرة العامة

مجلس الإدارة
 أنعام البريشي: المديرة العامة
 معاذ الترشيحي: مدير قسم الإعلام والإتصال
 محمد الحوراني: مدير قسم التدريب والاستشارات والبرامج
 طارق الشواربة: مدير قسم الخدمات المساندة
 عقل عقل: مدير قسم الشراكات الإستراتيجية والتطوير
 محفوظ سعيد: مدير المشاريع الإجتماعية

المدير العام
 السيدة انعام البريشي - إلى الآن
 المهندس غالب القضاة

المبنى
يقع مبنى المؤسسة الجديد قرب منطقة الدوارا الثامن في مدينة عمان

مجالات العمل والاهتمام
 تمكين المجتمعات Empowering Communities
 حماية الطفل
 نقل المعرفة: تشجع شراكات مؤسسة نهر الأردن مع الهيئات الدولية على «تبادل الخبرات»، وهي منهجية متعلقة بتطوير نماذج المؤسسة للمبادرات الاجتماعية والاقتصادية.
 المناصرة وكسب التأييد: بحيث أصبحت المنظمات تعي أكثر فأكثر الدور الحوي الذي تلعبه في تعليم عموم الجمهور والتأثير على متخذي القرارات في محاولة للتأثير في الإصلاحات الاجتماعية والاقتصادية.
 التربية: من خلال إرساء روابط تربوية بين المهنيين العاملين في مجال العناية بالطفل والأسرة في الأردن مع نظرائهم على المستوى العالمي. فقد حققت المؤسسة تقدما في نماذج التنمية الاقتصادية، مع سعيها لتعزيز تبادل الخبرات والمعلومات المتعلقة بمبادرات تمكين المجتمعات المحلية مع الهيئات الدولية.
 ترويج وتسويق منتجات مؤسسة نهر الأردن:
 جمع التبرعات (الفعاليات والنشاطات المبينة على البرامج): وذلك بتنظيم نشاطات لجمع التبرعات والحصول على رعاة بالتعاون مع الشركاء الدوليين، من أجل توفير تمويل لتنفيذ برامجها. والتشجيع على القيام بشراكات مبنية على البرامج مع المؤسسات والمنظمات والشركات في المملكة المتحدة، وفي الولايات المتحدة، وفي فرنسا.
 أموال صندوق الهبات في مؤسسة نهر الأردن.

برامجها
 عام 2002، أُطلق برنامج تنمية التجمعات الريفية في عجلون والبادية الشمالية ومادبا ووادي عربة وأم الرصاص. يهدف هذا البرنامج إلى تعزيز المشاركة في تلبية الحاجات البالغة الأهمية واللازمة لإحياء وإنعاش الجوانب الاقتصادية والاجتماعية في حياة المجتمعات الريفية.
 عام 2004، أطلقت المؤسسة حملة أجيالنا، لحماية ووقاية الطفل من الإساءة والتي نتج عنها إعلان الحكومة عن اليوم الوطني لحماية الطفل من الإساءة والذي يصادف 6 حزيران من كل عام.
 عام 2005: تم افتتاح مركز الملكة رانيا للأسرة والطفل.(وضعت جلالة الملكة رانيا العبد الله حجر الأساس لمبنى عام 2003): والذي أُسس بمهمة واضحة وهي أن حماية الطفل لا تقتصر على مساعدة الأطفال المُساء إليهم فقط وإنما تمتد لتشمل العمل على سبل الوقاية والتوعية. أصبح المركز ليصبح منصة اجتماعية توعوية توفر خدمات متكاملة للحد من الإساءة، وتمكين الأسرة، والترويج لثقافة حماية الطفل. كما يعمل أيضَا كمركز تدريبي لنشر المعرفة على المستويين الوطني والإقليمي، عبر برامج بناء قدرات المتخصصين والعاملين في مجال حماية الطفل.
 عام 2005 بدأت المؤسسة بتنفيذ برنامج التنمية المحلية في المناطق الأقل حظا لتعزيز الفرص الاجتماعية والاقتصادية وذلك من خلال تعزيز المشاركة المجتمعية وإنشاء مشاريع مدرّة للدخل، وتوفير القروض الدوارة، وبناء القدرات، ومشاريع البنية التحتية. وقد عملت المؤسسة من خلال هذا البرنامج في منطقة بيرين والهاشمية في الزرقاء، وحوشا في المفرق، ودير علا في البلقاء، وغور المزرعة في الكرك، والجفر، والحسينية والمريغة في معان وووادي عربة في العقبة.
 عام 2006، أطلقت المؤسسة خط الدعم الأسري (110 للأسرة والطفل)، حيث يهدف الخط المجاني والقائم على السرية إلى تقديم خدمات الاستشارة المتخصصة، والدعم والإرشاد النفسي، والإحالة إلى المؤسسات الشريكة لتمكين وحماية الأطفال في الأردن.
 عام 2007، أطلقت المؤسسة مبادرة مدارس آمنة لمواجهة ظاهرة العنف في المدارس استجابة لمطالب العديد من الطلاب والأهالي. كما باشرت المؤسسة في ذات العام بتنفيذ برنامج قدرات بهدف نقل خبراتها في التنمية للمجتمعات المحلية من خلال تعزيز القدرات المؤسسية للهيئات المحلية ورفع كفائتها ودعمها لانشاء مشاريع اقتصادية وخدماتية بطريقة فاعلة وبما يلبي احتياجات المجتمع المحلي.
 كما أسست المؤسسة وحدة مبادرات الشباب بهدف رفع كفاءتهم وتأهيلهم لسوق العمل تماشياً مع رؤية جلالة الملكة رانيا العبد الله في أن الشباب الأردني منبع للابداع والحماس.
 عام 2009، تم تأسيس وحدة الأسرة الآمنة في مركز الملكة رانيا للأسرة والطفل والتي تختص في التعامل مع حالات العنف الموجه ضد النساء والفتيات، وتوفر الوحدة شبكة من الخدمات على المستوى الحكومي وغير الحكومي كما تقدم خدمات نفسية اجتماعية لنساء من مختلف الأعمار والخلفيات الاجتماعية. تتعامل المبادرة مع المجتمعات بطريقة شمولية ضمن مجالات متعددة كالتعليم، والصحة، والبنية التحتية، والشباب والتمكين الاقتصادي ويتم تركيز الجهود على تنفيذ مشاريع اجتماعية واقتصادية شاملة ومستدامة بناءً على احتياجات المجتمع المحلي.
 عام 2009، قامت المؤسسة بتكثيف تدخلاتها التنموية الاجتماعية والاقتصادية في مدينة العقبة من خلال إنشاء مركز الملكة رانيا لتمكين المجتمعات والتي وضعت حجر الأساس له جلالة الملكة رانيا العبد الله.
 عام 2010 وصلت تدخلات وخدمات المؤسسة لأكثر من مليون مستفيد لامست وغيرت حياتهم من خلال برنامج نهر الأردن لتمكين المجتمعات وبرنامج حماية الطفل.
 عام 2015 قامت المؤسسة بالتعاون مع اليونيسيف بإطلاق مشروع مكاني عبر مجموعة من الجمعيات والمراكز التي تعمل على توفير بيئات تفاعلية آمنة للأطفال والشباب وأفراد المجتمع بكافة أطيافه، بهدف تمكينهم كأفراد منتجين وفاعلين في مجتمعاتهم المحلية. توفر المراكز خدمات مجتمعية مميزة من ضمنها التعليم البديل، وبرامج بناء المهارات والدعم النفسي الاجتماعي. وتعمل المراكز على دعم مبادرات البحث المجتمعية والممارسات والتطبيقات اللازمة لتحقيق التغيير المنهجي والمستدام. تم البدء بتسعة مراكز ثم في خمسة عشر مركزاً منتشرة في ثمانية محافظات في المملكة.، ثم ارتفع عدد المراكز خلال عام 2018 إلى 20 مركز.

مشاريع أخرى
 مشروع رفع كفاءة جمعيات المجتمع المحلي في المجتمعات المستضيفة لللاجئين
 مشروع الأسر البديلة
 مشروع التطوير من أجل التغيير
 أيكيا ونهر الأردن
 مختبرات الابتكار الاجتماعي
 مبادرة تمكينها
 مشروع التنمية الاقتصادية الريفية والتشغيل

المشاريع الإنتاجية

تهدف المؤسسة إلى توفير فرص اقتصادية لنساء المجتمع المحلي وتطوير مهاراتهن ليصبحنّ معيلات مستقلاّت داخل أسرهن. وقد شهدت هذه المشاريع اهتماماً ملحوظاً من نساء المجتمعات المحلية عبر المشاركة في مختلف برامج وأنشطة التمكين الاجتماعي. ضمّت المؤسسة أربعة مشاريع إنتاجية حتى عام 2016 هي:
 مشروع الكرمة للتطريز في منطقة جبل النظيف في عمان.
 مشروع بني حميدة للنسيج في محافظة مادبا.
 مشروع وادي الريان لإنتاج الاثاث ومستلزمات الحدائق عام 1997 في الأغوار الشمالية
 مطبخ الكرمة الإنتاجي. ويضم مطبخا للطهي وانتاج الأطعمة. تأسس عام 1997 في جبل النظيف، ثم تبعه لاحقا فرع آخر في منطقة جبل النصر في شرق عمان لإنتاج الحلويات.

الجوائز
منذ تأسيسها حصلت المؤسسة على عدد من الجوائز منها:
 2002: جائزة الجمعية الدولية لحماية الأطفال من الإساءة والإهمال (ISPCAN) حيث أنها أول مؤسسة في العالم العربي تنشئ مركزا متخصصا لمعالجة وإعادة دمج وحماية ضحايا الإساءة وأسرهم «دار الأمان».
 2006: حصل مركز الملكة رانيا للأسرة والطفل على جائزة مؤسسة قمة نساء العالم (WWSF).
 2008: جائزة مجلة الأعمال العربية لأفضل مبادرة تنموية المصممة لخدمة المجتمعات المحلية.
 2012: جائزة منظمة التنمية الريفية الأفرو-آسوية (AARDO).
 2012: جائزة الاستدامة الآسيوية للقيادة عن أفضل تدخل مجتمعي.
 2013: جائزة الملك عبد الله للتميز في أفضل الممارسات.

انظر أيضا
 مؤسسة الملكة رانيا للتعليم والتنمية
 تمكين المجتمعات
 حماية الطفل
 مساحات صديقة للطفل

المراجع

وصلات خارجية
 الموقع الرسمي لمؤسسة نهر الأردن
 مؤسسة نهر الأردن ضمن الموقع الرسمي للملكة رانيا العبد الله

تأسيسات سنة 1995 في الأردن
ثقافة أردنية
فن أردني
منظمات أسست في 1995
منظمات غير ربحية
منظمات غير ربحية مقرها في الأردن
مؤسسات أردنية
نواد وجمعيات في الأردن

مؤسسة نهر الأردن


El Centro de Interpretación del patrimonio Molí d'en Rata, en Ripollet (Vallés Occidental), es el equipamiento municipal destinado a la investigación, conservación, gestión y difusión del patrimonio de Ripollet. Consta de dos equipamientos: el Molí d'en Rata, uno de los últimos molinos harineros en funcionamiento en el Vallés Occidental, y el Centro de Interpretación del Patrimonio, un edificio de construcción reciente (2007) con dos salas de exposiciones: una para la exposición permanente y otra para exposiciones temporales. Forma parte de la Red de Museos Locales de la Diputación de Barcelona.

