A collection of listings, related to this initiative. Short, sharp, SEO optimized landing pages, that direct traffic to existing websites. Listings also serve as mini-sites and lead generators.
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Cecilia Rosato, Art Director di Dynasty History, è una professionista specializzata nell’arredo tessile delle Dimore Storiche, nell'arte della scenografia tessile e nel restauro di stemmi araldici antichi. Cecilia dona alle dimore storiche un’accoglienza degna, grazie all’ Arte della Scenografia Tessile, capace di tessere emozioni in ogni dettaglio, per un’esperienza sensoriale tutta da vivere e da raccontare.In Dynasty History i consulenti/progettisti sono professionisti formati e preparati dall’Art Director Cecilia Rosato. L’azienda gestisce tutte le fasi, dalla progettazione dal rilievo delle misure, fino alla produzione ed al montaggio, senza intermediari. La specializzazione in araldica le consente di analizzare e interpretare gli stemmi, ne studiarne le fonti, l’origine, la storia e ne stabilisce le regole; definisce le varie tipologie di scudo, le partizioni che ne suddividono il campo, le figure che lo caricano, gli smalti e gli ornamenti esteriori.Dynasty History si avvale dell’autorevole supervisione del Prof. Pier Felice degli Uberti, per quanto riguarda l’aggiornamento o eventuali modifiche da apportare agli Stemmi Araldici già esistenti o per crearne di nuovi, ai fini della personalizzazione attraverso l’arte del ricamo sugli arredi tessili. L'ambientazione storica delle dimore storiche con tableaux vivant i cui costumi storici sono curati personalmente da Cecilia e il suo team, aiuta a comprendere la storia e gli eventi che ne hanno caratterizzato la grandezza nei tempi passati.
Da quasi un migliaio di anni a Murano si lavora il vetro, le famiglie si tramandano questo prezioso sapere di generazione in generazione, ed è la natura intrinseca dell’isola ad aver permesso di custodirne i segreti. La Vetreria Ducale fin dal 1950 rappresenta il meglio della produzione del vetro artistico di Murano, attraversando i diversi stili e le intuizioni del Novecento per giungere in perfetta continuità a quanto di nuovo questa stupefacente arte riesce a creare ancora oggi. Nella sua storica sede, i migliori maestri vetrai rinnovano ogni giorno un’antica magia, plasmando con sapienza e talento una materia dalle caratteristiche uniche, ottenendo volumi e colori sorprendenti da una massa informe e incandescente.Lampadari e specchi, servizi da tavola e sculture: quali che siano la forma e la funzionalità degli oggetti, tutti realizzati esclusivamente a mano, esprimono oggi più che mai l’assoluta eccellenza del vetro artistico contemporaneo. Per mettere a frutto una preziosa eredità non ci si può limitare a vivere di un passato glorioso, ma bisogna restare al passo con i tempi, innovare, sia sul fronte produttivo che su quello più strettamente creativo.Per questo la Vetreria Ducale è tornata a lavorare con i migliori maestri dell’isola, esponendo le loro opere nuove e intraprendendo quello che molti riconoscono come un nuovo corso per Murano. Un perfetto connubio di forme e trasparenze, di tradizione e innovativo design, declinato in un’elegante e solo apparente fragilità. Un ponderato mix tra preziosità della materia, colori e geometrie. Le opere realizzate narrano la storia del vetro di Murano, dove la ricerca e l’eleganza, alla base della creazione e della tradizione, si mescolano in giusta misura al gusto moderno. Un mondo unico in cui il talento è sempre stato al centro del processo creativo, un lavoro fatto di fatica, di mani che si muovono agili, di sguardi, pazienza e rapidità di esecuzione. Venite a trovarci sull'isola di Murano per un esperienza unica al mondo.
Confrestauro è l’associazione che rappresenta professionisti, imprese specializzate, singoli restauratori d’arte e fornitori di materiali per il restauro L’Associazione nasce per rappresentare e promuovere il settore del restauro e della conservazione del patrimonio. L’obbiettivo di Confrestauro è di diventare un asset economico fondamentale per la promozione del nostro immenso patrimonio storico artistico, unico al mondo, nonché di fare rete con gli enti interessati al mondo del restauro. Organizzare incontri e tavole di discussione sia con Enti pubblici (soprintendenze, ICE, ICOOM e Istituto Ville Venete); Creare meeting con Enti privati (FAI, proprietari di dimore storiche, CEI, Enti religiosi, Stato del Vaticano, Fondazioni bancarie, ANACI, UNPLI, Alberghi storici e Coldiretti); Creare connessioni con tutte le associazioni legate alla valorizzazione e al restauro del patrimonio architettonico artistico italiano; Promuovere interventi di tutela e valorizzazione del patrimonio culturale e del paesaggio; Svolgere attività di promozione del restauro italiano attraverso fiere ed incontri con partner esteri, al fine di creare opportunità di internazionalizzazione per i nostri associati. Confrestauro si rivolge ad un pubblico di professionisti qualificati, allo scopo di creare una rete di competenze complementari ed integrate, in grado di diventare, insieme, un punto di riferimento per chi si interfaccia al mondo del restauro. I professionisti, le imprese e i restauratori verranno individuati e selezionati in base al curriculum ed alle proprie esperienze di interventi di restauro monumentale concrete e documentate. Le figure professionali saranno chiamate a seguire un programma formativo specifico per essere sempre più performanti nella gestione e nella valorizzazione del patrimonio architettonico d’epoca e storico italiano.
A seguito della dismissione militare, negli ultimi 45 anni il Lazzaretto Nuovo ha attraversato molteplici passaggi proprietari (prima Demanio dello Stato, di recente il Comune di Venezia): l'interruzione dell'abbandono e dei vandalismi, l'avvio e la continuità del progetto di rinascita dell'isola, oltre che di tutela e sorveglianza, sono stati garantiti dall'ininterrotto impegno delle due associazioni attualmente concessionarie. La valorizzazione del bene ha portato nel 1985 il Ministero per i Beni Culturali e Ambientali a riconoscere il Lazzaretto Nuovo di particolare interesse ai sensi della legge 1° giugno 1939 n. 1089; nel 1997 a stabilirvi il Deposito per materiali archeologici di provenienza lagunare della Soprintendenza Archeologia Belle Arti e Paesaggio; e nel 2001 a sottoscrivere un protocollo d'intesa che ha affiancato, ai compiti di protezione del patrimonio culturale, anche quelli di scavo archeologico e di numerose attività condivise. A sostegno di questo partecipato progetto ecomuseale, la presenza e l'opera delle due associazioni hanno quindi stimolato e coadiuvato investimenti pubblici e privati per diversi milioni di Euro. Sede veneziana dell’Archeoclub d’Italia, associazione nazionale con sede centrale in Roma e presente in molte città italiane, Ente Morale riconosciuto che opera nel campo dei Beni Culturali. Sede locale costituita nel 1985 su iniziativa di un gruppo di Soci, tra i quali il prof. Riziero Giunti e il prof. Gerolamo Fazzini, e intitolata a Luigi Conton, pioniere dell’archeologia lagunare. Nell’ottica della tutela e della valorizzazione del patrimonio storico-culturale veneziano e con particolare riferimento al territorio della Laguna, in questi anni l’Archeoclub ha avviato a Venezia numerose iniziative, con scopi divulgativi ma anche di segnalazione e di denuncia, evidenziando aspetti, argomenti ed esempi, nel campo dell’archeologia, dell’arte, dell’architettura veneziane, spesso considerati “minori”, non però meno degni d’attenzione, quali pozzi, portali, sculture erratiche, reperti ceramici, mestieri artigiani, fortificazioni… Dal 1987 contribuisce in maniera determinante alla rinascita dell’isola del Lazzaretto Nuovo nella Laguna Nord di Venezia, con l’organizzazione dei Campi archeologici estivi a livello nazionale e internazionale, rivolti in particolare ai giovani, in collaborazione con l’associazione “Ekos Club”, concessionaria dell’isola, con la Soprintendenza per i Beni Architettonici, per il Paesaggio e per il Patrimonio storico, artistico ed etno-antropologico di Venezia e Laguna, e con la Soprintendenza Archeologica del Veneto. Dal settembre 2013 garantisce gratuitamente un servizio di vigilanza, visita pubblica e piccole manutenzioni per l’isola del Lazzaretto Vecchio secondo un Protocollo d’intesa con il Ministero della Cultura, attivato dalla Soprintendenza Archeologica del Veneto e poi con la Direzione Regionale Musei Veneto. I due Lazzaretti veneziani costituiscono un binomio di grande interesse storico-culturale e monumentale con particolare riferimento alla storia della Sanità. Dai primi anni Novanta pubblica un trimestrale di informazione ArcheoVenezia che si è caratterizzato nel trattare sinteticamente temi e argomenti di interesse o attualità nel campo dei Beni culturali. (Leggi il 40° numero dedicato ai trent’anni dell’Archeoclub di Venezia.) Dal 1992 la sede veneziana è iscritta nel Registro Regionale Veneto del Volontariato (L. 266/1991 – iscr. 12.01.93, VE 0127); come tale ha stipulato Convenzioni per servizi in alcuni musei, quali il Museo della Ceramica alla Cà d’Oro (sale della Ceramica, che custodiscono alcuni tra i più significativi reperti ceramici lagunari (“Collezione L.Conton”) e la Sezione archeologica del Museo di Torcello, e per collaborazioni con la Fondazione Querini Stampalia, la Fondazione Ugo e Olga Levi, l’Archivio Patriarcale e l’ASAC Archivio Storico delle Arti Contemporanee della Biennale. La Convenzione con l’Archivio di Stato di Venezia vede un gruppo di Soci svolgere, nell’ex-convento dei Frari che dai primi del 1800 conserva i documenti della Serenissima, un importante lavoro di volontariato per la sistemazione e catalogazione del materiale archivistico e per potenziare alcuni servizi resi al pubblico dall’Istituto. (L’attività di un socio Archeoclub all’Archivio è uno dei sei episodi del film-documentario di Carlo Mazzacurati “Sei Venezia”. Ad inizio 2017 un lavoro decennale permette la digitalizzazione di 3100 mappe napoleoniche.) Le convenzioni sono anche un’importante occasione di tirocinio-formazione lavoro per gli studenti universitari (documentabile a richiesta con attestato e valide per crediti scolastici): anche grazie a questo apprendistato, sono diversi gli ex-tirocinanti che hanno poi intrapreso la strada professionale, dall’archeologia al restauro, al lavoro in biblioteca.
Amuse nasce nel 2015 come galleria d'arte e design. Il progetto nel tempo si è trasformato allargando la propria ricerca verso espressioni creative diverse. L'identità di questo luogo si forma e si trasforma attraverso questo viaggio verso un equilibrio armonico.
Museo del Volo: questo il titolo dell'affascinante e insolito fly-in che si è svolto il 2 giugno 2019 dalle 10 al tramonto presso l'aviosuperficie San Martino di Ceresara (Mantova) nella sua ultima edizione. Un vero e proprio museo volante nei cieli, visto che hanno preso parte rari e preziosi aerei storici che sorvoleranno il campo. Gli spettatori hanno potuto ammirare alcuni dei velivoli appartenuti all'imprenditore bresciano Luciano Sorlini (1925-2015), grande appassionato di volo. Erano presenti anche altri aerei e warbird di notevole interesse storico posseduti dalla figlia Silvia Sorlini e dal marito Giovanni oltre ad altri aerei storici Il fly-in, alla sua quarta edizione, è stato sotto l'egida del Comune di Ceresara, Museo MarteS, Luciano Sorlini s.p.a. e collabora con AOPA Italia. Tutti gli aerei storici che parteciperanno sono idonei al volo. Il pubblico ha potuto vederli allineati in pista e in volo, visto che sono atterrati e decollati durante tutta la giornata. Inoltre, insieme ai loro piloti e proprietari, sono state organizzate visite guidate che sveleranno storie, aneddoti e segreti dei velivoli. Dopo molti sforzi, difficoltà e imprevisti finalmente l'hangar destrinato ad ospitare il Museo Volante è utilizzabile! Per celebrare degnamente l'evento si sono dati appuntamento a Ceresara 3 Fiat G46, che hanno volato in formazione (per la prima volta in 70 anni), Il 2 giugno 2022! Il Museo Volante deriva da Luciano Sorlini non ebbe solo l’Arte come propria passione. Sin da ragazzo si avvicinò al mondo del volo partecipando ai corsi di aeromodellismo tenuti dalla R.U.N.A (Reale Unione Nazionale Aeronautica) costruendo quindi svariati aeromodelli. Conseguì il Brevetto di Volo nel 1952 e nel 1956 ottenne, primo pilota civile non professionista in Italia, l’abilitazione al volo strumentale (questo tipo di abilitazione consente, su aerei opportunamente strumentati, di volare in assenza di visibilità). Partecipò anche a numerose gare aeree tra le quali il Giro Aereo di Lombardia, l’Esaveneto e il Giro di Sicilia qualificandosi sempre tra i primi. Molti furono gli aerei da lui pilotati nel corso degli anni tra cui parecchi aerei storici Il suo primo aereo fu il “Macchino” ovvero il Macchi MB308 a cui seguì un Saab Safir 91C svedese, aereo all’avanguardia per l’epoca. Nel 1960 sospese ogni attività di volo per dedicarsi totalmente alla sua nuova azienda. Riprenderà nel 1980 acquistando un Beechcraft Bonanza attualmente presente nella collezione. Fu in questi anni che si appassionò al restauro degli aerei storici. Attualmente gli aerei, dislocati nelle aviorimesse di Calvagese e Ceresara (Mantova), sono di proprietà della figlia Silvia che, insieme al marito Giovanni Marchi li mantiene volanti. Luciano Sorlini didn't just have Art as his passion. Since he was a boy he approached the world of flight by participating in model aircraft courses held by R.U.N.A (Royal National Aeronautical Union) thus building various model aircraft. He obtained the Flight Patent in 1952 and in 1956 he obtained, as the first non-professional civilian pilot in Italy, the instrumental flight qualification (this type of qualification allows, on suitably instrumented aircraft, to fly in the absence of visibility). He also participated in numerous air races including the Air Tour of Lombardy, the Esaveneto and the Tour of Sicily, always qualifying among the first. Many were the planes he flew over the years, including several historic planes His first aircraft was the “Macchino” or the Macchi MB308 which was followed by a Swedish Saab Safir 91C, an avant-garde aircraft for the time. In 1960 he suspended all flying activities to devote himself entirely to his new company. He will pick up again in 1980 by purchasing a Beechcraft Bonanza currently in the collection. It was in these years that he became passionate about the restoration of historic aircraft. Currently the planes, located in the hangars of Calvagese and Ceresara (Mantova), are owned by the daughter Silvia who, together with her husband Giovanni Marchi keeps them flying. Flying Museum: this is the title of the fascinating and unusual fly-in which took place on 2 June 2019 from 10 to sunset at the San Martino airfield in Ceresara (Mantova, Italy) in it’s last edition. A real museum flying in the skies, since rare and precious historical planes took part that will fly over the field. Spectators (by the way, admittance is free) were able to admire some of the aircraft that were owned by the Brescia entrepreneur Luciano Sorlini (1925-2015), a great passionate about flight. Also other planes and warbirds of considerable historical interest owned by their daughter Silvia Sorlini and her husband Giovanni were present as well as other historical planes The fly-in, in its fourth edition, was under the aegis of the Municipality of Ceresara, the MarteS Museum, Luciano Sorlini s.p.a. and collaborates with AOPA Italy. All the historic planes that will participate are airworthy. The public was able to see them lined up on the runway and in the air, since they landed and take off throughout the day. In addition, guided tours were organized together with their pilots and owners and will reveal stories, anecdotes and aircraft secrets. After many efforts, difficulties and unforeseen events, the hangar destined to house the Flying Museum is finally usable! To worthily celebrate the event, 3 Fiat G46s met at Ceresara, flying in formation (for the first time in 70 years), on 2 June 2022!
Cremona opens its doors to the world. This is the spirit with which the Stradivari Foundation has launched the “friends of Stradivari” project, an international network bringing together people who possess, use or keep in custody instruments of the Cremonese classical violin making tradition, as well as people who study them, love them or just want to support the promotion and development of the violin making tradition from a cultural standpoint. As a result, a true virtual community is developing, which shares the same passion for violin making but is also very much fond of Cremona. Indeed, participants can actively participate in the Foundation’s initiatives by sharing ideas and suggestions or through the organization of opportunities for reciprocal collaboration. Within this program, the Foundation has started a project to house important classical-school instruments from all over the world in new Museo del Violino. Cremona, which five centuries ago was the cradle of instrument making and today is an undisputed center of excellence, offers the owners of these masterpieces the possibility to display them with every guarantee of security and professionalism. This way, instruments that would otherwise not be accessible to the public can be viewed, admired and studied by the expert and qualified visitors who come to Cremona from the world over, retracing the footsteps of the great Masters. Furthermore, the Museum renew itself over time and become more and more attractive, and the central role of Cremona in the violin making world will be reinforced. The privilege of owning a work of art finds its highest expression in the ethical choice of the share. Within the project "friends of Stradivari", in collaboration with the Museum of the City Stradivari of Cremona, was promoted to a project of "hospitality" of important historical instruments of the Cremonese violin making belonging to private collections. Among the first to join the project, the heirs of Sau Wing Lam and Si-Hon-Ma. So you are associated with The Henry Ford Museum and the Royal Academy of Music in London. Cremona, a world center of violin making, to the holders of these instruments provides the opportunity, with all the guarantees of safety and professionalism appropriate, to exhibit in the prestigious national museum masterpieces normally barred to the public, so they can be admired, studied, exploited and appreciated by visitors experienced and qualified as those who attend the city and the museum dedicated to violin making.
Flea Market Insiders is run by vintage & antique enthusiasts who enjoy discovering the world’s best flea markets and antique shops. Their mission is to help their readers find flea markets that are actually worth their time, where they can find true gems, instead of mass-produced fake items. What was started as a passion project by Nicolas Martin in 2010, has quickly become an acclaimed online reference for vintage and antique shopping. Flea Market Insiders blog helps travellers to discover the best flea markets all around the world, provides shopping tips and inspiring home decor ideas. In 2017, they also launched Fleamapket, an interactive, web-based app, featuring reviews of the world’s 300 best flea markets. They are particularly proud of Fleamapket’s flea market calendar, which we created for our premium subscribers. Nicolas, born and raised in France, is an expert on French flea markets and antiques. He loves to decorate his home with unusual vintage objects. His wife disagrees, but he is convinced that one can never own too many antique and vintage chairs, right? Although Paris is still his go-to place to find antique treasures, Nicolas is now based in Vienna, Austria, where he runs Flea Market Insiders. The initial idea behind launching fleamarketinsiders.com was to show the world that it is not always necessary to spend a fortune on new items when you can find amazing things at flea markets that might otherwise get disposed of. They like to think that Flea Market Insiders helps its readers to live a more sustainable lifestyle, where old objects get repurposed & upcycled instead of thrown away. Naturally, they have plenty of flea market shopping tips to share, but the most important advice we have, is this: “Remember, that the most valuable items are not those that you think will be valuable for resale. The really priceless things are the objects you personally love”. Of course, there are hundreds of haggling tips and advice such as “arrive before sunrise”, but the truth is that it actually takes not that much to become a successful treasure hunter. All you need is good spirits, a minimum dose of fantasy, charm and a little bit of perseverance. Your eyes will sharpen over time, and before you realize it, your home will be full of fabulous finds.
IJ-Hallen is a large indoor market located in Amsterdam, Netherlands. It is known for its vast selection of vintage and second-hand goods, ranging from clothing and accessories to furniture and home decor. The market is housed in a former shipyard and is one of the largest indoor markets in Europe, with hundreds of stalls and vendors selling a wide range of goods. The atmosphere is lively and bustling, with plenty of bargains to be found if you're willing to dig. The prices are reasonable, and there is a mix of both high-end and budget-friendly items. Overall, IJ-Hallen is a must-visit for those interested in vintage shopping and a unique market experience.
Nuestro almacén de distribución de cervezas artesanas e hidromiel comparte espacio con nuestra tienda, física y online, de productos artesanos: Zona de Catas. En nuestra tienda tenemos una gran variedad cervezas artesanas e hidromiel, nuestros productos estrella. Y además disponemos de toda clase de productos también de elaboración artesanal hecho en España: Vinos, licores, aceites, mermeladas, mieles, chocolates, turrones, patés, etc. Todo producto de alta calidad que ofrecemos a nuestros clientes para su disfrute y con el que contribuimos a la difusión del consumo de productos artesanos, elaborados tradicionalmente, de una forma más natural y hechos con más cariño, por eso están tan buenos. De ello damos fe por lo que nos cuentan nuestros clientes y porque ¡los hemos probado todos! Con todos nuestros productos podemos elaborar cajas y cestas de regalo para cumpleaños, aniversarios o para regalar a alguien especial. Podemos hacerlos con una selección de cervezas artesanas, o mezclando varios de nuestros productos. A tu gusto, tú decides como la quieres y nosotros te la hacemos. También te podemos preparar los detalles para regalar en presentaciones, comuniones, bodas, etc. Elige uno o varios de nuestros productos y te los preparamos especialmente para que tengas un detalle original con tus invitados. Además, en Zona de Cata organizamos catas de cerveza o vino. Las catas son una experiencia en la que puedes degustar varios tipos de cervezas o vinos acompañados de alimentos que los complementan. Es una experiencia diseñada para aprender sobre el origen, la historia, cómo se sirve, y otros datos interesantes al mismo tiempo que pasas un rato divertido.
Sabor a España is a brand of traditional high quality Spanish products. They are master nougat, as well as brittle and dried fruit derivate makers, who try to bring the tradition of Spanish products back to a public that had forgotten about it. Hard work and honesty are values of their family-run business. All their products have one thing in common - they are sold in towns and cities to remind their people that Spain's food tradition is much healthier, more nutritious and tastier than ready-made food. They are currently expanding their trade and have 23 fully operational stores. Sabor a España moved to the town center of the most emblematic Spanish towns and looked for the best spots in each one of them to offer their most typical products. Sabor a España es una marca de productos tradicionales españoles de máxima calidad cuya especialidad son los turrones, guirlaches y derivados de los frutos secos. En Sabor a España intentan llevar la tradición de los productos españoles a un público que lo tenía ya olvidado. Sabor a España es una empresa trabajadora, familiar, honesta y sencilla. Todos sus productos tienen un punto en común y es que vienen a las ciudades a recordar a sus vecinos que la tradición culinaria de España es mucho más sana, completa y apetitosa que la comida prefabricada. Actualmente se encuentran en plena expansión, contando en este momento con más de 23 tiendas por toda España en pleno funcionamiento. Sabor a España se trasladaal centro de las ciudades más míticas del país y buscan los mejores rincones de cada una de ellas para ofrecer este producto tan típico de la región.
Studio ADP21 is an interior decoration studio with twenty years of experience in Rome, on national territory and abroad. We create unique and personalized artistic works on a wide range, from modern to classic and from simple patinas to more complex decorative works, designed in close connection with the environment in which they are located. We collaborate with architectural firms and private individuals. We intervene in private homes, commercial activities and public structures. Types of interventions: 1) Modern and classic artistic walls, 2) Custom-made artistic panels, 3) artistic paintings, 4) decorative resins on floors, walls and furnishing elements, 5) wall decor in resin, 6) fake frescoes for private individuals and not (hotels, restaurants, shopping centres, etc). Studio ADP21 è uno studio di decorazione d'interni con esperienza ventennale a Roma, su territorio nazionale e all'estero. Realizziamo opere artistiche uniche e personalizzate su vasta gamma, dal moderno al classico e da semplici patine a opere decorative più complesse, progettate in stretto legame con l'ambiente in cui si collocano. Collaboriamo con studi di architettura e privati. Interveniamo in abitazioni private, attività commerciali e strutture pubbliche. tipologia di interventi: 1) Pareti artistiche moderne e classiche, 2) Pannelli artistici su misura, 3) Quadri artistici, 4) Resine decorative su pavimenti, pareti ed elementi di arredo, 5) walldecor in resina, 6) finti affreschi per privati e non (alberghi, ristoranti, centri commerciali, etc).
Australian National Maritime Museum is the Australia’s museum of the sea. A place to explore our relationship to the oceans, rivers and lakes around us and to dive deeper into the rich maritime heritage that binds us all. As an island nation, we have always been fascinated by the waters that surround us. The ocean, and its ever-shifting tides, have been central to our stories throughout time, shaping the Australian identity. By sharing these stories, we want to spark curiosity and conversations about how the sea shaped our world and continues to transform us today. Our purpose is to excite people about their connection to the sea, so they value it more. Australia’s maritime history abounds with people who lived, worked, and explored our waters. The maritime museum brings a modern perspective to these narratives, exploring topics of migration, commerce, archaeology, ocean science and culture and lifestyle. We are proud to honour the stories from autonomous Indigenous voices and represent the innumerable Aboriginal and Torres Strait Islander living cultural connections to ancestral waters. As the national centre for maritime collections, exhibitions, experiences and knowledge, we are custodians of historic vessels and a cultural hub for Australian maritime heritage and contemporary stories of the sea. These stories come to life for visitors at our Sydney Harbour site and connect with national and global audiences in immersive and innovative ways, including online experiences to explore from anywhere.
The Art Gallery of South Australia (AGSA) forms part of a boulevard of historic cultural institutions that line North Terrace, Adelaide. It stands on the lands of the Kaurna people, in a traditional camping and meeting area known as Tarntanya (‘red kangaroo place’). The Gallery was established in 1881, originally occupying two rooms in the city’s nineteenth-century library/museum complex, then later part of the Jubilee Exhibition Building (now demolished). We moved to our current site in 1900, when a dedicated building was constructed to house the growing collection after pastoralist Sir Thomas Elder bequeathed an immense £25,000 for acquisitions. That original stone building is today AGSA’s stately Elder Wing of Australian Art. Many other benefactors have shaped the collection and building. In 1916, for example, a bequest of works from Sir Samuel Way dramatically expanded our Asian decorative arts collection. In 1935, a gift of £10,000 from Alexander Melrose helped to fund building works, creating the Melrose Wing and the neoclassical façade that visitors see today. Additions in 1962, 1979 and 1996 increased display space for a collection that now numbers more than 45,000 works of art – almost 90 per cent acquired through benefaction. From an early emphasis on works by European and Australian male artists, over time the Gallery has developed an outstanding collection of Asian art, extensive representation of Australia’s remarkable women modern artists, a rich collection of Islamic art, and international holdings of major significance. The latter includes the largest collection of Morris & Co. decorative art outside Britain, the finest body of Auguste Rodin sculptures in the Southern Hemisphere (acquired in 1996), and a rare ‘topographic’ sculpture by American Donald Judd created in 1974 in response to the terrain of our north lawn – literally a landmark piece. In 1939, we became the first state gallery to acquire a work by an Aboriginal artist, then from the mid-1950s we carefully began to develop a significant collection of art by the nation’s First Peoples. Since 2015 we have hosted the unique Tarnanthi festival of contemporary Aboriginal and Torres Strait Islander art. AGSA has also long fostered contemporary art. Since 1990 we have staged the Adelaide Biennial of Australian Art, the longest-running survey of Australian contemporary art, and since 2017 the Ramsay Art Prize, Australia’s most generous prize for young contemporary artists. In 2018 the art prize’s benefactors, James Stewart Ramsay and Diana May Ramsay, jointly bequeathed one of the nation’s most generous cultural gifts – the $38 million James and Diana Ramsay Fund – to strategically develop the Gallery’s collection. Our history has made us who we are today – and who we might become.
The Australian Museum is Australia’s first museum, and have over 21 million scientific specimens and cultural objects in our collections. Learn more from First Nations people, discover thousands of animal factsheets and explore our online education resources. More than a leading Sydney attraction, the Australian Museum is a hub of information, resources and research. To be a leading voice for the richness of life, the Earth and culture in Australia and the Pacific. We commit to transform the conversation around climate change, the environment and wildlife conservation; be a strong advocate for First Nations’ culture; and continue to develop world-leading science, collections, exhibitions and education programs. The Australian Museum is a dynamic source of reliable scientific information and a touchstone for informed debate about some of the most pressing environmental and social challenges facing our region: the loss of biodiversity, a changing climate and the search for cultural identity. Underpinning our research is an irreplaceable collection of international standing: over 22 million objects representing a timeline of the environmental and cultural histories of the Australian and Pacific regions. Our collection holds many objects from Indigenous Australia and the Pacific, a record of human diversity and a living wellspring for regional cultural diversity. It contains irreplaceable fossils, minerals, meteorites and gemstones that provide a geological perspective of the planet. It houses representative specimens of native Australian mammals, birds, reptiles, fish and countless invertebrates that tell many stories about our unique wildlife.
The National Museum of Australia brings to life the rich and diverse stories of Australia through compelling objects, ideas and events. We focus on Indigenous histories and cultures, European settlement and our interaction with the environment. The National Museum of Australia is a publicly funded institution governed as a statutory authority in the Commonwealth Arts portfolio. Established in 1980, it is headed by a Director appointed by the Governor-General. The Council is responsible for the conduct and control of the affairs of the Museum. The Museum building on Acton Peninsula opened on 11 March 2001. Although it is one of Australia’s newest cultural institutions, the National Museum of Australia was almost 100 years in the making. Over the course of the 20th century, proposals for a national museum were intermittent, interrupted by wars and financial crises and stifled by government inaction. A national inquiry in 1975 (the ‘Pigott Report’) finally resulted in the creation of the Museum in 1980 with the passing of the National Museum of Australia Act. Collecting officially began with significant collections inherited from Australian Government collections, including the Australian Institute of Anatomy. A location was identified at Yarramundi Reach, Canberra. In December 1996 the building of the Museum was announced as the key Centenary of Federation project, and Acton Peninsula was chosen as the site, with funding confirmed in 1997. The National Museum of Australia opened on 11 March 2001. It is home to the National Historical Collection and is one of the nation’s major cultural institutions.
Tasmanian Museum and Art Gallery (TMAG) is Tasmania's leading natural and cultural heritage organisation. It is a combined museum, art gallery and herbarium which safeguards the physical evidence of Tasmania's natural and cultural heritage, and the cultural identity of Tasmanians. TMAG is Australia's second-oldest museum and has its origins in the collections of Australia's oldest scientific society, the Royal Society of Tasmania, established in 1843. The first permanent home of the museum opened on the corner of Argyle and Macquarie streets in 1863 and the museum has gradually expanded from this corner to occupy the entire city block. The TMAG precinct is one of Australia's most historically significant sites. Included in the precinct is Tasmania's oldest surviving public building, the 1808-10 Commissariat Store; the Private Secretary's Cottage, built prior to 1815 and originally adjacent to old Government House; and Tasmania's first federal building, the 1902 Custom House. At TMAG we care for the State Collections of Tasmania: almost 800,000 objects as diverse as fossils and fine art. Our collections represent the essence of our society's values and are a major reference point for Tasmanians to gain a greater appreciation of what it means to be Tasmanian and to understand our place within the global community.
The Museum and Art Gallery of the Northern Territory (MAGNT) is the Northern Territory’s premier cultural organisation. Our principal facility since 1981 is on Larrakia Land at Bullocky Point in Darwin, home to internationally renowned cultural and scientific collections and research and exhibition programs. MAGNT also operates the historic Fannie Bay Gaol in Darwin, the Museum of Central Australia incorporating the Strehlow Research Centre in Alice Springs, Megafauna Central and the Alcoota Fossil Bed site north east of Alice Springs. MAGNT also manages the historic Lyons Cottage on Darwin’s Esplanade and the Defence of Darwin Experience at East Point in Darwin. MAGNT attracts over 300,000 visitors annually to our sites. Set in a scenic location overlooking Fannie Bay, MAGNT Darwin on Larrakia Country is home to internationally renowned artistic, cultural and scientific collections and research programs. Each year MAGNT presents a dynamic program of internally-developed exhibitions, carefully curated from the collection, and the best travelling exhibitions from around Australia. MAGNT Darwin is also home to the annual Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) —the most significant celebration of its kind in Australia. MAGNT was founded in 1966, with the introduction of a Bill into the Legislative Council of the Northern Territory. Dr Colin Jack-Hinton was appointed the MAGNT's first director, taking up the position in 1970. It was first housed in the renovated old Town Hall (originally known as the Palmerston Town Hall) in Darwin’s central business district. But on that fateful evening, Christmas Eve 1974, Cyclone Tracy hit Darwin, destroying the old Town Hall and damaging much of the MAGNT collection. For the next few years both the staff and collection were housed in multiple buildings around Darwin, coming together for lunchtime lectures in the ruins of the Old Town Hall. After deliberation, approval was finally granted for the construction of a new purpose-built museum and art gallery at Bullocky Point, on the site of the old Vestey's Meatworks. It was opened on the 10 September 1981. Over the last few decades, MAGNT has grown to include six sites across Darwin and Alice Springs. MAGNT became an independent statutory body on 1 July 2014.
The Australian Age of Dinosaurs Museum of Natural History is a world-class organisation and home to the world's largest collection of Australia's largest dinosaur fossils. Australian Age of Dinosaurs was incorporated as a not-for-profit organisation in October 2002 and was based at Belmont, a sheep station owned by David and Judy Elliott. In 2006 a rugged mesa and wilderness area 24km south-west of Winton known as "The Jump-Up" was donated by the Britton Family and the Museum relocated there in 2009. Today the Museum houses the world’s largest collection of Australian dinosaur fossils and comprises a Fossil Preparation Laboratory, Reception Centre and the March of the Titanosaurs exhibition at Dinosaur Canyon. Future plans include the construction of Australia’s premier natural history museum. The Museum is a non-profit organisation which draws support from across Australia. It all began with the discovery of a femur. In 1999 while mustering sheep on his property Belmont near Winton, David Elliott discovered the fossilised bone of what was, at the time, Australia’s largest dinosaur. This bone was later identified as part of a giant femur from a Cretaceous sauropod that roamed the Winton area 95 million years ago. Following the discovery of more fossils during digs held in conjunction with the Queensland Museum, David and his wife, Judy Elliott, called a public meeting in Winton on 17 August 2002 with a view to establishing a dinosaur museum at Winton. On 25 October 2002 Australian Age of Dinosaurs Incorporated (AAOD Inc) commenced operations as a not-for-profit organisation aimed at ensuring future dinosaur digs and the preparation and conservation of dinosaur fossils from the Winton Formation could continue. The organisation, with support from a strong members' volunteer base, began the initial stages of developing a major tourism attraction in the form of a dinosaur museum so that the discoveries could be preserved for perpetuity and be available to the public. While mustering sheep in March 2005 David Elliott discovered a new dinosaur site on Belmont and a subsequent dig in September that year uncovered the remains of one of Australia’s most complete sauropod skeletons. A total of 17 pallets of fossil bones trapped in a fine siltstone rock were recovered and stored in the Belmont shed. The dinosaur was nicknamed Wade, in posthumous honour of Australian Palaeontologist Dr Mary Wade who died at the time the dig was being undertaken. In late 2005 the discovery of a partial sauropod humerus on Elderslie Station, near Winton, led to a series of digs held by the Museum and the recovery of two dinosaur skeletons preserved together, one being a sauropod skeleton and the other a theropod. The sauropod was nicknamed Matilda and the theropod was nicknamed Banjo, both in honour of Andrew Barton "Banjo" Paterson and his classic poem "Waltzing Matilda".
Situated in the heart of Perth’s Cultural Centre, the Gallery houses the State Art Collection with works by renowned local and international artists from the 1800s to today. Immerse yourself in the Balancing Act gallery space displaying Aboriginal and Torres Strait Islander art. Take a free guided tour or find something unique in the AGWA Design Store to take home. The Gallery was founded in 1895 and occupies a precinct of three heritage buildings on the south-eastern corner of the Perth Cultural Centre including the former Perth Police Courts. The main Gallery opened in 1979 and is a unique modernist building inspired by the pavilions and courtyards of the Museum of Anthropology in Mexico City. In 2019, the Gallery celebrated its 40th anniversary and in 2020 the Gallery celebrated 125 years. The State Art Collection is Western Australia’s greatest visual art asset. Since the first work of art was purchased in 1895, the AGWA Collection has grown into the finest public art collection in Western Australia of more than 18,000 works. One of the Collection's key strengths is its holdings of works by Aboriginal and Torres Strait Islander artists and its representation of Western Australian art and artists. Twentieth-century Australian and British paintings and sculpture are also a particular strength. Each year, the Collection grows by 150-400 works, largely through the generous support of AGWA’s Foundation Members and private donations. The Art Gallery of Western Australia's Tom Malone Prize is a highly respected national event for contemporary Australian glass artists. The Tom Malone Prize was initiated in 2003 by Governor of the Art Gallery of Western Australia Foundation, Elizabeth Malone. The Prize continues in 2018-2022 through the support of Foundation Benefactor, Sheryl Grimwood. An acquisitive prize, each year’s winning entrant is awarded $15,000 while their work becomes a part of the WA State Art Collection where it will join works by previous winners: Clare Belfrage, Gabriella Bisetto, Charles Butcher, Cobi Cockburn, Brian Corr, Mel Douglas, Mark Eliott, Deirdre Feeney, Kevin Gordon, Marc Leib, Jessica Loughlin, Tom Moore, Nick Mount, Benjamin Sewell and Ayano Yoshizumi. The Tom Malone Prize is a highly respected national event within the Australian glass arts community and it has played an integral role in the Gallery's acquisition of works by Australia's most inspiring, innovative and accomplished artists in this medium.
Moorabbin Air Museum. Situated at Moorabbin Airport in the South Eastern suburbs of Melbourne, the Museum has one of the most significant collections of aircraft and engines in Australia. We provide public access to a number of aircraft on display, allowing visitors to interact and to experience life as a Military, Naval or Civilian pilot. Group tours can be arranged by appointment. Please contact the Museum for more information. Founded in 1962 and run by a dedicated group of volunteers and members, the Museum has expanded to have a collection of not just aircraft and engines, but models, uniforms and many other items associated with Australia's amazing aviation history. The collection includes a number of very rare and unique examples of Australian made aircraft, including the oldest surviving Commonwealth Aircraft Corporation (CAC) aircraft - Wirraway A20-10; a Victa AirTourer and a DAP Mk21 Beaufighter, one of only two Australian made variants left in the country and the only Beaufighter left in the world capable of ground running. The Museum also owns the oldest surviving DAP / Bristol Beaufort which is now part of an ongoing restoration project. The Museum also has a shop and kiosk facility where you can purchase drinks, snacks, and pick up a book, poster, model kit or complete aircraft model for your collection. Due to a lack of available display and restoration facilities, not all aircraft are under restoration or on display. The Australian Aircraft Restoration Group has kindly loaned a number of the aircraft in its collection to other museums, to ensure that they can be viewed by aircraft enthusiasts.
Sagunto tells, through its noble stones, the history of the diverse cultures that have passed throughout the centuries. Puerto de Sagunto, one of the last factory-towns in Spain, offers an overview of its outstanding industrial heritage. Sagunto is a lively city, with its own identity that is reflected in its festivals, traditions and its rich cultural and leisure offer. This takes place throughout the year, offering a multitude of resources to live a complete experience. Sagunto, due to its strategic position between the Calderona and Espadan sierras and its coastal location, is a privileged enclave where you can practice all kinds of activities such as hiking, biking, Nordic walking, surfing or ornithological tourism. Sagunto's thirteen kilometres of coastline are home to excellent beaches with crystal clear waters and natural dunes. The blue flag of Europe and the environmental quality seals, accredit its great prestige and its tourist excellence. Sagunto relata, a través de sus nobles piedras, la historia de las diversas culturas que por ella han pasado a lo largo de los siglos. El núcleo de Puerto de Sagunto, una de las últimas ciudades-factoría de España, nos muestra también su pasado industrial. Sagunto es una ciudad viva, con una identidad propia que se refleja en sus fiestas, tradiciones y su rica oferta cultural y de ocio. Esta se desarrolla durante todo el año ofreciendo multitud de recursos para vivir una experiencia completa. Sagunto, por su posición estratégica entre las sierras Calderona y Espadan y su situación costera, es un enclave privilegiado donde poder practicar todo tipo de actividades como, senderismo, bicicleta, marcha nórdica, surf o turismo ornitológico. Los trece kilómetros de costa de Sagunto albergan excelentes playas de aguas cristalinas y dunas naturales. La bandera azul de Europa y los sellos de calidad medioambiental, acreditan su gran prestigio y su excelencia turística.
El célebre Café Madrid Valencia comenzó su andadura en el año 1940 y, a lo largo de estas décadas de vida, se ha convertido en la mejor coctelería de la ciudad y un sinónimo de calidad. Cuna de la mítica Agua de Valencia y epicentro de la vida bohemia, artística y literaria valenciana, esta herencia cultural se ve plasmada a día de hoy en su carta de cócteles. Uno de los objetivos de Café Madrid es volver a poner de actualidad la tertulia desde una visión de siglo XXI, para lo que ofrece un relajado espacio en su piso superior y una selección de cócteles para compartir. Además, en Café Madrid se pueden celebrar eventos y fiestas para empresas o con tu familia y amigos. Dispones de dos menús cóctel para que disfrutes de una atmósfera acogedora y de lo mejor en el centro de la ciudad. Una propuesta que se fundamenta en sabores clásicos, revisados bajo el nuevo prisma de excelencia y modernismo de Café Madrid Valencia. El mejor enclave para tomar el aperitivo y revivir esos momentos artísticos en un espacio ecléctico de aspecto industrial en el que el arte sigue jugando un papel trascendental. Las tertulias del siglo XXI se producen en un relajado espacio en el piso superior con una selección de cócteles para compartir. The renowned Café Madrid Valencia began its journey in 1940 and in the course of that journey it has become the best cocktail bar in the city and a byword for quality. Birthplace of the legendary Agua de Valencia and epicentre of bohemian, artistic and literary life in Valencia, that cultural heritage is reflected today in its cocktail menu. To bring the gathering up to date from a 21st century vision is one of the objectives of Café Madrid for what it offers a relaxed space on its upper floor and a selection of cocktails to share. Furthermore, you can celebrate events and parties for your business or with your family and friends in our SkyBar terrace or restaurant with their different atmospheres. Two cocktail menus are available for you to enjoy a welcoming, cool atmosphere in the centre of the city. A selection based on classic flavours, adjusted under Café Madrid Valencia’s new prism of excellence and modernism. The best place to have an apéritif and relive those artistic moments in an eclectic space with an industrial feel where art continues to play a transcendental role. 21st century get-togethers take place in a relaxed upstairs space with a selection of cocktails to share.
El espacio que actualmente ocupa el Mercat Central de València fue, desde la primera expansión de la ciudad, el emplazamiento habitual de los mercados ambulantes. En 1839, se inaugura, en esta ubicación, un mercado descubierto, el Mercado Nuevo, el germen del actual Mercado Central. Hacia finales del siglo XIX este mercado es claramente insuficiente para la ciudad de Valencia. En 1910, el Ayuntamiento de Valencia elige el proyecto de los arquitectos Alejandro Soler March y Francisco Guardia Vial para la construcción del nuevo mercado. Ambos se habían formado en la Escuela de Arquitectura de Barcelona y habían trabajado en el equipo de colaboradores de Luis Doménech Montaner, arquitecto que se caracterizó por un estilo propio dentro de las líneas del Modernismo. Alfonso XIII protagonizó el acto protocolario con que se iniciaron los derribos. El 24 de octubre de 1910, con una piqueta de plata dio varios golpes en el muro del número 24 de la plaza del Mercado. Finalmente, el 23 de enero de 1928, se inauguró el actual edificio del Mercat Central de València. La espectacularidad del Mercat Central de València es innegable. Se trata de una de las edificaciones más atractivas y visitadas de la ciudad de Valencia. Su arquitectura no rompe la estética de la plaza, donde se integra a la perfección con otros dos importantes monumentos: la Lonja de la Seda y la Iglesia de los Santos Juanes. Es, indudablemente, el edificio más representativo de la Valencia que a principios del siglo XX avanza hacia el progreso tecnológico y mercantil y se siente orgullosa del potencial agrícola de su huerta. Esta apuesta por el progreso y por la producción agrícola se reflejan en de la estructura modernista del mercado y de la ornamentación alegórica que observamos en su interior. Las cúpulas, de hierro, cristal y cerámica (la central, alcanza 30 metros de altura) y las veletas que las coronan - la de la cotorra y la del pez - se integran a una panorámica paisajística de torreones y campanarios eminentemente valenciana. La distribución del interior es racionalista, de manera que los puestos se sitúan a lo largo de una serie de calles rectilíneas atravesadas por dos anchas vías. Se concibió para 959 puestos, destinados en la zona general a tiendas altas cerradas para carnicería, tocinería, ultramarinos y quincalla; tiendas bajas para venta de patatas, legumbres, verduras, frutas y gallina; tiendas altas abiertas para venta de pan, volatería, carne y caza; y, en la pescadería, tiendas altas para venta de salazones y despojos, y tiendas bajas para pescado. Los dos pabellones que flanquean el acceso principal están construidos enteramente en ladrillo visto, con aplicaciones de piedra y de cerámica decorada; mientras que el cuerpo anexionado de Tenencia de Alcaldía sigue la construcción de influencia novecentista y queda rematado por torretas coronadas por pequeñas cúpulas semiesféricas. Ya se han celebrado 100 años desde la colocación de la primera piedra y 90 desde el primer día que se abrió al público. No hay expresión mejor para transmitir lo que es el Mercat Central de València en la actualidad. Un sagrado templo donde los catedráticos de los productos frescos reciben y transmiten la sabiduría de lo más sustancial, nuestra alimentación. La luz mágica que entra desde su cúpula y sus vidrieras, el susurro permanente que acaricia los oídos, la explosión de colores y de aromas, el gusto al final de los sabores clásicos y eternos, mezclados con los más sorprendentes. Un auténtico parque temático de la gastronomía. Como todos los mercados municipales, es también un elemento fundamental vertebrador de la ciudad y sus barrios. Con su actividad comercial, posibilita de manera natural la cohesión y el intercambio social, incluso a nivel intercultural e intergeneracional, de una forma mucho más espontánea y eficiente que cualquier otra iniciativa. En los mercados no solo se compra y se vende, se degusta, se habla de todo y se vive también nuestra historia y nuestra identidad. Como organismo vivo que es, ha necesitado reinventarse continuamente para llegar a este aniversario de su construcción con una excelente salud. Hay que aprovechar las nuevas tecnologías de información y de la comunicación (en las que siempre fuimos pioneros) para ofrecer venta on line, repartos por toda Europa, consignas gratuitas, etc., a la vez que se completa la oferta y los servicios del edificio, mejorando el espacio y ampliando la experiencia de compra con cultura, música, arte, literatura y cocina, mucha cocina.
Many choose Locanda Cipriani for holding their events, as the American heiress Barbara Hutton did in September 1957, when she wanted the island to be decorated by thousands of candles for her grand party. Others, however, have the desire of enjoying the pleasures of good cuisine in an oasis of beauty and tranquility, as Ernest Hemingway did in autumn 1948. During our 80 years of service, over a thousand weddings, countless receptions and business dinners have been organized. Both for large events and small groups of people, Locanda Cipriani grants the highest standards thanks to the uniqueness of its location, the professionalism of the staff, the expertise gained in over 80 years of experience and especially the quality of food. Our menus are based on the “Cipriani cuisine”, which is considered an excellence brand of Veneto and has found a high popularity among our worldwide customers. Along with the classic “Cipriani cuisine” dishes, we also propose traditional Venice cuisine, based on selected local products of our territory. Completing the offer, Locanda Cipriani has 5 bedrooms, all located on the first floor and different from each other: 3 single rooms and 2 junior suites. Molti scelgono la Locanda Cipriani per celebrarvi eventi mondani, come fece nel settembre del 1957 l’ereditiera americana Barbara Hutton che, per il grandioso party, volle l’isola decorata da migliaia di candele. Altri invece solo per il desiderio di godere dei piaceri di una buona tavola in un’oasi di bellezza ed assoluta tranquillità come fece nell’autunno del 1948 Ernest Hemingway. Sempre nel corso di questi 80 anni sono stati organizzati oltre un migliaio di matrimoni, innumerevoli ricevimenti, meeting e cene aziendali. Sia per grandi eventi che per piccoli gruppi la Locanda Cipriani garantisce i migliori standard grazie alla unicità della Location, la professionalità del personale, le competenze maturate in oltre 80 anni di esperienza e soprattutto per la qualità della cucina; i Nostri menu si basano sulla tradizione della “cucina Cipriani”, che è oramai considerata un marchio dell’eccellenza del Veneto e riscontra un alto gradimento tra la clientela di qualunque nazionalità. Accanto alla classica “cucina Cipriani” proponiamo piatti della tradizione lagunare, basati su selezionati prodotti tipici del nostro territorio. Inoltre a completamento dell’offerta, la Locanda Cipriani dispone di 5 camere, tutte ubicate al primo piano dell’edificio, ognuna diversa dall’altra: 3 singole e 2 junior suite.
Massimo Giletti is a very well known journalist from Piedmont. His father Emilio Giletti was a racing driver and an industrialist, owner of a textile factory in the Province of Biella. He started working as journalist with Giovanni Minoli, working in the staff of Rai 2 program Mixer, for six years. In 1994 started working as television host in the daily Rai 2 programs Mattina in famiglia and Mezzogiorno in famiglia, with Paola Perego. In 1996 left those programs and started presenting another show, I fatti vostri, working there until 2002. Between the 1990s and 2000s he hosted also other shows like Il Lotto alle Otto, the charity TV marathon Telethon and the primetime show La grande occasione. From September 2002 switched to Rai 1 presenting the afternoon show Casa Raiuno, aired for two seasons. In summer 2003 has presented the primetime show Beato tra le donne. In 2004/2005 hosted the Sunday afternoon show Domenica in with Mara Venier and Paolo Limiti, and the year after began presenting just a segment of Domenica in, named Domenica in - L'Arena. In the 2000s has also presented the event shows Miss Italia in the World, Sanremo and many other television shows. Massimo Giletti is a journalist and television presenter, he lives most of the time in Biella, where is his family owned textile company located in Ponzone di Trivero, a village in the province of Biella. And precisely in that place the well-known conductor owns a wonderful villa where he takes refuge when he finishes working in chaotic Milan. The Piedmontese journalist continues to lead very successfully Non è Arena, on Sunday evening in the Milanese studios of Urbano Cairo.
Wellmade è la piattaforma che permette di scoprire i migliori artigiani, conoscere il loro lavoro e recensire i loro prodotti e servizi su misura. Dalla scoperta alla condivisione, e dalla valutazione alla rivalutazione: Wellmade è una community di appassionati ed esperti che amano tutto ciò che è “bello e ben fatto”, all’interno di un’esperienza social gratificante e culturalmente evoluta. L’obiettivo è diffondere una cultura della qualità e riunire le diverse realtà che quotidianamente lavorano per la valorizzazione e la promozione dell’artigianato d’eccellenza. Ciò che è fatto bene, con le mani e con il cuore, ha un valore diverso e più alto, che il mondo dell’artigianato – realtà vasta e ricca di bellezze – permette di scoprire e riscoprire. Ma trovare la miglior qualità, valutarla e compararla alle proprie necessità non è per nulla facile. Ecco come Wellmade viene in aiuto: grazie alla continua ricerca di artigiani eccellenti e attraverso un meccanismo di recensioni da parte di utenti appassionati e di consigli da parte di ambasciatori, Wellmade desidera presentarsi come il tuo suggeritore di fiducia. Wellmade è ricerca e condivisione di tutto ciò che è ben fatto: è la reputazione di decine di esperti e l’esperienza di migliaia di amici, per aiutarti e supportarti nelle tue scelte di qualità e di valore. Wellmade is a digital platform that allows you to discover the very best Italian craftsmen, get to know their work and assess the quality of their bespoke products and services. Discovery leads to sharing; appraising enhances reassessment: Wellmade is a community of crafts lovers and experts, who love all that is “beautiful and well made”, within a gratifying, culturally advanced, experience with social networks. It aims at promoting a shared quality culture, and bringing together the different businesses that are daily engaged in enhancing and supporting high-end craftsmanship. What is well made, with hands and heart, is different and of a higher value, a value which is being rediscovered, again and again, within the vast reality of the crafts world, so rich with beauty. Finding the best quality, though, and assessing and adjusting it to one’s requirements is not always easy. Here is where Wellmade can be helpful: thanks to its ongoing research for excellent artisans and through a system of passionate users’ reviews and ambassadors’ advice, Wellmade aims at becoming your most reliable advisor. Wellmade means researching and sharing all that is “well made”: it is the reputation of dozens of experts and the experience of thousands of friends, to help and support you in your choice of quality and value.
The boutique Amedeo Canfora was founded in Capri in 1946 by Amedeo, who created an incredible array of sandals, in hundreds of styles and an infinity of colours. They are all handmade in genuine leather and with fabulous decorations using beading, artificial flowers, and other accessories. This said, in the late 1940’s, Capri’s economy was still based almost entirely on fishing and there were only a very few hotels on the island. Opposite to the most important of these, the historic Grand Hotel Quisisana, Amedeo Canfora decided to open a sandal shop. A modest little shop, with a workbench on which to make his sandals, walls hung with soles and costume jewelry, and shelves filled with books in which the measurements of the most important regular clients were recorded and carefully conserved. Today, Amedeo’s daughters Angela and Rita and their families continue the tradition, adding a touch of originality to every annual collection. Many celebrities have been fans of Canfora’s creations, among these the unforgettable Jacqueline Kennedy Onassis. More than once, late at night, Amedeo opened the shop just for the first lady, letting her choose her favourite sandals; he made created a style exclusively for her called “K”. Other customers of international fame have been in the shop, including Grace Kelly, Princess Margareth, Princess Caroline, Soraya, Maria Callas, Oona Chaplin, Sofia Loren, Clark Gable, Humphrey Bogart, Dawn Addams, Anita Ekberg, Naomi Campbell and many others.
I love life in its infinite manifestations, and becoming a mother I found it natural to care for my children and our Planet with the same spirit of gratitude and devotion. A journalist at heart, I dove with curiosity into the www – world wide web – to understand how to lighten our ecological footprint. Exploring the complex interdependence that governs life, I was struck by the speed of environmental and social degradation, and the growing distance between finance and the economics of everyday life. On the other hand, I was surprised by the abundance of information and restorative opportunities. I felt called to action – my personal challenge became collective. At home, I chose a positive attitude to transform daily habits, and in the same spirit I later chose to address readers and listeners. Starting from the macro dimension of a problem–waste, pollution, production, quality, labor–I look for the most appropriate solutions to repair. With technological advancement, tools to measure and improve the impact of human activities have increased, and while this excites me, it also invites me to be vigilant of the boundaries between natural and artificial. In all my activities, my purpose is to build critical mass, inform and motivate, promote action, collaboration and enable dialogue. Deeply empathic, I see the ability of feeling with others as a way to strengthen our sense of belonging to a fragile world and develop resilience by embracing our vulnerability. At the moment, I’m dealing with my own – stress induced alopecia.
Ottagona è una società d'interior-art-decoration. La scelta del nome Ottagona riporta alla figura dell’ottagono che dall’antichità ad oggi, dalla fisica all’architettura, richiama l’equilibrio, nel suo significato più esteso. Passando attraverso l’antica tradizione della pittura e della decorazione, usiamo tecniche tradizionali ma aggiornandole ai nuovi gusti; lavoriamo principalmente con prodotti naturali accostandoli a materiali sempre diversi. Ci piace reinventarci e lanciarci in nuove scommesse. La sfida ci stimola ad utilizzare nuovi supporti con la capacità e la curiosità di diversificare i materiali. Con il cliente proponiamo un confronto; partiamo dallo studio di bozzetti, con i quali mostriamo le nostre idee e trasmettiamo una “sensazione”, una visione di quel che sarà il nostro intervento. Studiando l’ambiente, cerchiamo d'integrare il nostro intervento nella storia del luogo e del paesaggio circostante. Ci piace definirci artigiani del colore. Insieme, nei diversi anni abbiamo eseguito lavori in Italia e all’estero, lavori in cui ci avvaliamo di fidati collaboratori. Ottagona is an interior-art decoration company based between Milan & Nice. Ottagona in fact believes in a flexible and personal design. We pay attention to the quality of the materials and their duration through time. Ottagona utilizes traditional techniques of painting & decoration but adapting them to new tastes and styles by combining traditional materials such as gold/silver leaves, pigments, marmorino and stucco to new support. Each project is unique and has been studied and created ad hoc for and with each individual client, as "we truly believe that investing on the quality of the spaces means investing on the quality on our lives".
Salvador Dalí was known for his wild art and a public personality to match, and these two elements helped him rise above the rest of the surrealists. His quote said it all, “the difference between me and the surrealists, is that I am a surrealist”. Dalí is memorable because he was a pioneer of the movement. He was involved in all aspects of artistic creation from painting, sculpture, design, drawing, movies, fashion, etc. He applied the surrealist concept to everything he said did. His audacity and rebellious attitude towards art and politics set him aside from others and allowed him to create some of the most famous and recognizable paintings of the 20th century. His unconventional style and sometimes outrageous ideas were highly sought in his commercial work – in fashion, photography, advertising and film – they brought the style to a huge popular audience. Not only did he leave a mark on surrealism, but even twenty years following his death, Salvador Dalí’s artwork and influences can be seen almost everywhere around the world. If you stop anyone in the street, most will be familiar with at least one of his images. The name Dalí is magic, he remains an icon.
La Carpentieri Profumi è un’azienda artigiana calabrese nata nel 1967 che crea con passione e professionalità profumi tipici che rievocano sensazioni ed emozioni del territorio. Le meravigliose fragranze che la nostra terra produce (Bergamotto, Gelsomino, Ginestra, Zagara, ecc…) sono la base dei nostri prodotti, cosicchè i nostri profumi sprigionano tutta la loro personalità mediterranea; come le fragranze ottenute dal Bergamotto, famoso agrume base di tutti i profumi. Ogni nostro prodotto è il risultato di passione, ricerca e tecniche di lavorazione sempre più affinate nel corso degli anni, abbinando alla tradizione l’uso di materie prime di qualità superiore. Da annoverare ai risultati ottenuti nell’ambito delle nuove creazioni vi sono il Mediterraneo, fragranza agrumata dai toni vivaci e dalle note fresche e solari e la Violetta, fragranza fiorita e fruttata, creata per le donne per le note delicate che emana. La sede dell’azienda è ubicata a San Giorgio Morgeto, paese dove ancora sopravvivono le antiche tradizioni artigianali, piccolo centro medioevale (della cui epoca custodisce un antico castello e monumenti storici) che si trova nel cuore del Parco Nazionale dell’Aspromonte e che dall’altura della sua collina domina la piana di Gioia Tauro ricca di uliveti e agrumeti. In questi luoghi, tutte le culture del Mediterraneo si incontrano in diverse fantastiche fragranze che la nostra azienda con molta maestria e impegno riesce ad afferrare e a rinchiudere nei suoi prodotti.
La Fondazione Riusiamo l’Italia è costituita dai Fondatori Signori Campagnoli Giovanni e Tognetti Roberto nel 2019. È una fondazione che non ha fini di lucro, si propone di promuovere finalità di ordine culturale, quale la promozione della cultura e dell’approccio alla rigenerazione urbana ed al riuso di spazi dismessi, ai fini di creare nuova occupabilità in particolare giovanile, privilegiando interventi nelle periferie e nelle aree interne del Paese. La Fondazione Riusiamo l'Italia e una piattaforma che serve per promuovere Azioni e progetti di semplicità civile. Essa deriva dal libro pubblicato nel 2014 dal Gruppo 24 ore “Riusiamo l'Italia. Da spazi vuoti a start up culturali e sociali” scritto da Giovanni Campagnoli con post-fazione di Roberto Tognetti. È un "road book" attivato da una ricerca sulle buone pratiche di riuso creativo degli spazi, oggi un modello di rilancio del sistema-paese in quanto l'Italia è "piena di spazi vuoti" e riuscire a riusarne anche solo una minima parte, affidandoli a delle start up culturali e sociali, può diventare una leva a basso costo per favorire l’occupazione e in particolare l'occupabilità giovanile. La piattaforma Riusiamo L’italia è libera, gratuita e facile da usare: più si caricano edifici da riutilizzare e più si aiuta l’Italia a valorizzare i suoi infiniti talenti. L’utilizzo sistemico della piattaforma attraverso un’autorità locale o un centro di competenza permette forme inedite ed estremamente efficaci di valorizzazione del territorio. Intorno all’individuazione di beni localizzati sulla piattaforma si possono promuovere progetti di sviluppo locale ad altissimo impatto sociale, culturale ed economico e a costi molto contenuti.
Poco lontano dai comuni di Canelli e di Costigliole, tra le valli del Nizza e del Tinella, sorge su un’alta collina l’abitato di Calosso con il suo non meno imponente castello. Il Castello di Calosso vero e proprio già della famiglia Roero di Cortanze nel XIV e da questa ristrutturato alla fine del Seicento, ha purtroppo in gran parte perduto l’originaria fisionomia per assumere le fattezze di un elegante dimora signorile di campagna. Tuttavia sul lato nord la fortezza cinquecentesca, con le sue bocche da fuoco e le feritoie delle casematte è rimasta quasi intatta. Il Castello è caratterizzato dalla massiccia torre cilindrica ornata da archetti pensili e merli guelfi e dal portale tipicamente settecentesco sovrastato dallo stemma dei Roero di Cortanze. Al castello di Calosso è legata la storia di Sant’ Alessandro Sauli, vescovo di Pavia (Diocesi da cui dipendeva allora Calosso) che nel 1592, durante una sua visita pastorale, venne sorpreso da grave malattia e fu dapprima ospitato dal parroco di Colosso e in secondo momento dal proprietario del Castello, Ercole Roero di Cortanze. Era l’11 ottobre 1592 quando Alessandro Sauli spirava e fu tale l’impressione suscitata dalla sua morte che nel 1683 la Camera del Castello in cui si spense venne convertita, in primo tempo, in pubblico oratorio e successivamente in cappella ed è tradizione ormai da diversi anni che i proprietari ogni 11 ottobre facciano celebrare in suo ricordo la Santa Messa. Il castello è sempre stato privato ed è passato quasi sempre per via femminile, partendo dai Roero di Cortanze, dai Colli di Felizzano, dai Gavigliani, dai Gloria, dai Ferretti di Castel Ferretto, si è giunti ai Balladore - Pallieri, attuali proprietari. Il Castello fa parte del circuito dei “Castelli Aperti”, e nelle giornate di visita, i proprietari accompagnano i turisti attraverso l’antico salone, con stucchi tipicamente settecenteschi, la Cappella dedicata a Sant’Alessandro Sauli, i sotterranei, che danno risalto dimostrando come era la fortezza e il parco da cui si gode un panorama incantevole a 360°.
The city of Pisa rises above the banks of Arno, just before the mouth of the river at Marina of Pisa. It is one of the most important cities in Tuscany, and it is extremely well-known in the world, because of its famous symbol: "the Leaning Tower". Pisa is both an ancient and modern city. On the one hand, it is proud of its past, when it was a Maritime Republic and became a world power during the Middle Ages. On the other hand, now is famous for having three of the most important universities in Italy: The Scuola Normale Superiore, the Sant'Anna school of Advanced Studies and the University of Pisa. Pisa can also be considered an international city, due to the intercontinental Galileo Galilei Airport that joints it to anywhere in the world. There are also curiosities about Pisa: in the city there isn't only one leaning Tower, but there are other two, also: the Bell Tower of San Nicola Church which is near the banks of Arno and the whole church of San Michele of Scalzi. Culturally and historically, Pisa is a very rich city. In past times, it had a lead role in some relevant historical periods, in the Middle Ages for example, when it was a Maritime Republic. Pisa was born as an Etruscan port, around the middle of the VI century. First human settlements date back to the IX century. There are many hypotheses about Pisa's origins: it is said it was a Greek country, a village of Liguria or an Etruscan city. Etruscans called the city Pise and developed the economy of the country through arts and crafts production. The city had a strategic position, because it is close to river Arno and the sea. After the first battles against Ligures, Pisa became the ally of Rome, and took place in the wars against Carthage. At the end, it became a Roman colony. Around the 15th century, Pisa was subjected by Lombards. From that moment the city became the main port of the Tyrrhenian Sea and Lombards traded with Sardinia, Corsica, Spain and France. Like all the Tuscan cuisine, the Pisan one is a simple way of cooking that combines rustic recipes and seafood. The typical Tuscan bread (without salt) represents an essential element of cooking in this region. Another typical indispensable ingredient are truffles, which are particularly popular in this area. But also Pisa's wines and its olive oil are counted among the best in Tuscany. Pisa is famous for its Tower, called the Pisa Tower or Leaning Tower, a unique monument all over the world. But in Pisa you can find other two leaning towers. The Bell Tower of San Nicola Church, near the banks of Arno. The octagonal Bell Tower is a little bit tilted and buried in the pavement compared to the current plan. The Bell Tower of San Michele of Scalzi Church. Probably due to the Arno's flood in 1966 a land subsidence caused the leaning of the Tower, that nowadays has a slope of 5%.
Costruito sul vertice della rocca di Costigliole prima del 1040, di pianta quadrangolare di 60 metri di lato, con un'altezza di 25 metri e con le quattro torri che arrivano a 28 metri, è uno dei castelli più imponenti dell'Astigiano. A est la facciata si espone con due torrette medievali centrali, tra le quali primeggia il ponte levatoio. Sulla facciata, tra le finestre del penultimo piano, svettano due statue marmoree rappresentanti Aurelio e Giorgio Verasis Asinari in vesti di guerrieri. La storia del paese è strettamente legata alle vicende del suo castello. Non è nota l’epoca in cui furono erette le prime fortificazioni: secoli di storia e numerosi rimaneggiamenti hanno portato il maniero ad assumere l’attuale aspetto imponente e maestoso. Il castello, pur presentandosi come un unico grande volume di pianta quadrilatera, manifesta evidenti differenze stilistiche sul piano architettonico, dovute all’assetto proprietario che si definì nel XVII secolo. Dal 1625 gli Asinari si spartirono il titolo di “conti di Costigliole” con un’altra famiglia, i Verasis. Il castello si trovo così diviso tra due feudatari, ognuno dei quali s’impegnò a trasformare e abbellire la propria parte secondo gusti e preferenze autonome. Il Comune di Costigliole ha acquisito nel 1928 la parte settentrionale e il parco annesso, mentre l’ex proprietà Verasis è tuttora privata. All’interno dell’edificio si conservano testimonianze artistiche di pregio, tra le quali vanno ricordati gli splendidi stucchi del piano nobile, realizzati nel 1668 dalla bottega luganese dei Bellotto, oltre al salone neoclassico, sulla cui volta è affrescato il Trionfo di Dioniso e Arianna (1817 ca.), opera del pittore Carlo Pagani. La parte pubblica del castello è diventata ormai il cuore pulsante delle iniziative culturali che animano il paese: mostre, concerti, spettacoli teatrali, manifestazioni dedicate all’enogastronomia locale trovano spazio in un contesto artistico e architettonico unico. Presso il Castello di Costigliole ha sede dal 2017 il Corsorzio del Barbera e dei vini del Monferrato.