Exposición permanente
La exposición permanente consta de tres ámbitos:

El pan de la diversidad
Este ámbito forma parte de la visita al antiguo molino harinero Molí d'en Rata y muestra la transformación de los cereales en harina en un molino hidráulico y qué productos se pueden fabricar con harina.

Protagonistas: ripolletenses que dejan huella
Espacio de reconocimiento a siete personajes nacidos en Ripollet o vinculados a la población, que han destacado en su vertiente profesional: un pintor, una escultora y pintora, un concertista de castañuelas, un tenor, un jugador de baloncesto y un científico, todos ellos de reconocido prestigio en sus respectivos ámbitos.

Ripollet y la medida del tiempo
Esta exposición muestra la maquinaria del antiguo reloj del campanario de San Estaban de Ripollet.

El Centro de Interpretación también dispone de un módulo multisensorial llamado La Mirada Táctil, un espacio de interpretación táctil dirigido a todos los visitantes pero diseñado y adaptado especialmente para los visitantes que presenten algún tipo de dificultad visual, ceguera o movilidad reducida.

Referencias

Enlaces externos

 Blog del Centro de Interpretación del Patrimonio Molí d'en Rata
 Web del Museo más grande de Cataluña

Molinos de Cataluña
Museos de la Ciudad de España
Museos de la Red de Museos Locales de la Diputación de Barcelona
Museos de España inaugurados en 2005
Vallés Occidental


Putumayo (departman), Kolumbija
 Putumayo (pokrajina), regija Loreto,  Peru
 Putumayo (okrug), u istoimenoj pokrajini
 Putumayo (kanton), pokrajina Sucumbíos, Ekvador
 Putumayo (rijeka) ili Içá, rijeka u J. Americi (Kolumbija, Ekvador, Peru i Brazil), velika lijeva pritoka Amazone

Putumayo


An Zootrophion serpentinum in uska species han Liliopsida nga ginhulagway ni Carlyle August Luer. An Zootrophion serpentinum in nahilalakip ha genus nga Zootrophion, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Zootrophion

Zootrophion serpentinum


Gomesa kautskyi é uma espécie de planta do gênero Gomesa e da família Orchidaceae.

Taxonomia
A espécie foi descrita em 2009 por Norris H. Williams e Mark W. Chase.
Os seguintes sinônimos já foram catalogados:
 Oncidium kautskyi  Pabst
 Baptistonia kautskyi  (Pabst) Chiron & V.P.Castro

Forma de vida
É uma espécie epífita e herbácea.

Descrição

Conservação
A espécie faz parte da Lista Vermelha das espécies ameaçadas do estado do Espírito Santo, no sudeste do Brasil. A lista foi publicada em 13 de junho de 2005 por intermédio do decreto estadual nº 1.499-R.

Distribuição
A espécie é encontrada nos estados brasileiros de Bahia e Espírito Santo.
Em termos ecológicos, é encontrada no domínio fitogeográfico de Mata Atlântica, em regiões com vegetação de .

Notas
Contém texto em CC-BY-SA 4.0 de Meneguzzo, T.E.C. Gomesa  in Flora e Funga do Brasil.

Ligações externas
 Gomesa kautskyi no projeto Flora e Funga do Brasil

Gomesa
Plantas descritas em 2009
Flora do Espírito Santo (estado)
Espécies citadas na Lista Vermelha de Ameaça da Flora Brasileira
Espécies citadas na Lista de Espécies da Flora Ameaçadas do Espírito Santo

Gomesa kautskyi


The former Eastern Uusimaa Region (; ) in Finland was divided into two sub-regions, divided further into seven municipalities.

See also
Southern Finland
Regions of Southern Finland

Municipalities of Eastern Uusimaa


Torquato Bassi fue un escultor italo-brasileño, nacido el 28 de febrero de 1880 en Ferrara y fallecido el 7 de julio de 1967 en São Paulo.

Datos biográficos
Entre 1913 y 1914 estudió en la Académie Julien de París, en el taller de pintura de Jean Paul Laurens.

Notas y referencias

Enlaces externos
itaucultural.org.br: Información acerca de Torquato Bassi

Pintores de Brasil del siglo XX
Escultores de Brasil
Escultores del siglo XIX
Escultores del siglo XX
Escultores de Italia del siglo XIX
Escultores de Italia en Brasil
Escultores de Italia en Francia
Escultores de Italia del siglo XX
Decoradores
Nacidos en Ferrara
Fallecidos en São Paulo

Torquato Bassi


Ginger Lynn, (Rockford, Illinois, 14 de diciembre de 1962) es una actriz pornográfica estadounidense especialmente activa durante la década de los 80. En 1986, puso fin temporalmente a su carrera en el cine para adultos para dar el salto al cine convencional aunque sus papeles se limitaron principalmente a películas de bajo presupuesto o de serie B. En 1999, decidió regresar al cine X donde se mantiene activa. Forma parte de los salones de la fama de AVN y XRCO.

Biografía
Debutó en el cine porno en 1983, con la película Surrender in Paradise, junto a Jerry Butler. Arrancó así una frenética carrera en la que rodó sesenta y nueve películas en sólo dos años (entre 1983 y 1985), trabajando con nombres tan conocidos dentro del mundillo como Traci Lords, John Holmes, o el director Gregory Hippolyte. En 1986, abandonó el negocio del porno con el propósito de convertirse en una actriz convencional y empezar a hacer otro tipo de cine, pero solo consiguió papeles en unos veinte títulos de serie B, como Wild Man o Vice Academy. También protagonizó Bound and gagged: a love story (1992) y Ultimate taboo (1995), e intervino en Puta (1991), The stranger (1995) y The last late night (1999). Asimismo protagonizó el video musical Turn the Page (1998), de Metallica.

En 1991, fue detenida por evasión de impuestos y pasó un tiempo en la cárcel. También estuvo un tiempo en un centro de rehabilitación para librarse de su adicción a la cocaína. Por esa época se supo de su romance con el actor Charlie Sheen a quien conoció mientras trabajaba en Arma joven II (1990).

En 1999, volvió al cine X con la película Torn. Le seguirían más cintas, pero a un ritmo mucho menor que en su primera época.

Filmografía selectiva

Adultos

    Taken (2001) – AVN Awards 2002 Best Actress - Film
    Beverly Hills Cox (1986)
    Ten Little Maidens (1985) - AVN Awards 1986 Best Couples Sex Scene
    Project: Ginger (1985) - AVN Awards 1986 Best Actress - Video
    New Wave Hookers (1985)
    Kinky Business (1985) - AVN Awards 1985 Best Couple in a Sex Scene (with Tom Byron)
    Electric Blue 28 (1985)
    Slumber Party (1984) - AVN Awards 1986 Best Couple in a Sex Scene (with Eric Edwards)
    The Pink Lagoon (1984)
    Surrender in Paradise (1984)
    Taboo 4 (1985) the younger generation

Cine convencional

    American Pie Presents: Band Camp (2005), como la "enfermera Sanders"

    Los renegados del diablo (2005,) como Fanny

Referencias

Enlaces externos

Actrices pornográficas de Estados Unidos
Actrices de Illinois
Sobrevivientes de cáncer
Ganadoras del premio AVN

Ginger Lynn


Vjesnikova sfinga je bila hrvatska zagonetačka revija iz Zagreba. Prvi broj izašao je  godine. Nastavljao je list Sfinga skandinavke. Izlazio je polumjesečno do 1992. godine. Izdavač je bio Vjesnik. ISSN je 1330-2574. Glavni urednici bili su Branko Lipanović, Krunoslav Poljak, Borivoj Jurković i Želimir Kušić.

Izvori

Zagrebački tisak
Hrvatski enigmatski tisak

Vjesnikova sfinga


Vissel Kobe (japanski: ヴィッセル神戸, Visseru Kōbe) japanski je nogometni klub iz Kobea. Trenutačno se natječe u J1 Leagueu. Svoje domaće utakmice igra na stadionu Misaki Park.

Priznanja
 Carski kup (1): 2019.
 Japanski nogometni superkup (1): 2020.
 Chūgokuška nogometna liga (5): 1980., 1981., 1982., 1984., 1985.

Poznati igrači

  Thomas Vermaelen
  Bismarck Barreto Faria
  Michael Laudrup
  Kazuyoshi Miura
  Patrick M'Boma
  Lukas Podolski
  Thomas Bickel
  Bojan Krkić
  Juan Mata
  Andrés Iniesta
  Sergi Samper
  David Villa
  İlhan Mansız

Izvori

Vanjske poveznice

 Službena web-stranica

Japanski nogometni klubovi

Vissel Kobe


Georgett Heyer () a fost o scriitoare britanică de romane de dragoste și romane polițiste.

Referințe

Nașteri în 1902
Decese în 1974
Scriitoare engleze
Scriitoare din secolul al XX-lea

Georgette Heyer


Meliádi, en , est un village du dème de Kateríni dans le district régional de Piérie, en Macédoine-Centrale, Grèce.

Selon le recensement de 2011, la population du village s'élève à .

Notes et références

Voir aussi

Liens externes

Village en Macédoine-Centrale

Meliádi


Kraljevstvo Moreja () je bio mletački prekomorski posjed, a obuhvaćao je grčkom otok Peloponez (tada poznatiji kao Moreja).

Venecija je otok osvojila od Osmanlija u Morejskom ratu (1684. – 1699.). Otok je bio raseljen, a mletački pokušaji da ga ponobno nasele i vojno učvrste nisu uspjeli, pa ga Osmanlije ponovno osvajaju u mletačko-osmanskom ratu 1714.-1718. (nazvanom i Drugi morejski rat) tijekom ljeta 1715. Bojeći se osmanske ofenzive i na drugim područjima, Habsburška Monarhija je stala na mletačku stranu, a Turci su joj 1716. objavili rat, kasnije poznat kao Habsburško-turski rat 1716. – 1718.

Vanjske poveznice
 Odnos Dubrovnika prema Drugom morejskom ratu (1714–1718) i uloga Austrije]

Mletačka Republika
Povijest Grčke

Kraljevstvo Moreja


Brigitte Schuller-Kornbrust (* 1934 in Coburg; † 2016 in Berlin) war eine deutsche Bildende Künstlerin. Sie arbeitete überwiegend im Bereich der künstlerischen Keramik.

Vita
Von 1951 bis 1955 absolvierte Brigitte Schuller ein Keramikstudium, das überwiegend handwerklich orientiert war, bei der Dozentin Anneliese Braunmüller und bei Boris Kleint an der Staatlichen Schule für Kunst und Handwerk (Saarbrücken), einer Vorgängerin der Hochschule der Bildenden Künste Saar. Während dieser Studienzeit belegte sie auch Kurse im Fach Grundlehre bei Oskar Holweck. 1955 legte sie an der Saarbrücker Handwerkskammer ihre Gesellenprüfung ab. In den Jahren 1956 bis 1957 führte sie ihr Studium weiter an der Kunstgewerbeschule Basel, und sie nahm parallel dazu Unterricht bei dem Keramikkünstler und Kunstkritiker Mario Mascarin in Muttenz bei Basel. Von 1957 bis 1958 arbeitete sie in der Werkstatt des Keramikkünstlers Otto Hohlt in Katzbach am Inn. 1958 schloss sich ein Studienaufenthalt in Frankreich an, während dessen sie auch an Zeichenkursen der Académie de la Grande Chaumière (Paris) teilnahm.