Il castello di Burio è un castello situato nella frazione Burio, a Costigliole d'Asti, in provincia di Asti. È il secondo grande maniero della zona, dopo il castello di Costigliole d'Asti. Secondo la leggenda, il castello prende il nome, così come la località in cui sorge, dall’antico ceppo ligure degli euburiati. Nel patto di fedeltà tra gli abitanti di Costigliole e la città di Asti del 13 luglio 1198, tra i nomi dei personaggi abbienti che giurarono fedeltà compare un tale Guglielmo dei Burri, probabilmente proveniente da Burio; tale personaggio potrebbe essere il più antico esponente della famiglia Borio di Costigliole, Tigliole e Novello. Si sa che il maniero appartenne ai Pallidi fino alla fine del XVI secolo. Non ha mai ricoperto una funzione particolarmente strategica, essendo destinato prettamente ad uso agricolo. In epoca medioevale è stato di proprietà di varie famiglie astigiane che ricoprirono la Signoria di Burio, dai Pelletta ai Roero, dai Malabayla ai Pallio. Nel ’600 fu al centro della guerra fra la Spagna e l’esercito guidato dal duca Carlo Emanuele I di Savoia. Nei secoli successivi passò alla famiglia Asinari, prima che la proprietà venisse frazionata, e infine riacquisita nel XX secolo dal conte Luigi Lanzavecchia. Col passare dei secoli perse progressivamente l’originaria vocazione militare, diventando esclusivamente un centro di amministrazione delle proprietà fondiarie circostanti. Dopo essere caduto in abbandono, è stato restaurato a partire dal 1980 dagli attuali proprietari. Divenuto dimora privata, negli anni ’80 del secolo scorso è diventato sede di iniziative artistiche.
Il progetto pilota Casa21 offre l’opportunità di vivere e toccare con mano tutte le eccellenze di un’abitazione moderna che mira a restituire il comfort globale nella riqualificazione del patrimonio edilizio italiano. Dal resoconto della mappatura redatto a cura della Borghi S.r.l. risulta che in Italia esiste un vasto patrimonio immobiliare che deve essere valorizzato e messo in sicurezza, quindi ne deriva una enorme potenzialità di interventi da realizzare fidelizzandosi in partnership. Al seguente link è possibile visualizzare alcune notizie in merito all’argomento. Il progetto Casa21 non vuole fermarsi, però, alla sola riqualificazione. Il desiderio è quello di creare un precedente negli interventi ricostruendo in modo fedele, con una tecnologia elevata e non evidente “celata e nascosta, come suggerita dall’Ing. Alessandro Pozzi del comitato scientifico”. Casa21 sarà il primo indiscusso intervento di housing sostenibile che riepiloga e dimostra la sinergia di queste eccellenze abitative. La ricostruzione avverrà con l’utilizzo delle più moderne e sostenibili tecnologie; la struttura, in particolare, sarà realizzata in legno strutturale con rivestimento in pietra naturale, per ripristinare fedelmente lo stesso aspetto che il casolare aveva in origine. L’obiettivo è di ottenere il casolare originale nell’aspetto, ma con un cuore altamente tecnologico. Rispondere alle esigenze abitative contingenti di oggi nel rispetto e nel recupero della valenza architettonica di ieri. Non è un caso che Borghi S.r.l sia uno dei partners e che abbia condiviso il progetto Casa21 come protocollo di costruzione e recupero dei centri storici e dei rustici. Il progetto risponde ai requisiti etici del C.S.R. (Corporate Social Responsibility) in quanto si fa manifesto di qualità eco-sostenibile e ambientale, ma sopratutto di rispetto dell’etica del lavoro e delle professioni. Questa eccellenza è stata premiata dall’Assessore Gianni Salvadori di Regione Toscana e dall’ Assessore All’economia e Semplificazione di Regione Lombardia Massimo Garavaglia che hanno deciso di dare spazio al Progetto Casa21 all’interno di EXPO 2015. L’idea, accolta da Regione Toscana, è quella di garantire alle aziende di primo prodotto di promuovere il Made in Italy attraverso un’operazione di destination marketing per offrire visibilità non solo all’azienda, ma in generale all’arte del “ben fare italiano”, e replicare l’applicazione del protocollo alla moltitudine di edifici presenti nei cinque Comuni del Parco della Val d’Orcia. L’idea di Regione Lombardia è quella di replicare l’applicazione del protocollo al recupero delle cascine lombarde del Parco del Ticino.
Il vetro la mia passione, il mio lavoro, il mio sapere, il mio trascorso ed il mio futuro. Chiara Ferraris ha conosciuto per pura casualità questo materiale ed è stato amore a prima vista. Dopo studi scientifici ed umanistici, con un’attrazione formidabile verso la decorazione e la miniatura ha scoperto che il vetro è capace di emozionarla costantemente e la permette di trasformare i suoi impeti artistici traducendoli dal pensiero all’oggetto. Negli anni ho imparato a conoscere il mondo della vetrofusione e continuerò sempre nella ricerca dell’effetto più bello, del risultato più soddisfacente, dell’opera maxima che ogni artista cerca di creare e che, credo, mai realizzerò. Il mio mondo si è costruito negli anni ed ora sono attorniata di ex-allievi e collaboratori che con me condividono la mia passione ed il mio lavoro. Ogni opera nasce da un’idea, un lampo che fa breccia nella mente e che illumina all’istante ciò che deve essere e come verrà fatto. Io mi dedico alla vetrofusione per la potenzialità della tecnica, perché mi permette di lavorare nel tridimensionale, perché non ho limiti di dimensioni, perché è ciò che più si addice alla mia Arte. Amo altrettanto insegnare e vedere come ogni allievo declina secondo il suo sentire gli insegnamenti ricevuti e rielabora nozioni ed esperienze.
A testimonianza del passato storico di Calamandrana svetta il grande castello posto a dominio dell'antico borgo e della vallata, unico rimasto dei sei esistenti sulle colline circostanti. Nel 1682 il calamandranese Francesco Maria Cordara, divenuto conte, fece iniziare la costruzione del Castello, che è rimasto intatto fino ai giorni nostri. Nel 1943 molti soldati fuggiti dalle caserme si rifugiarono a Calamandrana, durante lo scioglimento dell'esercito italiano. Il parroco don Emilio Carozzi e la popolazione li aiutarono. Nello stesso anno a Calamandrana alta si creò una formazione partigiana. Verso la fine del 1944 avvennero numerosi scontri, durante i quali le persone venivano minacciate e le case saccheggiate. Verso la fine del 1945 i partigiani tornarono in forza. Si poteva così controllare Canelli e la strada per Nizza. In questa situazione venne incendiato anche il Municipio. Oggi l’edificio presenta un’impostazione planimetrica piuttosto irregolare ed è in parte intonacato e in parte in mattoni e pietre a vista. Sono conservate le strutture sotterranee: cantine, camminamenti e la cisterna dell’antica fortezza. Del 1983 è la ristrutturazione del soffitto del salone ottocentesco. Il castello di Calamandrana è circondato da un grande parco ed è raggiungibile attraverso una ripida e tortuosa strada; oltrepassato il cancello, la salita continua per un viale che conduce al caratteristico ponte levatoio. Attualmente il castello, dominato dall'imponente torre ottagonale, è di proprietà privata, ed è adibito ad abitazione.
Il castello di Monastero Bormida è situato nella parte bassa del paese. La torre, alta 27 metri, risale probabilmente al secolo al XI. Se l’impianto a forma quadrangolare denuncia una matrice medievale, la facciata principale di gusto barocco rivela una rielaborazione seicentesca. All’interno, soprattutto nelle stanze del piano nobile, si conservano pregevoli pavimenti a mosaico e delicati affreschi. Attraverso il caratteristico vicolo detto del Droc - dove un tempo c'era una delle porte urbiche e dove tuttora si vede l'accesso a un antico forno si raggiunge in un attimo il romanico ponte sul Bormida, che rappresenta una delle più interessanti opere d'ingegneria civile medioevale della valle e trova il suo corrispettivo, in quella di Spigno, nell'analogo ponte dell'abbazia di San Quintino. Entrambi furono costruiti dai monaci benedettini: Si tratta dI poderose strutture a schiena d'asino, sormontate da cappelle che erano antichi posti di guardia grazie ai quali i religiosi si assicuravano il completo controllo commerciale della terra estesa fra la Langa e il mare. Oggi il castello ha una facciata seicentesca e mantiene sul retro la loggia cinquecentesca che è anche visitabile. La famiglia Carretto a metà del XIX secolo cedette la proprietà alla famiglia Della Rovere a cui seguì la famiglia Polleri di Genova che la vendette al comune, attuale proprietario. Antistante al castello la caratteristica alzata a ponte e per accedere all'interno è necessario attraversare la vecchia porta d'ingresso nell'antica cinta muraria. A Monastero Bormida nacque lo scrittore Augusto Monti che spesso, nelle sue opere, ricorda la sua terra d’origine.
Estremamente scarse sono le notizie storiche sulle sue origini e vi sono non pochi dubbi sulla sua data di costruzione: c’è chi lo colloca nel XIII secolo e chi sostiene invece che la costruzione della torre risalga al 1350 e il resto ad epoca successiva. È effettivamente probabile che la grossa torre costituisse il primitivo nucleo della costruzione e i successivi corpi l’abbiano quindi completata. Attorno al Quattrocento il castello e i circostanti terreni appartenevano al marchese di Busca, i cui stemmi nobiliari furono infatti scoperti sotto gli intonaci di alcune stanze. Il castello passò poi numerosi proprietari dei quali non restano che poche notizie finché, nell’Ottocento il castello non ospitò per quasi vent’anni un personaggio del Risorgimento: Camillo Benso Conte di Cavour. Lo statista vi giunse nel 1830, ospite degli zii, la famiglia De Tonnerre. Incaricato di amministrare questi beni di famiglia, dimostrò capacità organizzativa e apertura verso le nuove acquisizioni scientifiche. Conferì una nuova impronta all’agricoltura locale: tracciò canali, adottò nuovi sistemi razionali di coltivazione, fece piantare duecentomila nuove viti e tentò la coltivazione delle barbabietole. Fu nominato sindaco del piccolo comune nel maggio 1832 a ventidue anni e tale carica mantenne fino al febbraio 1849. Dal 2014 è patrimonio mondiale dell’umanità UNESCO. In diverse sale è collocato un museo permanente, comprendente allestimenti sul Tartufo rari oggetti dell’enogastronomia locale, ambientazione della cucina albese del ‘600 e dell’800, distilleria del ‘700, bottega del bottaio, contadinerie da cortile. All’interno del Castello potete trovare l’Enoteca Regionale Piemontese Cavour all’interno della quale potrete degustare e acquistare i vini migliori e più pregiati del Piemonte a prezzi di cantina.
Il Castello Gancia, attualmente proprietà privata dell’omonima famiglia, ha una storia antica e importante. Edificato a difesa della via commerciale che univa Asti al porto di Savona, l’edificio è stato modificato, ampliato e impreziosito da elementi scultorei nel corso dei secoli. Nel Seicento, durante la guerra di successione del Monferrato, il castello e le fortificazioni vengono in gran parte distrutti dalle truppe spagnole e successivamente ricostruiti. Nel 1676 il marchese Ambrogio Antonio Scarampi Crivelli realizza il primo vero restauro dell’edificio, conferendogli, secondo il gusto dell’epoca, l´aspetto di un elegante palazzo. A partire dal Settecento il castello cambia più volte proprietà, fino al 1929, quando viene acquistato dalla famiglia Gancia che affida il progetto di trasformazione all’architetto Arturo Midana. Midana modifica l´edificio aggiungendo due ali alla struttura quadrata originaria e ripristinando un giardino all´italiana. I saloni sono impreziositi dalle decorazioni del pittore Giovanni Olindo e i numerosi stucchi policromi ai soffitti completano un effetto che, nell’intento dell’architetto e della committenza, vuole conferire al castello l’originario aspetto seicentesco.Le decorazioni del pittore canellese Giovanni Olindo, ed i numerosi stucchi policromi, richiamano la corrente barocca. Esternamente furono aggiunte due ali rendendo più imponente l’edificio. Lesene angolari e mediane rompono la compattezza della costruzione, più semplici sono le fiancate ed i corpi sporgenti. Le finestre del piano rialzato e quelle del primo piano sono sobriamente fregiate. Sopra il portale, al quale si accede per mezzo di due scale laterali, vi è una balconata la cui porta-finestra campeggia con maggior larghezza di motivi ornamentali. Tra le due rampe di scale, un’apertura porta alla piccola cappella. Significativa fu anche la sistemazione delle aree circostanti; la creazione del giardino all’italiana riporta il Castello agli splendori del 600; la portineria ricavata dal terreno scosceso verso la strada ed armoniosamente collegata ad una piccola Cappella preesistente. Al lato opposto, un vecchio fabbricato, fu adattato dal Midana ad uso autorimessa. Il Castello, così restaurato, domina tuttora l’abitato dall’alto del colle ed è punto di riferimento panoramico e simbolo di Canelli. Interessante: ambientanzione; interni; grandioso ed elegante atrio con ritmi spaziali che rammentano lo Juvarra.
A Moasca (Asti), un piccolo borgo nel cuore del Monferrato, zona la cui straordinarietà è valsa la tutela dell’UNESCO, c’è un posto in cui natura, storia, cultura ed enogastronomia d’eccellenza si incontrano e si fondono per offrire all’Ospite un’esperienza irripetibile. Questo posto è Tra la Terra e il Cielo. Il Castello trecentesco con le sue imponenti torri, la terrazza aperta sulle dolci colline, il libero accesso alle preziose opere d’arte accolte, a rotazione, nella sala espositiva, una rigorosa e accorta selezione di materie prime, piatti della tradizione piemontese con aperture al vicino Mare, i grandi Vini del Piemonte e un servizio attento, ma non invadente: tutti gli ingredienti per accompagnare l’Ospite in un percorso indimenticabile di sensazioni ed emozioni, in una dimensione di benessere profondo, Tra la Terra e il Cielo. In Moasca, a small town in the heart of the Monferrato hills declared by UNESCO a World Heritage Site, you can find a place where nature, history, culture, good wines and culinary delights meet and welcome the guests with a once in a lifetime experience. This piace is Tra la Terra e il Cielo. That means “Between Heaven & Earth”, a very suggestive restaurant and café built in a medieval castle surrounded by a green and gentle landscape. A strong attention to every detail, the art gallery upstairs, a beautiful outdoor terrace, our menu with the traditional Piedmontese recipes with a marine twist and the great Piedmont wines will make our guests love the place and really feel between heaven and earth.
Il castello era una rocca del XIV secolo, la precedente fortificazione fu rasa al suolo nel 1308, dopo un lungo e difficile assedio, non sono note né l’origine né la forma. Secondo quanto riportato da alcuni storici relativamente alle forme architettoniche relative al precedente castello si può rilevare soltanto un vago accenno alla presenza di un dongione. Al fine di comprendere le vicende che portarono alla distruzione del primitivo castello è doveroso ricordare le sanguinose lotte intestine che turbarono il comune di Asti nel Trecento. Queste ultime si collegavano agli scontri fra Guelfi e Ghibellini. Nel 1308 i Guelfi assediarono il castello di Moasca baluardo Ghibellino. L’assedio fu, senza dubbio, di non poco conto; secondo quanto riportato dagli storici i Guelfi radunarono un esercito di 300 militi chieresi. In aiuto ai Ghibellini giunse il Marchese Del Carretto con 500 fanti e 100 balestrieri. Visto tale esercito i Guelfi temettero di non farcela e chiesero nuovamente aiuto ai chieresi i quali giunsero sul posto con un esercito di 1500 uomini armati. Gli assediati nel castello di Moasca resistettero per ben 22 giorni ma quando si resero conto di non poter contare più sull’aiuto di nessuno vennero a patti ed abbandonarono la fortezza; conquistato finalmente il maniero i Guelfi Solaro lo distrussero. La ricostruzione del nuovo castello, sulle rovine del precedente, avvenne solo nel 1351. Sotto la proprietà dei Secco Suardo l’interno della costruzione medioevale era stato sicuramente abbellito e reso più confortevole. Di particolare interesse era, senza dubbio, la cantina: essa occupava tutta la zona interrata del castello; da quest’ultima si accedeva ancora ai sotterranei cunicoli definiti dallo storico astigiano “assai profondi” adibiti a prigioni. Ancora nella prima metà del nostro secolo, il castello era in condizioni discrete e di fatto abitabile, come testimonia lo svolgimento nel suo salone (70 mq.) di una rappresentazione teatrale avvenuta nel 1926. La rovina completa va datata a questo dopoguerra, quando il completo abbandono ha prodotto un tanto rapido quanto irreversibile degrado della struttura. Attualmente è rimasto in piedi solo un ultimo frammento delle poderose mura di mattoni della facciata orientale, alla cui estremità i due torrioni cilindrici, liberati svettano maestosi sul terrapieno conservando il ricordo della loro suggestiva imponenza. L’amministrazione comunale dal 1999 ha avviato un programma di recupero e valorizzazione della struttura ancora esistente effettuando, dopo aver attuato gli urgenti interventi di restauro conservativo, il recupero della vasta cantina interrata. Attualmente nella cantina trova posto la Bottega del Vino di Moasca “Nerodistelle” ed il Restaurant & Cafè, Garden Winery “Tra la Terra ed il Cielo”.
Alert is considered to be the northernmost permanently inhabited place in the world, and it is located in the vast Qikiqtaaluk Region which is part of the newest, largest, and northernmost territory of Canada, Nunavut. Located more precisely on the northern tip of Ellesmere Island, the settlement was named in 1875 after the first ship to reach the north end of the island, the British HMS Alert, although some would also say that people should always be “alerted” when coming this close to the North Pole. Since there are some inhabitants, five of them are considered to be a permanent ones while the rest are temporary where their numbers always vary more or less than 60 locals, in addition to the employees of the military signals intelligence radio receiving facility, the weather station, the Global Atmosphere Watch laboratory, and the airport. Throughout the year, Alert is five months under constant darkness, while other five under constant sun. The time in between these months is filled with sun bobs above and below the horizon, giving the illusion of normal days, even though the length of daylight and darkness varies. Still, as it appears that nothing would survive in these freezing horrific conditions, impressively there is a fauna which thrives in the entire area, and it includes musk oxen, Arctic hares, foxes, caribou, birds, and wolves. On another hand, the flora is simply limited to simple plants that are only flourishing during the months of July and August, as at this time the temperatures are at their highest, and then the plants are able to survive over the winter period. Nowadays, the settlement of Alert does not have some significant importance as it had during the Cold War, at which time it was considered to be strategically located as it is closer to Moscow than Canada’s capital, and as it was thought that the former Soviet Union could “invade” and claim the northern part of the country, the existence of the settlement was just. With the budget cuts and the end of the Cold War, today Alert enjoys a smaller spectrum of attention, even though there are some visitors who are coming to claim that they have visited the planet’s northernmost and one of the most isolated places where they have been. A true cold gem, tucked away in the white wonderland of Nunavut, Canada.
Siena is likely Italy's loveliest medieval city, and a trip worth making even if you are in Tuscany for just a few days. Siena's heart is its central piazza known as Il Campo, known worldwide for the famous Palio run here, a horse race run around the piazza two times every summer. Movie audiences worldwide can see Siena and the Palio in the James Bond movie, Quantum of Solace. Siena is said to have been founded by Senius, son of Remus, one of the two legendary founders of Rome thus Siena's emblem is the she-wolf who suckled Remus and Romulus - you'll find many statues throughout the city. The city sits over three hills with its heart in the huge piazza del Campo, where the Roman forum used to be. Rebuilt during the rule of the Council of Nine, a quasi-democratic group from 1287 to 1355, the nine sections of the fan-like brick pavement of the piazza represent the council and symbolizes the Madonna's cloak which shelters Siena. Surrounded by olive groves and the vineyards of Chianti, Siena is one of the most beautiful cities of Tuscany. Set on three hills, the city is drawn together by winding alleyways and steep steps, whilst the Piazza del Campo stands at its heart, and the Duomo and St Maria della Scala serve as additional cultural landmarks. Famed for the "Palio", the annual historic horse-races that take place on 2 July and 16 August, it is also home to one of the oldest Universities in Europe, which ensures a vibrant Italian student atmosphere throughout the academic year. In addition to the bustling daily life of the streets and squares of the city, Siena offers many cultural events, concerts, cinema, theatre and a wide range of sporting activities. Siena was originally divided into areas, called "Terzi" that means Thirds; the first one, called "Terzo di Città" was the earliest inhabited area of the city. Few geographical areas in the world can boast of the variety of environment that surrounds Siena. To the north, we have the richness of the Chianti landscape, woven with vines and olive-trees throughout the hills. Here also are beautiful towns like San Gimignano and Monteriggioni with old walls, winding streets and incredible views. South of Siena, the Arbia valley leads to the hill-top town of Montalcino, home to the famous Brunello wine. And the area of La Crete stretches out, amazing visitors with its harsh rock formations and unique landscape. Westwards we head towards the coast, to captivating coastline towns like Castiglione della Pescaia, and nature reserves like the area called Maremma. With such natural beauty within easy reach by car or public transport, Siena is a good place to base yourself for a Tuscan experience. The Chianti area, between Florence and Siena, is one of the most beautiful countrysides in Italy and a famous wine production area.
Il castello di Monale è un’imponente costruzione d’impianto medioevale più volte modificata nei secoli. Citato a partire dal XII secolo viene distrutto nel 1305 ed in seguito riedificato. Quando nel XVI secolo il feudo viene frazionato in ventesimi, gli Scarampi ne conservano la quota maggiore e rimangono proprietari del Castello. Da allora, sei secoli fa, il Castello appartiene alla famiglia Gani. Dal lontano 1161 il castello, insieme con il feudo di Monale, passò nelle mani di vari proprietari, seguendo le alterne vicende della storia. Fu dei Montenatali, del Vescovo di Asti, del Comune di Asti (a cui lo assegnò il Barbarossa), passò ai Gardini, fu teatro delle lotte fra ghibellini e guelfi e subì la distruzione ad opera di questi ultimi. Il feudo fu restituito ai Gardini nel 1309 e il castello fu riedificato dagli Asinari, che ne erano entarti in possesso. Una parte del feudo apparteneva anche agli Scarampi, ricchi banchieri astigiani, ed essi, quando nel XVI° secolo il feudo venne frazionato in ventesimi, ne conservarono a lungo la quota maggiore. Nel 1796, soppressi i feudi, gli Scarampi rimasero proprietari del castello; l'ultima Scarampi sposò un Malabaila di Canale e la loro figlia, erede del castello, lo portò in dote al conte Carlo Gani di Genova; ancor oggi il castello appartiene alla famiglia Gani. Le ultime rappresentanti della famiglia Scarampi di Monale furono due sorelle, Paola ed Adele. Il castello in mattoni, massiccio, su pianta ad "U", è circondato da un giardino cintato, in parte pianeggiante, ricavato nel XVII secolo spianando un versante della collina sulla quale è stato costruito. La merlatura bifida, che orlava cortili e torri, è stata otturata da un sopralzo, ma è ancora ben visibile su tutto il lato sud ed in altre zone. Ben conservato è il doppio fregio a denti di sega, che corre sotto la merlatura lungo le facciate sud ed est e che costituisce motivo peculiare di questa ed altre costruzioni della zona. All'interno sono ben conservate le cantine, i sotterranei e le pitture di alcuni soffitti di epoca relativamente tarda (a cavallo tra il XVIII e il XIX secolo).
Il Castello Reale di Govone fu una delle residenze della casa reale dei Savoia dal 1792 al 1870, dal 1997 è uno degli edifici parte del sito residenze sabaude iscritto alla lista del patrimonio dell'umanità UNESCO, è ora adibito a palazzo comunale. Nella posizione in cui sorge il castello, in cima alla collina, già in epoca medioevale si ergeva una fortezza. Dalla fine dell'Ottocento il castello - che ha avuto una particolare notorietà per il soggiorno, avvenuto nel 1730, di Jean-Jacques Rousseau, al tempo appena entrato al servizio del conte Ottavio Solaro - è di proprietà del comune di Govone. Come molte altre dimore storiche sabaude del Piemonte, è meta di visitatori richiamati specialmente dal monumentale e scenografico scalone d'onore a due rampe ricco di rilievi e telamoni che provengono dai giardini di Venaria Reale. Alcune sale sono decorate da preziose carte cinesi; il salone da ballo è affrescato con scene riproducenti l'episodio mitologico di Niobe - ad opera di Luigi Vacca e Fabrizio Sevesi. Degli stessi pittori sono gli affreschi del grande salone centrale che, con la tecnica trompe-l'œil, simulano la presenza di statue. Dal 2007 fa parte del circuito degli otto castelli, meglio noto come Castelli Doc. La rete dei castelli include i manieri di Grinzane Cavour, Barolo, Serralunga d'Alba, Govone, Magliano Alfieri, Roddi, Mango e Benevello. È inoltre inserito nel circuito dei "Castelli Aperti" del Basso Piemonte.
Beijing, alternately Romanised as Peking, is the capital of China, is a city where the ancient culture and the modern civilization are well integrated. It is the world's third most populous city proper, and most populous capital city. Beijing is an important world capital and global power city, and one of the world's leading centres for culture, diplomacy, and politics, business and economy, education, language, and science and technology. As one of the six ancient cities in China, Beijing has been the heart and soul of politics throughout its long history and consequently there is an unparalleled wealth of discovery to delight and intrigue travellers as they explore the city's ancient past and exciting modern development. Now it has become one of the most popular travel destinations in the world, with about 140 million Chinese tourists and 4.4 million international visitors in a year. It attracts tens of millions of visitors and tourists both at home and abroad each year to enjoy its rich culture and wonderful scenery. Beijing is endowed with rare cultural heritage by its long history. The Great Wall, one of the world wonders and the only piece of man-made architecture that can be seen from the space, meanders through mountains and valleys for hundreds of kilometres in the region of Beijing. The poetic and picturesque Summer Palace is a classic work of the imperial garden. The Forbidden City is the most splendid architectural complex of imperial palaces in the world. The Temple of Heaven is the place of worship for emperors of Ming and Qing dynasties as well as a masterpiece of ancient Chinese architectural art. The above four have all been listed in the World Cultural Heritage by the United Nations Educational, Scientific and Cultural Organization (UNESCO).
Il Castello feudale di Montegrosso D' Asti costruito nel 1134 per volontà del Marchese Bonifacio del Vasto, signore della città di Asti, domina un ampio territorio collinare a profonda vocazione viticola. È nella quiete delle sue spaziose e secolari cantine che trovano degna dimora i nobili vini doc e docg di queste terre. I vini ottenuti dopo una tradizionale e razionale vinificazione vengono opportunamente selezionati, invecchiati in fusti di rovere; successivamente, raggiunto il giusto grado di maturazione, imbottigliati e posti in apposite celle di affinamento. L'amore per il vino si tramanda di padre in figlio da molte generazioni; esistono infatti documenti che comprovano l'attività vitivinicola della famiglia Motta fin dal lontano 1794. Siamo quindi orgogliosi di offrire la nostra esperienza e tradizioni presentando oggi, come nel passato, il meglio della produzione enoica piemontese.
D'ago Cravatte is a new brand created by Giuliana Di Agostino after 30 years of experience in the hand-made tie sector and after many years of work dedicated to satisfying the needs of numerous and important companies (ZEGNA, GUCCI, TOM FORD, YSL, BRIONI). "I decided to make available my work experience for a select group of customers wishing to have a customized and high-quality customized product" begins the adventure of D'needle Cravatte, a high-quality product reflecting the class man who loves the taste of the sartorial product. D'ago Cravatte è un nuovo brand creato da Giuliana Di Agostino dopo 30 anni di esperienza nel settore delle cravatte fatte a mano e dopo tanti anni di lavoro dedicati a soddisfare le esigenze di numerose e importanti aziende (ZEGNA, GUCCI, TOM FORD, YSL, BRIONI). "Ho deciso di mettere a disposizione la mia esperienza lavorativa per un selezionato gruppo di clienti desiderosi di avere un prodotto su misura e di alta qualità" inizia l'avventura di D'needle Cravatte, un prodotto di alta qualità che rispecchia l'uomo di classe che ama il gusto del prodotto sartoriale.
In the heart of Puglia, in the characteristic and renowned town north of Bari, BITONTO, the city of extra virgin olive oil, the DANIELI Il Forno delle Puglie company has its roots in 2003. The company founded and led by DANIELE LOVASCIO, with the collaboration of young, smart and dynamic guys, has been operating for years in the field of production and marketing of typical Apulian artisan baked goods. The main product of this company to which it owes its success is IL TARALLO, offered in various shapes and flavors. DANIELI Taralli are handmade, following ancient recipes handed down in secret and scrupulously guarded. Nel cuore della Puglia, nel caratteristico e rinomato comune a nord di Bari, BITONTO, la città dell'olio extravergine di oliva, l'azienda DANIELI affonda le sue radici nel 2003. L'azienda fondata e guidata da DANIELE LOVASCIO, con la collaborazione di giovani, ragazzi intelligenti e dinamici, opera da anni nel settore della produzione e commercializzazione di prodotti da forno tipici artigianali pugliesi. Il principale prodotto di questa azienda a cui deve il suo successo è IL TARALLO, proposto in varie forme e gusti. I Taralli DANIELI sono fatti a mano, seguendo antiche ricette tramandate in segreto e scrupolosamente custodite.
Vistaterra Castello di Parella is the place where nature, science and beauty meet, giving life to an ideal, sustainable world, respectful of the planet and people, where everything is done according to rules that respect the environment, supporting growth and social well-being. Vistaterra is a completely sustainable historic home, in which to understand the origin and the secrets of quality food and wine, where to spend free time, play sports, learn, discover or simply stay in contact with nature. A village of unique experiences and moments, which have their roots in the history and culture of these places and, at the same time, transport you to a future and possible world, in full respect of the environment and people. Vistaterra è il luogo in cui natura, scienza e bellezza si incontrano, dando vita ad un mondo ideale, sostenibile, rispettoso del pianeta e delle persone, dove ogni cosa è fatta secondo regole che rispettano l’ambiente, sostenendo la crescita e il benessere sociale. Vistaterra è una dimora storica completamente sostenibile, in cui comprendere l’origine e i segreti dell’enogastronomia di qualità, dove trascorrere il tempo libero, fare sport, imparare, scoprire o semplicemente stare a contatto con la natura. Un borgo di esperienze e di momenti unici, che affondano le radici nella storia e nella cultura di questi luoghi e, al contempo, trasportano in un mondo futuro e possibile, nel pieno rispetto dell’ambiente e delle persone.
Giaquinto Associated Architects is a reference both in the national territory, where it is rooted, and in the international field, it develops and integrates specific skills with the contribution of multidisciplinary professionals who work in teams, aimed at a personalized solution of the issues addressed both on an urban scale than in the details. The constant search for young qualified skills in complementary sectors such as home automation, qualistics, ergonomics, technological innovation and composite materials qualifies their excellence. The firm offers architectural design services, urban planning and urban redevelopment, concept-design and communications, feasibility and sustainability, executive planning and cost analysis. Giaquinto Architetti Associati è un riferimento sia sul territorio nazionale, dove si è radicato, sia in campo internazionale, sviluppa e integra le specifiche competenze con il contributo di professionisti multidisciplinari che operano in équipe, finalizzato a una soluzione personalizzata dei temi affrontati sia in scala urbana che nei dettagli. La ricerca costante di giovani competenze qualificate in settori complementari quali domotica, qualistica, ergonomia, innovazione tecnologica e materiali compositi ne qualifica l’eccellenza. Lo Studio offre servizi di progettazione architettonica, progettazione urbanistica e riqualificazione urbana, concept-design e comunicazioni, studi di fattibilità e sostenibilità, progettazioni esecutive e analisi dei costi.
Chiara and Massimo Ferrero founded their art gallery, Galleria Ferrero in 2010 and since 2011 they have acquired the current exhibition space on the second floor of the historic building of Villa Nesi in Ivrea. The gallery owners are mainly art collectors and over the years have acquired and deepened the knowledge of national and international artists. At best to the collector's requests and needs. Also in 2017 a collaboration and sharing of artists with New York art galleries was born. Chiara e Massimo Ferrero fondano la loro galleria d'arte nel 2010 e dal 2011 acquisiscono l'attuale spazio espositivo al secondo piano dello storico edificio di Villa Nesi a Ivrea. I galleristi sono principalmente collezionisti d'arte e negli anni hanno acquisito e approfondito la conoscenza di artisti nazionali e internazionali.Dal 2017 la galleria d'arte si avvale della consulenza artistica di Ermanno Tedeschi per una ricerca sempre piu affinata degli artisti al fine di rispondere al meglio alle richieste e esigenze del collezionista. Sempre nel 2017 nasce una collaborazione e condivisione artisti con gallerie d'arte di New York.