1960 siedelte Schuller nach Saarbrücken um und baute sich in der Danziger Straße ein eigenes Atelier auf, in dem sie bis 1974 arbeitete. 1970 unternahm sie eine Studienreise nach Japan, die sie auch über Moskau, Irkutsk und Nachodka führte. 1973 nahm sie an einem internationalen Keramik-Symposion in Bechyně (CSSR) teil. Ein Jahr später organisierte sie, bei eigener Teilnahme, ein gleiches Symposion im saarländischen Mettlach. 1974 kehrte sie nach Katzbach/Inn zurück und betrieb dort bis 1984 ein gemeinsames Atelier mit Görge Hohlt, mit dem sie verheiratet war. 1985 später zog sie um in ein eigenes Atelier nach Rott am Inn, in dem sie bis 1987 arbeitete. 1988 zog sie wieder nach Saarbrücken, wo sie, in zweiter Ehe verheiratet mit dem Bruder des Bildhauers Leo Kornbrust, Franz Kornbrust, am Westpreußenring ein eigenes Atelier hatte. In den Jahren 1994 und 1997 nahm Schuller an einem internationalen Porzellan-Symposion im polnischen Wałbrzych (dt.: Waldenburg) teil.

1993 wurde Brigitte Schuller in den Werkbund Saar aufgenommen, eine Vereinigung von Bildenden Künstlern, Architekten, Unternehmern und Sachverständigen.

Werk
Nach eigener Aussage sucht Brigitte Schuller in ihrem Schaffen schon recht früh die Nähe zur Architektur. Dies drückt sich in ihren zahlreichen Arbeiten aus, die sie für Bauwerke (Kunst am Bau) und für den Öffentlichen Raum schuf. Auch eine Brunnenanlage findet sich in ihrem
Œuvre. Schuller arbeitet überwiegend mit Ton und der Töpferscheibe. Die meisten ihrer Stücke sind auf der Scheibe gedreht und "... mit relativ einfachen, mehrschichtig übereinander liegenden Glasuren in vorherrschend dunklen Tönen versehen". Bei ihren früheren Arbeiten achtet die Künstlerin auf die Verwendbarkeit ihrer Vasen, Schalen und Becherformen. Figürliche und gegenständliche Darstellungen sind nicht Schullers Sache, sie gestaltet ihre Objekte mit Vorliebe abstrakt. Häufig finden sich in ihren Werken amorphe Gestaltungen. In späteren Schaffensphasen werden ihre Arbeiten filigraner, ihre Verwendbarkeit steht nicht mehr im Vordergrund.

Bei ihren Arbeiten am Bau benutzt Brigitte Schuller zahlreiche weitere Materialien. Steinzeug, Irdene Ware, und Porzellan, aber auch Acryl oder Edelstahl finden sich auf ihrer Gestaltungspalette. Ihre Wandgestaltungen gehören nach Ansicht von Fachleuten zu den richtungsweisenden und prägenden Elementen in der zeitgenössischen Keramik.

Auszeichnungen – Preise
 1967: Goldmedaille Vième exposition internationale de la céramique d'art (der AIC Genf) (Istanbul)
 1968: Förderwettbewerb für Kunsthandwerker der Handwerkskammer Mainz (3. Preis)
 1973: Deutsche Keramik, Westerwaldpreis (für einen künstlerisch gestaltete Fußboden in Trier)
 1984: Oberbayerischer Kulturpreis (gemeinsam mit Görge Hohlt)
 1989: 1. Preis im Wettbewerb des Staatlichen Hochbauamtes Saarbrücken

Ausstellungen (Auswahl)
 1970 Galerie Handwerk, München; Galerie Moering, Wiesbaden
 1978 Emslandmuseum Forum Form, Clemenswerth
 1979 Fogge Museum, Bremen
 1986 Museum für moderne Keramik, Deidesheim
 1989 "Arbeiten von 1969-1989", Kulturhaus St. Ingbert
 1995 Museum für Stadtgeschichte und Volkskunde, Heppenheim
 1997 Kunstverein Dillingen, Galerie im Alten Schloß
 2001 "Brigitte Schuller. Neueste Arbeiten", Orangerie Blieskastel; Keramik-Galerie Bürkner, Frechen
 2003 Arté Ristoranti, Lugano, Schweiz
 2007 Galerie im Alten Schloss, Dillingen

Werke – Arbeiten am Bau (Auswahl)
 1964 Wandgestaltung im Hörsaal der Med. Fakultät der Universität des Saarlandes (Homburg)
 1970 Keramik-Stelen an der Orthopädie der Universitätsklinik (Homburg)
 1972 Wandgestaltung im Schwimmbad Saarlouis
 1973 Treppenhausgestaltung über drei Stockwerke im Erzbischöflichen Generalvikariat Trier
 1978 Skulptur aus Steinzeug und Porzellan, Oberpostdirektion München
 1987/88 Wandgestaltung im Eingangsbereich der Landeszentralbank in Schwäbisch Hall
 1989 Wandgestaltung in der Polizeidirektion Saarbrücken
 1990/91 Außenwandgestaltung der Saarbank-Passage in Saarbrücken (8 m × 3 m)
 1991/92 Gestaltung des Speisesaals, Unfallklinik Tübingen
 1993 Wandrelief (2,90 m × 3,45 m) im Badenwerk Karlsruhe-Durlach
 1993/94 Gestaltung von zwei Brunnen der Firma Barneys in Beverly Hills und New York
 1994 Wandgestaltung, Gebäude der Vereinigten Elektrizitäts-AG VEAG Berlin
 1995 Pfeilergestaltung der Eingangshalle der COSMOS-Versicherung Saarbrücken
 1996 Wandgestaltung des Speisesaals (4 m × 12 m) der Firma La Roche, Monza/Italien
 1998 Fassadenrelief an der Rotenbergschule Saarbrücken
 2001 Rekonstruktion von Fliesen und Dachziegeln aus der Jahrhundertwende 1900, Landratsamt St. Wendel
 2004 Gestaltung von zehn Kirchenfenstern in der Kirche St. Georg, Neunkirchen/Saar

Literatur (Auswahl)
 Karl August Schleiden: Besuch bei der Keramikerin Brigitte Schuller. In: Saar-Heimat, Jg. 1963/6, S. 174 ff.
 Die keramische Plastik in der Landschaft. In. Kunst und Handwerk; 1974/H.10-11, S. 16 ff.
 Ekkart Klinge: Internationale Keramik-Symposien in Bassano del Grappa. In: Keramos; Jg. 66 (1974), S. 47 ff.
 Monika Goedl: Ein neues Wandrelief von Brigitte Schuller. In. Keramische Zeitschrift; Jg. 27 (1975), S. 594 ff.
 Tendenzen moderner deutscher Keramik. Karlsruhe: Badisches landesmuseum, 1983, S. 10 ff.
 Ekkart Klinge: Deutsche Keramik heute. Düsseldorf: Verl.-Anst. Handwerk, 1984. S. 84 ff.
 Brigitte Schuller – Chiffren. In: Keramikmagazin; Jg. 1988, S. 340 ff.
 Maria Schmitt-Rilling: Das Malerische im Werk von Brigitte Schuller. In: Saarheimat; Jg. 1992, S. 59 ff.
 Beate Reifenscheid: Vier Wege zur Keramik – Babuniak, Reimers, Schuller, White. Ausstellungskat. Zweibrücken: Galerie in der Parkvilla, 1994.
 Gustav Weiß: Brigitte Schuller – Baukeramik auf Acryl und Stahl. In: Neue Keramik; Jg. 1997, S. 615 ff.

Weblinks

 Schuller-Kornbrust, Brigitte bei Künstler*innenlexikon Saar

Einzelnachweise

Keramiker
Moderne Keramik
Bildender Künstler (Deutschland)
Mitglied des Deutschen Werkbundes
Deutscher
Geboren 1934
Gestorben 2016
Frau

Brigitte Schuller


Areae, tribus biljaka iz porodice kozlačevki, dio je potporodice Aroideae. Postoji osam prizatih rodova od kojih je tipičan kozlac (Arum).

Rodovi
 Theriophonum Blume (7 spp.)
 Typhonium Schott (91 spp.)
 Sauromatum Schott (13 spp.)
 Eminium (Blume) Schott (9 spp.)
 Helicodiceros Schott (1 sp.)
 Biarum Schott (23 spp.)
 Dracunculus Mill. (2 spp.)
 Arum L. (29 spp.)

Izvori

Aroideae

Areae


كريستيان كوريا ديونيزيو الشهير باسم كريستيان ( في بورتو أليغري) (باللغة البرتغالية:Christian Corrêa Dionisio) لاعب كرة قدم برازيلي يلعب حاليا لصالح نادي الدرجة الثانية بورتوغيزا البرازيلي منذ 2009 في مركز المهاجم .

لعب كريستيان في أندية إنترناشيونال (1989-1992) ماريتيمو البرتغالي (1992-1993) إستوريل برايا البرتغالي (1993-1994) فارينزي البرتغالي (1994-1995) إنترناشيونال مجددا (1995-1999) باريس سان جيرمان الفرنسي (1999-2001) بوردو الفرنسي (2001-2004) بالميراس بالإعارة (2002) غلاطا سراي التركي بالإعارة (2002-2003) غريميو بالإعارة (2003-2004) أوميا أرديجا الياباني (2005-2006) ساو باولو بالإعارة (2005-2006) بوتافوغو (2006) يوفنتود (2006) كورنثيانز (2007) إنترناشيونال مجددا (2007) بورتوغيزا (2008) باتشوكا المكسيكي (2008) .

ساهم كريستيان في تتويج نادي إنترناشيونال ببطولة كأس العالم للأندية 2005 .

شارك كريستيان مع منتخب البرازيل في 11 مباراة دولية من دون أن ينجح في تسجيل أي هدف في الفترة من 1997 إلى 2001 . ساهم كريستيان في تتويج منتخب البرازيل ببطولة كوبا أمريكا 1999 التي أقيمت في الباراغواي .