As a last stop before the North Pole, formerly an Arctic outpost, now an exotic tourist destination. Svalbard is a Norwegian archipelago between mainland Norway and the North Pole. One of the world’s northernmost inhabited areas, it's known for its rugged, remote terrain of glaciers and frozen tundra sheltering polar bears, Svalbard reindeer and Arctic foxes. The Northern Lights are visible during winter, and summer brings the “midnight sun”—sunlight 24 hours a day! Svalbard is home to about 2650 people, and most of these live in Longyearbyen, the administration centre for the archipelago. There is also a Russian community in Barentsburg, a research station in Ny-Ålesund, and a few people living in Pyramiden. Svea, in Hornsund, and on Bjørnøya and Hopen. All the settlements are on Spitsbergen, except for the meteorological stations on Bjørnøya and Hopen. Approximately 2100 people live in Longyearbyen, representing over 50 nationalities. Most of the inhabitants are from Norway, and the foreign nations with the highest number of people on Svalbard are Thailand, Sweden and Russia. The average time for someone to live on Svalbard is seven years, and at the start of 2016, one in four of the inhabitants had lived here more than ten years. The people living on Svalbard are young, and compared with the mainland there is a much higher number of people between 25 - 49 years old. Very few inhabitants are over 70 here. The archipelago has an Arctic climate, but with a much higher average temperature than other areas at the same latitude, due to regular low pressure systems and the warm Atlantic Ocean currents. Today, the fjords on the west of Spitsbergen are ice free during much of the winter, but if you meet people who were here back in the day, they may tell stories of reaching Pyramiden and Barentsburg on foot over the ice. The average temperature is -16 degrees Celsius in January, and +6 in July, and there is generally little precipitation in Longyearbyen, although we can get a fair bit of stormy weather. At the coast, the permafrost layer reaches 100 metres below ground, and during the summer, it is only the first metre or so that melts. The polar night and the midnight sun rule the skies for much of the year, adding an exotic touch to your wilderness experiences.Longyearbyen experiences midnight sun from April 20 to August 23, and the dark season between October 26 and February 15. Polar bears are probably the animal that most people connect with Svalbard, but there are many other animals that call Svalbard home, including walrus, harp seals, ring seals, bearded seals, beluga, bowhead whales, narwhals, Svalbard grouse, polar fox and Svalbard reindeer. The Svalbard reindeer is genetically distinct from other species of reindeer, with short legs and a fat layer that can be 10cm thick. The sea around Svalbard is nutrient-rich, and during the summer large numbers of sea birds flock to the archipelago. There are seven national parks and 23 nature reserves, which combined cover two thirds of the archipelago, and this helps to protect the untouched and incredibly fragile ecosystem found on Svalbard.
QUIN acronimo di QUaderno di INterni. La pronuncia anglofona familiarizza fallace con queen, regina, ma la natura è italica al 100%. Fibra, artigiani stampatori, fotografi, redattori, case. Tutto rigorosamente fatto in Italia. Quin, luxury interior design rivista bimestrale ordinabile nelle rivendite di giornali al casellario home interior. Tuttavia anomala. Impiega carta spessorata patinata, verniciata sui due lati come per i volumi fotografici. Al proposito si dice che l’editore sia poco pratico e che la carta non avrà futuro. Si diranno tante altre cose. Vuole sembrare una rivista semplice, agevole nella lettura e nel giro pagina. Tuttavia la malizia c’è: si annida acuta nei testi e nei singoli scatti fotografici. Rilasciatevi e non fate opposizione. Vi porteremo altrove. Sgombrate la mensola migliore e riponetevi il primo QUIN, lasciando generoso spazio per le sorelle che arriveranno poi. Sospettate dell’amica che vorrà la vostra copia in prestito. Siate dediti al culto bimestrale di QUIN, sfogliatela, tenetela vicina, fatela conoscere, perché in edicola c’è la nuova regina. La regina che parla italiano. QUIN stands for QUaderno di INterni. The English-speaking pronunciation familiarizes fallaciously with queen, queen, but nature is 100% Italic. Fiber, artisans, printers, photographers, editors, houses. All rigorously made in Italy. Quin, luxury interior design bimonthly magazine that can be ordered in newspaper shops at the home interior filing cabinet. However anomalous. It uses coated thick paper, painted on both sides as for photographic volumes. In this regard, the publisher is said to be impractical and that paper will have no future. Many other things will be said. It wants to look like a simple magazine, easy to read and turn the page. However, there is malice: it lurks sharply in the texts and in the individual photographic shots. Release yourself and make no opposition. We will take you elsewhere. Clear the best shelf and put the first QUIN in it, leaving generous space for the sisters who will come later. Suspect the friend who wants your loan copy. Be dedicated to the bimonthly cult of QUIN, browse it, keep it close, make it known, because the new queen is on the newsstands. The queen who speaks Italian.
Mario Luzi Foundation with the aim of representing an absolute reference point for the promotion of the life and works of the great poet. The Foundation has the function of "providing for the continuation of the work of study and cultural, literary and human research aroused by Mario Luzi. The Mario Luzi Award is a literary competition, dedicated to published and unpublished poetry. The poetry contest Mario Luzi is considered among the most important literary prizes in the field of poetry competitions. Fondazione Mario Luzi con lo scopo di rappresentare un punto di riferimento assoluto per la promozione della vita e delle opere del grande poeta. La Fondazione ha la funzione di "prevedere la prosecuzione dell'opera di studio e ricerca culturale, letteraria e umana suscitata da Mario Luzi. Il Premio Mario Luzi è un concorso letterario, dedicato alla poesia pubblicata e inedita. Il concorso di poesia Mario Luzi è considerato tra i più importanti premi letterari nel campo dei concorsi di poesia.
The Consortium Il Cappello di Firenze founded in Florence. Its members are among the leading companies in this sector, the heirs to the traditional art of working with straw which found its greatest expression in the area of Signa from the latter part of the 19th century up to the present day. The manufacture of the world-famous Leghorn hat developed in this very region. Today the companies of the Consortium export their products all over the world. Nasce a Firenze il Consorzio Il Cappello di Firenze. I suoi soci sono tra le aziende leader del settore, eredi della tradizionale arte della lavorazione della paglia che ha trovato la sua massima espressione nel territorio di Signa dall'ultima parte dell'Ottocento fino ai giorni nostri. Proprio in questa regione si è sviluppata la manifattura del famoso cappello livornese. Oggi le aziende del Consorzio esportano i loro prodotti in tutto il mondo.
La Habana (Havana), the capital of Cuba, is a city full of oppositions and contradictions. Its main attractions are its beautiful historic center, exceptional architecture, the revolutionary Cuban iconography (from El Malecon to the Plaza de la Revolución (Revolution Square), passing by La Giraldilla) and its broad range of cultural offers, which makes the Havana village one of the best destinations to visit in Latin America. The history of Havana is truly fascinating, and in it, you can find interesting museums, impressive restoration projects, and a magnificent artistic and cultural heritage. Paintings, murals, novels, poetry, puntos cubanos (a Cuban music genre mixed with poetry), rumbas, the wonderful feeling in the fun Havana streets and the colorful murals will delight your senses. You will discover, behind every corner, all that this wonderful city can offer: from street music to the cabaret. One of the more attractive aspects of Havana is to see how everyday life pans out in the city: happy children playing baseball on the street, street troubadours, a group of people doing maintenance on a Plymouth from 1955 in the middle of the street… and the peculiar way in which the people of Havana, the habaneros, project themselves, create, and live above all, enjoying life. Learn about their stories and the passions that move them as you enjoy an entertaining game of dominoes and the atmosphere of tranquility that the city breathes. Variety and color aren’t only shown through the habanero art and culture, as the city’s mobile car park is one of the most impressive in the world. Hundreds of classic cars from different eras and styles make this mobile park one of the most iconic in the world. Taking a ride in one of these spectacular vehicles will make your journey a true luxury of a whole other era. The capital of Cuba amazes, with its lively nightlife and music culture that flows from all the boulevards of life. Life in Havana is spectacular, where all the musical styles are represented and live with great frenzy. The city offers a wide range of live and impromptu concerts, and in many streets and plazas you will find great local artists.
It is not surprising that the Panama Canal is called the 8th wonder of the world: the project was one of the largest and most incredible engineering feats in history. Ships no longer have to circumnavigate the continent, but can cross the 77km long canal, saving time and money. The French were the first to attempt to build a canal in 1880, but were unsuccessful. In fact, during the works, over 20,000 workers died of yellow fever and malaria, and the project was abandoned. Between 1904 and 1914, the Panama Canal was completed by the Americans, who made sure that the new waterway remained under their control. Panama had to wait until noon (Panama local time) on December 31, 1999 to officially become the owner of the canal. To travel from the Atlantic Ocean to the Pacific, ships have to overcome a vertical drop of 26 meters. The ships pass through 3 locks: Miraflores, Pedro Miguel and Gatun. An ingenious system lowers ships using gravity. The voyage through the Panama Canal takes about 8-10 hours in total, and is carried out by over 14,000 ships a year. The toll is high, but it’s still cheaper than circumnavigating South America. The locks of Miraflores offer the best views of the canal, giant water tanks and cruise ships. The locks are approximately a 30-minute drive from Panama City. There is also a visitor center with viewing platform, a restaurant with a terrace and a souvenir shop. You will also be able to admire various exhibits, scale models, video presentations and interactive modules that explain the functioning of the canal and the locks. The best way to discover the canal is to wait for a ship and observe it in action: a real spectacle. The Panama Canal is not only one of the best engineering projects for its size, it is also one of the best for its many innovative solutions. The channel is made up of fresh water, to keep the salt water away and not allow the flora and fauna of the two oceans to meet. The Gatun artificial lake has the function of a basin to allow rainwater and water from the surrounding rainforests to flow into the canal. Special electric locomotives, on both sides of the lock, ensure that the ships enter the correct position and maintain it throughout the journey.
Florence, Italian Firenze, Latin Florentia, city, capital of Firenze provincia (province) and Toscana (Tuscany) regione (region), central Italy. The city, located about 145 miles (230 km) northwest of Rome, is surrounded by gently rolling hills that are covered with villas and farms, vineyards, and orchards. Florence was founded as a Roman military colony about the 1st century BCE, and during its long history it has been a republic, a seat of the duchy of Tuscany, and a capital (1865–70) of Italy. During the 14th–16th century Florence achieved preeminence in commerce and finance, learning, and especially the arts. The present glory of Florence is mainly its past. Indeed, its historic centre was inscribed on UNESCO’s World Heritage List in 1982. The buildings there are works of art abounding in yet more works of art, and the splendours of the city are stamped with the personalities of the individuals who made them. The geniuses of Florence were backed by persons of towering wealth, and the city to this day gives testimony to their passions for religion, for art, for power, or for money. Among the most famous of the city’s cultural giants are Leonardo da Vinci, Michelangelo, Dante, Machiavelli, Galileo, and its most-renowned rulers, generations of the Medici family. Scholars still marvel that this small city of moneylenders and cloth makers without much political or military power rose to a position of enormous influence in Italy, Europe, and beyond. The Florentine vernacular became the Italian language, and the local coin, the florin, became a world monetary standard. Florentine artists formulated the laws of perspective; Florentine people of letters, painters, architects, and craftspeople began the period known as the Renaissance; and a Florentine navigator, Amerigo Vespucci, gave his name to two continents. The city has remained an important cultural, economic, political, and artistic force into the modern era, setting trends in political administration (especially under Mayor Giorgio La Pira in the 1950s and early ’60s) and even cultural innovation (as in its influential Modernist train station designed under Giovanni Michelucci, its football [soccer] stadium by Pier Luigi Nervi, and the Archizoom radical design movement active during the 1960s and ’70s). The region around the city has a modern and dynamic economy based on small industrial production. The city itself is far more dependent on tourism, though it also has developed newer sectors such as information technology. Florence’s key role as a market centre is reinforced by its location at the nexus of transport lines connecting northern and southern Italy. Area 40 square miles (104 square km). Pop. (2022 est.) 367,150.
Brusnengo is a municipality in the Province of Biella in the Italian region Piedmont, located about 70 kilometres (43 mi) northeast of Turin and about 12 kilometres (7 mi) northeast of Biella. Attested as Bruxniengo, Bruxenengo and Bruxinango, it could link to "burn" or to a Germanic name, not well identified. The citizens Brusnenghesi, a proud and hard-working people, who over the centuries has distinguished themselves for the courage and the desire to start again that has led many villagers to migrate, even very far, in search of luck. Having family members far away was normal, they explain, but for this reason a lady had a very original idea, which is still remembered in the village today. Nina Talocchino was her name, which in the mid-1900s decided to collect the news of Brusnengo, and of nearby Roasio, in a newspaper that soon began to reach all the Brusnenghesi scattered around the globe: La Voce di Brusnengo. We then continue to discover the country, a town divided into several cantons, some of which are small miniature villages in whose streets you can still breathe the past, between the brick walls and the steps that seem to await the return of the departed fellow villagers. The sacred buildings seem to be the most important, the Parish Church of Saints Pieto and Paolo or the small church of San Bernardo, make us understand how much faith is present in the community that preserves them with devotion, keeping as much as possible the Renaissance decorations of the past. With the Rive Rosse Team you can go to the discovery of the surrounding area, in a breathtaking setting, by mountain bike until you reach the Madonna degli Angeli, a small church located on a hill where you can enjoy a unique and suggestive panorama. In such a context, the cultivation of vines is very practiced and wine is one of the main products that Brusnengo has to offer, a particular and unique wine, as Filippo Barni of the homonymous farm explains, producer not only of Bramaterra and other local labels, but also of the fine Mesolone and a delicious passito wine, Cantagal.
Chiara Ferragni è una delle influencer più seguite al mondo oltre ad essere una fashion blogger molto conosciuta a livello internazionale. Il suo blog, The Blonde Salad, è diventato un punto di riferimento nel settore della moda. Prima del grande successo internazionale, quando Chiara Ferragni era ancora una giovane ragazza della provincia di Cremona, su internet era conosciuta con il nickname di Diavoletta87. A quei tempi non esistevano ancora Instagram, Facebook e Twitter e Chiara Ferragni muoveva i suoi primi passi sugli antenati dei social di oggi: Netlog e DuePuntoZero. Nonostante non fosse ancora famosa già a quei tempi Chiara Ferragni era molto amata, Diavoletta87 infatti era tra gli utenti più amati in cima alle classifiche delle ragazze più apprezzate sia su Netlog che su DuePuntoZero. Insomma, già in tenera età la Ferragni sapeva come attrarre le masse. Fu così che partì l’avventura di The Blonde Salad con un investimento di soli 10 euro per il dominio inernet e di 500 euro per una fotocamera digitale. Lo stile genuino di Chiara Ferragni si riflette alla perfezione nel suo blog dove sin dall’inizio dimostra di essere molto vicina a chi la segue, rispondendo a tutti i commenti al suo blog con consigli e ringraziamenti. Il successo internazionale arriva nel 2010 quando Chiara Ferragni viene indicata dalla rivista americana New York come “One of the biggest break out street-style stars of the year”. Da quel momento lo slancio per la carriera di Chiara Ferragni è stato enorme. Ancora più popolarità la investe nel 2011 quando Vogue la nomina “Blogger of the moment”. Oggi The Blonde Salad è un punto di riferimento per il settore della moda e si è trasformato da semplice blog in vero e proprio progetto editoriale con tanto di e-commerce a disposizione delle seguaci della influencer che possono così imitarne il look. Il successo della Ferragni è dovuto anche alla popolarità di suo marito Fedez, noto rapper, da cui ha avuto il piccolo Leone Lucia, sin dai primi giorni di vita già influencer su Instagram. Adesso Chiara Ferragni ha un seguito davvero impressionante: oltre 7 milioni di followers su Instagram, oltre 1 milione di like su Facebook e più di 300.000 followers su Twitter. Chiara Ferragni is one of the most followed influencers in the world as well as being a fashion blogger well known internationally. Her blog, The Blonde Salad, has become a leading point in the fashion industry. Before the great international success, when Chiara Ferragni was still a young girl from the province of Cremona, she was known on the internet with the nickname of Diavoletta87. In those days, Instagram, Facebook and Twitter did not yet exist and Chiara Ferragni took her first steps on the ancestors of today's social networks: Netlog and DuePuntoZero. Although she was not yet famous in those days Chiara Ferragni was very loved, in fact Diavoletta87 was among the most loved users at the top of the rankings of the most popular girls both on Netlog and on DuePuntoZero. In short, Ferragni already knew how to attract the masses at an early age. This was how the adventure of The Blonde Salad started with an investment of only 10 euros for the internet domain and 500 euros for a digital camera. The genuine style of Chiara Ferragni is perfectly reflected in her blog where from the beginning she proves to be very close to those who follow her, responding to all the comments to her blog with advice and thanks. International success came in 2010 when Chiara Ferragni was indicated by the American magazine New York as "One of the biggest break out street-style stars of the year". From that moment the impetus for Chiara Ferragni's career has been enormous. Even more popularity invested her in 2011 when Vogue named her "Blogger of the moment". Today The Blonde Salad is a point of reference for the fashion sector and has turned from a simple blog into a real editorial project with a lot of e-commerce available to the followers of the influencer who can thus imitate its look. Ferragni's success is also due to the popularity of her husband Fedez, a well-known rapper, from whom she had the little Leone Lucia, from the first days of life already an influencer on Instagram. Now Chiara Ferragni has a really impressive following: over 7 million followers on Instagram, over 1 million likes on Facebook and more than 300,000 followers on Twitter.
La Marseglia Calce S.R.L. inizia la sua attività poco prima degli anni 50, il Capostipite fu Antonio Marseglia che, in virtù delle sue esperienze lavorative acquisite sin da giovane, iniziò in modo artigianale la propria attività, cuocendo le pietre calcaree nelle cosidette fornaci a mano, ossia cumoli di pietre sistemate a spirale con crescita ad anello e sistema tondeggiante. Alla base del cumolo venivano inserite le fascine e, per non disperdere il calore all’interno della catasta, essa veniva coperta con terra dalla sommità a scendere per tutta la superfice. Tale era il metodo utilizzato sin dall’antichità. Il pregiato ossido ricavato dalla cottura del puro calcare, veniva venduto nella Provincia di Brindisi ed in parte della Regione Puglia. Negli anni 60 in virtù della continua crescita professionale, fatta di grandi consensi e numerose richieste dell’ossido, Antonio rinnova il Sito Industriale “Tino Villanova” e qui iniziava lo sviluppo Imprenditoriale con altre fornaci per la cottura a legna della pietra calcarea. Negli anni 70, con la crescita edilizia e le continue richieste dei Clienti del prodotto finito, Antonio inizia la produzione del grassello di calce, costruendo enormi vasche per la stagionatura. Nei primi anni 90 Marseglia Antonio, continuando nella prestigiosa crescita della clientela, ottenuta per la qualità e la cura del prodotto finito, e rinnova il proprio impianto innovativo sempre a Tino di Villanova. Negli anni 2.000 subentrano i figli, e nasce la Marseglia Calce Srl, continuando nel solco indicato dal Padre, mantenendo tutte quelle metodologie tramandate e acquisite nel quotidiano lavorativo, della produzione della cottura a legna sino alla cura della stagionatura in vasca, per continuare dopo 70 anni a produrre l’eccellente grassello di calce di un tempo.
In the beautiful Monferrato land, the Cantine dei Marchesi Incisa della Rocchetta, offers wines and hospitality. This boutique winery is harvesting the fruit of centuries of dedication, innovation and respect for the terroir. Among the wines we can find both high ends wines, like Sant’Emiliano, Colpo d’Ala and Marchese Leopoldo- and quality wines at friendly prices, such as Rollone, Futurosa and others. All wines that are clear on the palate while telling the tales of the terroir. In the last year of the last century, the Cantine dei Marchesi Incisa della Rocchetta made major investments in moving the winery from the centuries-old cellars of the family castle to La Corte Chiusa in the heart of the village. From here it’s easy to take a walk in the vineyards of the estate and admire the amazing view of the Monferrato hills. Filiberto and Francesca, son and daughter of Barbara Incisa, continue Today the tradition of excellence in wine making and hospitality with a unique experience.
Rodney Harrison is Professor of Heritage Studies at the UCL Institute of Archaeology. He has experience working in, teaching and researching natural and cultural heritage conservation, management and preservation in the UK, Europe, Australia, North America and South America. His research has been funded by AHRC/UKRI, GCRF, British Academy, Wenner-Gren Foundation, Australian Research Council, Australian Institute of Aboriginal and Torres Strait Islander Studies and the European Commission. Rodney was Principal Investigator and led both the Diversity theme and the Heritage Futures research programme. Rodney Harrison is (co)author or (co)editor of 17 books and guest edited journal volumes and over 80 peer reviewed journal articles and book chapters. Some of these have been translated into Chinese, Italian, Polish and Portuguese language versions.
Cecilia Falciai is specialized in the art of Scagliola and in the technique of the Florentine mosaics made by hard stones and marbles. She designs and manufactures different types of creations, from tables and panels to small interior decors and jewellery, also on commission, available for restorations too. The art of Scagliola has always fascinated her. From her father, she has inherited everything she knows about this technique. Cecilia Falciai è specializzata nell'arte della Scagliola e nella tecnica dei mosaici fiorentini realizzati con pietre dure e marmi. Progetta e realizza diversi tipi di creazioni, dai tavoli e pannelli ai piccoli decori interni e gioielli, anche su commissione, disponibili anche per restauri. L'arte di Scagliola l'ha sempre affascinata. Dal padre ha ereditato tutto ciò che sa su questa tecnica.
The Casa Clementina is an association founded with the aim of rediscovering and safeguarding national and international textile culture. The project was born from the passion for hand weaving and natural dyeing, but above all from the discovery that many textile traditions, considered by now uneconomical, were disappearing. Sissi Castellano and Stefano Panconesi meet in India on the occasion of a world conference on natural colors; they both had the same passions and the uncontrollable desire to save so many textile techniques from oblivion and to share them through teaching in a space dedicated to them. Over a course of about two thousand years, the colors of nature have always inspired and fascinated man. The dyes of natural origin used from antiquity until the mid-19th century - when they were gradually abandoned due to industrialization and the production of synthetic raw materials - characterized the way of representing and appearing of the human race, oscillating between variations, recurrance and persistence. The use of color to portray and weave has always been connected, in an articulated and complex way, to symbolic, aesthetic and cultural values; it is no coincidence that the intrinsic meaning of a color can be compared to that of a “symbol”. Each chromatic nuance has become, over the centuries, an index of certain social, political and religious spheres. La Casa Clementina è un'associazione nata con l'obiettivo di riscoprire e salvaguardare la cultura tessile nazionale e internazionale. Il progetto nasce dalla passione per la tessitura a mano e la tintura naturale, ma soprattutto dalla scoperta che molte tradizioni tessili, ritenute ormai antieconomiche, stavano scomparendo. Sissi Castellano e Stefano Panconesi si incontrano in India in occasione di un convegno mondiale sui colori naturali; entrambi avevano le stesse passioni e la voglia irrefrenabile di salvare dall'oblio tante tecniche tessili e di condividerle attraverso l'insegnamento in uno spazio a loro dedicato. Nel corso di circa duemila anni, i colori della natura hanno sempre ispirato e affascinato l'uomo. I coloranti di origine naturale utilizzati dall'antichità fino alla metà dell'Ottocento - quando furono progressivamente abbandonati a causa dell'industrializzazione e della produzione di materie prime sintetiche - caratterizzarono il modo di rappresentare e apparire del genere umano, oscillando tra variazioni, ricorrenza e persistenza .L'uso del colore per ritrarre e tessere è sempre stato connesso, in modo articolato e complesso, a valori simbolici, estetici e culturali; non a caso il significato intrinseco di un colore può essere paragonato a quello di un “simbolo”. Ogni sfumatura cromatica è diventata, nei secoli, indice di alcuni ambiti sociali, politici e religiosi.
Vito Salerno, Il ragazzo del legno, is a young man of just 26 years but his is an ancient profession that, unfortunately, is disappearing. Chessboards, clocks, tables: these are the exclusive objects that Vito Salerno, a very young craftsman from Chiaramonte, produces from wood in his garage, used as a laboratory. Vito Salerno, Il ragazzo del legno, è un giovane di appena 26 anni ma il suo è un mestiere antico che, purtroppo, sta scomparendo. Scacchiere, orologi, tavoli: sono questi gli oggetti esclusivi che Vito Salerno, giovanissimo artigiano di Chiaramonte, produce dal legno nel suo garage, adibito a laboratorio.
Firenze Convention Bureau is the division of Destination Florence Convention & Visitors Bureau whose goal is to promote the Florence destination to increase the quantity and quality of events and congresses organized in the city. We take care of researching, developing and submitting applications for national and international association events. We handle over 300 requests a year for the organization of events: we recommend the best services and the best rates. Florence Academic Leader Program aims to increase the number of international business events. Following the memorandum of understanding signed in December 2018 between the Municipality of Florence, the Metropolitan City, the Chamber of Commerce and the University of Florence, we have been selected as a single entity to carry out initiatives capable of expanding quality tourism in the city of Florence, with the aim of enhancing congress tourism and implementing interventions to de-season and relocate flows.
The AHRC Heritage Priority Area team – led by Heritage Leadership Fellow Professor Rodney Harrison, and based at the UCL Institute of Archaeology – worked with the Arts and Humanities Research Council (AHRC), the heritage research community, and heritage partner organisations, from 2017 to 2020 to draw together and stimulate the development of a wide range of research across the arts and humanities which contributed towards understanding heritage. During the project, the team aimed to support the interconnections between research, policy and practice, both in the UK and internationally. They also took on an expansive view of heritage, documented in this website, and worked towards encouraging and stimulating work that highlighted intersections between natural and cultural heritage, and key global challenges. Their vision of heritage is not so much about the past, but rather one which considers heritage to be about assembling and building futures out of those pasts in the present. They aim to bring different disciplines together to consider how heritage might contribute to key global challenges and use our three years of funding to explore how to better connect academics, practitioners and public in new, exciting and innovative ways. The website archives a programme of events and activities, complimented by videos and other sources, as well as research and leadership activities engaging with their own specific set of research themes.
Il Museo della Sindone di Torino, allestito nella cripta della chiesa del SS. Sudario, è il luogo stabilmente destinato non solo alla devozione, ma anche alla divulgazione, allo studio e alla conoscenza del Sacro Lino. Al di fuori delle periodiche ostensioni o della cappella del Duomo di Torino in cui è custodito ma non visibile, è soprattutto qui che è possibile accostarsi al Telo in modo approfondito. Inaugurato in veste rinnovata il 15 aprile 1998 dall’allora Arcivescovo di Torino, card. Giovanni Saldarini, il Museo offre un’informazione completa sulle ricerche sindonologiche dal ‘500 ad oggi, cogliendone gli aspetti storici, scientifici, devozionali e artistici. In particolare, un’ala è dedicata a un percorso scientifico che illustra l’evoluzione delle ricerche iniziate oltre un secolo fa, nel 1898. Le indagini scientifiche, che vengono documentate nel Museo, rendono conto dei numerosi sforzi di leggere la Sindone e di svelarne i misteri. Il percorso culmina nella stupefacente immagine tridimensionale del volto dell’Uomo della Sindone elaborata nel 1978 dall’equipe guidata da Giovanni Tamburelli. Ampio spazio è dedicato a ulteriori studi: sul tessuto, sulle microtracce (pollini, sangue, aloe, mirra, aragonite…) ecc. Completano l’excursus testimonianze sulle indagini medico-legali e sull’analisi iconografica. L’altra parte del museo (il percorso storico) traccia la storia – quella ipotetica e quella certa – della Sindone e della sua venerazione a partire dalla seconda metà del XV secolo, quando il Lenzuolo divenne proprietà di Casa Savoia. In questa sezione, di estremo valore risulta la cassetta utilizzata per il trasporto definitivo della Sindone a Torino nel 1578. Gioiello del museo è poi la cinquecentesca teca in argento e pietre dure che ha conservato la Sindone a partire dalla fine del 500 fino al 11 aprile 1997, giorno dell’incendio della cappella del Guarini nel Duomo di Torino. Nella sezione fotografica è conservata l’intera serie delle fotografie ufficiali della Sindone, tra cui le prime fotografie scattate da Secondo Pia nel 1898, quelle di Giuseppe Enrie del 1931, la prima immagine a colori di Giovanni Battista Judica Cordiglia del 1968, le fotografie scientifiche dello STURP del 1978, quelle di Gian Durante del 1997, 2000 e 2002 e le fotografie digitali in alta definizione di Hal9000 del 2008. La visita è preceduta da un video in cinque lingue che accoglie i visitatori e offre una lettura analitica dell’immagine sindonica.
The World Tourism Organization - UNWTO, is the United Nations agency responsible for the promotion of responsible, sustainable and universally accessible tourism. As the leading international organization in the field of tourism, UNWTO promotes tourism as a driver of economic growth, inclusive development and environmental sustainability and offers leadership and support to the sector in advancing knowledge and tourism policies worldwide. Their priorities are the mainstreaming of tourism in the global agenda: Advocating the value of tourism as a driver of socio-economic growth and development, its inclusion as a priority in national and international policies and the need to create a level playing field for the sector to develop and prosper. Promoting sustainable tourism development: Supporting sustainable tourism policies and practices: policies which make optimal use of environmental resources, respect the socio-cultural authenticity of host communities and provide socio-economic benefits for all. Fostering knowledge, education and capacity building: Supporting countries to assess and address their needs in education and training, as well as providing networks for knowledge creation and exchange. Improving tourism competitiveness: Improving UNWTO Members’ competitiveness through knowledge creation and exchange, human resources development and the promotion of excellence in areas such as policy planning, statistics and market trends, sustainable tourism development, marketing and promotion, product development and risk and crisis management. Advancing tourism’s contribution to poverty reduction and development: Maximizing the contribution of tourism to poverty reduction and achieving the SDGs by making tourism work as a tool for development and promoting the inclusion of tourism in the development agenda. Building partnerships: Engaging with the private sector, regional and local tourism organizations, academia and research institutions, civil society and the UN system to build a more sustainable, responsible and competitive tourism sector.
The FAI, Fondo per l'Ambiente Italiano, is an Italian foundation founded in 1975 with the aim of acting, non-profit, for the protection, safeguarding and enhancement of the Italian artistic and natural heritage through the restoration and opening of the assets to the public. historical, artistic or naturalistic received by donation, inheritance or loan. It promotes the education and sensitization of the community to the knowledge, respect and care of art and nature and the intervention on the territory in defense of the Italian landscape and cultural heritage. Il FAI, Fondo per l'Ambiente Italiano, è una fondazione italiana fondata nel 1975 con lo scopo di agire, senza scopo di lucro, per la tutela, la salvaguardia e valorizzazione del patrimonio artistico e naturale italiano attraverso il restauro e l'apertura al pubblico dei beni storici, artistici o naturalistici ricevuti per donazione, eredità o comodato. Promuove l'educazione e la sensibilizzazione della collettività alla conoscenza, al rispetto e alla cura dell'arte e della natura e l'intervento sul territorio in difesa del paesaggio e dei beni culturali italiani.
Art for Excellence deals with marketing and communication techniques. For about 10 years it has been organizing cultural and corporate events, from the design and conception phase, customized according to the specific needs of the customer. From identifying the most appropriate location, to that of the most qualified room staff; from the set-up, to the inauguration, accompanying the customer up to the closing phase of the event in the artistic sector. Art for Excellence si occupa di marketing e tecniche di comunicazione. Da circa 10 anni organizza eventi culturali e aziendali, dalla fase di progettazione ed ideazione, personalizzata in base alle specifiche esigenze del cliente. Dall’individuazione della location più adeguata, a quella del personale di sala più qualificato; dall’allestimento, all’inaugurazione, accompagnando il cliente fino alla fase di chiusura evento nel settore artistico.
I MagazziniOz sono un’ iniziativa di CasaOz pensata per svilupparne l’esperienza, offrire a ragazzi e adulti la possibilità di studiare, gustare, scoprire, cercare, raccontare, regalare, stare, lavorare, sostenere. Una cooperativa, una rete di persone, un progetto. Utile, per il sociale. I MagazziniOz servono a creare un modo nuovo di fare qualcosa di “utile” e di renderlo utile davvero, per tutti. Ci sono perché c’è CasaOz, perché l’attività di quella casa ha bisogno di nuove risorse, di azioni condivise, del coinvolgimento dei cittadini e di un sostegno che vada oltre il concetto di non-profit. Per questo, ogni giorno nei MagazziniOz si fanno anche cose diverse da quelle che succedono in CasaOz ma anche altre che invece fanno parte delle attività di CasaOz e saranno semplicemente in un altro luogo. MagazziniOz is an initiative of CasaOz designed to develop their experience, offer children and adults the opportunity to study, taste, discover, search, tell, give, stay, work, support. A cooperative, a network of people, a project. Useful, for social impact. MagazziniOz are used to create a new way of doing something “useful” and making it really useful, for everyone. They are there because CasaOz is there, because the activity of that house needs new resources, shared actions, citizen involvement and support that goes beyond the concept of non-profit. For this reason, every day in MagazziniOz they also do things different from those that happen in CasaOz but also others that are part of the activities of CasaOz and will be simply in another place.
Neri Torrigiani set up his Studio in 1992, focusing primarily on graphics and packaging (for diverse businesses such as fashion houses, auction houses and wine producers), on communications and public relations (ranging from the setting up of the opening events for the most prestigious boutiques in the historic centre of Florence, to the creation of specialized guides and of many websites), on the organization of events (art, fashion and crafts exhibitions) and on interior design. Neri Torrigiani works with many of the most important players in Florence’s contemporary scene, such as the Marino Marini Museum, Virgilio Sieni’s ‘Cantieri Goldonetta’, the ‘Gregor von Rezzori Literary Prize – Città di Firenze’ he is a member of the Organizing Committee, the ‘Fabbrica Europa’ Association, of which he is a founding partner, and its festival of the same name. He was also a founding partner and manager of the Art project Quarter, the ‘Centro Produzione Arte’, as well as the co-founder of Extre Toscana Contemporanea for which he also worked as the head of communications in the EX3 centre. Neri Torrigiani is the creator and organizer of the exhibition “Artigianato e Palazzo” begun in 1995; founding member of Associazione CORRI LA VITA Onlus, member of the Organization Committee and project manager of the charity project presided over by marchioness Bona Frescobaldi that has been honoured in 2012 with the “Fiorino d’Oro della Città di Firenze” by the Major Matteo Renzi; member of the Organization Committee and project manager of Festival degli Scrittori and Gregor von Rezzori prize; founding member of the Association Amici della Galleria dell’Accademia of Florence wanted by the director Cecilie Hollberg. Lo Studio inizia l’attività nel 1992 e negli anni si concentra nella grafica ed il packaging (dalla moda alle case d’asta, ai produttori di vino…), nella comunicazione (dagli allestimenti alle inaugurazioni dei migliori negozi del centro storico di Firenze, dalla realizzazione di guide specialistiche ai tanti siti Internet…), nell’organizzazione di eventi (dalle mostre d’arte a quelle di artigianato e moda…) fino alla progettazione d’interni. Neri Torrigiani collabora con molte realtà del contemporaneo a Firenze: il Museo Marino Marini, i Cantieri Goldonetta di Virgilio Sieni, il premio letterario Gregor von Rezzori – Città di Firenze di cui è membro del Comitato Promotore, l’Associazione Fabbrica Europa di cui è socio fondatore e che realizza l’omonimo Festival e nel passato del progetto Quarter – Centro Produzione Arte di cui è stato socio fondatore ed Extre Toscana Contemporanea di cui è stato socio fondatore e responsabile comunicazione del Centro EX3. Neri Torrigiani è ideatore ed organizzatore della Mostra “Artigianato e Palazzo” nata nel 1995 e sostenuta da Giorgiana Corsini insignito nel 2019 del “Fiorino d’Oro della Città di Firenze” dal Sindaco Dario Nardella; socio fondatore della Associazione CORRI LA VITA Onlus, membro del Comitato Organizzatore e responsabile comunicazione e grafica del progetto benefico presieduto da Bona Frescobaldi insignito nel 2012 del “Fiorino d’Oro della Città di Firenze” dal Sindaco Matteo Renzi e nel 2022 del “Pegaso per lo Sport” della Regione Toscana dal Presidente Eugenio Giani; membro del Comitato Promotore del Festival degli Scrittori e del Premio Gregor von Rezzori – Città di Firenze e responsabile della comunicazione; socio fondatore della Associazione degli Amici della Galleria dell’Accademia di Firenze voluta dalla direttrice Cecilie Hollberg.
Heritage Help has been created by the JCNAS (Joint Committee of the National Amenity Societies), with the support of HistoricEngland, to offer information and advice on matters related to the management and protection of local historic environments. The JCNAS (Joint Committee of the National Amenity Societies) brings together a group of national societies interested in the historic environment of England and Wales. Seven bodies form its core membership: the Ancient Monuments Society, Council for British Archaeology, Garden History Society, Georgian Group, Society for the Protection of Ancient Buildings (SPAB), Twentieth Century Society and Victorian Society. All are national, voluntary sector organisations. These societies are described in planning acts, government circulars and other guidance documents as 'The National Amenity Societies'. Together these societies represent many thousands of members who care about all aspects of the historic environment. Through this membership of enthusiasts, and the work of the professional staff in individual organisations, the JCNAS exists to promote understanding, appreciation and care of historic buildings, sites and landscapes. The core membership of the JCNAS works closely with a range of other organisations that share a concern for the historic environment. These include public-sector bodies such as Cadw and Historic England, organisations representing professional memberships such as the Institute for Historic Building Conservation, private owner-organisations such as the Historic Houses Association, as well as voluntary sector bodies with specialist interests such as the Association of Small Historic Towns and Villages (ASHTAV) and Public Monuments and Sculpture Association (PMSA). Links to all JCNAS members and associated organisations can be found in the Heritage Help directory. The core member-organisations of the JCNAS have a statutory position in the planning process as advisers on certain types of application. Additionally, each organisation is involved with activities such as advice-giving, campaigning, education and training, as well as offering a range of activities and events for members.
Architetto Antonella Barbara Caldini è una libera professionista appassionata di restauro e Conservazione, tra Acqui Terme e Genova. Coautrice della prima edizione delle linee guida per la conservazione e il recupero dell’edilizia rurale del G.A.L. Borba (Programma di Sviluppo Rurale 2007-2013) e della successiva revisione e integrazione con estensione anche alla parte naturalistica (Programma di Sviluppo Rurale 2014-2020). Consulente Tecnico di Ufficio del Tribunale Civile e Penale di Alessandria, collaboratore esterno di SOAGROUP Genova e Responsabile Qualità ISO 9001:2015 “Progettazione ed esecuzione di restauri su superfici decorate di beni immobili e mobili sottoposti a tutela” di un’impresa di restauro certificata SOA cat.OS2A classe III bis. Nel 2016 fonda restauroeconservazione.info blog verticale sul restauro e la conservazione. Nel 2020 crea la prima community di Architetti Specialisti in Beni Architettonici e del Paesaggio (allo scopo di riunire tutti gli architetti specialisti e specializzandi) e quella dei Professionisti (e appassionati) del Patrimonio Culturale.
Villa La Rotonda è l’esito felice dell’incontro tra il genio di Andrea Palladio, architetto all’apice della carriera, e il nobile vicentino Paolo Almerico (1514-1589), uomo colto, ambizioso e altero il quale affida ad Andrea Palladio il progetto per la propria villa suburbana alle porte di Vicenza. Dopo alcuni passaggi di proprietà la villa viene acquistata dai conti Valmarana di Venezia nel 1912. La Rotonda è un’icona di fama mondiale, ma per i Valmarana anche una casa. Il conte Andrea Valmarana la acquistò in pessimo stato nel 1912, abitandola con la famiglia nei mesi estivi fino agli anni ‘70. Durante la Seconda guerra mondiale fu parzialmente occupata dai Tedeschi e danneggiata dallo scoppio delle numerose bombe cadute nelle vicinanze. Dal 1976 cominciarono i grandi restauri conservativi, tutti a carico della Proprietà. Nel 1980 la Rotonda ha aperto al pubblico, rendendo accessibile anche l’interno sei anni più tardi. Nel 1994 è arrivato il prestigioso riconoscimento dell’UNESCO, primo monumento palladiano ad essere dichiarato Patrimonio dell’Umanità, seguito dal sito “La città di Vicenza e le ville del Palladio in Veneto”. Nel corso dei secoli la villa è stata meta di visite illustri: studiosi, artisti, architetti, letterati, ma anche uomini di stato e regnanti, come l’ex re d’Inghilterra Edoardo VIII accompagnato dalla moglie nel 1936. Ma la Rotonda ben si presta anche come set cinematografico: si ricorderà la famosa scena in costume settecentesco girata sulle scalinate, nel Don Giovanni di Joseph Losey del 1979. L’attuale Proprietà Valmarana intende proseguire nella direzione tracciata dal conte Andrea, integrando la conservazione architettonica alla volontà di mantenere viva la Rotonda, non solo una residenza privata ma soprattutto un bene prezioso da consegnare alle future generazioni.
L’azienda SINOPIA sas, società fondata nel 1993, è specializzata in prodotti per restauro di mobili, affreschi, dipinti, opere d’arte, decorazione e ristrutturazione. SINOPIA si distingue per la specificità e la completezza della sua gamma prodotti destinati alla conservazione e al restauro di Beni di interesse storico-artistico. I professionisti del restauro troveranno nel catalogo un valido strumento di lavoro per la scelta dei materiali più idonei ad ogni specifico intervento sia su opere murali, dipinti su tela, manufatti lignei, cartacei e in metallo, opere architettoniche. Un importante settore è anche dedicato alla decorazione di ambienti di pregio, dalle pareti ai rivestimenti fino alle pavimentazioni. Anche la finitura delle pareti diventa, con la linea SINOPIA, un elemento di arredo importante e caratterizzante. Architetti, arredatori e privati che ricerchino soluzioni personalizzate per la realizzazione di intonaci e finiture potranno confrontarsi con le proposte SINOPIA. Sinopia organizza periodicamente incontri tecnici e corsi per decoratori, restauratori, operatori tecnici e semplici appassionati su molti argomenti come il trattamento delle superfici architettoniche, il restauro di oggetti d'arte, le pitture a calce, la realizzazione di calchi e copie, la doratura e argentatura, il trucco ad effetto speciale cinematografico, ecc.
Christ the Redeemer, Portuguese Cristo Redentor, colossal statue of Jesus Christ at the summit of Mount Corcovado, Rio de Janeiro, south-eastern Brazil. Towering 2,310 feet above the city of Rio, the Christ the Redeemer statue has fascinated experts and historians for nearly a hundred years. It’s the fourth largest statue of Jesus Christ in the world, the largest Art Deco-style sculpture on the planet, and to top it all off, in 2007 the statue was deemed as one of the New Seven Wonders of the World along with Machu Picchu, the Great Wall of China and the Roman Colosseum. Perched on the summit of Mount Corcovado in Rio, the statue stands at a whopping 98 feet (or 30 metres) tall (making it two-thirds the height of New York’s Statue of Liberty), and its outstretched arms reach to 92 feet (or 28 metres) horizontally. Not only is the statue the most recognizable landmark of Rio, it’s become a cultural icon of Brazil as well. But most importantly, however, the statue has become a global symbol of Christianity that attracts millions of believers and non-believers to the top of Mount Corcovado every year. Celebrated in traditional and popular songs, Corcovado towers over Rio de Janeiro, Brazil’s principal port city. The statue of Christ the Redeemer was completed in 1931, and has become emblematic of both the city of Rio de Janeiro and the whole nation of Brazil. The statue, made of reinforced concrete clad in a mosaic of thousands of triangular soapstone tiles, sits on a square stone pedestal base about 26 feet (8 metres) high, which itself is situated on a deck atop the mountain’s summit. The statue is the largest Art Deco-style sculpture in the world. In the 1850s the Vincentian priest Pedro Maria Boss suggested placing a Christian monument on Mount Corcovado to honour Isabel, princess regent of Brazil and the daughter of Emperor Pedro II, although the project was never approved. In 1921 the Roman Catholic archdiocese of Rio de Janeiro proposed that a statue of Christ be built on the 2,310-foot (704-metre) summit, which, because of its commanding height, would make it visible from anywhere in Rio. Citizens petitioned Pres. Epitácio Pessoa to allow the construction of the statue on Mount Corcovado. Permission was granted, and the foundation stone of the base was ceremonially laid on April 4, 1922—to commemorate the centennial on that day of Brazil’s independence from Portugal—although the monument’s final design had not yet been chosen. That same year a competition was held to find a designer, and the Brazilian engineer Heitor da Silva Costa was chosen on the basis of his sketches of a figure of Christ holding a cross in his right hand and the world in his left. In collaboration with Brazilian artist Carlos Oswald, Silva Costa later amended the plan; Oswald has been credited with the idea for the figure’s standing pose with arms spread wide. The French sculptor Paul Landowski, who collaborated with Silva Costa on the final design, has been credited as the primary designer of the figure’s head and hands. Funds were raised privately, principally by the church. Under Silva Costa’s supervision, construction began in 1926 and continued for five years. During that time materials and workers were transported to the summit via railway. After its completion, the statue was dedicated on October 12, 1931. Over the years it has undergone periodic repairs and renovations, including a thorough cleaning in 1980, in preparation for the visit of Pope John Paul II to Brazil that year, and a major project in 2010, when the surface was repaired and refurbished. Escalators and panoramic elevators were added beginning in 2002; previously, in order to reach the statue itself, tourists climbed more than 200 steps as the last stage of the trip. In 2006, to mark the statue’s 75th anniversary, a chapel at its base was consecrated to Our Lady of Aparecida, the patron saint of Brazil.
Diomede Islands, also known in Russia as Gvozdev Islands, are two small islands in the Bering Strait, lying about 2.5 miles (4 km) apart and separated by the U.S.–Russian boundary, which coincides with the International Date Line. The larger island, Big Diomede (Russian: Ostrov Ratmanova [Ratmanov Island]), has an area of 4 square miles (10 square km) and is part of Chukotskiy autonomous district, in Russia. It has no permanent population but is the site of an important Russian weather station. To the east lies Little Diomede Island, a part of Alaska, inhabited by Chukchi people who are skilled seamen. The islands’ first European visitor was the Danish navigator Vitus Jonassen Bering on Aug. 16 (St. Diomede’s Day), 1728. Pop. (2008 est.) Little Diomede Island (Diomede city). Early Eskimos on the islands worked on the ice and sea and had a culture with elaborate whale hunting ceremonies. They traded with both continents. The islands were named in 1728 by Vitus Bering in honor of Saint Diomede. The 1880 Census counted 40 people, all Ingalikmiut Eskimos, in the village of “Inalet.” When the Iron Curtain was formed, Big Diomede became a Soviet military base, and all Native residents were moved to mainland Russia. During World War II, Little Diomede residents who strayed into Soviet waters were taken captive. The city was incorporated in 1970. Some residents are interested in relocating the village, due to the rocky slopes, harsh storms, lack of useable land for housing construction, and inability to construct a water/sewer system, landfill, or airport. A federally-recognized tribe is located in the community — the Native Village of Diomede. Diomede is a traditional Ingalikmiut Eskimo village with a subsistence lifestyle. Seal, polar bear, blue crab, and whale meat are the preferred foods. Mainland Natives come to Diomede to hunt polar bears. Seal and walrus hides are used to make parkas, hats, mukluks, furs, and skins for trade. The sale and importation of alcohol is banned in the village.
I'm Italian, the name of our mosaics that are entirely handmade. From the initial idea, the working table is ready with all the materials: marbles, stones, Venetian Smalti and Venetian Golds, stoneware. We keep on with ancient tradition of mosaics, martellina and tagliolo are still tools of the trade. We design and create the mosaic in all forms: cladding and decorative inserts for walls and floors, original and contemporary decor, furnishing accessories, tables, mirrors, frames, lamps, clocks, jewelry, small customised items. I'm Italian, il nome dei nostri mosaici interamente realizzati a mano. Dall'idea iniziale, il tavolo da lavoro è pronto con tutti i materiali: marmi, pietre, Smalti Veneziani e Ori Veneziani, gres. Continuiamo con l'antica tradizione dei mosaici, martellina e tagliolo sono ancora strumenti del mestiere. Progettiamo e realizziamo il mosaico in tutte le forme: rivestimenti e inserti decorativi per pareti e pavimenti, decori originali e contemporanei, complementi d'arredo, tavoli, specchi, cornici, lampade, orologi, gioielli, piccole personalizzazioni.
Saint Helena is the other side of British life, the one that very few travellers ever see. It is a place of unimaginable extremes with sub-Saharan savannah, Jurassic rainforest and English country gardens. It exists in a bubble, a headache-inducing distance off the coast of southwest Africa in the middle of the South Atlantic. Go farther west and you are on a coconut-fringed bay in Brazil. Neighbours here aren’t easily won. Saint Helena Island, located in the South Atlantic Ocean approximately 1,860 kilometres (1,156 miles) west of Africa, was one of the many isolated islands that naturalist Charles Darwin visited during his scientific voyages in the nineteenth century. He visited the island in 1836 aboard the HMS Beagle, recording observations of the plants, animals, and geology that would shape his theory of evolution. This image was acquired by astronauts onboard the International Space Station as part of an ongoing effort (the HMS Beagle Project) to document current biodiversity in areas visited by Charles Darwin. The island’s sharp peaks and deep ravines; the rugged topography results from erosion of the volcanic rocks are what makes up the island. The change in elevation from the coast to the interior creates a climate gradient. The higher, wetter centre is covered with green vegetation, whereas the lower coastal areas are drier and hotter, with little vegetation cover. Human presence on the island has also caused dramatic changes to the original plants and animals of the island. Only about 10 percent of the forest cover observed by the first explorers now remains in a semi-natural state, concentrated in the interior highlands. Saint Helena Island is perhaps best known as the place where Napoleon Bonaparte I of France was exiled following his defeat at the Battle of Waterloo in 1815; he died and was buried on the island in 1821. Later, his remains were returned to France. Today, the island is a British Overseas Territory, with access provided thirty times a year by a single ship, the Royal Mail Ship St. Helena.
DiCultHer International Association for the Promotion of Digital Culture. During the depression of the Thirties, young people were asked to build motorways and bridges with shovel and pickaxe: the infrastructures for the development of the twentieth century economy. To overcome the current crisis, young people are asked to build digital content available to all: the infrastructures for the development of the twenty-first century economy. To help young people in this task, the International Association for the Promotion of Digital Culture DiCultHer was born. The Network School in Digital Cultural Heritage, Arts and Humanities DiCultHer aggregates over sixty organizations between universities, research institutions, schools, higher technical institutes, cultural institutes, associations and public and private companies, with the common goal of giving birth to a widespread campus' able to activate the development of a training offer coordinated with the national system to build the complex digital skills essential to the increasingly complex and heterogeneous comparison with the smart society, within the framework of a scalable model at European level.
The company and the Principe Corsini brand are synonymous with quality and excellence. In the production of wine and oil, within the property of Villa Le Corti in the Chianti Classico and Tenuta Marsiliana in Maremma, there is a perfect balance between agriculture and conservation. But Principe Corsini is also synonymous with hospitality, good food and unforgettable experiences. The wines and oil from the Principe Corsini estates are produced with total respect for nature and seasonality. Thanks to the uniqueness of the vines, each wine is a true expression of the territory of origin. As well as oil, still worked in the traditional way in the old mill owned by the Corsini family. The Corsini family boasts nine centuries of history, is one of the few Florentine family with illustrious ancestors including a Pope, Clement XII, and a saint, Andrea Corsini bishop of Fiesole. Corsini family members held positions of primary role in the commercial, financial, political, ecclesiastical and agricultural fields. L'azienda e il marchio Principe Corsini sono sinonimo di qualità ed eccellenza. Nella produzione del vino e dell'olio, all'interno della proprietà di Villa Le Corti nel Chianti Classico e della Tenuta Marsiliana in Maremma, c'è un perfetto equilibrio tra agricoltura e conservazione. Ma Principe Corsini è anche sinonimo di ospitalità, buona cucina ed esperienze indimenticabili. I vini e l'olio delle tenute Principe Corsini sono prodotti nel totale rispetto della natura e della stagionalità. Grazie all'unicità dei vitigni, ogni vino è una vera espressione del territorio di origine. Oltre all'olio, ancora lavorato in modo artigianale nell'antico frantoio di proprietà della famiglia Corsini. La famiglia Corsini vanta nove secoli di storia, è una delle poche famiglie fiorentine con antenati illustri tra cui un Papa, Clemente XII, e un santo, Andrea Corsini vescovo di Fiesole. I membri della famiglia Corsini ricoprono incarichi di primaria importanza in campo commerciale, finanziario, politico, ecclesiastico ed agricolo.
Trisomia 21 APS is a social promotion association that cares for people with Down syndrome or related genetic intellectual disabilities, and their families. In 2009 in Florence in Viale Volta we inaugurated our Center for the habilitation development of people with Down syndrome or other intellectual handicap, recognized by the Tuscany Region as a health rehabilitation center with executive decree no. 1653 of 9 April 2010, later confirmed during the three-year renewal with executive decree no. 3488 of 3 August 2012, unique in the whole region for completeness of services and number of users, followed globally both in the health and care sectors from birth to adulthood. Here we are committed to offering parents and their children a complete response, both medically and socially, together with support throughout the evolutionary process, from birth to placement in school and in the world of work. The experience of similar Centers already existing in some Italian cities indicates that people with Down syndrome or other similar handicap can be inserted and integrated into society, as long as they are treated correctly from an early age.
The contemporary Arual Dem jewels are unique pieces made by hand with magazine paper, recycled cardboard and valuable cardboard from important paper mills such as Fabriano. Arual Dem is a project of eco-sustainability and fashion design focused on jewelry and accessories in paper, material considered poor but which instead has an intrinsic richness and infinite possibilities of processing. Everything is focused on craftsmanship: the hands are guided by the knowledge, experience and passion create beauty. I gioielli contemporanei Arual Dem sono pezzi unici realizzati a mano con carta da riviste, cartone riciclato e cartone pregiato di importanti cartiere come Fabriano. Arual Dem è un progetto di ecosostenibilità e fashion design incentrato su gioielli e accessori in carta, materiale considerato povero ma che invece possiede una ricchezza intrinseca e infinite possibilità di lavorazione. Tutto è incentrato sull'artigianalità: le mani sono guidate dalla conoscenza, l'esperienza e la passione creano bellezza.
The Great Pyramid of Giza is a defining symbol of Egypt and the last of the ancient Seven Wonders of the World. It is located on the Giza plateau near the modern city of Cairo and was built over a twenty-year period during the reign of the king Khufu (2589-2566 BCE, also known as Cheops) of the 4th Dynasty. The pyramid rises to a height of 479 feet (146 metres) with a base of 754 feet (230 metres) and is comprised of over two million blocks of stone. Some of these stones are of such immense size and weight (such as the granite slabs in the King's Chamber) that the logistics of raising and positioning them so precisely seems an impossibility by modern standards. The pyramid was first excavated using modern techniques and scientific analysis in 1880 by Sir William Matthew Flinders Petrie (l.1853-1942), the British archaeologist who set the standard for archaeological operations in Egypt generally and at Giza specifically. Although many theories persist as to the purpose of the pyramid, the most widely accepted understanding is that it was constructed as a tomb for the king. Exactly how it was built, however, still puzzles people in the modern day. The theory of ramps running around the outside of the structure to move the blocks into place is still debated by historians. So-called "fringe" or "New Age" theories abound, in an effort to explain the advanced technology required for the structure, citing extra-terrestrials and their imagined frequent visits to Egypt in antiquity. These theories continue to be advanced in spite of the increasing body of evidence substantiating that the pyramid was built by the ancient Egyptians using technological means which, most likely, were so common to them that they felt no need to record them. Still, the intricacy of the interior passages, shafts, and chambers (The King's Chamber, Queen's Chamber, and Grand Gallery) as well as the nearby Osiris Shaft, coupled with the mystery of how the pyramid was built at all and its orientation to cardinal points, encourages the persistence of these fringe theories. Another enduring theory regarding the monument's construction is that it was built on the backs of slaves. Contrary to the popular opinion that Egyptian monuments in general, and the Great Pyramid in particular, were built using Hebrew slave labour, the pyramids of Giza and all other temples and monuments in the country were constructed by Egyptians who were hired for their skills and compensated for their efforts. Toward the end of the Early Dynastic Period (c. 3150-c.2613 BCE) the vizier Imhotep (c. 2667-2600 BCE) devised a means of creating an elaborate tomb, unlike any other, for his king Djoser. Prior to Djoser's reign (c. 2670 BCE) tombs were constructed of mud fashioned into modest mounds known as mastabas. Imhotep conceived of a then-radical plan of not only building a mastaba out of stone but of stacking these structures on top of one another in steps to create an enormous, lasting, monument. His vision led to the creation of Djoser's Step Pyramid at Saqqara, still standing in the present day, the oldest pyramid in the world. Still, the Step Pyramid was not a "true pyramid" and, in the period of the Old Kingdom (c. 2613-2181 BCE) the king Sneferu (r.c. 2613-2589 BCE) sought to improve on Imhotep's plans and create an even more impressive monument. His first attempt, the Collapsed Pyramid at Meidum, failed because he departed too widely from Imhotep's design. Sneferu learned from his mistake, however, and went to work on another - the Bent Pyramid - which also failed because of miscalculations in the angle from base to summit. Undeterred, Sneferu took what he learned from that experience and built the Red Pyramid, the first true pyramid constructed in Egypt.
Kamchatka Peninsula, also spelled Kamčatka, Russian Poluostrov Kamchatka, peninsula in far eastern Russia, lying between the Sea of Okhotsk on the west and the Pacific Ocean and Bering Sea on the east. It is about 750 miles (1,200 km) long north-south and about 300 miles (480 km) across at its widest; its area is approximately 140,000 square miles (370,000 square km). Two mountain ranges, the Sredinny (“Central”) and Vostochny (“Eastern”), extend along the peninsula and rise to 15,584 feet (4,750 metres) in Klyuchevskaya Volcano. The trough between these mountain chains is occupied for much of its length by the Kamchatka River. Of the 127 volcanoes, 22 are still active, as are a number of geysers and hot springs. Most of the active volcanoes lie along a fault line on the eastern flank of the Vostochny Range. The western coastlands of the Kamchatka Peninsula form a low plain crossed by many rivers and with extensive swamps, while the eastern coast is an alternation of broad gulfs and cliffed, mountainous peninsulas. A small geothermal-power station uses underground steam and is in operation near the southern end of the peninsula. The climate of the Kamchatka Peninsula is severe, with prolonged, cold, and snowy winters and wet, cool summers. Most of Kamchatka is tundra supporting mosses and lichens, with thickets of Kamchatka alder. Sheltered lowlands—notably the valley of the Kamchatka River, which separates the mountain chains—are in birch or larch forest, with poplar and willow in wetter areas. Watch the Sockeye salmon fish return to Lake Kuril in Russia's Kamchatka Peninsula to spawn while the brown bears wait to prey. The only important economic activity is fishing, especially crabbing, around the coasts. Agriculture is limited; some cattle and reindeer are kept. The main centre is the city and port of Petropavlovsk-Kamchatsky, which is located on the south-eastern coast of the peninsula. Most of the inhabitants are Russian, with indigenous Koryak, Chukchi, and Kamchadal.
Bruna Tatafiore is an architect who applied her geometry studies to tailoring. Her research and study in the textile field began in 2000 when she began, combining different materials, the production of clothing and accessories. Her passion was born when she started painting silks and making shoes. It was a short step from shoes to clothes. Bruna Tatafiore continues her research on the union of different materials for the production of clothing and accessories. This creative path begins by drawing on paper with pencils and crayons, then bringing the creations on the fabric or painting or using scissors, threads and sewing machine, using colored ribbons, velvets, silks and anything else has awakened her curiosity. Bruna Tatafiore è un architetto che ha applicato i suoi studi di geometria alla sartoria. La sua ricerca e studio nel campo tessile inizia nel 2000 quando inizia, unendo diversi materiali, la produzione di capi di abbigliamento e accessori. La sua passione è nata quando ha iniziato a dipingere sete e fare scarpe. Il passo dalle scarpe ai vestiti è stato breve. Bruna Tatafiore continua la sua ricerca sull'unione di diversi materiali per la produzione di abbigliamento e accessori. Questo percorso creativo inizia disegnando su carta con matite e pastelli, poi riportando le creazioni sul tessuto o dipingendo o utilizzando forbici, fili e macchina da cucire, utilizzando nastri colorati, velluti, sete e quant'altro abbia risvegliato la sua curiosità.
Tedavi '98 creates entertainment events: from theatrical performances, to the production of short films, from shows for dinners to the rental of historical costumes. Our production company has refined its experience in the field of theater, film and television production. There are many documentaries made with illustrious partners (La7, BBC, SkyTV, NHK, etc), films that have allowed a large audience to learn about fascinating and mysterious stories. Professionalism, availability and tenacity are the strengths of our work. A solid and reliable team that offers a wide range of services for the realization of film and television productions. Our courses aim to teach the necessary tools to the world of theater. Together with show business professionals, it will be easier and more immediate to understand all the mechanisms that move the art of theater. To experience the thrill of getting on stage at least once in your life. Tedavi '98 has a database full of contacts of actresses and actors who have a vast experience behind them in the theatrical, television and cinema fields. Tedavi '98 realizza eventi di intrattenimento: dagli spettacoli teatrali, alla produzione di cortometraggi, dagli spettacoli per cene al noleggio di costumi storici. La nostra casa di produzione ha affinato la propria esperienza nel campo della produzione teatrale, cinematografica e televisiva. Sono tanti i documentari realizzati con partner illustri (La7, BBC, SkyTV, NHK, etc), film che hanno permesso a un vasto pubblico di conoscere storie affascinanti e misteriose. Professionalità, disponibilità e tenacia sono i punti di forza del nostro lavoro. Un team solido e affidabile che offre una vasta gamma di servizi per la realizzazione di produzioni cinematografiche e televisive. I nostri corsi mirano a insegnare gli strumenti necessari al mondo del teatro. Insieme ai professionisti dello spettacolo, sarà più facile e immediato comprendere tutti i meccanismi che muovono l'arte del teatro. Per provare l'emozione di salire sul palco almeno una volta nella vita. Tedavi '98 dispone di un database ricco di contatti di attrici e attori che hanno alle spalle una vasta esperienza in ambito teatrale, televisivo e cinematografico.
Both an artist and a goldsmith, Andrea Cadoni crafts precious jewellery characterised by extraordinary creativity and a skilful artisanal technique. His creations are unique, highly communicative and, just like in the most enthralling tales, the manifold sculptured and multifaceted details captivate us even in the simplest of objects. He was born in Cagliari in 1978 and he grew up in the mining village of Montevecchio, a charming locality in western Sardinia, where a strong bond with the typical nature of the island developed, which he later codified and expressed in his artefacts. After his course of studies at the School of Art of Alghero, where he specialised in the sculpture of coral and precious stones, in 2000 he started his activity as sculptor and goldsmith, distinguishing himself. The feature of Andrea Cadoni’s jewellery is the unusual use of seashells which he collects on the Sardinian beaches and manufactures according to his inspiration deriving from the original shapes, sculpting faces and decorations that bear distinctive and recognisable traits. Designed as one-off creations linked to a particular creative bent, his gold and silver necklaces, rings, earrings, bracelets, belts and buckles feature full chiselled shapes with finely carved stones and shells combined with other natural materials of the island, such as juniper wood. The collections Faces, Moments of Daily Life and Insects explore the issues that currently pique Andrea’s imagination, in an ever-evolving creative process. Finally, the collection Special objects has an impressive scenic impact, with its sophisticated sculptures which are both compound and transformable. Artista e orafo, Andrea Cadoni realizza pregiati monili di forte estro creativo e sapiente tecnica artigianale. Le sue sono creazioni uniche, di forte impatto comunicativo e come nelle narrazioni più avvincenti ci si sofferma nella lettura dei dettagli, sempre molteplici, scultorei e sfaccettati anche negli oggetti più semplici. Nato a Cagliari nel 1978, cresce nel borgo minerario di Montevecchio, suggestiva località della Sardegna occidentale, in cui sviluppa un forte legame con la natura isolana che sarà poi codificato ed espresso nelle sue creazioni. Formato all’Istituto d’Arte di Alghero con specializzazione nella scultura del corallo e delle pietre dure, avvia nel 2000 la sua attività artigianale di scultore e orafo distinguendosi nel tempo per il carattere sperimentale e di ricerca. I gioielli di Andrea Cadoni si caratterizzano per l'inusuale uso delle conchiglie cercate e raccolte nelle spiagge isolane e lavorate seguendo le suggestioni delle forme originali, facendo emergere con tecnica scultorea volti e decori dal tratto distintivo e riconoscibile. Concepiti come opere uniche e legati ad un particolare momento creativo, collane, anelli, orecchini, bracciali, cinture e fibbie in oro e argento sono caratterizzati da fogge ricche e cesellate con l'impiego di pietre e conchiglie finemente scolpite accostate ad altri materiali naturali del territorio isolano come il legno di ginepro. Le collezioni dedicate ai Visi, agli Attimi di vita quotidiana e agli Insetti approfondiscono temi attualmente indagati in un processo creativo in continua indagine ed evoluzione. Di particolare impatto scenico è infine la linea degli Oggetti speciali, sofisticate sculture composte e trasformabili.
Behind Valevu there are women who believe in teamwork, in the strength of Italian design and its raw materials and who carry the tradition of handmade. The idea was born in 2014 as a game using materials from the sector considered waste but in reality a rich treasure. With a sewing machine and the young experience of the pattern maker-designer Valentina, the first pieces were created that received a lot of encouragement. Thanks to the strength of the passion for fashion and style, thanks to creativity and the desire to believe that with small steps, humility and perseverance you can achieve great results. Handmade and made in Italy bags. Essential and sober design combined with exclusively Italian craftsmanship. The bags were cut, sewn and assembled by the hands of an artisan who takes care of every detail with dedication and rigor. Precisely for this reason its appearance is unique and unrepeatable. Valevu bags are born from the belief that there is no contrast between tradition and innovation and that there is no truly modern artisan product capable of ignoring our rich past. Materials of the Tuscan artisan tradition such as scrupulously selected leathers and leathers are combined with contemporary fabrics born from the intertwining of cotton threads and PVC yarns resulting from the most modern weaving techniques. Young and enterprising, the designer Valentina creates collections using the "LESS IS MORE" principle, inspired by her training in architecture and in particular by the poetics of a great master of architecture, namely L. M. Van Der Rohe. A creative process of continuous search for simplicity. Dietro a Valevu si nascondono donne che credono nel lavoro di squadra, nella forza del design italiano e delle sue materie prime e che si portano la tradizione del fatto a mano. L’idea nasce nel 2014 per gioco utilizzando materiali provenienti dal settore considerati scarto ma in realtà un ricco tesoro. Con una macchina da cucire e la giovane esperienza della modellista-designer Valentina si sono creati i primi pezzi che hanno ricevuto molti incoraggiamenti. Grazie alla forza della passione per la moda e lo stile, grazie alla creatività e al voler credere che con piccoli passi, umiltà e costanza si possono raggiungere grandi risultati nasce. Borse fatte a mano e made in Italy. Design essenziale e sobrio abbinato ad artigianalità esclusivamente italiana. Le borse sono state tagliate, cucite ed assemblate dalle mani di un’artigiana che con dedizione e rigore ne cura ogni dettaglio. Proprio per questo il suo aspetto è unico ed irripetibile. Le borse Valevu nascono dalla convinzione che non esista contrasto tra tradizione e innovazione e che non ci sia prodotto artigianale realmente moderno capace di prescindere dal nostro ricco passato. Materiali della tradizione artigiana toscana come pelli e cuoi scrupolosamente selezionati si abbinano a tessuti contemporanei nati dall’intreccio di fili di cotone e di filati in PVC frutto delle più moderne tecniche di tessitura. Giovane e intraprendente la designer Valentina crea collezioni utilizzando il principio “LESS IS MORE” ispirandosi alla sua formazione di studi in Architettura ed in particolare alla poetica di un grande maestro dell’architettura ossia L. M. Van Der Rohe. Un processo creativo di continua ricerca della semplicità.