روابط خارجية

مراجع

لاعبو كرة قدم رجالية مغتربون في اليابان
أشخاص على قيد الحياة
رياضيون برازيليون مغتربون في البرتغال
رياضيون برازيليون مغتربون في تركيا
رياضيون برازيليون مغتربون في فرنسا
رياضيون مغتربون برازيليون في اليابان
رياضيون من بورتو أليغري
لاعبو الدوري البرازيلي الدرجة الأولى
لاعبو الدوري البرازيلي لكرة القدم الدرجة الثانية
لاعبو الدوري البرتغالي الممتاز
لاعبو الدوري التركي الممتاز
لاعبو الدوري الفرنسي
لاعبو الدوري المكسيكي الممتاز
لاعبو الدوري الياباني للدرجة الأولى
لاعبو أوميا أرديجا
لاعبو إيستوريل برايا
لاعبو باريس سان جيرمان
لاعبو بالميراس
لاعبو بوتافوغو
لاعبو بوردو
لاعبو جمعية بورتوغيزا الرياضية
لاعبو ساو باولو
لاعبو غريميو بورتو أليغرينزي
لاعبو غلطة سراي
لاعبو كأس القارات 1999
لاعبو كرة القدم البرازيليون
لاعبو كرة قدم برازيليون
لاعبو كرة قدم رجالية برازيليون مغتربون
لاعبو كرة قدم رجالية مغتربون في البرتغال
لاعبو كرة قدم رجالية مغتربون في المكسيك
لاعبو كرة قدم رجالية مغتربون في تركيا
لاعبو كرة قدم رجالية مغتربون في فرنسا
لاعبو كرة قدم فازوا بكوبا أمريكا
لاعبو كرة قدم مغتربون برازيليون
لاعبو كرة قدم مغتربون في البرتغال
لاعبو كرة قدم مغتربون في المكسيك
لاعبو كرة قدم مغتربون في اليابان
لاعبو كرة قدم مغتربون في تركيا
لاعبو كرة قدم مغتربون في فرنسا
لاعبو كرة قدم من بورتو أليغري
لاعبو كوبا أمريكا 1999
لاعبو ماريتيمو
لاعبو منتخب البرازيل لكرة القدم
لاعبو نادي إنترناسيونال
لاعبو نادي باتشوكا
لاعبو نادي ساو كايتانو
لاعبو نادي فارنزي
لاعبو نادي كورينثيانز
لاعبو نادي يوفنتود
مهاجمو كرة قدم رجالية
مواليد 1975
مواليد في بورتو أليغري

كريستيان كوريا ديونيزيو


Agusalu ist ein Dorf (estnisch küla) in der Landgemeinde Alutaguse (bis 2017 Illuka). Es liegt im Kreis Ida-Viru (Ost-Wierland) im Nordosten Estlands.

Beschreibung und Geschichte
Das Dorf hat 16 Einwohner (Stand 2011).

Agusalu wurde erstmals 1853 urkundlich verzeichnet. Sechs Jahre später wohnten in dem Dorf 190 Menschen.

Bei Naturliebhabern ist Agusalu wegen seines ausgedehnten Moorgebiets bekannt. Das seit 1981 bestehende Schutzgebiet mit seiner Sumpflandschaft ist 2,7 Quadratkilometer groß. In der sumpfigen Waldlandschaft von Agusalu liegen die beiden Seen Agusalu järv (6,3 Hektar) und Väike Agusalu järv (4 Hektar).

Weblinks
 Beschreibung und Geschichte (estnisch)
 Moor-Schutzgebiet Agusalu (estnisch)

Einzelnachweise

Ort in Estland
Alutaguse
Ersterwähnung 1853

Agusalu


Dracula II: Înălțarea (Dracula II: Ascension) este un film românesc și american din 2003 regizat de Patrick Lussier, cu actorii Jason Scott Lee, Stephen Billington și Diane Neal în rolurile principale. Este bazat pe romanul Dracula de Bram Stoker.

Distribuție
 Jason Scott Lee - Father Uffizi
 Jason London - Luke
 Khary Payton - Kenny
 Craig Sheffer - Lowell
 Diane Neal - Elizabeth Blaine
 Brande Roderick - Tanya
 Tom Kane - the voice of Cartoon Voice of Doctor
 John Light - Eric
 Stephen Billington - Dracula/Judas Iscariot
 Nick Phillips - Officer Smith
 John Sharian - Officer Hodge
 Roy Scheider - Cardinal Siqueros
 David J. Francis - Iisus Hristos

Note

Filme din 2003
Filme cu Dracula
Filme  regizate de Patrick Lussier
Filme de groază românești
Filme de groază americane
Filme Castel Film Romania

Dracula II: Înălțarea


Volvox, 1988 yılında Şebnem Ferah tarafından kurulmuş, tamamı kadınlardan oluşan Bursalı hard rock grubu. Grup Şebnem Ferah, Duygu Karpuz, Ebru Bank, Gül Ağırca, Buket Doran ve 1992 yılında gruba dahil olan Özlem Tekin'den oluşmuştur.

Grup hakkında
Şebnem Ferah elektro gitar ve vokal, Duygu Karpuz gitar, Ebru Bank (Eroğlu) bas gitar, Gül Ağırca davul ve Özlem Tekin klavye ile birlikte geri vokalde olmuştur. Ebru Bank gruptan ayrılınca yerine Buket Doran geçmiş ve Buket grupta bas gitar çalıp geri vokal yapmıştır.

Şebnem Ferah Orta Doğu Teknik Üniversitesi Ekonomi, Ebru Bank Boğaziçi Üniversitesi İngiliz Dili ve Edebiyatı, Gül Ağırca Marmara Üniversitesi Güzel Sanatlar Endüstri Tasarımı ve Özlem Tekin ise Mimar Sinan Devlet Konservatuvarı, Müzikoloji Bölümü'nde eğitim görmüşlerdir.

Volvox, ilk konserlerinden birini Bursa'da Tayyare Sineması'nda vermiştir. İlk İstanbul konserlerini 28 Nisan 1991 tarihinde saat 14:00'da Pentagram ile birlikte Pangaltı İnci Sineması'nda vermişlerdir. Boğaziçi Üniversitesi'nde, ODTÜ Festivalinde, Bilsak Rock Cafede, İzmir Clup 33'te konserler vermişlerdir.

1992 yılında Duygu Karpuz'un gruptan ayrılmasıyla klavye ve geri vokal olarak Özlem Tekin gruba dahil olmuştur. İlk sahne tecrübelerini Bedri Baykam'ın açtığı "Dadaist" barda gerçekleştiren grup, daha sonra "Sis", ardından da "Kemancı"da çalmıştır.

Ebru Bank'tan sonra Özlem Tekin de gruptan ayrıldı. 1994 yılında Volvox dağıldı.

Kaynakça

Dış bağlantılar
 All I Wanna Do Is , şarkı.
 Simply The Best , şarkı.
 I Want To Break Free , şarkı.
 Where Does Love Live Now , şarkı.
 Rock! Dergisi , röportaj.
 Blue Jean Dergisi , röportaj.
 Laneth Dergisi , röportaj.

Türk müzik grupları
Türk hard rock grupları
Türk alternatif rock grupları
1988'de kurulan müzik grupları
Kadın müzik grupları
Türk kız grupları

Volvox (müzik grubu)


30 Rockefeller Plaza (officially the Comcast Building; formerly RCA Building and GE Building) is a skyscraper that forms the centerpiece of Rockefeller Center in the Midtown Manhattan neighborhood of New York City, United States. Completed in 1933, the 66-story,  building was designed in the Art Deco style by Raymond Hood, Rockefeller Center's lead architect. 30 Rockefeller Plaza was known for its main tenant, the Radio Corporation of America (RCA), from its opening in 1933 until 1988 and then for General Electric until 2015, when it was renamed for its current owner, Comcast. The building also houses the headquarters and New York studios of television network NBC; the headquarters is sometimes called 30 Rock, a nickname that inspired an NBC sitcom of the same name. The tallest structure in Rockefeller Center, the building is the 28th tallest in New York City and the 65th tallest in the United States.

30 Rockefeller Plaza's massing consists of three parts: the main 66-story tower to the east, a windowless section at the center, and a 16-story annex to the west. Though the building was designed to conform with the 1916 Zoning Resolution, it rises mostly as a slab, with setbacks mostly for aesthetic value. The facade is made of limestone, with granite at the base, as well as about 6,000 windows separated by aluminum spandrels. In addition to its offices and studios, 30 Rockefeller Plaza contains the Rainbow Room restaurant and an observation deck called Top of the Rock. 30 Rockefeller Plaza also includes numerous artworks and formerly contained the mural Man at the Crossroads by Diego Rivera. The entire Rockefeller Center complex is a New York City designated landmark and a National Historic Landmark, and parts of 30 Rockefeller Plaza's interior are also New York City landmarks.

30 Rockefeller Plaza was developed as part of the construction of Rockefeller Center, and work on its superstructure started in March 1932. The first tenant moved into the building on April 22, 1933, but its official opening was delayed due to controversy over Man at the Crossroads. The Rainbow Room and the observation deck opened in the mid-1930s, and retail space was added to the ground floor in the 1950s. The building remained almost fully occupied through the 20th century and was renamed for GE in 1988. Since the late 1990s, NBC has owned most of the lower floors, while Tishman Speyer has operated the rest of the building. 30 Rockefeller Plaza was extensively renovated in 2014 and was renamed for Comcast in 2015.

Site

30 Rockefeller Plaza is part of the Rockefeller Center complex in the Midtown Manhattan neighborhood of New York City. It was intended as the central structure of Rockefeller Center, both physically and symbolically. The land lot is nearly rectangular and covers , bounded by Sixth Avenue (officially Avenue of the Americas) to the west, 50th Street to the north, Rockefeller Plaza to the east, and 49th Street to the south. The site has a frontage of  on 49th and 50th Streets and a frontage of  on Sixth Avenue. The main entrance is on Rockefeller Plaza, a private pedestrian street running through the complex, parallel to Fifth and Sixth Avenues. In front of 30 Rockefeller Plaza's main entrance, below ground level, is the Lower Plaza.  The building is assigned its own ZIP Code, 10112; it was one of 41 buildings in Manhattan that had their own ZIP Codes .

Across Sixth Avenue, the building faces 1221 Avenue of the Americas to the southwest, 1251 Avenue of the Americas to the west, and 1271 Avenue of the Americas to the northwest. Radio City Music Hall, 1270 Avenue of the Americas, and 50 Rockefeller Plaza are directly to the north. Across Rockefeller Plaza are the International Building to the northeast, La Maison Francaise and the British Empire Building to the east, and 1 Rockefeller Plaza and 608 Fifth Avenue to the southeast.  In addition, 10 Rockefeller Plaza is to the south. The site was previously part of the campus of Columbia University, which retained ownership of most of the land well after the complex was built.

Holdout buildings

The northwest and southwest corners of 30 Rockefeller Plaza were built around two holdout structures on Sixth Avenue. The owners of the parcel on Sixth Avenue and 49th Street, at the southwest corner of 30 Rockefeller Plaza, had demanded an exorbitant price for their property upon learning of the planned skyscraper. The holdout building had contained Hurley's restaurant, which had opened around the 1890s and subsequently became a popular meeting place for NBC performers and executives. The restaurant was later connected by a direct passageway to 30 Rockefeller Plaza's studios. Rockefeller Center acquired the building in the mid-20th century and ended the restaurant's lease in 1975, but the new lessees continued to run Hurley's until 1999. , the holdout building contains Pebble Bar.

The other tenant, who occupied a plot on Sixth Avenue and 50th Street at 30 Rockefeller Plaza's northwest corner, never received a sale offer due to a misunderstanding. The grocer John F. Maxwell would only sell his property at 50th Street if he received $1 million. Because of a miscommunication, the Rockefeller family was told that Maxwell would never sell, and Maxwell himself said that he had never been approached by the Rockefellers. Consequently, Maxwell kept his property until his death in 1962, upon which Columbia bought the building; Rockefeller Center purchased the Maxwell family's lease in 1970.