I create my works by recycling and reusing materials, which have a new shape and charm. Nature is the protagonist of my creations. Through fashion, I want to help sensitize people to ecology and respect for the environment. The jewels have always had a unique communication power in their kind. Those signed Thya Bijoux by Lidia Sanna characterize and enhance the wearer, giving it grit and originality. By Lidia Sanna. Creo le mie opere riciclando e riutilizzando materiali, che hanno una nuova forma e fascino. La natura è la protagonista delle mie creazioni. Attraverso la moda, voglio aiutare a sensibilizzare le persone all'ecologia e al rispetto per l'ambiente. I gioielli hanno sempre avuto un potere comunicativo unico nel loro genere. Quelli firmati Thya Bijoux di Lidia Sanna caratterizzano ed esaltano chi li indossa, conferendogli grinta e originalità. Di Lidia Sanna.
Kyoto (京都, Kyōto) served as Japan's capital and the emperor's residence from 794 until 1868. It is one of the country's ten largest cities with a population of 1.5 million people and a modern face. Over the centuries, Kyoto was destroyed by many wars and fires, but due to its exceptional historic value, the city was dropped from the list of target cities for the atomic bomb and escaped destruction during World War II. Countless temples, shrines and other historically priceless structures survive in the city today. Kyoto, located in the Kansai region of Japan, is the country's seventh largest city, with a population of 1.4 million people. Steeped in history, Kyoto is home to roughly one quarter of Japan's national treasures, countless shrines and temples, and seventeen sites recognized by UNESCO as World Heritage Sites. Travelers to Kyoto can easily spend a week visiting the city's historical attractions such as the Kyoto Imperial Palace, Kinkakuji (Golden Pavilion), and Sanjusangendo. All sections of the city contain more than one locale well worth a thorough visit, Notably, some of Japan's oldest traditions, such as the tea ceremony, flower arranging, and geisha schooling originated in the city. These ancient customs, while still practiced throughout Japan, can only be observed in their original setting in Kyoto. Japan's capital city and the emperor's residence from 794 to 1868, Kyoto is known throughout the world for its stunning beauty. Tourists are drawn year-round by the majestic palaces, statues, and villas, as well as by the carefully tended gardens; each spring, dozens of varieties of cherry trees bloom in Kyoto, and visitors are treated to time-honored hanami (blossom viewing) parties. Kyoto is dedicated to preserving Japan's oldest traditions, yet it is also a dynamic, contemporary city. Modern conveniences are readily available, making Kyoto a perfect destination for visitors looking to explore Japan's past without sacrificing the comforts of today. Known as a national dining mecca, Kyoto proudly offers traditional Japanese cuisines, such as sushi, tofu and obanzi (Kyoto home-style fare). In addition, a variety of restaurants serve everything from Korean barbecue to French cuisine. Shopping is also a unique experience in Kyoto, with merchandise ranging from traditional Japanese crafts made by local artisans to cutting-edge couture. Among Japan's many assets, Kyoto is one of the most prized, comparable only to the world's most dazzling places.
From the workshops of the best Master Artisans to the inauguration of The Arco Azzurro in 2011, Alberto Giampieri opened his laboratory with the aim of creating an art studio to house Crafts, Art and Design. His collection of vase sculptures, The White Symphony, perfectly blends the Liberty style and contemporary Pop Surrealism to create splendid dreamlike compositions. With his many collections, simple and rich in color, Giampieri is the winner of the OMA Craftsman Award and of Blogs & Crafts 2017. Alberto Giampieri is the whole package when it comes to ceramics. As a child, he began experimenting with moulding his toys, before growing up and transforming his passion into a profession. He trained with several Florentine masters, but he is primarily self-taught. Since 2011, he’s worked in his own workshop, crafting elegant majolica vases and sculptures. He has two main collections and personally oversees every phase, from the potter’s wheel to the glazing, which few others still do today. One is The White Symphony, inspired by early 20th-century Art Nouveau designs and characterized by their delicate sculptural additions, while the other stands out for its eastern-style abstract motifs and decorations.
1930 was the year when it all began: on August 13 Rocco's grandfather started his business of artisanal pastry shop with the inauguration of a stone oven in Piazza Assunta, in Delianuova. He was essentially a self-taught man, but the tenacity and passion led him to still produce quality and appreciated products: biscuits, savoiardi, paste secche and even ice cream and granita using the icebox, a luxury for the times. He considered himself a craftsman, because he worked essentially for the local lords or for particular events. When he married, the Pastry Shop began to take on a different connotation, thanks to the managerial management of that little big woman. And as things started to go well, they chose a different, more central location in Via Roma. Rocco's father was not destined for this job. In fact, at 24, he joined his brother in Canada and started helping him in his bakery for 5 long years. When he received the proposal to become a member of the business, almost determined to accept it, he wanted to return to Italy to talk about it first with my grandparents. By now they were old and tired to run a business alone. The day of the decision occurred in conjunction with the visit, in the pastry shop, by a representative of pastry paper. It was then that he asked hid son, Rocco's father, if he should order a new supply of paper, with the words “Rocco Scutellà and son”, or suspend orders and close the business. He decided not to leave, and took the situation in hand, reviewing, for example, the prices of nougat, too low compared to the quality of the product. In 1992, he wanted to renovate the premises and, at the same time, he started directing his son Rocco, towards an apprenticeship in a craft workshop. For 3 years, therefore, Rocco worked in the small workshop of Luigi Pellegrino in Messina, innovator of the pastry shop for those times, which made him fall in love even more with this profession. After the Sicilian experience, he began to follow pastry courses throughout Italy every year. "I knew well, and I am still aware today, that there is always something to learn, which is why I try to improve myself day after day". Before starting to use mother yeast in 2007, Rocco took courses with experts such as Maestro Achille Zoia or Maestro Rolando Morandin. From there started producing small and large leavened products, such as panettone, a gamble for us that we are known above all for the pure almond nougat. In 2012 was inaugurated the new historical restaurant, still in Via Roma, a few meters away from the previous one. It is the place that contains all the sacrifices and the work of three generations, and that manages, better than any word, to let the world know about us. In that same year, the whole process began to become part of the Italian Master Pastry Chef Academy. A rigid and very long journey, which ended in March 2015, just in time to share this great joy with his greatest Master, my father.
Domenico Papalia, artista poliedrico calabrese, scultore e restauratore, esprime al meglio la propria arte ideando e realizzando sculture astratte e figurative utilizzando qualsiasi materiale: marmo, pietra, bronzo, legno, argilla, ferro, ecc. Oltre alla realizzazione delle Sue meravigliose opere, Domenico Papalia, nel corso degli anni, ha eseguito innumerevoli lavori di restauro, soprattutto restauro pittorico e pubblicazioni editoriali quali nel 2010 L’uomo e la materia, nel 2005 Le Vibrazioni e nel 2004 La Pietra Verde. Insignito di riconoscimenti, onorificenze e vincitore di diversi premi risulta essere a livello locale e nazionale un artista di riconosciuta importanza e fama. Impegnato nella comunicazione dell’arte, come docente, ha illustrato il significato delle sue opere e le tecniche a platee vaste in seminari, convegni, presso la propria galleria durante le varie visite effettuate da scolaresche, gruppi e associazioni e durante le lezioni frontali effettuate nelle istituzioni scolastiche. Tutte le opere dell’artista Domenico Papalia sono tali da trasmettere emozioni profonde e sensazioni di bellezza estetica e rendono universale l'amore per l’arte in tutti coloro che le osservano. La motivazione, il talento, la professionalità, l’esperienza di vita, acquisite negli anni, fanno si che i suoi lavori prendano vita, forma, colore trasmettendo vibrazioni, emozioni a chi osserva l’opera nella sua essenza. Ama profondamente la terra dov'è nato con tutte le sue contraddizioni e la sua meravigliosa natura fonte d'ispirazione di molte delle sue opere.
Villa Monastero in Lake Como, is one of the main attractions in the area for its strategic historic-landscape-environment position and for the various services it offers; the central nucleus is a House-Museum, recognized as a museum in 2004 by the Lombardy Region, and completely accessible to the public with an exhibition itinerary running through fourteen fully furnished rooms, with original furniture and decorations. There is also a world-famous Congress Centre in this historic home near Lake Como, renowned for the physics lessons held in 1954 by the Nobel prize-winner Enrico Fermi. The Italian Physics Society still organizes courses in Villa Monastero every year. The Villa offers numerous possibilities to companies, universities, firms, associations and research centres to hold conferences, seminars, training courses, workshops and other cultural manifestations in an extremely attractive location. The name of this marvellous villa derives from its monastic origins as a convent dating back to the 12th century. It can be admired today in its present aspect of a late nineteenth century eclectic home, surrounded by a Botanic Garden extending for almost two kilometres along the lake front from Varenna to Fiumelatte. The garden attracts about 100.000 visitors every year, offering leisure or learning opportunities due to the presence of numerous rare species of indigenous and exotic trees which now remarkably number more than 900 specimens, earning it the regional recognition of Botanical Garden. The particularly mild climate typical of the lake allows botanical rarities from all over the world to live together in this garden. The context of Villa Monastero also offers the possibility of developing and deepening educational and recreational activities for school outings or families. The beauty and exclusiveness of the site mean that Villa Monastero is also suitable as a photographic set for prestigious Italian or foreign fashion or travel magazines. This magical setting is also the perfect place for celebrating weddings, with its Botanical Garden, rich in plants, flowers and poetic views, and the marvellous rooms of the House-Museum.
Since Tommaso Pedani was a boy, he always needed to feed his passion for music, beginning to play the piano at the age of six. As time passed, He practiced also the study of the saxophone and electric bass, especially in his teenage years, then Tommaso Pedani chose, after his high school degree, to attend a seven-month course of Technical Sound Engineering, moved always by curiosity to deepen the study of digital music processes, acoustic science and electronic music, such as audio editing, sound diffusion instruments and production techniques. For two years, Tommaso Pedani took doublebass lessons at the Scuola di Musica di Fiesole, but it was only after a few lessons in complementary harmony, held by maestro Portera that he started, finally, to study composition with him. For three more years he spent his time composing and experimenting music, getting awards, performances and publications of his operas. In 2015, Tommaso Pedani launched his own business in Firenze, and the production of instruments proceeds constantly. Fin da ragazzo ho sempre avuto bisogno di alimentare la mia passione per la musica, iniziando a suonare il piano all'età di sei anni. Col passare del tempo ho praticato anche lo studio del sassofono e del basso elettrico, soprattutto nella mia adolescenza, poi ho scelto, dopo il diploma di maturità scientifica, di frequentare un corso di sette mesi di Tecnica del suono, mosso sempre dalla curiosità di approfondire lo studio dei processi musicali digitali, delle scienze acustiche e della musica elettronica, come l'editing audio, gli strumenti di diffusione del suono e le tecniche di produzione. Per due anni ho preso lezioni di contrabbasso presso la Scuola di Musica di Fiesole, ma è stato solo dopo alcune lezioni in armonia complementare, tenute dal maestro Portera, che ho iniziato, finalmente, a studiare composizione con lui. Per altri tre anni ho trascorso il mio tempo componendo e sperimentando musica, ottenendo premi, spettacoli e pubblicazioni delle mie opere. Nel 2015 ho avviato la mia attività a Firenze e la produzione di strumenti procede costantemente.
Studio Calcografico Ippogrifo was formed in 1977 in Florence, in the historic district of San Frediano, with the aim of researching, studying and using the ancient techniques of metal engraving. In particular, it is to the study and application of etching, and of the techniques that complement and accompany it, such as aquatint, ceramolle, burin, that the graphic founders of the Hippogriff have dedicated years of their research and their applications. . The path chosen, in addition to allowing the natural expression of the artist, has led to the composition of a real technical service through which anyone who wishes can create a high quality image, to be used for furniture, gifts, tourism or business promotion, and in any case suitable for all occasions in which the creation of a personalized artistic object allows you to remember and maintain the reasons for its creation over time. Inside the site you can see many examples of engravings reserved for Bodies, Municipalities, Companies, Shops or made for private individuals; the section "service" describes how to create an image on demand. Il gruppo dell' Ippogrifo si forma nel 1977 a Firenze, nello storico quartiere di San Frediano, ponendosi come fine la ricerca, l'approfondimento e l'utilizzo delle antiche tecniche dell'incisione su metallo. In particolare è allo studio e l'applicazione dell' acquaforte, e delle tecniche che la completano e accompagnano, come l'acquatinta, la ceramolle, il bulino, che i grafici fondatori dell'Ippogrifo hanno dedicato anni delle loro ricerche e delle loro applicazioni. La strada scelta, oltre a permettere la naturale espressione dell'artista, ha portato alla composizione di un vero e proprio servizio tecnico attraverso il quale, chiunque voglia, possa creare un immagine di alta qualità, da destinare all'arredamento, al regalo, al turismo o alla promozione aziendale, e comunque adatta a tutte le occasioni nelle quali la creazione di un oggetto artistico personalizzato permette di ricordare e mantenere nel tempo le ragioni della sua creazione. All'interno del sito sono visibili molti esempi di incisioni riservate ad Enti, Comuni, Aziende, Negozi o realizzate per privati; nella sezione "servizio" è descritto come poter creare un'immagine su richiesta.
Takafumi Mochizuki lives in Florence since 2007 and in 2008 he learned the art of restoration of artistic furniture and wood inlay at the workshop of the Renato Olivastri Master Restorer. In 2014 he opened a shop in San Frediano, where he has applied his method for inlaying. Takafumi Mochizuki vive a Firenze dal 2007 e nel 2008 ha appreso l'arte del restauro di mobili artistici e intarsi in legno presso la bottega del Maestro Restauratore Renato Olivastri. Nel 2014 ha aperto un negozio a San Frediano, dove ha applicato il suo metodo per l'intarsio.
The Vivoli Gelateria was founded as Latteria Vivoli back in 1929. The family lived in Pelago, a village located between the plains and the mountains. It was hard times for all the Italians and one of the three brothers, Serafino, decided to try his luck by moving to Florence. He opened the Dairy in via Isola delle Stinche n. 3/r in the popular district of Santa Croce. The area was full of artisan shops of all kinds and the dairy soon became a pleasant meeting point where to have coffee every day and to buy whipped cream on Sundays. The arrival of his brother Raffaello gave a further impulse to the activity and in 1932 he decided to try with ice cream. Obviously at that time there were no fridges and to make ice cream you had to resort to buying ice, which came from the Apennines, to be exact from a place called Saltino. In that region were large pools that in winter used to be filled with water that turned into ice because of the cold. The people involved in this work used to use peaks to broke into large blocks the formed ice to be stored immediately in the underground rooms where they were stored until the indicated time to be taken to the city and be sold to whom will need them. That's how the Gelatiere work of Raffaello began. During that time, Saltino's location was not only famous for its ice production, but it was also a popular summer resort. To escape from the heat of the cities, the people who had the means to do it, used to go to the Saltino hotels. The Vivoli family did not miss the opportunity to make their gelato known to non-Florentine tourists and it was in 1936 that a branch of the Florentine dairy in Saltino was opened only during the summer period. Many renovations were carried out in 1941, 1959, 1984, 1997, 2002 and 2017. In the 60's, things were good for the Vivoli family; the passion for good ice cream, the scruple in the choice of raw materials, the enthusiasm for presenting the finished product given an increasing popularity to the gelato and the quality of it was really appreciated. However, on November 4, 1966 the activity in Florence was interrupted drastically due to a flood that wiped out most of the city. A new business renovation was carried out in 1967 after the flood. Piero Vivoli and his family, with the usual tenacity, gave their all and after just two weeks they were able to reopen the business. In the 70s, the Vivoli ice cream shop was the favorite meeting point for young and old. In the 70s, the Vivoli ice cream shop was the favorite meeting point for young and old. Students, Italians and foreigners, artists, motorcyclists, whole families, gathered in Vivoli for an ice cream after dinner. The American, English, French and German tour guides, strangers to the Vivoli family, realized this and little by little began to point out the ice cream shop as a place you should visit when you were in the city; first, for the delicious ice cream and second, for the cheerful atmosphere that reigned there.
St. Petersburg's most popular visitor attraction, and one of the world's largest and most prestigious museums, the Hermitage Museum is a must-see for all first-time travellers to the city. With over 3 million items in its collection, it also definitely rewards repeat visits, and new-comers can only hope to get a brief taste of the riches on offer here, from Impressionist masterpieces to fascinating Oriental treasures. One estimate has it that you would need eleven years to view each exhibit on display for just one minute, so many visitors prefer to organize a guided tour to ensure they have time to catch all the collection's highlights. Art aficionados, however, may find it more rewarding to seek out for themselves the works that they are particularly interested in. The bulk of the Hermitage collection is housed in the Winter Palace, formerly the official residence of the Romanov Tsars, and its several annexes. However, there are a number of other sites that constitute part of the Hermitage, including the recently opened Storage Facility in the north of St. Petersburg, which offers guided tours through some of the museum's vast stocks. Our guide to visiting the Hermitage is designed to help you find your way around this enormous collection, with a detailed tour of the main site and individual information on each of the affiliated museums. In 1754 Empress Elizabeth Petrovna approved the design for a new winter residence in Baroque style by the architect Bartolommeo Francesco Rastrelli. Construction of the new palace took over eight years, covering the last years of Elizabeth's reign and the short rule of Peter III. In autumn1763, Empress Catherine II returned to St Petersburg after her coronation in Moscow and became the royal mistress of the Winter Palace. Empress Elizabeth wished the beauty of her sumptuous new palace to eclipse that of the leading European royal palaces. Construction required an enormous sum of money and involved vast numbers of labourers. Over 4,000 people, including Russia's greatest specialists, worked on the creation of the Winter Palace. Contemporaries describe the luxurious decoration of the state and other rooms (over 460 in all). But the architect was unable to complete the work as originally intended, for the new monarch, Catherine the Great, was an admirer of the new architectural fashion, Neoclassicism. She was to seek new designers and architects to carry out her plans. On the order of Empress Catherine II the architect Yuri Velten erected a two-storey building next to the Winter Palace between 1765 and 1766. He combined features of the fading Baroque style and elements of the new fashion known as Neoclassicism. Between 1767 and 1769, the architect Vallin de la Mothe constructed a pavilion for Catherine to relax on her own or with her most intimate friends. This contained a state room, several drawing-rooms and a hothouse. Now the Neoclassical style was truly coming into its own, but the austere proportions of the building are still finely balanced with the Baroque architecture of the Winter Palace. The rhythm of the colonnade of Corinthian columns in the second tier emphasizes the architectural unity of two buildings very different in style. The two southern and northern pavilions were then connected by construction of a Hanging Garden (raised above ground level, on the next floor) with galleries running along both sides. The whole architectural ensemble took its name from the northern pavilion and is to this day known as the Small Hermitage. Here Catherine II gave entertainments with games and plays, her so-called "small hermitages" and here she initially housed her first art purchases.
The Metropolitan Museum of Art presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in two iconic sites in New York City—The Met Fifth Avenue and The Met Cloisters. Millions of people also take part in The Met experience online. Since its founding in 1870, The Met has always aspired to be more than a treasury of rare and beautiful objects. Every day, art comes alive in the Museum's galleries and through its exhibitions and events, revealing new ideas and unexpected connections across time and across cultures. The Metropolitan Museum of Art collects, studies, conserves, and presents significant works of art across time and cultures in order to connect all people to creativity, knowledge, ideas, and one another. The Metropolitan Museum of Art's earliest roots date back to 1866 in Paris, France, when a group of Americans agreed to create a "national institution and gallery of art" to bring art and art education to the American people. The lawyer John Jay, who proposed the idea, swiftly moved forward with the project upon his return to the United States from France. Under Jay's presidency, the Union League Club in New York rallied civic leaders, businessmen, artists, art collectors, and philanthropists to the cause. On April 13, 1870, The Metropolitan Museum of Art was incorporated, opening to the public in the Dodworth Building at 681 Fifth Avenue. On November 20 of that same year, the Museum acquired its first object, a Roman sarcophagus. In 1871, 174 European paintings, including works by Anthony van Dyck, Nicolas Poussin, and Giovanni Battista Tiepolo, entered the collection. On March 30, 1880, after a brief move to the Douglas Mansion at 128 West 14th Street, the Museum opened to the public at its current site on Fifth Avenue and 82nd Street. The architects Calvert Vaux and Jacob Wrey Mould designed the initial Ruskinian Gothic structure, the west facade of which is still visible in the Robert Lehman Wing. The building has since expanded greatly, and the various additions—built as early as 1888—now completely surround the original structure. The Museum's collection continued to grow throughout the rest of the 19th century. The 1874–76 purchase of the Cesnola Collection of Cypriot art—works dating from the Bronze Age to the end of the Roman period—helped to establish The Met's reputation as a major repository of classical antiquities. When the American painter John Kensett died in 1872, 38 of his canvases came to the Museum, and in 1889, the Museum acquired two works by Édouard Manet. The Museum's Beaux-Arts Fifth Avenue facade and Great Hall, designed by the architect and founding Museum Trustee Richard Morris Hunt, opened to the public in December 1902. The Evening Post reported that at last New York had a neoclassical palace of art, "one of the finest in the world, and the only public building in recent years which approaches in dignity and grandeur the museums of the old world." By the 20th century, the Museum had become one of the world's great art centers. In 1907, the Museum acquired a work by Auguste Renoir, and in 1910, The Met was the first public institution in the world to acquire a work of art by Henri Matisse. The ancient Egyptian hippopotamus statuette that is now the Museum's unofficial mascot, "William," entered the collection in 1917. Today, virtually all of the Museum's 26,000 ancient Egyptian objects, the largest collection of Egyptian art outside of Cairo, are on display. By 1979, the Museum owned five of the fewer than 35 known paintings by Johannes Vermeer, and now The Met's 2,500 European paintings comprise one of the greatest such collections in the world. The American Wing now houses the world's most comprehensive collection of American paintings, sculpture, and decorative arts. Other major collections belonging to the Museum include arms and armor, the arts of Africa, Oceania, and the Americas, ancient Near Eastern art, Asian art, costume, drawings and prints, European sculpture and decorative arts, Greek and Roman art, Islamic art, medieval art, modern and contemporary art, musical instruments, photographs, and the Robert Lehman Collection. Today, tens of thousands of objects are on view at any given time in the Museum's two-million-square-foot building. A comprehensive architectural plan for the Museum by the architects Kevin Roche John Dinkeloo and Associates was approved in 1971 and completed in 1991. Among the additions to the Museum as part of the master plan are the Robert Lehman Wing (1975), which houses an extraordinary collection of Old Masters, as well as Impressionist and Post-Impressionist art; The Sackler Wing (1978), which houses the Temple of Dendur; The American Wing (1980), whose diverse collection includes 25 recently renovated period rooms; The Michael C. Rockefeller Wing (1982) displaying the arts of Africa, Oceania, and the Americas; the Lila Acheson Wallace Wing (1987) of modern and contemporary art; and the Henry R. Kravis Wing (1991) devoted to European sculpture and decorative arts from the Renaissance to the beginning of the 20th century. With the expansion of the building complete, The Met has continued to refine and reorganize its collection. In 1998, the Arts of Korea gallery opened to the public, completing a major suite of galleries devoted to the arts of Asia. The Ancient Near Eastern Art galleries reopened to the public in 1999 following a renovation. In 2007, several major projects at the south end of the building were completed, most notably the 15-year renovation and reinstallation of the entire suite of Greek and Roman Art galleries. Galleries for Oceanic and Native North American Art also opened in 2007, as well as the new Galleries for Nineteenth- and Early Twentieth-Century Paintings and Sculpture and the Ruth and Harold D. Uris Center for Education. On November 1, 2011, the Museum's New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia opened to the public. On the north side of the Museum, The Met's New American Wing Galleries for Paintings, Sculpture, and Decorative Arts reopened on January 16, 2012, signaling the completion of the third and final phase of The American Wing's renovation. In May 2021, The Met installed a plaque on the Fifth Avenue facade recognizing Lenapehoking, the homeland of the Indigenous Lenape peoples.
A successful entrepreneur, Massimiliano Vallarino Gancia moves from the family business worldwide known as Gancia in the wine sector to food made in Italy. Managing Co-Owner Lentini Production Srl-Lentini Autentica Tradizione Italiana -Turin Italy-Handmade Gourmet Frozen Pizza and Food to make a success with a new challenge. Imprenditore di successo, Massimiliano Vallarino Gancia passa dall'azienda di famiglia conosciuta nel mondo come Gancia nel settore enologico al food made in Italy. Contitolare Lentini Production Srl-Lentini Autentica Tradizione Italiana -Torino Italia-Pizza e Alimenti Surgelati Gourmet Artigianali per fare un successo con una nuova sfida.
On the hill of Coverciano in Florence, Mariapaola Pedetta, set designer, costume designer and stylist, founds DEJAMIS: “deja” - “mis” already put. As the word suggests, the project is based on the idea of creating new outerwear by transforming and redesigning old furs. This is how Mariapaola creates the #nonewfur movement, an ethical supply chain that the designer moves with the help of expert Florentine furry craftsmen, creating a new, tailor-made garment, recycling the existing one and giving it a personality, respecting natural resources. and human. Each garment is enriched with decorations and fabrics from other cultures, sought after and selected for their beauty and history. In 2018 Dejamis launched its first collection by reinventing and re-evaluating a garment considered outdated and obsolete: the gilet. Playing with fabrics, decorations and colors, the dejamis vest becomes a simple, versatile, fun and above all feminine garment. Original pieces of Indian, Ottoman and Afghan ethnic groups are combined with small flower linings on soft and colorful Lapin rex. “Mainly in Tuscany I enter the companies and look for often forgotten fabrics, I insert details, original antique pieces, local artifacts that I find in the markets, in the countries of origin, from importers. Every little embroidery found somewhere in the world becomes a perfect detail for the creation of a jacket, a waistcoat. " - Mariapaola Pedetta Nella collina di Coverciano a Firenze Mariapaola Pedetta, scenografa, costumista e stilista, fonda DEJAMIS: “deja”-”mis” già messo. Come suggerisce la parola il progetto si sviluppa sull’idea di realizzare nuovi capi-spalla trasformando e ridisegnando vecchie pellicce. E’ così che Mariapaola crea il movimento #nonewfur, una filiera etica che la stilista muove con l’aiuto di esperti artigiani pellicciai fiorentini, creando un capo nuovo, su misura, riciclando l’esistente ed attribuendoli una personalità, nel rispetto delle risorse naturali e umane. Ogni capo viene arricchito con decori e tessuti provenienti da altre culture, ricercati e selezionati per la loro bellezza e storia. Nel 2018 Dejamis lancia la sua prima collezione reinventando e rivalutando un capo considerato sorpassato e obsoleto: il gilet. Giocando con tessuti, decori e colori il gilet per dejamis diventa un capo semplice, versatile, divertente e soprattutto femminile. Pezzi originali di etnie indiane, ottomane e afghane si uniscono a fodere di piccoli fiorellini su Lapin rex soffice e colorato. “Principalmente in Toscana entro nelle aziende e cerco tessuti spesso dimenticati, inserisco particolari, pezzi originali antichi, manufatti locali che rintraccio nei mercati, nei paesi d'origine, da importatori. Ogni piccolo ricamo trovato in qualche parte del mondo diventa un dettaglio perfetto per la realizzazione di una giacca, di un gilè.” - Mariapaola Pedetta
The desire for a home... This is the spirit that gave birth to Cesare for the study MOSSO Tecnico immobiliare, from the union and synergy of technicians and mediators, to be able to meet all the needs concerning "the home world". The technical department, allows us to solve all the problems related to our property, ensuring its legal compliance, construction and land registry, studying with our customer all the possible opportunities to enhance our good. La voglia di casa... Questo è lo spirito che ha dato vita a Cesare per lo studio MOSSO Tecnico immobiliare, dall'unione e sinergia di tecnici e mediatori, per poter soddisfare tutte le esigenze che riguardano "il mondo casa". L'ufficio tecnico, ci permette di risolvere tutte le problematiche legate al nostro immobile, garantendone la conformità legale, edilizia e catastale, studiando con il nostro cliente tutte le possibili opportunità per valorizzare il nostro bene.
An ancient home of the early twentieth century, renovated and decorated following what has always been Barbara Maldini's passion for art and color. It is also the place where her interior projects are born and where she teaches courses in decorative painting techniques. Un'antica dimora dei primi del Novecento, ristrutturata e decorata seguendo quella che è sempre stata la passione di Barbara Maldini per l'arte e il colore. È anche il luogo dove nascono i suoi progetti di interni e dove tiene corsi di tecniche di pittura decorativa.
The Bell Tower is one of the best things to do in Perth. The must-see tourist attractions located on Riverside Drive overlooks the picturesque Swan River. Filled with fascinating historic content and boasting a unique and distinctive design - resulting from a major architectural competition - it has become an icon for Perth and Western Australia. The Bell Tower is one of the essential places to go in Perth. Commemorating Australia's bicentenary in 1988, the twelve bells of St Martin in the Fields as well as five specially cast bells were presented to the University of Western Australia, the City of Perth and to the people of Western Australia. The London diocese of the Church of England and the parish of St Martin-in-the-Fields gave authority for the project to proceed. The additional bells cast in 1988 include two from the cities of London and Westminster, who each gifted one bell to the project, and a total of three bells bestowed by a consortium of British and Australian mining companies. Completing the ring of eighteen bells, a sixth new bell was commissioned by the Western Australian Government to mark the second millennium. Our bell ringers could best be described as a musical collective, a group of like-minded players who come together to practise a style of music known as change ringing. Formally they are the St Martin’s Society of Change Ringers Inc. Informally they’re known as the Bell Ringers, and operate as the Bell Tower’s ‘house band’. Established in 2000, they’re an extremely varied group of people of all ages and from all walks of life. Over the last 20 years they’ve provided an un-interrupted service to the tower and the broader community, ringing for a range of events from Anzac Day to the Festival of Perth to corporate functions and weddings. Along with being one of the top things to see in Perth, The Bell Tower is also a unique party venue in Perth, offering venue hire for corporate functions, small weddings, parties and more.
Life Beyond Tourism is a movement that has its roots in the hotel world. It was born with the aim of promoting knowledge between countries of different cultures and contributing to the spread and affirmation of universal values such as respect and harmony between peoples, to transform the tourist experience from a simple opportunity for recreation into a precious one. moment of encounter between subjects of different cultures. Born from the almost thirty-year activity of the Romualdo Del Bianco Foundation in Florence as a proposal for a travel model that enhances local traditions and goes beyond the tourism of services and consumption, it is a promoter of responsible and not only sustainable tourism, as opposed to tourism of mass that is "killing" our planet.
Vittorio Umberto Antonio Maria Sgarbi is an Italian art critic, art historian, politician, cultural commentator and television personality. He is also curator of major international exhibitions, a prolific writer of best-selling books, host of successful programs that have remained in the history of television, politician, counter-current free thinker and tireless defender of art and culture. Born in Ferrara on 8 May 1952, Vittorio Sgarbi graduated in Philosophy with a specialization in History of Art at the University of Bologna, and was an official assigned to the Superintendence of Artistic and Historical Heritage of Venice. He was professor of History of Artistic Techniques at the University of Udine (1984-1988) and of History of Photography at the University of Bologna (1974-1978). From 1992 to 1999 he conceived and conducted “Sgarbi Quotidiani”, a successful television column which in 2000 earned him the victory of the Flaiano International Award for Television. He collaborates with Il Giornale, L'Espresso, Panorama, IO Donna of Il Corriere della Sera, and curates the columns “Sgarbi vs Capre” for the Quotidiano.net, and the Weekly Sgarbi for “Oggi”. He is an academic of the Georgian Academy of Treia and of the Rubiconia Academy of the Philopatrians. He is Commander of the Order of San Maurizio and Lazzaro. He is President of the National Committee of Celebrations on Mattia Preti. He is President of the National Committee for the celebrations of the fifth centenary of the birth of Francesco Mazzola known as Parmigianino. He is President of the National Committee for the Celebrations of the V centenary of the death of Andrea Mantegna. He was Commissioner for the arts and architectural restoration of the city of Padua, of which he edited the catalogues on Giotto and Donatello's exhibitions. He was the artistic director of the Asti Teatro Festival in 2000. He was President of the VII Commission for Culture, Science and Education of the Chamber from 1994 to 1996. He was elected member of the European Parliament in 1999. He was elected member of the Italian Parliament in 2001 and was Undersecretary for Cultural Heritage. In 2003, he was appointed, by ministerial decree, President of the Academy of Fine Arts of Urbino. Since 2005 he has been High Commissioner for the enhancement of the Villa Romana del Casale in Piazza Armerina (EN). He is a member of the Prefect's Advisory Commission for the Cathedral of Noto (SR). From May 2006 to May 2008 he held the position of Councillor for Culture of the Municipality of Milan. On 30 June 2008 he was elected Mayor of the municipality of Salemi (TP). In 2010, he was appointed Superintendent of the Venice Museum Complex. In 2011, he curated the Italian Pavilion of the 54th International Art Exhibition at the Venice Biennale, entitled "Art is not what our", expanding the exhibition in 27 Italian capitals in honour of the 150th anniversary of the Unification of Italy. In 2017, he founded the Renaissance political movement with the aim of addressing the enhancement of Italy's cultural and artistic heritage.
Atelier della Calce is a restoration and interior design boutique builder, specializing in lime. Based in Turin, Italy… we use this web presence to showcase our work, publish a portfolio of completed projects and let interested parties know where we exhibit. We’re pleased to help and readily available. Welcome to the world of sublime Italian artisans. Atelier della Calce è un costruttore di boutique di restauro e interior design, specializzato in calce. Con sede a Torino, in Italia... utilizziamo questa presenza sul web per mostrare il nostro lavoro, pubblicare un portfolio di progetti completati e far sapere alle parti interessate dove esponiamo. Siamo lieti di aiutare e prontamente disponibili. Benvenuti nel mondo dei sublimi artigiani italiani.
Successful entrepreneur and honorary sommelier, Lamberto Vallarino Gancia today dedicates his knowledge and energy to various activities related to the wine sector and, from 7 September 2015, to the management of the Stable. «A complex and fascinating world - emphasizes speaking of the Theater - a symbol of the city that has been offering for sixty years performances of high artistic quality and that contains within it history, culture, much Italian professionalism and excellence. Imprenditore di successo e sommelier onorario, Lamberto Vallarino Gancia oggi dedica le sue conoscenze ed energie a diverse attività legate al settore vitivinicolo e, dal 7 settembre 2015, alla gestione della Stalla. «Un mondo complesso e affascinante - sottolinea parlando del Teatro -, un simbolo della città che da sessant'anni offre spettacoli di alta qualità artistica e che racchiude al suo interno storia, cultura, tante professionalità ed eccellenze italiane.
Created around 25 years ago, the International Cultural Heritage Fair at Carousel du Louvre has grown to become not only the oldest but the leading heritage fair in Europe. Since its creation, it has naturally asserted itself as the fair not to be missed by the sector’s stakeholders: professionals from the field of built, non-built, tangible and intangible heritage restoration and preservation. The Salon du Patrimonie Culturel counts the best handcrafts and fine restorer around Europe. Organised by Ateliers d’Art de France, every year, the International Heritage Fair gathers over 300 exhibitors and 20,000 visitors, general audience and professionals alike, for 4 days at the Carrousel du Louvre in Paris. The International Heritage Fair was founded in 1994 by Pierre Chevalier, President of Chevalier Conservation, a textile restoration company and President of the SEMA (Society for the Promotion of Art Trades) for 14 years. The fair developed under the leadership of Jean-Pierre Jouet, founder, with his company OIP of French cultural fairs such as the Biennale des Antiquaires, the FIAC, the Salon du Livre and the Salon Nautique. The International Heritage Fair was taken over by Ateliers d’Art de France in 2009, upon the reunification of the Crafts trade, Creation and Heritage family, initiated by its president Serge Nicole. The purpose of Ateliers d’Art de France is to carry on the fair’s work, to help it grow and create new momentum. Throughout the various themes covered each year, and at the instigation of Aude Tahon, president of Ateliers d’Art de France since 2016, the International Heritage Fair became the main forum for reflexion in the heritage sector – its issues, its topicality, its challenges. This unique fair illustrates the strength of Crafts and Heritage Trades in France. In 2019, the fair celebrated its 25th anniversary with a record of 380 exhibitors present. Créée il y a environ 25 ans, la Foire Internationale du Patrimoine Culturel au Carrousel du Louvre est devenue non seulement la plus ancienne mais aussi la première manifestation patrimoniale en Europe. Depuis sa création, il s'est naturellement affirmé comme le salon incontournable des acteurs du secteur : professionnels de la restauration et de la préservation du patrimoine bâti, non bâti, matériel et immatériel. Le Salon du Patrimoine Culturel rassemble les meilleurs artisans et restaurateurs de qualité à travers l'Europe. Organisé par Ateliers d’Art de France, le Salon International du Patrimoine Culturel accueille chaque année plus de 300 exposants et 20 000 visiteurs, grand public comme professionnels, pendant 4 jours au Carrousel du Louvre à Paris. Le Salon International du Patrimoine Culturel a été fondé en 1994 par Pierre Chevalier, Président de Chevalier Conservation, entreprise de restauration textile et Président pendant 14 ans de la Société d’encouragement aux métiers d’art (SEMA). Le salon s’est développé sous la conduite de Jean-Pierre Jouet, fondateur, avec sa société OIP des salons culturels français tels que la Biennale des Antiquaires, la FIAC, le Salon du Livre ou encore le Salon Nautique. Le Salon International du Patrimoine Culturel a été repris par Ateliers d’Art de France en 2009, à l’occasion de la réunification en son sein de la famille des Métiers d’art, la Création et le Patrimoine, à l’initiative de son président Serge Nicole. Le but d’Ateliers d’Art de France a été de poursuivre l’action engagée, veiller au développement du salon et insuffler une nouvelle dynamique. A travers les différentes thématiques traitées chaque année, et sous l’impulsion d’Aude Tahon, Présidente d’Ateliers d’Art de France depuis 2016, le Salon International du Patrimoine Culturel s’est imposé comme le principal lieu de réflexion sur le secteur du patrimoine – ses enjeux, son actualité, ses défis. Unique au monde, le salon illustre la force des Métiers d’art et du Patrimoine en France. En 2019, le salon a fêté son 25e anniversaire avec le nombre record de 380 d’exposants accueillis.
Ilaria Borletti Buitoni was born in Milan in 1955. After graduating in Political Science, she started a small business in the parapharmaceutical sector. Volunteering, associations and the third sector have always had an important space in his life, since he was young. In 1985, she decided to dedicate a month every year, as a volunteer, to a hospital center in northern Kenya: from this experience a book of photographs and texts on the life of a nomadic tribe was also born. This experience will be so decisive as to push her, in 1993, to contribute to the birth of Amref Italia Onlus, the most important African NGO that supports health and education programs in East Africa. In 1995, a professional opportunity in the free ads' newspaper sector led her to move to London; there she will spend most of her time for 8 years. It was in London, with her husband, with whom she shared a great passion for classical music, that she gave life to an active foundation in the field of chamber music which aims to promote the career of young musicians, also internationally. However, the bond with Milan has always been intense and has never ceased. Here, in her city, she is particularly committed to promoting the culture of the Third Sector also through direct involvement in various associations particularly linked to health and assistance to people in difficulty. In 2010, she was nominated president of the FAI - Fondo Ambiente Italiano: a commitment that thrilled her enormously, so much so that in 2012 she wrote “For a Possible Italy”, Mondadori Electa, a book on the emergence of culture in Italy. Also in 2012 he assumed the position of member of the Bank of Italy's Superior Council. When she decided to apply, with great regret she left the FAI: the same civil passion that had led her to choose an extraordinary institution that works in defense of the Italian cultural heritage, is what prompted her to accept to apply with the commitment to contribute to the same mission in Parliament. She was elected deputy on 3 May 2013, she was appointed Undersecretary to the Ministry of Cultural Heritage and Activities and on 28 February 2014 she was confirmed in the same position within the government chaired by Matteo Renzi. In September 2014, “Cammino Controcorrente” was released for Mondadori Electa. In December 2016 she was reconfirmed for the third time in the same position by Prime Minister Paolo Gentiloni. He announced his decision not to re-run and to leave politics on 11 December 2017. President of the Società del Quartetto di Milano, one of the oldest and most well-known Italian musical institutions that promotes classical music and in particular chamber music; Councilor of EUYO, the European youth orchestra that unites young musicians from all European countries under the aegis of the European Community. Vice President Fai; Member of the Steering Council of Beic, European Library of Information and Culture; President of weTree which promotes the idea of a new development in urban contexts based on the increase of green spaces through women's commitment; President of the Borletti Buitoni Trust which supports early career musicians around the world and music-related projects for the most disadvantaged communities. Chairman of the Guarantors Committee of AMREF Italia; Councilor of the Friends of Music of Perugia, for 70 years a point of reference for classical music in Umbria; Member of the editorial committee of Passaggi Magazine, a site created to enrich the debate in Umbria and not only around political and economic issues; Member of the National Landscape Observatory of the Ministry of Culture.
With more than 50 years of experience in the wool manufacturing industry, the award-winning weaving factory TACS has kept up the good name of Panno Casentino thanks to a production of excellence, respecting the most rigorous and traditional stages of manufacturing of the famous Casentino fabric. TACS was born and developed with Bruno Savelli’s capacity and foresight, then further improved under the leadership of his son Massimo (honoured with the title of Master Craftsman in 2016), today the company looks to the future under the guidance of Massimo’s son, David, who represents the third generation of a family focused on the respect for traditions. It is undoubtedly their love for a style the roots of which lies in the Renaissance Tuscany and that is still an uncontested symbol of elegance in Italy and around the world, that represents the trait d’union with the past. Together with the sale in the factory store, offering factory-direct prices, TACS items are available in the exhibition stands and in the prestigious boutiques all around Italy and are also exported to the USA, Great Britain, Holland, Portugal, Japan, Vietnam and Korea: thus TACS Panno Casentino represents a successful example of Made in Italy that has its strength in the importance of the best quality-price ratio. Con oltre 50 anni di esperienza nel settore laniero, il pluripremiato tessitore TACS ha mantenuto il buon nome del Casentino grazie ad una produzione di eccellenza, nel rispetto delle più rigorose e tradizionali fasi di lavorazione del famoso tessuto casentinese. TACS nasce e si sviluppa con la capacità e la lungimiranza di Bruno Savelli, poi ulteriormente perfezionata sotto la guida del figlio Massimo (titolato di Maestro Artigiano nel 2016), oggi l'azienda guarda al futuro sotto la guida del figlio di Massimo, David, che rappresenta la terza generazione di una famiglia attenta al rispetto delle tradizioni. È senza dubbio il loro amore per uno stile le cui radici affondano nella Toscana rinascimentale e che è ancora un simbolo incontrastato di eleganza in Italia e nel mondo, che rappresenta il trait d'union con il passato. Insieme alla vendita nel factory store, a prezzi diretti di fabbrica, gli articoli TACS sono disponibili negli stand espositivi e nelle prestigiose boutique di tutta Italia e vengono esportati anche in USA, Gran Bretagna, Olanda, Portogallo, Giappone, Vietnam e Corea: così TACS Panno Casentino rappresenta un esempio riuscito di Made in Italy che ha la sua forza nell'importanza del miglior rapporto qualità-prezzo.
Bespoke tailoring, collaborations and creative direction. Marta Ferri is the designer and founder of "Atelier Marta Ferri". Daughter of photographer Fabrizio Ferri and interior decorator Barbara Frua, she grew up in a very stimulating environment that helped her develop a unique sensitivity towards colour and a passion for interior design. In 2011, she created her first clothing collection exclusively made with upholstery fabrics, obtaining the special mention of "Who's on next" for the sartorial quality and the innovation of materials. After receiving many requests, in 2014 Marta decides to leave the prȇt-à-porter, to dedicate herself to the creation of unique custom-made pieces, opening her Atelier in Milan. At the same time, she began engaging in exciting collaborations for leading names, designing exclusive capsule collections ranging from clothing, accessories to furnishings and interior design projects. Since 2016, Marta has been Textile Consultant for Molteni & C., and has also created "The Styling Closet by Marta Ferri" for them. The bridal collection is where Marta Ferri's work comes into play: her dresses have simple shapes, but are elaborated in the materials: they are often made with upholstery embroidered fabrics, really unexpected for a wedding dress. Timeless classic, but unconventional garments. The Libera collection features quality, pragmatism and colour, lots and lots of colour. A collection released from seasons, occasions or ephemeral trends, characterized by a funny research of fabrics, designs and patterns. 'Emmina' is a mini-me beachwear collection created by Marta Ferri exclusively for yoox.com, made of a selection of items for mother and daughter. "Emmina brings the breath of freshness that stays in my eyes during my holidays in Puglia, the feeling of the sea and romantic countryside of those places, in a mini collection dedicated to the complicity between mother and daughter. I chose a delicate floral print that recounts the innocence and light-heartedness of the holidays. It's a tender wish dedicated to all the mothers who become children again and to the little girls who explore on tiptoe, through us, the world of grown-ups." Every detail in these collections, have been taken care of, thanks to their beloved craftsmanship. The bag designed by Marta Ferri is called “UNICA”, it is in fact a one-of-a-kind object in limited edition that aims to find the perfect harmony between 'her' and who wears it. The tradition of craftsmanship meets the world of furniture. The treated leathers, hammered with sophisticated colors, are skillfully adapted and studied to blend with shapes, textures and colors of different types of fabrics. The designer has chosen precious cuts of interior design fabrics inside the shops of precious weavers and sample archive pieces for a bag with harmonic proportions. Simple, pretty purses without any ostentation, that let bold, vintage prints do the talking. Marta Ferri took part in OVS project, “Arts of Italy”, born with the aim to celebrate the Italian architectural beauty through its details. A project that gave life to a capsule collection in limited edition; part of the proceeds from the sale was intended for the restoration of some masterpieces of Italian art. Nuda is a collection of lost wax bronze sculpture-jewelry made by Marta Ferri. Six silhouettes of primitive and sensual female bodies, dynamic, sometimes surreally cut in half, enclosed within themselves or in the act of launching themselves. A different and peculiar concept of thinking a jewel, far from tradition and at the same time archaic and essential.
Even today Tommaso De Carlo realizes his colors with earth and other natural materials in his workshop, which since the eighties is located in the Old Conventino in Florence, where, in an environment of artisans and artists, he works as interior decorator. Starting from the ancient techniques and decorative forms that are breathed in the Florentine territory, he has developed his own style, creating a language that updates the decorative patterns typical of the Florentine Renaissance. Ancora oggi Tommaso De Carlo realizza i suoi colori con la terra e altri materiali naturali nella sua bottega, che dagli anni Ottanta si trova nell'Antico Conventino a Firenze, dove, in un ambiente di artigiani e artisti, lavora come arredatore d'interni. Partendo dalle antiche tecniche e forme decorative che si respirano nel territorio fiorentino, ha sviluppato un proprio stile, creando un linguaggio che aggiorna i motivi decorativi tipici del Rinascimento fiorentino.
Patrizia Gioia's aim is to bring to life the ancient art of fresco through workshops, student lectures, website and a video. The workshops, often held at medieval festivals throughout Italy or at universities, expose viewers and students to all aspects of fresco creation. April 2013 Bottega dell'Affresco was registered in the European Consortium of Historical Re-Enactments, C.E.R.S. L'obiettivo di Patrizia Gioia è quello di far rivivere l'antica arte dell'affresco attraverso laboratori, lezioni degli studenti, sito web e un video. I laboratori, spesso tenuti in occasione di feste medievali in tutta Italia o nelle università, espongono spettatori e studenti a tutti gli aspetti della creazione di affreschi. Aprile 2013 Bottega dell'Affresco è stata iscritta al Consorzio Europeo delle Rievocazioni Storiche, C.E.R.S.
The Iberian Forum of Lime (FICAL) is a space created in order to unite the different professionals related to said material to share knowledge and events related to lime and its applications. The Iberian Forum of Lime is a non-profit association whose purpose is the development of research, training and dissemination of the production and use of lime. They can be part of FICAL both natural and legal persons, with capacity to act who so request, provided they accept the rights and obligations that correspond to them as members of the association. Joan Mestre Ramis (Felanitx, Majorca) is the president of FICAL: the Iberian Forum of Lime (Cal). A non-profit association whose purpose is the development of research, training and dissemination of the production and use of the lime. FICAL can be part of both physical and legal persons, with the capacity to act as requested, provided they accept the rights and obligations that correspond to them as members of the association. El Fórum Ibérico de la Cal es un espacio creado con el fin de unir a los diferentes profesionales relacionados con dicho material para compartir conocimientos y eventos relacionados con la cal y sus aplicaciones. El Fórum Ibérico de la Cal es una asociación sin ánimo de lucro cuyo fin es el desarrollo de la investigación, la formación y la difusión de la producción y el uso de la cal. Pueden formar parte de FICAL tanto personas físicas como jurídicas, con capacidad de obrar que así lo soliciten, siempre que acepten los derechos y obligaciones que les correspondan como miembros de la asociación.
Simona Rinciari creates jewelry with an innovative technique that allows the conservation of the organic plant and the direct contact with the same, leaves, roots, fruits, flowers, vegetables, etc. exhibited in Europe, Japan and America. She invented a procedure, a technique to immobilize them in eternity, to mummify them, almost to vitrify them.
The Pantheon of Agrippa has represented the greatest expression of the glory of Rome for more than two thousand years. The story of the Pantheon is inseparably tied to the Eternal City, and been its image through the centuries. Built by Agrippa between 25 and 27 BC, the Pantheon was a temple dedicated to the twelve Gods and to the living Sovran. Traditionally, it is believed that the present building is the result of the radical reconstruction by Hadrian between 118 and 125 AD. It is the only ancient Roman building that has remained practically intact through the centuries. In 608 Pope Boniface IV had the remains of many martyrs removed from the Christian catacombs and placed in the Pantheon. Thereafter, the temple was officially converted to Christianity and named Saint Maria ad Martyres. The Pantheon was an inspiration to Raphael, one of the greatest architects of the Renaissance, and he requested it be his place of eternal rest. The Basilica is still a church, where Christian worship is celebrated continuously and which it considers essential to accompany the celebrations with commitments of solidarity. Il Pantheon rappresenta, da più di duemila anni, l'espressione massima della gloria di Roma. La sua storia si lega in maniera indissolubile allo sviluppo della città eterna di cui è immagine nei secoli. Il Pantheon fu ispirazione dei più grandi architetti del Rinascimento, tanto che Raffaello volle farne il luogo del proprio riposo eterno. Nel 27 a.C. Marco Vipsanio Agrippa, genero, amico e collaboratore del primo imperatore Augusto fece costruire questo tempio, dedicandolo alle sette divinità planetarie. Ad esse si deve il nome di Pantheon, che, in greco, significa “di tutti gli Dèi”. L’edificio originario, che doveva essere di dimensioni ridotte rispetto a quello attuale, fu riedificato da Adriano tra il 118 ed il 125 d.C. Nel ricostruirlo, Adriano non tenne conto dell’impostazione di Agrippa: rovesciò l'orientamento dell’edificio di 180 gradi e aprì davanti al nuovo tempio una grande piazza porticata. Il Pantheon, chiuso e abbandonato sotto i primi Imperatori cristiani e successivamente saccheggiato dai barbari, nel 609 d.C. fu donato dall’Imperatore bizantino Foca a Papa Bonifacio IV. Papa Bonifacio IV consacrò il tempio dedicandolo a Santa Maria ad Martyres. Il riferimento ad una schiera collettiva cristiana fu voluto in contrapposizione all'antica dedica pagana a tutti gli dèi di Roma. La Basilica è, tuttora, una chiesa, dove viene celebrato, con continuità, il culto cristiano e che considera essenziale accompagnare le celebrazioni con impegni di solidarietà.
Easter Island, also known as Rapa Nui, is a tiny island known for its huge moai statues scattered all over the island. The world is fascinated by the creation of these statues, not only for the impressive size and quantity of them, but also for the circumstances under which they were built. This small island had very limited resources; not much drinking water, no cattle and no metal. The statues were transported to their final location several kilometres across hilly terrain - all of this being accomplished with the highest leader being a tribal chieftain. Rapa Nui is located in the Pacific Ocean, on latitude -27.15 and longitude -109.4, 3600 km west of Chile in South America. Flying from Chile's capital Santiago, which is the closest flight connection, takes around 5 hours. An isolated triangle measuring 14 miles long by seven miles wide, Easter Island was formed by a series of volcanic eruptions. In addition to its hilly terrain, the island contains many subterranean caves with corridors that extend deep into mountains of volcanic rock. The island’s largest volcano is known as Rano Kao, and its highest point is Mount Terevaka, which reaches 1,665 feet (507.5 m) above sea level. It has a subtropical climate (sunny and dry) and temperate weather. The name "Easter Island" was given by the island's first recorded European visitor, the Dutch explorer Jacob Roggeveen, who encountered it on Easter Sunday (5 April) in 1722, while searching for "Davis Land". Roggeveen named it Paasch-Eyland (18th-century Dutch for "Easter Island"). The island's official Spanish name, Isla de Pascua, also means "Easter Island". The current Polynesian name of the island, Rapa Nui ("Big Rapa"), was coined after the slave raids of the early 1860s, and refers to the island's topographic resemblance to the island of Rapa in the Bass Islands of the Austral Islands group. However, Norwegian ethnographer Thor Heyerdahl argued that Rapa was the original name of Easter Island and that Rapa Iti was named by refugees from there. The Rapa Nui people are Polynesians, such as Hawaiians, Tahitians and the Maori of New Zealand. The native languages of these islands are very similar. Music, dance and art has always been a central part of Rapa Nui culture. The island is today part of Chile, and strong South American influences threaten the existence of the fragile Rapa Nui culture which a mere 3000 people are part of. As tourism became a more common part of the Easter Island society since the 1990s and people travel from all over the world to see this unique culture, there has been an increased pride in the cultural Rapa Nui identity. Today, most newborns that are Rapa Nui are given Rapa Nui names, and parents try to speak the native language to their children as much as possible. During the 1980s and before, most babies were given Spanish names, and parents often did an effort to teach their children Spanish, even if this was their weaker language.
The numerous temples spread across the ancient city of Bagan in the Mandalay Region of Myanmar are impressive and fascinating testament to the Burmese’s religious devotion over the years. The plain of Bagan is one of Asia’s richest archaeological sites, designated a UNESCO World Heritage Site to preserve Myanmar’s religious edifies and architecture. The ancient city was once home to over 13,000 temples constructed between the 9th and 13th centuries. However, some temples have been vandalized and destroyed, with only about 2,300 temples spread over 104 square kilometers remaining in the Bagan Archaeological Zone. This area also comprises four settlements and is open to the public at a fee, with some entry tickets valid for up to three days. According to the royal chronicles of Myanmar, Bagan was founded around the 2nd century AD and fortified by King Pyinbya around 849 AD. However, some scholars believe that the Bamar founded the ancient city in the 9th century. Nonetheless, Bagan was the Pagan Empire’s capital, cultural, and economic nerve center from the 9th to the 13th century. The Pagan Kingdom was the first to unify the region that constitutes the present-day country of Myanmar. The kingdom also established the Burmese ethnicity and culture, including Theravada Buddhism. As a result, the city grew in stature and influence over the period. During the over 250 years of the Pagan Kingdom's reign, the Bagan rulers and locals constructed over 13,000 religious monuments. The religious monuments included over 10,000 temples and 3,000 monasteries and stupas in an area of about 104 square kilometers. At its peak, Bagan was a cosmopolitan center for secular and religious studies, with most students specializing in a variety of languages, medicine, astrology, and legal studies. Over the years, the temples, pagodas, and monasteries have either been vandalized or destroyed by natural calamities, especially earthquakes. Located on the earthquake zone, Bagan suffered over 400 earthquakes in the 20th century, with a major earthquake occurring on July 8, 1975, which damaged several temples, of which some are irreparable. Today, roughly 2,300 temples and pagodas remain over the 104 square kilometers in the old city of Bagan.
“When it comes to everyday objects, it's the smallest details that turn the ordinary into something that really stands out from the crowd. Since founding her label, designer Sabrina Fossi has honed this covetable skill, giving well-known forms an unexpected edge-and a much-needed dose of light-hearted playfulness.” Sabrina Fossi Design is a company producing 100% Italian handcrafted homeware products. Its aim is to bring the best Italian craftsmen skills in each product, giving to the final customers an outstanding product quality. Sabrina Fossi Design started its own production in 2013.
In the workshop of Ruggero Pallaoro you can breathe the great passion for woodworking. Here, among the scents of different precious woods, artistic works full of charm come to life. Creativity and originality come together to obtain timeless objects. A personalized and different way of considering wood and its processing to make each creation unique and exclusive. After living abroad for several years, Ruggero Pallaoro returned to Trentino, where he first resided, in various locations of this wonderful province, to then settle in a small and delightful valley unspoiled in its beauty, the Mòcheni valley. Born in Trento in 1964, he has many years of experience as a product designer. Since he was a child he loves working with wood thanks also to his cabinetmaker father who transmits this great passion to him. In 2006, he began turning the first design vases with modern shapes and small objects such as fountain pens, rollerballs and ballpoint pens. Having consolidated his great passion for this art, he registers the ruggeropallaoro® trademark. He creates unique pieces and small, limited and numbered series, mainly using wood but also metal and stone. Experimentation, innovation, harmonious simplicity are the leitmotif of his creations. In his works of him, in conjunction with the turning, texture and coloring sculpting techniques alternate, all without neglecting a fundamental element; maintain a continuous dialogue with nature.
Paola Farina was born in Verona in 1967. After graduating from the artistic high school, she attended the two-year course of decorative arts at the "Cignaroli" Academy of Fine Arts in Verona, then taking part in a project as part of the Exchange Program for Young Workers in the Community European, concerning the maintenance restoration of the Lusitanian artistic heritage which took place in the city of Lisbon in Portugal. In the aforementioned internship she deals with the restoration of external wall decorations located in different gardens of important ancient residences of the place while attending the Centro Europeu de Línguas at the same time. In Rome Paola Farina attended courses in decorative arts of fake marbles and trompe l'oeil at the Accademia del Superfluo, then specializing in Brussels at the Institut Superieur de Peinture van der Kelen et Logelain in decoration techniques related to the imitation of woods and marbles, semi-precious stones, drawing course on perspective, decorative panels such as friezes and ceilings in different styles as well as patinas and gilding, fake stuccos and the study, planning and realization of trompe l'oeil. Paola Farina collaborated with the decorator Antonio Malleo in Rome and Cairo, Egypt, painting a series of interior decorations with themed wall paintings, with tattered, grotesque and fake stucco techniques and door and cupboard decorations. She also collaborates with M. and G. Girelli Bruni in the field of maintenance restoration and decorations of fake stucco on the walls and ceilings of historic residences and large hotels in northern Italy. During her professional career Paola Farina has designed and created many themed trompe l'oeil, decorative panels and thematic paintings on wooden supports, decorations on walls and ceilings, creation of fake marble, fake stucco. As an interior decorator, she has carried out shooting and maintenance restorations in some prestigious residences and hotels Paola Farina also deals with the graphic design of wine labels and the creation of graphic materials for advertising of some prestigious Chianti wineries. As well as the creation of paper maps of farms known as “cabreia”. She currently resides in Florence, and has opened a decorative arts atelier, where she carries out her professional activity.
The Locchi mill produces glass and crystal items for the table and interior decoration. All the objects are forged following the ancient blowing techniques and finished through careful grinding and engraving processes, rigorously done by hand. The origins of Moleria Locchi date back to the end of the 19th century when, in the district of San Frediano, the heart of the Florentine Oltrarno, an artisan moleria workshop was born that made beautiful glasses required, at the time, in luxury ships and large hotels for the extraordinary refinement. The crystal objects, signed one by one, can be found both in prestigious modern homes and in ancient buildings and are dedicated to those who - in Italy and abroad - love true craftsmanship, the one that has always distinguished made in Italy. The laboratory is also known for the accuracy of its restorations on precious glass and crystal objects, which are requested by customers all over the world.
Paolo Penko creates unique works made with the ancient Florentine goldsmith's techniques. Creations that are born to satisfy the desires of an increasingly international clientele. Jewellery that draws inspiration from the oldest and most precious soul of the city of Florence with its small and large geometries, the swirls, the scrolls, the friezes and all those forms and lines of architecture and art that made Florence unique in the Renaissance and that even today reflect their unchanged beauty.
Padrevecchi Cornici (Frames) is one of the most revered craft workshops in the world. It is specialized in producing, carving, decorating and restoring frames. In recent years, the company has extended its skills towards the production, decoration and restoration of furniture and accessories, as well as restoring theatre fittings. Thanks to the rare expertise of its workers, the company offers models from all periods, from the 1400s to the beginning of the 20th century. More than 340 models in every style and finish, reproducing the most elaborate patterns, from early 20th-century floral motifs to Renaissance cassette frames, shaped Baroque style models, and many more. The company was established in 1975 after, as luck would have it, Enrico Padrevecchi met some master frame makers who taught him all the secrets of their ancient profession as well as their love for the art form. The company is still family-sized, with Enrico’s wife and two children, Elisa and Simone, all working there.
The feather is magical. A ductile material, a symbol of beauty and power. For three generations we have been recreating fashion and design through the material that man has always had available in nature, the Piuma. The Nanà Firenze brand is born from the craftsmanship of the Mazzanti Piume company. Sculpture hats, ceremonial head-dresses, fashion headbands to wear every day, but also evening bags, accessories that evoke the mysterious mystery of these magical feathers that we all adore. Or over 80 years, Mazzanti Piume has created artificial flowers and feather arrangements, following the solid family tradition, which was passed down for three generations. The millinery was opened in 1935 in Florence by Natalina Acciai and her husband Lelio Mazzanti. As demand for women’s hats declined in the 60s, their son Maurizio shifted the studio’s focus onto the production of feather boas, working with the Moulin Rouge and the Lidò, and major international fashion houses. The atelier also produced plumes for the armed forces. In 1997, Duccio Mazzanti, Maurizio’s son, decided to focus on haute couture. In 2005, he created the brand Nanà Firenze (named after his grandmother). The brand embodies all the experience and creativity of the Mazzanti company, applied to the crafting of headwear. His headbands and headdresses in feather and silk are true miniature works of art. Mazzanti has also continued the business’s other traditional activities, such as restoration, customized feather dying, appliqués for theatre shows, costumes for films, historical costume and Carnival parades, and so on. Naturally, all pieces are crafted by hand. For Mazzanti, feathers are a magical, charming accessory, expressing lightness, softness and feminine sensuality.
Tommaso Candria opens in Mogliano Marche a handicraft factory specialised in weaving. The activity is located in the territory where’s deep-rooted the wickerwork tradition. A combination of ability and creativity allows making unique items, which are recognizable by care of details and originality in design. Though it preserves its original handicraft character and family dimension, the firm is in a progressive expansion thanks to an extended range of articles. Tommaso Candria apre a Mogliano Marche una fabbrica artigianale specializzata nella tessitura. L'attività è ubicata nel territorio dove è radicata la tradizione della lavorazione del vimini. Un connubio di abilità e creatività permette di realizzare oggetti unici, riconoscibili per la cura dei dettagli e l'originalità nel design. L'azienda, pur conservando l'originario carattere artigianale e la dimensione familiare, è in progressiva espansione grazie ad un'ampia gamma di articoli.
Carla was born in Turin in 1964. She left her home-town at the early age of 6 months, to eventually return as a young adult and for a relatively short period of time. Moving continuously was thrilling, but she needed something that would make her feel at home, a “fil rouge” that would accompany her through these new adventures, something only her own. Her family was very important but not enough to make her feel completely settled. The art of painting and humoristic drawing became “my very best invisible friends”, they would sit by her at all times, comfort her when most needed, help her to understand what she was experiencing. And the most important thing… "they were just mine!" She paints what she wants when she wants... but every day! Regardless of everything and everyone. Taking inspiration anywhere. She paints her emotions, her feelings, the beauty or the unexpected around her. Random search for passion. She went from faceless people in her early teens to painting gigantic close up of wild animals, to Abstract in an abstract part of her life and then back to reality to been a polaroid of the unexpected around her. One rule OIL Paint. She can humoristically fix that moment so that you will never forget it. Carla Chiusano's art is a photograph of life made with the skilful use of the brush. In her works, the desire to urgently communicate some important messages, positive and negative, which are continuously transmitted by the environment that surrounds her, shines clearly. Carla was lucky enough to live in different parts of the world, from London to Rio de Janeiro, from Rome to Geneva: this internationality of her made her an all-round artist, with a broad and profound vision of things. Her works, never banal, are often also the mirror of herself, of her reflective and cheerful character, sweet, hard and uncompromising at the same time. Her ability lies not only in a high pictorial quality, but also in the ability to identify with her paintings with extreme delicacy. She is a curious woman, a lover of life and nature, with a remarkable sense of humour and a spirit of observation, who lives in a world that is not only hers, but ours as well.
“Piedàterre Venezia”, an icon of la dolce vita since 1952. From our heritage heart to our handmade soles, Piedàterre is synonymous with Venezia. We are the original and authentic Venetian slipper ‘Friulane’ specialists, pouring decades of Italian ingenuity and world-class craftsmanship into our artisan velvet shoes. Each pair is still handmade in the homes of our community of craftspeople and continues to be one of the most enduring icons of la dolce vita. The traditional Venetian slipper was born in the 19th Century north of Veneto, in Friuli, where, during a period of post-war necessity, Italian families began to stitch together sumptuous velvet curtains from closed theatres and flattened bicycle tyres to make new shoes with genius and flair. Though resourceful, the slippers were beautiful works of craftsmanship, stitched passionately by the region’s women with precision, skill and purpose to put shoes on the feet of their neighbours and loved ones. The slippers quickly found a captive audience in cosmopolitan Venice and its influx of visitors. Versatile, chic and - crucially - non-slip, the design was perfect for navigating the city’s cobbled streets. In 1952, a dreaming businessman and his cart full of handmade slippers took a spot on the historic Rialto Bridge. Piedàterre was born. Fuelled by a swathe of enchanted shoppers, the cart remained faithfully in place for 40 years, before the doors of the Piedàterre Rialto store swung open to become the first store in Venice dedicated solely to the historic slipper. Today, Piedàterre slippers are a symbol of la dolce vita across the world, bringing understated chic and a timeless sensibility to contemporary wardrobes from Piazza San Marco aperitivos to New York red carpets and Amalfi Coast sunsets. Each pair is unique, crafted to the highest quality from 100% natural cotton velvet and hand-stitched by our network of Italian craftspeople. Our historic Rialto store and our Campo Santo Stefano flagship remain Venice’s original shops, focused solely on the traditional Venetian slipper. Every shelf explodes with colour. Timeless and 100% made in Italy, Piedàterre’s slippers continue to be our ode to the ingenious Italian spirit that forever finds beauty wherever it looks.