Architecture

30 Rockefeller Plaza was designed by the Associated Architects of Rockefeller Center, composed of the firms of Corbett, Harrison & MacMurray; Hood, Godley & Fouilhoux; and Reinhard & Hofmeister. Raymond Hood was the complex's lead architect. The Associated Architects designed all of Rockefeller Center's buildings in the Art Deco style. Developed as part of the construction of Rockefeller Center, 30 Rockefeller Plaza opened in 1933 as the RCA Building. 30 Rockefeller Plaza is  tall and was built as a single structure occupying the entire block between Sixth Avenue and Rockefeller Plaza. The design was influenced by Rockefeller Center manager John Todd's desire for the building to use its air rights to their maximum potential. 30 Rockefeller Plaza rises to a flat roof, unlike some of the other skyscrapers built in New York City around the same time. These included the Chrysler Building, 70 Pine Street, and 40 Wall Street, which used spires to reach their maximum heights. Hartley Burr Alexander, a mythology and symbology professor who oversaw Rockefeller Center's art program, led the installation of artwork throughout the complex. The building's artwork was designed around the concept of "new frontiers", depicting modern society.

Form

The massing of 30 Rockefeller Plaza is designed in three parts. The easternmost section contains a 66-story tower with two stories of retail on the west and east. The tower is surrounded by a shorter "U"-shaped section to the north, west, and south. Some sources give 30 Rockefeller Plaza's height as 70 stories, but this arises from a hyperbolic press release by Merle Crowell, the complex's publicist during construction. At the middle of the site was a windowless nine-story section, which housed NBC's studios. The western part of the site steps up again to a 16-story tower. The western section at 1250 Avenue of the Americas, formerly also known as RCA Building West, is accessed mainly from Sixth Avenue. The facade of the annex rises straight from the sidewalk, with notches at the corners, because the corner lots were private properties at the time of the building's construction in 1935.

The massing was influenced by the 1916 Zoning Resolution, which restricted the height that the street-side exterior walls of New York City buildings could rise before they needed to incorporate setbacks that recessed the buildings' exterior walls away from the streets. The base of the building could only rise to  before it had to taper to a tower covering 25 percent of the site. The eastern tower appeared to violate this principle since it measured , but the base measured only . The base does not occupy its entire plot, which measures . The tower section was recessed so far into the block that it could have risen without any setbacks. Hood decided to include setbacks anyway, as they represented "a sense of future, a sense of energy, a sense of purpose", according to architecture expert Alan Balfour. Above the lowest stories, the north and south elevations rise straight up for 33 stories before setting back gradually. There are three setbacks each on the north, south, and east elevations.

Hood also created a guideline that all of the office space in the complex would be no more than  from a window, which was the maximum distance that sunlight could permeate the windows of a building at New York City's latitude. The setbacks on the northern and southern sides of 30 Rockefeller Plaza allow the building to comply with Hood's guideline. The setbacks correspond to the tops of the elevator banks inside; this arrangement is repeated on the facade of the International Building. Similarly, 30 Rockefeller Plaza also contains notches at its corners. The eastern elevation's setbacks were included exclusively for aesthetic purposes. By contrast, the layout and massing of Rockefeller Center's other buildings were intended to maximize rental profit.

Facade

30 Rockefeller Plaza's limestone facade includes spandrels with quadruple-leaf motifs in a Gothic-inspired style. influenced the design of the rest of the complex. The first story is clad with Deer Island granite to a height of . The remainder of the facade contains Indiana Limestone and aluminum spandrel panels. Some  of limestone,  of granite, and 6,000 spandrels were used in the construction. The limestone covered . The limestone blocks are laid slightly irregularly and contain striations for visual effect. In addition, 10.38 million bricks were integrated into the facade.

30 Rockefeller Plaza also had 6,045 windows upon its completion, with 19,700 panes between them, covering  in total. Thirty-six of the windows measured  and were storefront windows. Those on the mezzanine level were composed of  panels flanked by smaller sidelights. Another 165 were casement windows, which had panes measuring ; most of these were above the 65th floor. The remaining 5,824 were casement windows measuring . About 5,200 of these windows contained Venetian blinds, which were installed by the Mackin Venetian Blind Company.

Entrances

At street level, the stonework is relatively sparsely decorated. The main entrance of 30 Rockefeller Plaza was designed as a loggia of three arches: one at the center, measuring  high by  wide, and two on the sides, measuring  high by  wide. Lee Lawrie designed the sculptural group Wisdom, A Voice from the Clouds, for the lintels of the three arches. Lawrie's carved rendering of Wisdom is above the center arch, flanked by Sound on the left and Light on the right. The Wisdom frieze above the entrance is accompanied by an inscription reading "Wisdom and Knowledge shall be the stability of thy times", from Isaiah 33:6 (KJV). The sculptural groups are accompanied by polychrome decorations created by Léon-Victor Solon. Lawrie's three renderings are complemented by two limestone bas-reliefs by Leo Friedlander: one of Production on the north elevation and one of Radio on the south elevation.

1230 Avenue of the Americas, the annex building to 30 Rockefeller Plaza, contains a marquee and two works of art on its exterior. The recessed entrance portal is filled with a  mosaic mural, Intelligence Awakening Mankind by Barry Faulkner. The portal is topped by four  limestone panels by Gaston Lachaise, each of which signifies an aspect of civilization as it related to the original Radio City complex. The two panels on either side of the entrance are entitled The Conquest of Space and Gifts of Earth to Mankind; these respectively depict aspiration and life, two qualities that Lachaise believed were most important to humanity.  The two panels in the center are known as Genius Seizing the Light of the Sun (also known as Invention Seizing the Light of the Sun) and The Spirit of Progress. The panels are placed at the third story because, at the time of the building's construction, they could be seen from the elevated rail line above Sixth Avenue.

Interior

30 Rockefeller Plaza was designed with about  of rentable space in total. The eastern tower contains the Rainbow Room restaurant on the 65th floor, while the Rockefeller family office occupied the tower's 54th through 56th floors until 2014. The tower is the headquarters of NBC and houses NBC Studios, NBC News, MSNBC, and network flagship station WNBC. 30 Rockefeller Plaza also contains offices for NBCUniversal Cable and, until 1988, the NBC Radio Network.  Part of NBC's space also extends into the central part of the building.

The superstructure uses  of steel. To transport visitors to the top floors, Westinghouse installed eight express elevators in the RCA Building. They moved at an average speed of  and were so expensive that they constituted 13 percent of the building's entire construction cost. One elevator reached a top speed of  and was dubbed "the fastest passenger elevator ride on record". These elevators cost about $17,000 a year to maintain by 1942. The mechanical core also contains emergency-exit staircases, though there are fewer staircases on upper floors. For example, building plans indicate that the 12th story has three sets of emergency staircases, while the 60th story has two sets of staircases.

Lobby

The lobby's main entrance is from Rockefeller Plaza to the east, with revolving and double-leaf bronze-and-glass doors underneath a paneled bronze screen. The doors are topped by a cast-glass wall designed by Lee Lawrie, which measures  high by  wide. The wall is made of 240 glass blocks. Each glass block measures  deep and  across. Opposite the main entrance doors is an information desk made of Champlain gray marble. Four large ivory-marble piers with embedded light fixtures support the ceiling immediately above.

The lobby continues north and south from the information desk. Stairways at either end lead up to the mezzanine, while stairs and escalators lead downstairs to the basement. Extending west from either end are two corridors, which flank five north–south elevator banks. The elevator doors are made of bronze, and there are bronze and glass storefronts on the outer walls of these corridors. The floor is made of brass-and-terrazzo mosaic. The walls of these corridors are paneled in Champlain marble below the height of the storefronts and elevator doors. A bronze molding runs above the storefronts and elevators, while the walls are made of plaster above that height. The outer walls of the west–east corridors (adjacent to the mezzanines) contain bronze service doors, while the inner walls and the elevator-bank walls contain murals. The ceilings of the corridors are carried by rows of piers.

West of the elevator banks, two north–south corridors extend to side entrances on 49th and 50th Streets, which each contain two bronze sets of revolving doors. The corridors continue west to the Sixth Avenue entrance. Just west of the elevators, a staircase leads down to the basement and up to the NBC lobby. The stair to the basement contains Champlain marble and ivory marble, while the stair to the mezzanine contains Champlain marble and bronze railings and moldings. Additional stairs to the basement and mezzanine are placed at the point where the corridors continue into 1250 Avenue of the Americas; they also contain Champlain marble and bronze railings and moldings.

Lobby art

Josep Maria Sert was originally hired to paint four murals in the northern lobby corridor: Time; Spirit of Dance; Man's Triumph in Communication; Conquest of Disease; Abolition of Bondage; Fraternity of Men; and Contest-1940, depicting different aspects of the world and mankind. Frank Brangwyn painted four murals on the southern corridor, all of which symbolize humans' relationship with spirituality; he complemented these murals with stencils of the themes that were represented. Rockefeller Center's managers had asked Brangwyn to omit a depiction of Jesus Christ from one of the panels; the artist ultimately depicted Jesus with his back turned. Brangwyn's and Sert's corridor murals measure  each. Architectural writer Robert A. M. Stern described Brangwyn's murals as "insipid", a quality worsened by the fact that the themes were stenciled onto the murals. By contrast, Stern said: "Sert at least allowed the meaning of his paintings to fall into happy obscurity."

After the building had opened, Sert was commissioned to paint the mural American Progress at the center of the lobby, measuring . The mural was installed in 1937. It depicts a vast allegorical scene of men constructing modern America and contains figures of Abraham Lincoln, Mahatma Gandhi, and Ralph Waldo Emerson. The space occupied by American Progress was originally taken up by Diego Rivera's Man at the Crossroads mural, which was controversial because of its communist imagery and was destroyed in 1934. Rockefeller officials commissioned a sixth mural from Sert, representing the past, present, and future, which they installed in the lobby in 1941. The mural measures  and is installed on the ceiling.

Concourse and mezzanine

Below the lobby is the complex's shopping concourse, connected to the lobby via escalators. The building has a direct entrance to the New York City Subway's 47th–50th Streets–Rockefeller Center station via the concourse. Until 1950, the building's concourse had also contained Rockefeller Center's post office.

The mezzanine contains balconies overlooking the lobby. The floors of the mezzanine are black terrazzo, while the walls are made of marble and plaster separated by a bronze molding. Offices from the outer walls open onto the mezzanine balconies. There are staircases from the lobby to both the concourse and mezzanine, west of the lobby's elevator banks. When the building opened, it contained a rotunda at the mezzanine level, measuring  across with a photomural surrounding it. The mural was taken apart in the 1950s and the rotunda itself was demolished in the 1970s. A new rotunda was constructed from 2014 to 2015, accessed from the ground floor by a  staircase; the rotunda contains two LED displays, each measuring  wide and  tall. From 1960 to October 1993, the building's mezzanine level housed the New York City weather forecast office of the National Weather Service. The mezzanine level also contained a control room, from which all of Rockefeller Center's mechanical systems could be monitored.

NBC Studios and headquarters

When the building was constructed, RCA's chief engineer O. B. Hanson was faced with designing an area of the building that was large enough to host 35 studios with as few structural columns as possible. As such, the studios were all placed in the windowless center section of the building, which would have otherwise been used as an unprofitable office space. The central part of the building could also use fewer columns, which was suitable for large broadcast studios but not for the bases of skyscrapers. Over  of utility wires stretched through this part of the building, which was powered by direct current. Two floors were reserved for future TV studios, and five more stories were reserved for audience members and guests. The floor, wall, and ceiling surfaces of the studios were suspended from the superstructure, insulating the studios. In addition, there were double- and triple-height spaces for exhibitions, plays, and other events.

NBC, ABC, and CBS (collectively the Big Three TV Networks) had offices on Sixth Avenue and studios in Midtown during the mid-20th century. The first television shows at the NBC Studios were broadcast from studio 3H in 1935, and more TV studios were added after World War II as television gained popularity. During the RCA Building's early years, NBC housed both the Red Network and the Blue Network (now ABC) there, and WJZ-TV (now WABC-TV) and WJZ Radio (now WABC), as well as the headquarters of the ABC network, were also headquartered there for the first few years until ABC built their own facilities. When the building opened, it also hosted daily tours of the NBC Studios; the tours were canceled in 1977 due to declining attendance. NBC was the only one of the Big Three that retained studios in Midtown by the mid-1980s.

Studio 8H, which hosts Saturday Night Live, is the largest of the studios at 30 Rockefeller Plaza, with a capacity of 1,200 or 1,400 guests. Studio 8H was once the largest radio studio in the world and was originally home to the NBC Symphony Orchestra before being converted into a television studio in 1950. Another major studio at 30 Rockefeller Plaza is Studio 6B, which hosted Texaco Star Theater, the first comedy-variety show on television to become popular. The Tonight Show was also broadcast from Studio 6B until 1972, returning there in 2014 under the name The Tonight Show Starring Jimmy Fallon. Tonights companion program, Late Night (branded Late Night with Seth Meyers ) is also taped in the building. The Today Show was also broadcast from 30 Rockefeller Plaza until 1994, when it moved to 10 Rockefeller Plaza.

Rockefeller family offices

The Rockefeller family's office, Room 5600, occupied the entire 56th floor. The family's Rockefeller Foundation rented the entire floor below, and two other organizations supported by the Rockefellers also moved into the building. Daniel Okrent, author of the book Great Fortune: The Epic of Rockefeller Center, said the Rockefellers' offices resembled an "18th-century English baronial mansion". The space was decorated with art by Paul Gauguin, Piet Mondrian, Paul Signac, and Joan Miró.

By 1937, there were 392 employees of Room 5600. After World War II, Room 5600 comprised the entire 54th through 56th floors. The family offices became a hub for the family's political activity, with ties to both the Democratic and Republican parties at the city, state, and national levels. Visitors to Room 5600 have included Frank Sinatra, Shirley MacLaine, Nelson Mandela, Richard Gere, and Bono. Even in the late 1980s, when Room 5600 had downsized to 175 people, it still managed $900 million of Rockefeller family wealth. The family moved out during 2014.

Rainbow Room

The 65th floor of the building is an event room and restaurant named the Rainbow Room. The space was designed by Wallace K. Harrison of Associated Architects. Interior designer Elena Bachman Schmidt, a one-time apprentice of Elsie de Wolfe, contributed to the design of the interior decor, such as the furniture, curtains, and elevator doors. Vincente Minnelli was assigned to help Schmidt select the colors of the walls. The restaurant opened in 1934, and was the highest restaurant in the United States for decades, though it was closed during much of the 1940s. The most recent version of the restaurant opened in 2014 after a restoration by Gabellini Sheppard Associates.

The Rainbow Room occupies the eastern part of 30 Rockefeller Plaza's 65th floor, which covers . The central part of the floor has elevator banks, restrooms, a gallery, and a private dining room. The western part houses Bar SixtyFive and an outdoor terrace. The dining room itself is a  space. The restaurant has a  rotating dance floor. The seats of the Rainbow Room are organized in tiers, and there is also a platform for bands and a shallow balcony for entertainers. There are stairs and a dumbwaiter behind the platform, as well as several banquet rooms on the 64th floor. Above the dance floor hang several concentric "rings" that recess into the ceiling.

Roofs

Garden of the Nations

The roof of the building's central section contained a  "Garden of the Nations" (alternatively "Gardens of the Nations"), which opened in April 1935 on the 11th floor. The garden used  of soil;  of rock from as far as England; 100,000 bricks; 2,000 trees and shrubs; 4,000 small plants; and 20,000 bulbs for flowers. Originally, the garden included thirteen nation-specific gardens, whose layouts were inspired by gardens in the respective countries they represented. Each of the different gardens were separated by barriers. The "International Garden", a rock garden in the center of the themed gardens, featured a meandering stream and 2,000 plant varieties. The Garden of the Nations also contained a children's garden, a modern-style garden, and a shrub-and-vegetable patch. The garden was staffed by hostesses who wore costumes, and the plantings lit up at night.

Ralph Hancock and Raymond Hood designed the rooftop garden, one of several in the complex. Upon opening, the Garden of the Nations attracted many visitors because of its collection of exotic flora, and it became the most popular garden in Rockefeller Center. In its heyday, the Center charged admission fees for the Garden of the Nations. However, the nation-themed gardens were demolished by 1938, and the rock garden was left to dry up, supplanted by flower beds that were not open to the public. In 1936, the central roof temporarily housed a prototype of an apartment, which was used to advertise the Rockefeller Apartments between 54th and 55th Streets.

Primary roof

From 1937 onward, the roof of the eastern tower contained neon letters spelling "RCA". The letters each measured  wide by  tall; at the time of the building's completion, the letters were the world's highest neon signs. These were replaced by "GE" letters in 1988.  The letters were replaced again with the new united Comcast/NBC logo, rendered in longer-lasting LED lighting. The new signs consist of a  tall Comcast wordmark and NBC logo on the northern and southern elevations, as well as a  NBC logo on the building's western elevation.

In 1960, a ,  weather radar dish for the National Weather Service was installed atop the roof when the building became the NWS's headquarters. KWO35, the NOAA Weather Radio station serving the majority of the Tri-State area, transmitted from atop the building and remained there until 2014. Due to interference with a U.S. Coast Guard radio channel, the transmitter was eventually relocated atop the MetLife Building. The weather radar station was used as Doppler 4000 during WNBC-TV's local newscasts. It was operational until February 1, 2017, when StormTracker 4, an S-band weather radar at Rutgers University's Cook Campus, started operating.

Observation deck

Top of the Rock, the 70th-story observation deck atop the skyscraper, opened in 1933 and is  above street level. In addition to the deck, the attraction includes a triple-story observatory on the 67th to 69th floors. Top of the Rock competes with the 86th-floor observation deck of the Empire State Building 200 feet (61 m) higher, as well as a distant view of the Empire State Building. Top of the Rock is accessed from its own entrance on 50th Street, where two elevators (converted from freight elevator shafts) ascend to the 67th floor. The shafts are illuminated, while the elevator cabs contain ceiling panels with historical photographs. There is a double-height indoor observatory on the 67th floor, where escalators lead to the 69th floor. A  parapet of frameless safety glass runs around the perimeter of the deck; it dates to the 2005 renovation.

The deck originally had dimensions of  and was decorated in the style of an ocean liner, with furnishings such as slatted chairs. The observation deck was closed in 1986 because a renovation of the Rainbow Room had cut off the deck's only access point. The observation deck has been known since 2005 as Top of the Rock, when it reopened after a renovation by Gabellini Sheppard Associates. The original limestone and cast aluminum architectural details were conserved. In 2011, the observation deck had 2.5 million visitors a year and grossed $25 million. Additional attractions at Top of the Rock were announced in 2022. The 69th story would contain a ride themed to the photograph Lunch Atop a Skyscraper, where visitors would be strapped on beams and lifted above the 69th-story terrace. The 70th story would include a rotating "skylift" ride, a spherical rooftop beacon, and new floor tiles with a celestial pattern.

History

Development

Planning

The construction of Rockefeller Center occurred between 1932 and 1940 on land that John D. Rockefeller Jr. leased from Columbia University. The Rockefeller Center site was originally supposed to be occupied by a new opera house for the Metropolitan Opera. By 1928, Benjamin Wistar Morris and designer Joseph Urban were hired to come up with blueprints for the house. However, the new building was too expensive for the opera to fund by itself, and it needed an endowment. The project ultimately gained the support of John D. Rockefeller Jr. The planned opera house was canceled in December 1929 due to various issues, with the new opera house eventually being built at Lincoln Center, opening in 1966.

With the lease still in effect, Rockefeller had to quickly devise new plans so that the three-block Columbia site could become profitable. Raymond Hood, Rockefeller Center's lead architect, came up with the idea to negotiate with the Radio Corporation of America (RCA) and its subsidiaries, National Broadcasting Company (NBC) and Radio-Keith-Orpheum (RKO), to build a mass media entertainment complex on the site. By May 1930, RCA and its affiliates had made an agreement with Rockefeller Center managers. RCA would lease  of studio space; get naming rights to the western part of the development; and develop four theaters, at a cost of $4.25 million per year. A skyscraper at 30 Rockefeller Plaza's current site was first proposed in the March 1930 version of the complex's blueprint, and the current dimensions of the tower were finalized in March 1931. The skyscraper would be named for RCA as part of the agreement; the RCA name became official in May 1932.

Construction

The designs for Radio City Music Hall and the RCA Building were submitted to the New York City Department of Buildings in August 1931, by which time both buildings were to open in 1932. Work on the steel structure of the RCA Building started in March 1932. Several artists were hired to design artwork for the RCA Building. Lee Lawrie was hired to design the RCA Building's eastern entrance in June 1932, at which point the sunken plaza in front of the building was also announced. The next month, Barry Faulkner was commissioned to create a large glass mosaic on the western entrance facing Sixth Avenue. Gaston Lachaise received the commission for bas-reliefs on the Sixth Avenue entrance in September 1932. The same month, Hood and the complex's manager John Todd traveled to Europe to interview five artists for the lobby. Frank Brangwyn, Josep Maria Sert, and Diego Rivera were hired the following month, despite John Rockefeller Jr.'s hesitance to hire Rivera, a prominent communist. Henri Matisse had been reluctant to commission a highly visible lobby mural, and Pablo Picasso had refused to even meet with Hood and Todd.

Installation of the exterior stonework began in July 1932 and proceeded at a rate of  per day. Window installation began the same month. The building's structural steel was up to the 64th floor by September 16, 1932. The photograph Lunch atop a Skyscraper was taken on September 20, 1932, during the construction of the 69th floor; it was part of a publicity stunt promoting the RCA Building. The building was topped out on September 26, 1932, when an American flag was hoisted to the top of the primary 66-story tower on Rockefeller Plaza. The Indiana limestone cladding had been erected to the 15th floor on the Rockefeller Plaza wing, and the facade of the Sixth Avenue wing had been completed. The stone was fabricated at four factories in New York state and then shipped to New York City. Two traveling cranes lifted the stone from the ground to two hoists  high, which then raised the stone to the upper floors. The stonework of the primary tower was completed on December 7, 1932, without fanfare. Officials said at the time that they did not host a ceremony for the stonework's completion because the elevators only ran to the 55th floor. It had taken only 102 workdays to install the  of stonework.

Rockefeller Plaza was added to the city's official street map in January 1933, and the RCA Building gained the address 30 Rockefeller Plaza. The next month, John D. Rockefeller III honored 27 mechanics for their work on the RCA Building. At the time, The New York Times reported that 1,600 workers were busy completing the interior work. According to the main contractors, the laborers, plasterers, and metal lathers involved in the project would need to be compensated the equivalent of 25,000 eight-hour workdays. The building would require  of plasterwork, covering about . By April 6, 1933, there were 1,400 mechanics working to complete the RCA Building, which was 90 percent complete; the upper floors were mostly finished, but the base was still incomplete. As late as April 24, more than 1,000 workers were still fitting out the RCA Building. As a result of the Depression, building costs were cheaper than projected. The final cost of the first ten buildings, including the RCA Building, came to $102 million (equivalent to $ billion in  dollars).

Opening and early years

Todd, Robertson, Todd Engineering Corporation, which was constructing Rockefeller Center, relocated to the RCA Building on April 22, 1933, becoming the first tenants. The RCA Building was slated to officially open on May 1, 1933. Its opening was delayed until mid-May because of a controversy over Rivera's Man at the Crossroads, which in large part stemmed from the communist motifs of the mural.  On May 10, 1933, Rivera was ordered to stop all work on the mural, which was covered in stretched canvas and left incomplete. Brangwyn's murals were also incomplete at the time of the building's opening. Rivera's mural remained covered until February 1934, when workmen peeled the mural off the wall. Columbia University originally owned most of Rockefeller Center's land as well as the complex's buildings, including the RCA Building. However, Columbia received no rental income; Rockefeller Center's managers collected the rent and owned the land under the western part of the complex, including a section of the RCA Building West.

The RCA offices moved to the RCA Building's 52nd and 53rd floors in June 1933. The Rockefeller family took up space throughout the building to give potential tenants the impression of occupancy. Their Rockefeller Foundation, as well as the General Education Board and the Spelman Fund of New York, had leased space, and the Rockefeller family's Standard Oil Company moved into the RCA Building in 1934. NBC was one of the first tenants in the new RCA Building and, with 35 studios packed into the base, it was also one of the largest tenants. Westinghouse moved into the 14th through 17th floors of the RCA Building, receiving the contract for the building's elevators as a result. American Cyanamid took four floors and part of another. Other space was taken by the Greek consulate, the Chinese consulate, the National Health Council, and a branch of the Chase National Bank. A double-height space at the center of the ground story, which had been difficult to rent, opened as the Municipal Art Exhibition in February 1934. The space, referred to as the Forum, had contained a large stairway leading up to a second-story balcony with exhibition rooms. Despite the large number of tenants, Rockefeller Center was only 59 percent rented by the end of 1933.

Shortly after the RCA Building's opening, there were plans to use the building above the 64th floor as a public "amusement center". That section of the building had several terraces, which could be used as a dance floor, observation deck and landscaped terrace gardens. On the 65th floor, there was also a two-story space for a dining room with a high ceiling. Frank W. Darling quit his job as head of Rye's Playland to direct the programming for the proposed amusement space. In July 1933, the managers opened an observation deck atop the RCA Building, which consisted of  terraces on the 67th, 69th, and 70th floors. The 40-cents-per-head observation deck saw 1,300 daily visitors by late 1935. Meanwhile, the floors below the observation deck were planned as a restaurant, solarium, game room, and ballroom, which would later become the Rainbow Room. The Rainbow Room opened on October 3, 1934.

A revolving beacon was installed atop 30 Rockefeller Plaza in 1935, the first such beacon to be installed in Manhattan. That September, the ground-floor retail space was fully leased. The New York Museum of Science and Industry leased the Municipal Art Exhibition space shortly afterward after Nelson Rockefeller became a trustee of the museum. Subsequently, Edward Durell Stone removed the partitions on the second floor of the exhibition space, and the museum opened there in February 1936. The central wall of the main lobby remained empty until 1937, when Jose Maria Sert's American Progress was installed. At the time, the RCA Building was 84 percent leased. By 1938, the NBC studios at the RCA Building received 700,000 annual visitors, while the observation deck had 430,000 annual visitors.

1940s to 1970s

Two 24-ton cooling machines were installed in the basement of the RCA Building in 1940. The air-conditioning units supplemented the RCA Building's existing units and also served 1230 Sixth Avenue, 10 Rockefeller Plaza, and 1 Rockefeller Plaza. The lobby was then renovated in 1941. As part of the project, an overpass at mezzanine level was removed, the lighting was brightened, and another mural by Jose Maria Sert was installed. An air-raid siren was installed atop 30 Rockefeller Plaza in 1942 during World War II. The Rainbow Room and Grill atop the RCA Building was closed at the end of that December because of staffing shortages. In 1943, Rockefeller Center's managers purchased the lots at 1242–1248 Sixth Avenue and 73 West 49th Street, part of RCA Building West; these lots had previously been held under a long-term lease. By the next year, the RCA Building was almost fully rented.

During the war, the RCA Building's Room 3603 became the primary location of the U.S. operations of British Intelligence's British Security Co-ordination, organized by William Stephenson. It also served as the office of Allen Dulles, who later headed the Central Intelligence Agency. The revolving beacon, which had been darkened during the war, was reactivated in 1945 after the air-raid siren was dismantled, but the Rainbow Room restaurant remained closed until 1950. The Museum of Science and Industry moved out of the RCA Building's lower floors in 1950. Rockefeller Center's managers hired Carson and Lundin to design two new levels of retail space with about  of new floor area. The retail space was twice as profitable as the museum; the remaining street-level space was transformed into a studio for the Today Show. In mid-1953, Columbia bought all of Rockefeller Center's land along Sixth Avenue, including the western part of RCA Building West, for $5.5 million. Rockefeller Center then leased the land back from Columbia.

The building's largest tenants, RCA and NBC, renewed their leases in 1958 for 24 years. The National Weather Service's radar was placed on the roof in June 1960, adjacent to RCA's and NBC's antennas, and the NWS offices relocated to the building that December. The Singer Manufacturing Company became another major tenant, leasing six floors in 1961; this required the installation of a dedicated air-conditioning system on the 58th floor for that company. In addition, the Rainbow Room atop the building was refurbished in 1965. An anti-Vietnam War bombing occurred on the 19th floor in 1969, causing substantial damage, though no one was hurt. Also in 1969, the RCA sign atop the building was updated with RCA's new logo in neon lights. The RCA Building maintained high occupancy through this time. Even at its lowest point during the 1973–1975 recession, the building was 88 percent occupied and Rockefeller Center's managers were able to lease space at the building above market rate.

In 1973, the RCA sign atop the building was turned off to conserve energy, the first time it had not lit up since World War II. The next January, RCA renewed its lease for 20 years, having previously considered relocating from New York City. RCA's chief executive Robert Sarnoff also announced that the company would construct a "management and conference center" atop the central section of the building. The conference center would have been designed by Ford & Earl Design Associates and Justin Lamb and would have been powered by solar heat. RCA applied for permission to build the conference center in September 1975, but the project was canceled after Sarnoff resigned that December. The RCA Building's central location and consistent upkeep meant that it was 93 percent occupied by 1975, despite a relatively high vacancy rate in New York City office buildings. Several law firms had moved into the building during this time. Singer moved out of the RCA Building in 1978, freeing up a large block of office space, but RCA and NBC renewed their leases on a combined  two years later.

1980s and 1990s

Columbia University was not making enough money from Rockefeller Center leases by the 1970s, and the university started looking to sell the land beneath Rockefeller Center, including the RCA Building, in 1983. That year, the New York City Landmarks Preservation Commission (LPC) held hearings to determine how much of Rockefeller Center should be protected as a landmark. The Rockefeller family and Columbia University acknowledged that the buildings were already symbolically landmarks, but their spokesman John E. Zuccotti recommended that only the block between 49th and 50th Streets be protected, including the RCA Building and RCA Building West. By contrast, almost everyone else who supported Rockefeller Center's landmark status recommended that the entire complex be landmarked. The LPC granted landmark status to the exteriors of all of the original complex's buildings, as well as the interiors of the International Building's and 30 Rockefeller Plaza's lobbies, on April 23, 1985. Rockefeller Center's original buildings also became a National Historic Landmark in 1987.

Columbia had agreed to sell the land to the Rockefeller Group, an investment company owned by the Rockefeller family, for $400 million in February 1985. The Rockefeller Group formed Rockefeller Center Inc. that July to manage the RCA Building and other properties. By late 1985, NBC began planning to relocate, leaving half the RCA Building's space vacant. The network needed  of space and the RCA Building's facilities required hundreds of millions of dollars in renovations. The same year, General Electric acquired RCA/NBC and began looking to save money. The developers of Harmon Meadow and Television City had both made offers to NBC, but demand for office space in New York City was starting to decrease, which led the building's owners to focus on keeping NBC at the RCA Building. NBC agreed to stay at 30 Rockefeller Plaza at the end of 1987 after city and state officials offered $72 million in tax exemptions, $800 million in industrial bonds, and sales-tax deferments on $1.1 billion worth of purchases. These incentives would not need to be repaid as long as NBC stayed at the building until 2002, or for 15 years. NBC extended its lease by 35 years so that it would last into 2022 and secured an option to buy the western and central sections of the skyscraper.

Meanwhile, the Rockefeller Group had begun expanding the Rainbow Room. The observation deck closed in 1986 because the expansion cut off the only access between the observation deck and its elevators. The Rainbow Room also reopened in December 1987 after the Rockefeller Group conducted an extensive renovation. The RCA Building was renamed the GE Building in July 1988, and the signage atop the building was changed accordingly, despite concerns that it could be confused with the General Electric Building on 570 Lexington Avenue. Mitsubishi Estate, a real estate subsidiary of the Mitsubishi Group, purchased a majority stake in the Rockefeller Group in 1988, including the GE Building and Rockefeller Center's other structures. Despite the renaming, 30 Rockefeller Plaza continued to be popularly known as the RCA Building. Subsequently, Rockefeller Center transferred some of the unused air rights above the British Empire Building and La Maison Francaise to the Rockefeller Plaza West skyscraper on Seventh Avenue. In exchange, the Rockefeller Group had to preserve the original buildings between 49th and 50th Streets under a more stringent set of regulations than the rest of the complex. While the GE Building's air rights were unaffected, the structure fell under the new regulations.

The Rockefeller Group filed for bankruptcy protection in May 1995 after missing several mortgage payments. That November, John Rockefeller Jr.'s son David and a consortium led by Goldman Sachs agreed to buy Rockefeller Center's buildings for $1.1 billion, beating out Sam Zell and other bidders. The transaction included $306 million for the mortgage and $845 million for other expenses. As that sale progressed, GE and Goldman Sachs discussed selling part of the GE Building to its namesake, allowing GE to lower its occupancy costs on the  that it occupied. In May 1996, GE bought the space for $440 million, as well as an option to renew the lease on the Today Show studios at 10 Rockefeller Plaza. Before either transaction was finalized, GE subleased  of that space. Goldman Sachs made numerous upgrades to the building and allowed brokers to finalize leases more quickly. In addition to GE, other large tenants at 30 Rockefeller Plaza in the late 1990s included law firm Donovan, Leisure, Newton & Irvine and Chadbourne & Parke. Cipriani S.A. took over the Rainbow Room in 1998.

2000s to present

Tishman Speyer, led by David Rockefeller's close friend Jerry Speyer and the Lester Crown family of Chicago, bought the original 14 buildings and land in December 2000 for $1.85 billion, including the GE Building. The next year, Tishman Speyer began planning a renovation of the rooftop observation deck, which would be rebranded Top of the Rock. Kostow Greenwood Architects also started designing a renovation for NBC Studios. The observation deck plans were announced publicly in November 2003. Two existing elevator shafts were lengthened so that the observation deck could be accessed without going through the Rainbow Room to get to the "shuttle" elevators. In addition, a ground-floor entrance was created on 50th Street and a three-level storefront was converted into an observation deck entrance. The deck reopened in November 2005 after a renovation by Gabellini Sheppard Associates.

During the late 2000s, the building retained an 85 percent occupancy rate. The WNBC-TV newsroom was renovated during 2008, after NBC had announced earlier the same year that it would start a 24-hour news channel. In addition, Tishman Speyer hired EverGreene Architectural Arts to restore the lobby, and a two-year restoration commenced in 2009. The Rainbow Room closed that year after Rockefeller Center Inc. ended Cipriani's lease. The LPC designated the Rainbow Room as an interior landmark in 2012, and the restaurant reopened in October 2014 under new management. Additionally, the rotunda above the lobby was restored starting in 2014.

Comcast, which had bought a 51 percent ownership stake in NBCUniversal in 2009, bought the remaining ownership stake from GE in 2013. By then, GE occupied only two stories in the building. The sale included NBC's portion of 30 Rockefeller Plaza and the building's naming rights. In June 2014, the LPC granted Comcast permission to modify 30 Rockefeller Plaza. Comcast planned to rename the building and replace the signage on the roof. Additionally, a new marquee was added to the Sixth Avenue entrance, advertising it as the home of The Tonight Show Starring Jimmy Fallon. The GE signage was dismantled starting in September 2014, and 30 Rockefeller Plaza was officially renamed the Comcast Building on July 1, 2015. Toy store FAO Schwarz opened a store at 30 Rockefeller Plaza in November 2018. In April 2022, the LPC approved Tishman Speyer's proposal to install additional visitor attractions at Top of the Rock.

Impact

As Rockefeller Center was being developed, Variety magazine wrote: "The main building of the Rockefeller Center group is a notable structure and forms a fitting climax to half a decade of super-skyscraper construction, which, with this one exception, was abruptly brought to an end" by the 1929 crash. A Hearst's International magazine article described the RCA Building as "soaring to an incredible petrous peak", with the sunken plaza "shimmering in brilliant floodlight" at its base. After 30 Rockefeller Plaza was completed, the Federal Writers' Project observed in 1939: "Its huge, broad,  flat north and south facades, its almost unbroken mass, and its thinness are the features that impelled observers to nickname it the 'Slab'." According to the Council on Tall Buildings and Urban Habitat, the RCA Building's massing "marked the emergence of a new form of the skyscraper", namely the slab-like form.

Architectural critic Paul Goldberger said, "Nothing is more attuned to romantic fantasies of New York than the RCA Building's black granite lobby, the Rainbow Room's ornamental framing of a 70-story view...". Goldberger wrote that the RCA Building's form was "made sumptuous by its mounting setbacks", contrasting with the "smaller and bulkier" International Building and other structures in the complex. In 2009, a Crain's New York reporter wrote: "NBC, which owns its space, lends the building a certain panache. So do the art, Christmas tree, gardens and immaculate condition of the center."

As the central building of Rockefeller Center, 30 Rockefeller Plaza is widely known. The building was also commonly nicknamed 30 Rock, which inspired the title of the NBC sitcom 30 Rock (2006–2013). Additionally, numerous movies and TV series that feature Rockefeller Center in their establishing shots have used imagery of 30 Rockefeller Plaza. Such films have included Nothing Sacred in 1937, How to Marry a Millionaire in 1953, and Manhattan in 1979. Two films have also discussed the destruction of Rivera's Man at the Crossroads in the lobby: The Cradle Will Rock in 1999 and Frida in 2002. Race Through New York Starring Jimmy Fallon, an attraction at the Universal Studios Florida amusement park, is also based on 30 Rockefeller Plaza's design.

See also

 Architecture of New York City
 Art Deco architecture of New York City
 List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets
 National Register of Historic Places listings in Manhattan from 14th to 59th Streets

References

Notes

Citations

Sources

External links

 Rockefeller Center website
 Top of the Rock website

1933 establishments in New York City
Art Deco architecture in Manhattan
Art Deco skyscrapers
Buildings of the Rockefeller family
Comcast
Commercial buildings completed in 1933
Commercial buildings on the National Register of Historic Places in Manhattan
Historic district contributing properties in Manhattan
Mass media company headquarters in the United States
National Broadcasting Company
NBC buildings
NBCUniversal
New York City Designated Landmarks in Manhattan
New York City interior landmarks
Rockefeller Center
Skyscraper office buildings in Manhattan
Telecommunications buildings on the National Register of Historic Places
Television studios in the United States

30 Rockefeller Plaza


1. ŽNL Zadarska u sezoni 2005./06. je predstavljala prvi stupanj županijske lige u Zadarskoj županiji, te ligu četvrtog ranga hrvatskog nogometnog prvenstva. Sudjelovalo je 18 klubova, a ligu je osvojio Primorac iz Biograda na Moru.
Zbog formiranja nove 4. HNL, 1. ŽNL Zadarska je od sezone 2006./07. postala liga petog stupnja natjecanja.

Ljestvica

Rezultatska križaljka

Izvori:

Povezani članci
 1. ŽNL Zadarska
 2. ŽNL Zadarska 2005./06.
 1. ŽNL Dubrovačko-neretvanska 2005./06.
 1. ŽNL Splitsko-dalmatinska 2005./06.
 1. ŽNL Šibensko-kninska 2005./06.

Vanjske poveznice

Izvori

 rsssf.com, Hrvatska 2005./06., 1. ŽNL Zadarska 2005./06., ljestvica

2005-06
Zadarska-1

1. ŽNL Zadarska 2005./06.


World Possible este o organizație non-profit care produce și distribuie RACHEL (Remote Area Community Hotspot for Education and Learning), care găzduiește conținut educațional gratuit, cum ar fi Academia Khan, Wikipedia, Project Gutenberg și altele, printre care Wi-Fi pe computerul Raspberry Pi. RACHEL este conceput astfel încât studenții sau școlile care nu au conexiuni la internet, dar care au dispozitive (cum ar fi: telefoanele mobile) care pot primi date prin Wi-Fi să poată accesa conținut educațional prin intermediul serverului RACHEL. Conținutul a fost adaptat pentru a răspunde cererii relevante la nivel local.

Referințe

Legături externe

Software liber

World Possible


تحتوي هذه المقالة على قائمة المتاحف في الجزائر، وهي مرتبة حسب الولايات (مع إمكانية ترتيبها بالضغط على عناوين الأعمدة).

القائمة

مراجع

قوائم المتاحف حسب المكان
قوائم مبان ومنشآت في الجزائر
قوائم متاحف في إفريقيا
قوائم متعلقة بالتعليم في الجزائر
قوائم مواقع جذب سياحي في الجزائر
متاحف الجزائر

قائمة متاحف الجزائر


Modus ponendo tollens (MPT; Latin: "mode that denies by affirming") is a valid rule of inference for propositional logic. It is closely related to modus ponens and modus tollendo ponens.

Overview
MPT is usually described as having the form:
Not both A and B
A
Therefore, not B
For example:
 Ann and Bill cannot both win the race.
 Ann won the race.
 Therefore, Bill cannot have won the race.

As E. J. Lemmon describes it:"Modus ponendo tollens is the principle that, if the negation of a conjunction holds and also one of its conjuncts, then the negation of its other conjunct holds."

In logic notation this can be represented as:

Based on the Sheffer Stroke (alternative denial), "|", the inference can also be formalized in this way:

Proof

See also
 Modus tollendo ponens
 Stoic logic

References

Latin logical phrases
Rules of inference
Theorems in propositional logic

nl:Modus tollens#Modus ponendo tollens

Modus ponendo tollens


Marina Radu () este o jucătoare de polo pe apă din Canada cu origini românești.

Ea a fost membră a , echipă care a câștigat medalia de argint la Jocurile Pan Americane din 2007 din Rio de Janeiro, Brazilia.

Note

Legături externe
 http://marinaradu.com/marina-radu/

Nașteri în 1984
Nașteri pe 5 septembrie
Români din Canada
Oameni în viață
Jucători de polo pe apă
Oameni din Montreal

Marina Radu


Le Centre Hospitalier et Universitaire de Yaoundé, aussi appelé CHU de Yaoundé est l'un des principaux hôpitaux de Yaoundé, au Cameroun.

Situation
L'établissement s'étend au sud de la rue de Mélen, dans le quartier du même nom de la commune d'arrondissement de Yaoundé III, au nord de la faculté de médecine et des sciences biomédicales et à l'ouest du centre international de référence Chantal Biya.

Histoire
Il a été fondé par un décret présidentiel du 28 octobre 1965.

Missions
Il a pour objectif de former des médecins généralistes capables de diagnostiquer et de traiter un large éventail de maladies et de dispenser une éducation à la santé.

Notes et références

Yaoundé
Hôpital au Cameroun

Centre hospitalier universitaire de Yaoundé


Calumma juliae est une espèce de sauriens de la famille des Chamaeleonidae.

Systématique
L'espèce Calumma juliae a été décrite en 2018 par , Miguel Vences, , ,  et Frank Glaw.

Répartition

Tous les spécimens identifiés de Calumma juliae ont été observés autour de la ville de Toamasina, dans l'Est de Madagascar.

Étymologie
Son épithète spécifique, juliae, lui a été donnée en l'honneur de Julia Forster, en reconnaissance de son aide pour la collecte des spécimens.

Publication originale

Références biologiques

Notes et références

Saurien (nom scientifique)
Chamaeleonidae
Faune endémique de Madagascar

Calumma juliae


En vej frem er en dansk dokumentarfilm fra 2006 med instruktion og manuskript af Freja Holger Pedersen og Rune Selsing.

Handling
Filmen handler om venskabet mellem en ældre dansk dame og to drenge fra hhv. Somalia og Irak. Sammen arbejder de for at forbedre forholdene i det ghetto-område de bor i. Pludselig bliver den ene af drengene anholdt, og filmen følger gruppens forhold i de fem måneder, der går før dommen i landsretten.

Referencer

Eksterne henvisninger

Danske film fra 2006
Dokumentarfilm fra Danmark

En vej frem