Rising dramatically from the Central Australian desert, the huge red rock of Uluru is one of Australia’s most iconic attractions. Formerly known as Ayers Rock, Uluru is made of sandstone about half a billion years old. It stands 348 metres high and has a circumference of 9.4 km. Uluru is at its most stunning around sunrise and sunset, when the golden light makes the rock’s colours come alive. For the Anangu people, Uluru is inseparable from Tjukurpa, or traditional law. The actions of the creation ancestors are still visible around the rock, and their stories are passed on from generation to generation, just as they have been for thousands of years. Uluru is a spectacular panorama, but it’s real beauty can be found by looking closer. This ancient monolith is home to rare plants and animals, important spiritual sites and caves painted with remarkable rock art. Uluru, also known as Ayers Rock, is a large sandstone formation in the centre of Australia. It is in the southern part of the Northern Territory, 335 km southwest of Alice Springs. Uluru is sacred to the Pitjantjatjara, the Aboriginal people of the area, known as the Aṉangu. The area around the formation is home to an abundance of springs, waterholes, rock caves, and ancient paintings. Uluru is listed as a UNESCO World Heritage Site. Uluru and Kata Tjuta, also known as the Olgas, are the two major features of the Uluṟu-Kata Tjuṯa National Park. Uluru is one of Australia's most recognisable natural landmarks and has been a popular destination for tourists since the late 1930s. It is also one of the most important indigenous sites in Australia.
The Louvre Museum is the world's largest art museum and a historic monument in Paris, France. A central landmark of the city, contains approximately 38,000 objects from prehistory to the 21st century. In 2017, the Louvre was the world's most visited art museum, receiving 8.1 million visitors. A visit to the Louvre and its collections lets visitors discover Western art from the Middle Ages to 1848, as well as a large number of ancient civilizations. Yet it also offers another history to explore. The grand palace that houses the museum, which dates back to the late twelfth century, is a true lesson in architecture: from 1200 to 2011, the most innovative architects have in turn built and developed the Louvre. Long the seat of power, this royal residence was also home to French heads of state until 1870 and is one of the major backdrops to the history of Paris and of France. The Pavillon de l’Horloge is the architectural heart of the Louvre palace. Designed by the architect Jacques Lemercier, it was built during the reign of Louis XIII (1610–1643) but only acquired the name ‘Pavillon de l’Horloge’ (‘Clock Pavilion’) in the 19th century, when clocks were added to the two main facades. At 40 metres high, it is the highest point of the Louvre – a reminder of the keep belonging to the original medieval fortress, demolished in the 16th century when King François I converted the Louvre into a Renaissance palace. The historic Pavillon de l’Horloge is the ideal location for a presentation of the Louvre’s 800-year history. Four rooms, distributed over three floors, tell the story of the museum, its collections and its current activities. The story begins near the remains of the first Louvre, a medieval fortress built by King Philippe-Auguste in about 1200. Follow the fortress wall to find the Salle de la Maquette, dedicated to the architecture of the Louvre. The presentation explains the many transformations that have marked the history of the palace and the ornamental additions made by great artists, from Jean Goujon who carved many decorative elements in the 16th century to Jean-Baptiste Carpeaux who designed sculptures for the Pavillon de Flore three centuries later. There are also traces of the Tuileries palace, commissioned by Queen Catherine de’ Medici during the Renaissance and burned down in 1871 during the Paris Commune. The foundations of the keep that was demolished in 1528 are still visible. The nearby room known as the Salle Saint-Louis is the oldest in the palace; its name derives from traces of decoration that have been dated to the reign of Saint Louis (1226–1270). The room displays everyday objects found during the archaeological excavations that were carried out between 1983 and 1993 as part of the Grand Louvre project; the finds range from a gilded parade helmet attributed to King Charles VI to a simple pair of children’s shoes. The Salle de la Chapelle, on the first floor of the pavilion, is now a museum room; its name is the only trace of the chapel built here between 1655 and 1659 on the orders of Louis XIV. Its display presents the history and diversity of the museum’s collections, how they were formed and how they are organised within the palace. Each collection – Egyptian Antiquities, Decorative Arts, Paintings, Sculptures, Islamic Art, etc. – is represented by a selection of artworks. The Salle de la Chapelle also offers one of the finest views of the Pyramid, the gardens and, in the distance the Champs Élysées, the Arc de Triomphe and the business district of La Défense. The Salle d’Actualité (‘news room’) on the second floor of the Pavillon de l’Horloge presents the museum’s current activities and missions: conservation projects, new acquisitions, research, and news of the Louvre’s national and international outreach, through the Louvre Abu Dhabi and the Louvre-Lens in particular. The museum obviously has to provide the best possible conditions for its artworks – but another priority is to make its visitors feel welcome. People have flocked to the Louvre for over two centuries; from art specialists to novices, in crinolines or jeans, visitors are an essential part of the museum’s life! And sometimes they become works of art in their turn, featured in paintings as they explore the museum and admire its displays…
Patagonia is not a country but a geographical region. Its location is in the southernmost tip of mainland South America and sits between the Pacific and Atlantic oceans. Patagonia is a huge territory of more than 400,000 square miles that belongs mostly to Argentina but includes a small part of Chile too. Here is a map of Patagonia. Also part of the Patagonia region is the island of Tierra del Fuego and its capital city, Ushuaia. This is the best gateway to Antarctica as the distance between continents is only 600 miles here. Tierra del Fuego is also close to Cape Horn, the Magellan Strait and such names can only bring us back to old myths, adventure and legends. The Andes mountain range constitutes the natural borderline dividing Chilean and Argentine Patagonia sectors. It has mountains. The Patagonian Andes extend to the west like a huge wall. With landscapes of glaciers, lakes and trees, it has snow during winter and plenty of flowers and scents during summer. It is Ocean. Towards the east we find the Atlantic Patagonia Region and its almost virgin beaches. A deep blue sea populated by penguins, whales and dolphins. It is also a vast plateau in its central part, with high “steps” descending from the Andes region towards the Ocean. Most of Patagonia’s territory belongs to this area. And finally the land of the extreme south or the “Uttermost End of the World”, Tierra del Fuego. Mountains and sea come together here like in no other place in the Americas. La Patagonia no es un país sino una región geográfica. Ocupa el extremo sur de la parte continental de América del Sur y se encuentra entre los océanos Pacífico y Atlántico. La Patagonia es un enorme territorio de casi un millón de km. cuadrados perteneciente en su mayor parte a Argentina pero también incluye una pequeña parte de Chile. Aquí hay un mapa de la Patagonia. También forma parte de la región de la Patagonia la isla de Tierra del Fuego y su ciudad capital, Ushuaia. Esta es la mejor puerta de entrada a la Antártida ya que la distancia entre continentes es de solo 1000 km. aquí. Tierra del Fuego también está cerca del Cabo de Hornos, el Estrecho de Magallanes y tales nombres solo pueden traernos de vuelta a viejos mitos, aventuras y leyendas. La cordillera de los Andes constituye el límite natural que divide los sectores patagónicos chileno y argentino. Tiene montañas. Los Andes patagónicos se extienden hacia el oeste como una gran muralla. Con paisajes de glaciares, lagos y árboles, tiene nieve durante el invierno y abundancia de flores y aromas durante el verano. Es océano. Hacia el este encontramos la Región de la Patagonia Atlántica y sus playas casi vírgenes. Un mar azul profundo poblado por pingüinos, ballenas y delfines. También es una vasta meseta en su parte central, con altos “escalones” que descienden desde la región de los Andes hacia el Océano. La mayor parte del territorio patagónico pertenece a esta zona. Y por último la tierra del extremo sur o “Ultimo Fin del Mundo”, Tierra del Fuego. Las montañas y el mar se funden aquí como en ningún otro lugar de las Américas.
Mulinum is an agricultural company born in Calabria from the dream of giving life to a complete and controlled wheat supply chain in every step, which starts from the organic cultivation of exclusively local varieties of seeds to get to the production of wholemeal, stone-ground flours. Subsequently, the flours are transformed into bread according to "ancient recipes and with the use of mother yeast" and into sweet and savory baked goods. From the crowdfunding operation launched in 2016 by Stefano Caccavari to start the first Mulinum in San Floro "in the province of Catanzaro", the project of an agricultural startup has taken shape that wants to replicate, thanks to a permanent and constantly expanding fundraiser, the Calabrian model in every Italian region, adapting it "every time" to the local characteristics. Mulinum works every day for the renaissance of Italian wheat cultivation, focusing on the biodiversity of seeds and the richness of their properties, which remain intact thanks to stone grinding. The large retailers interested in quality flours and breads and the bakers who have chosen to use only ancient local grains are its natural interlocutors. Finally, Mulinum sells directly and at retail on its online shop, in San Floro and in all the other places where its structure will be built. Mulinum è un’azienda agricola nata in Calabria dal sogno di dar vita a una filiera del grano completa e controllata in ogni suo passaggio, che parte dalla coltura in biologico di varietà di semi esclusivamente locali per arrivare alla produzione di farine integrali, macinate a pietra. Successivamente le farine vengono trasformate in pane secondo “antiche ricette e con l’utilizzo di lievito madre” e in prodotti da forno dolci e salati. Dall’operazione di crowdfunding lanciata nel 2016 da Stefano Caccavari per avviare il primo Mulinum a San Floro “in provincia di Catanzaro” ha preso forma il progetto di una startup agricola che vuole replicare, grazie a una raccolta fondi permanente e in continua espansione, il modello calabrese in ogni regione italiana, adeguandolo “ogni volta” alle tipicità locali. Mulinum lavora, ogni giorno, per il rinascimento della coltura italiana del grano, mettendo al centro la biodiversità dei semi e la ricchezza delle loro proprietà, che restano integre grazie alla macinazione a pietra. La grande distribuzione interessata a farine e pani di qualità e i panificatori che hanno scelto di utilizzare solo grani antichi locali sono i suoi naturali intrelocutori. Mulinum, infine, vende direttamente e al dettaglio sul suo shop online, a San Floro e in tutti gli altri luoghi dove sorgerà una sua struttura.
Osservatorio Mestieri d'Arte is an association between foundations of banking origin that carries out cultural and promotional projects aimed at raising awareness, information, research and preservation of the identity of local and national artistic craftsmanship with the objectives of evaluating and promoting the sector of the art professions, to create a national and European network of institutions to promote understanding of the various cultural identities, and to deepen the quality of production, economy and training. The periodical magazine "OmA" is the Association's main communication tool to analyze the issues of artistic craftsmanship and to enhance Italian and foreign excellence. The Association's initiatives range from the publication of volumes to the organization of exhibitions and cultural events, to partnerships with national and international institutions and entities to develop projects, and to award scholarships and internships. The association also deals with training initiatives to promote new and concrete opportunities for cultural exchange and growth for future aspiring artisans. From the experience of researchers and professionals in the production of artistic crafts and crafts, OmA was born, the brand that recognizes the talent of the craftsman and the quality of the workshop and workmanship. The shop, the laboratory and the company display the OmA ceramic plaque and the quality certification. The brand of artisanal talent and quality production has a network of certified artisans throughout the national territory. Osservatorio dei Mestieri di Arte è Associazione tra Fondazioni di origine bancaria che realizza progetti culturali e promozionali finalizzati alla sensibilizzazione, all’informazione, alla ricerca e alla conservazione dell’identità dell’artigianato artistico locale e nazionale con gli obiettivi di valutare e promuovere il settore dei mestieri d’arte, di creare una rete nazionale ed europea d'istituzioni per favorire la comprensione delle varie identità culturali, e di approfondire la qualità delle produzioni, dell’economia e della formazione. La rivista periodica “OmA” è il principale strumento di comunicazione dell’Associazione per analizzare le tematiche dell’artigianato artistico e per valorizzare le eccellenze italiane ed estere. Le iniziative dell’Associazione spaziano dalla pubblicazione di volumi all’organizzazione di mostre e eventi culturali, alle partnership con istituzioni e soggetti nazionali e internazionali per elaborare progetti, e conferire borse di studio e tirocini. L’associazione si occupa inoltre d'iniziative di formazione per favorire nuove e concrete opportunità di scambio culturale e crescita per futuri aspiranti artigiani. Dall’esperienza di ricercatori e professionisti della produzione di artigianato artistico e dei mestieri d’arte è nato OmA, il brand che riconosce il talento dell’artigiano e la qualità della bottega e della lavorazione. La bottega, il laboratorio e l’azienda espongono la targa in ceramica OmA e la certificazione di qualità. Il brand del Talento artigianale e della produzione di qualità conta una rete di artigiani certificati in tutto il territorio nazionale.
Greta Tintin Eleonora Ernman Thunberg is a Swedish environmental activist on climate change whose campaigning has gained international recognition. Thunberg is known for her blunt, straightforward speaking manner, both in public and to political leaders and assemblies, in which she urges immediate action to address what she describes as the climate crisis. Greta Thunberg’s urgent message to tackle the climate crisis has sparked a wave of action, from the global school strikes to political promises for zero-emission economies. But if we’re serious about Global Goal 13 for climate action, we need to wield our most powerful weapon of all: our vote. With elections coming up in the UK and the US over the next year, Thunberg’s call to engage with our democratic rights couldn’t be timelier. Thunberg’s mother was an opera singer, and her father was an actor. Greta was diagnosed with Asperger syndrome, which is now considered an autism spectrum disorder (ASD). It is characterized by abnormalities in social interactions (as in classic autism) but with normal intelligence and language development. People with Asperger syndrome tend to focus deeply on one idea or interest, and Thunberg’s cause became climate change. She first learned about the issue when she was approximately eight years old, and within a few years she changed her own habits, becoming a vegan and refusing to travel by airplane. (Both livestock and airplanes emit a large amount of the gases that contribute to global warming.) Seeking to make a greater impact, Thunberg attempted to spur lawmakers into addressing climate change. For almost three weeks prior to the Swedish election in September 2018, she missed school to sit outside the country’s parliament with a sign that stated “Skolstrejk för Klimatet” (School Strike for Climate). Although alone for the first day of the strike, she was joined each subsequent day by more and more people, and her story garnered international attention. After the election, Thunberg returned to school but continued to skip classes on Fridays to strike, and these days were called Fridays for Future. Her action inspired hundreds of thousands of students around the world to participate in their own Fridays for Future. Strikes were held in such countries as Belgium, Canada, the United States, the United Kingdom, Finland, Denmark, France, and the Netherlands. Thunberg received numerous invitations to speak about climate change. She gave speeches at the World Economic Forum in Davos, Switzerland, and at the European Parliament as well as in front of the legislatures of Italy, France, the United Kingdom, and the United States. In September 2019 her appearance at a UN climate event in New York City—which she travelled to on an emissions-free yacht—drew particular attention for her impassioned comments: “You have stolen my dreams and my childhood with your empty words… We are in the beginning of a mass extinction, and all you can talk about is money, and fairy tales of eternal economic growth. How dare you!” That month, millions of protesters marched in climate strikes in more than 163 countries. While Thunberg was credited with shifting some people’s views and behaviours regarding climate change—her influence was known as “the Greta effect”—she was not without detractors. Brazilian Pres. Jair Bolsonaro notably called her a “brat” in 2019. In addition to her environmental work, Thunberg was credited with raising awareness about Asperger and inspiring those who had the disorder. While acknowledging that Asperger had hampered her in some ways, she also noted its advantages, at one point tweeting: “I have Aspergers and that means I’m sometimes a bit different from the norm. And—given the right circumstances—being different is a superpower.” No One Is Too Small to Make a Difference (2019) is a collection of her speeches. The documentary I Am Greta appeared in 2020.
Laboratorio Paravicini was founded in the early 90’s from an idea of Costanza Paravicini and it was as simple as ambitious: she wanted to create plates and tableware like they used to be in the past, handmade but suitable for everyday use. The decoration technique is called Gran Fuoco sulla Terraglia Bianca (high temperature glost-firing on white eartherware): underglaze decorations are bright, indelible and non-toxic. The Laboratory takes inspirations from the finest tradition of Italian pottery and it has always extended the borders of its production by continuously offering new shapes and decorations. In the years, it has become a precious address for more and more curious and elegant customers. Laboratorio Paravicini has made dining sets on commission for more than twenty years. A made-to-measure production that brings together Costanza, Benedetta and Margherita’s expertise with every client needs. Unique and exclusive works come to life, and they are developed on dreams, thoughts and needs. By showing sketches and samples, Laboratorio Paravicini helps its customers to find the dining set that better meets their own desires. Decorations are taylor-made in both the design and the cromatic range and they are customizable with monograms, emblems and any other request. In this way, every dining set becomes unique and exclusive and reflects the personality of its purchaser. Laboratorio Paravicini offers different types of plates, moulded or smooth, as well as platters that complete all the dining sets. Every shape is made by the Laboratory. High temperature glost-firing decorating technique is made on ceramic bisque before the final glazing. This manufacturing process confers a unique brightness upon the plates: decorations remain protected by outside elements and indelible. This makes the plates suitable for everyday use and machine wash.
The Indigenous Peoples of Greenland, Kalaallit Nunaat, are Inuit and make up the majority of the Greenlandic population. Kalaallit Nunaat is a self-governing country within the Danish Realm, and although Denmark has adopted the UN Declaration on the Rights of Indigenous Peoples, Greenland’s population continue to face serious challenges. In 1996, at the request of Greenland, Denmark ratified ILO Convention 169. Greenland also joined the UN Convention on the Rights of the Child without reservations on 26 March 1992. The Inuit Circumpolar Council (ICC), an Indigenous Peoples’ organisation and ECOSOC-accredited NGO, represents Inuit from Greenland, Canada, Alaska and Chukotka (Russia), and is also a permanent participant in the Arctic Council. The Inuit Circumpolar Council has recently initiated the Pikialaorsuaq Commission, which serves as a consultation tool for Canadian and Greenlandic communities that are most closely connected to the North Water Polyna (Pikialaorsuaq in Greenlandic). The population is 88% Greenlandic Inuit with a total of 56,367 inhabitants (July 2020). The majority of Greenlandic Inuit refer to themselves as Kalaallit. Ethnographically, they consist of three major groups: the Kalaallit of West Greenland, who speak Kalaallisut; the Tunumi- it of Tunu (East Greenland), who speak Tunumiit oraasiat (East Greenlandic) and the Inughuit/Avanersuarmiut of the north. The majority of the people of Greenland speak the Inuit language, Kalaallisut, which is the official language, while the second language of the country is Danish. Greenland’s diverse culture includes subsistence hunting, commercial fisheries, tourism, and emerging efforts to develop the oil and mining industries. Fishing is the primary industry of the country and Greenland has legislative power over the fisheries sector. The fishing industry is the largest source of income and is hence very important to the national economy. Also, it is the source of many people's livelihoods right across the country. The majority of the people of Greenland speak the Inuit language, Kalaallisut, which is the official language. The second language is Danish.
The Princess of Wales, born Catherine Elizabeth Middleton, married Prince William, The Prince of Wales, at Westminster Abbey on 29 April 2011. Their Royal Highnesses have three children, Prince George, Princess Charlotte and Prince Louis. The family's official residence is Kensington Palace. As well as undertaking royal duties in support of The King, both in the UK and overseas, Her Royal Highness devotes her time to supporting a number of charitable causes and organisations, several of which are centred around providing children with the best possible start in life. The Princess of Wales became a member of the Royal Family in 2011, upon her marriage to Prince William. Since that time, she has taken on Royal duties in support of The Queen, and now The King, through engagements at home and overseas, alongside a portfolio of charitable work and patronages. Following the death of Her Majesty The Queen, The King announced in his address to the Nation and Commonwealth that his eldest son will now be known as The Prince of Wales, and his wife will be The Princess of Wales. Through her work over the past decade The Princess of Wales has seen first-hand how some of today’s hardest social challenges have their roots in the earliest years of a person’s life. The Princess is committed to raising awareness of the importance of early childhood experiences and of collaborative action in order to improve outcomes across society. In March 2018, Her Royal Highness convened a steering group to look at what could be done to bring about long-lasting change to the lives of children, by focussing on their earliest stage of life from pre-birth to 5 years of age. The steering group's recommendations, on behalf of The Princess, have formed the basis of The Royal Foundation's strategy for developing her work in this area in years to come. In January 2020, The Princess launched ‘5 Big Questions on the Under Fives’ – a landmark survey which aimed to start a nationwide conversation on early childhood. The findings of the survey were unveiled later that year, alongside in-depth qualitative and ethnographic research conducted by Ipsos MORI. In June 2021, Her Royal Highness highlighted her dedication to the cause by launching The Royal Foundation Centre for Early Childhood, which will drive awareness of and action on the extraordinary impact of the early years, in order to transform society for generations to come. In February 2022, Her Royal Highness visited Denmark to learn about the Danish approach to early childhood development and to explore how The Centre for Early Childhood can take learnings from this world-leading work. As part of Her Royal Highness's work around early childhood, The Princess of Wales is a committed champion of issues related to children’s mental health and emotional wellbeing. Her Royal Highness has worked to bring wider public attention to the fact that issues facing children today such as addiction, poverty, abuse, neglect, loss and illness of family members, can have a long-lasting and traumatic impact if left unsupported. Moreover, academic research has shown conclusively that early childhood trauma will affect mental health long into adulthood, with significant costs to individuals, their families, society and the economy. The Princess of Wales is Patron of a number of organisations which have close association with her specific charitable interests, and where she feels her support can make a difference. These broadly reflect her desire to help the most vulnerable children, young people and their families, as well as to promote opportunities though sport and the outdoors, and showcasing national institutions which reflect her love of the visual arts. As their Royal Patron, Her Royal Highness will support their key projects and initiatives, spotlight their work through her programme of official engagements and where appropriate by convening organisations to work in support of each other. The Princess of Wales, like her husband, also directs her own philanthropic work through The Royal Foundation. The Foundation develops programmes and charitable projects based on the interests of Their Royal Highnesses by working with organisations which are already making a proven impact in their respective fields. The Royal Foundation mobilises leaders, businesses and people so that together we can address society’s greatest challenges. The organisation’s work is built on world-class research, long-term partnerships, and measurable, scalable impact.
The Taj Mahal, in India, is an enormous mausoleum complex commissioned in 1632 by the Mughal emperor Shah Jahan to house the remains of his beloved wife. Constructed over a 20-year period on the southern bank of the Yamuna River in Agra, India, the famed complex is one of the most outstanding examples of Mughal architecture, which combined Indian, Persian and Islamic influences. At its center is the Taj Mahal itself, built of shimmering white marble that seems to change color depending on the daylight. Designated a UNESCO World Heritage site in 1983, it remains one of the world’s most celebrated structures and a stunning symbol of India’s rich history. The plans for the complex have been attributed to various architects of the period, though the chief architect was probably Ustad Aḥmad Lahawrī, an Indian of Persian descent. The five principal elements of the complex—main gateway, garden, mosque, jawāb (literally “answer”; a building mirroring the mosque), and mausoleum (including its four minarets)—were conceived and designed as a unified entity according to the tenets of Mughal building practice, which allowed no subsequent addition or alteration. Building commenced about 1632. More than 20,000 workers were employed from India, Persia, the Ottoman Empire, and Europe to complete the mausoleum itself by about 1638–39; the adjunct buildings were finished by 1643, and decoration work continued until at least 1647. In total, construction of the 42-acre (17-hectare) complex spanned 22 years.
Called by the ancient Romans, "Anphitheatrum Flavlum" (Flavian Amphitheatre), the Colosseum in Rome is the most famous and impressive monument of ancient Rome, as well as the largest amphitheater in the world. The name is undoubtedly linked to the large size of the building but derives above all from the fact that nearby there was a colossal statue of Nero and bronze. In 1990, the Colosseum, along with all the historical center of Rome, the Vatican extraterritorial zones in Italy and the Basilica of St. Paul Outside the Walls, was listed as a World Heritage Site by UNESCO, while in July 2007 was included among the New seven Wonders of the World. The construction took place in the area occupied by the enormous house of Nero's Domus Aurea, built after the great fire of Rome in 64, which was supposed to be a valley surrounded by the hills of Velia, Palatine, Celio, Opium, and Fagutale and was crossed by a stream that ran in the direction of the Tiber along a path that roughly follows the actual street of San Gregorio. The Colosseum is the main symbol of Rome. It is an imposing construction that, with almost 2,000 years of history, will bring you back in time to discover the way of life in the Roman Empire. The construction of the Colosseum began in the year 72 under the empire of Vespasian and was finished in the year 80 during the rule of the emperor Titus. After completion, the Colosseum became the greatest Roman amphitheatre, measuring 188 meters in length, 156 meters in width and 57 meters in height. Known as the Flavian Amphitheatre, the Roman Colosseum is one of the capital's most remarkable monuments. Every year over 6 million people visit it.
Saint Peter Basilica in Rome is one of the holiest temples for Christendom and one of the largest churches in the world. Besides, it is where the Pope presides many liturgies all year round. The construction of the new basilica began in 1506, when the old basilica had been torn down, and was finished in 1626. It was consecrated on 18 November 1626. Several renowned architects designed the temple, highlighting the works of Bramante, Michelangelo and Carlo Maderno. The basilica was called St Peter’s after one of Jesus’s twelve disciples known as Saint Peter, who became one of the founders of the Catholic Church and was executed in Rome and buried where the Basilica now stands. The Papal Basilica of Saint Peter in the Vatican, is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome, St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom".
Mona Lisa, also called Portrait of Lisa Gherardini, wife of Francesco del Giocondo, Italian La Gioconda, or French La Joconde, oil painting on a poplar wood panel by Leonardo da Vinci, probably the world’s most famous painting. It was painted sometime between 1503 and 1519, when Leonardo was living in Florence, and it now hangs in the Louvre Museum, Paris, where it remained an object of pilgrimage in the 21st century. The sitter’s mysterious smile and her unproven identity have made the painting a source of ongoing investigation and fascination. The Mona Lisa or Gioconda is a half-light portrait by the Italian renaissance artist Leonardo da Vinci, that has been described as the best known, the most visited, the most written about, the most sang about, the most parodied art work in the world. It is thought to be of Lisa Gherardini, wife of a Florentine cloth merchant named Francesco del Giocondo - hence the alternative title, La Gioconda. However, Leonardo seems to have taken the completed portrait to France rather than giving it to the person who commissioned it. After his death, the painting entered François I's collection. One of the most legendary reasons for the Mona Lisa's fame is her mischievous smile. Leonardo da Vinci painted the Mona Lisa in such a way that the eyes of the Mona Lisa fall into the centre of vision of the user, while the lips fall into the peripheral vision.
Standing in Red Square and taking in the architecture around you, it's quite common to think the city square was named for its red brick buildings, or perhaps as a reference to the Communist government that ruled the country for most of the 20th century. However, the Russian word for red - krasnaya - is very similar to the word for beautiful - krasivaya - the original name for the plaza. Throughout the years, Moscow's beautiful Red Square has played witnessed to many significant events that have marked the course of Russian history. The famous city square is surrounded by four impressive buildings. One of the most important, and a symbol of the country as a whole, is the spectacular Saint Basil's Cathedral. The bright colours and exquisite details of its architecture are sure to leave you speechless. On the side of the square opposite to the Cathedral is the imposing red building housing Moscow's State Historical Museum, and next to it, you'll find the Kazan Cathedral. This small, fairytale-looking church is actually a recreation of one that was demolished by the Soviet government to make way for tanks and celebrating workers. One of the long sides of Red Square borders the Kremlin, and in front of its impenetrable red wall is the curious structure housing Lenin's Mausoleum. Facing them is the GUM, an elegant department store that was built by the Tsars, then nationalised under the Soviets. Nowadays, it is a luxury shopping arcade.
The Cradle of Humankind region in South Africa, which is approximately 90 minutes' drive from the Johannesburg city centre, offers visitors the opportunity to learn about stones and bones, wine and dine in tranquil surroundings, try out a range of adrenalin-pumping activities, have a beautiful wedding, discover a range of wonderful wildlife and experience culture and craft. The Cradle of Humankind World Heritage Site is one of eight in the country. It's the world's richest hominin site, home to around 40% of the world's human ancestor fossils. The area is also home to a diversity of birds, animals and plants, some of which are rare or endangered. The universe was formed about 14-billion years ago. The Earth is about 4.6-billion years old. Life first emerged about 3.8-billion years ago. Our journey begins in South Africa, where fossils of some of the earliest known life forms on Earth have been found. South Africa has yielded fossils of some of the earliest known dinosaurs, dating back at least 200-million years. Fossils of our distant mammal-like ancestors, which lived more than 200-million years ago, have also been found in South Africa. Africa is the birthplace of humankind. This is where our collective umbilical cord lies buried. Hominids – the ancestors of modern humans – first emerged about seven million years ago, in Africa. Many significant fossil finds have been made in the Cradle of Humankind World Heritage Site, including the famous fossils “Mrs Ples” and “Little Foot”. The first stone tools were made and used in Africa, at least 2.6-million years ago. Our ancestors were able to use and control fire at least one million years ago in the Cradle of Humankind. Homo sapiens, the species to which we all belong, evolved in Africa approximately 200 000 years ago. Africa ignited humankind’s imagination. Some of the oldest rock art in the world has been discovered in Southern Africa. All of humanity shares an African heritage. We are one diverse species across the globe, with our roots in Africa.
Montepulciano is a charming medieval town between the Val d’Orcia and the Valdichiana Senese in south-eastern Tuscany. It lies gently on hills that do not exceed 605 metres above sea level. This area was certainly inhabited by the Etruscans (3rd-4th centuries BC), who already recognised its extraordinary potential for red wine production. Wine is the first wonder of this area, the land of Vino Nobile di Montepulciano DOCG. Montepulciano offers various tourist itineraries amidst evocative landscapes, history, art and culture. The area’s traditional cuisine brings a fitting end to any day, with simple, typically country-style dishes such as pici al sugo di nana, pecorino cheese, fine meats, and local game. The Dei family produced its first bottle of Vino Nobile di Montepulciano in 1985, thus starting a tradition as independent winemakers. For three generations, the Dei Family has been profoundly linked to this territory and its rich resources. In addition to making Vino Nobile di Montepulciano, the family business is involved in extracting travertine marble from the quarries in Rapolano Terme. Maria Caterina Dei’s main goal is to produce high quality Vino Nobile that is the best expression of the terroir, representative of the typical characteristics of this indigenous variety. It all began in 1964 when her grandfather, Alibrando Dei, decided to buy the Bossona land and plant his first vineyard there. There, he discovered an extraordinary place, ideal for the production of great red wines. The property expanded in the 1970s with the purchase of Villa Martiena and the surrounding vineyards. In 1985, the year of an exceptional harvest, the first bottle of Vino Nobile di Montepulciano signed by the Dei family was finally released. Since then, the family has carried on the great passion for wine while respecting tradition and being open to innovation. Their aim is to bring to life in wine the best expression of the Montepulciano area, the splendid corner of Tuscany where they live and which gives their prized grapes their unmistakable character, appreciated throughout the world. Caterina Dei, didn’t always know that wine would be her path, however, her father had a dream, that of top-quality winemaking and a modern, sustainable winery. That dream swept her away and captured her. Now, for more than twenty years, she has been the spokesperson for the knowledge and values of her family, heir and interpreter of the agricultural and viticultural tradition that has had its place of election in Montepulciano. When the wine notes meet the music notes, the harmony will be just perfect. Music and singing have always been a passion for her. In the place of her wine, she has brought her albums to life. For several generations, the family has been involved in the excavation and processing of travertine. Caterina’s father, Glauco Dei, marked an important turning point in the family business by creating architectural works all over the world. At the age of eighty, he conceived the idea of uniting the world of stone with that of wine, deciding to design and build a travertine home for his wine. The structure blends harmoniously into the gentle hilly landscape surrounding Montepulciano. The natural shades of travertine blend with the colours of the land, creating a beautiful architectural spectacle. To enter the building, you have to walk down a characteristic circular ramp, also made of travertine, which descends into the heart of the earth in the form of a spiral. We chose this shape for the entrance of the cellar to recall the precious fossil shells that, together with the limestone sandstone, make the subsoil on which our Bossona vineyard grows so beautifully. The ageing room resembles a temple of wine: the roof, also made of travertine and realised according to her father’s design, is supported by important columns. It is a modern and clean structure, but with strong hints of classicism. The large windows of the bottling and packaging area overlook a square that recalls the shape of an amphitheatre: it is here that the combination of wine and art reaches its maximum expression. Caterina’s desire has always been to ensure that the place and its territory are experienced to the full. Cantine Dei is her travertine treasure chest: the most cherished treasure inside is Vino Nobile di Montepulciano. In July 1980 it was the first in Italy to be awarded the Denominazione di Origine Controllata e Garantita (DOCG). Today it is recognised as one of the most prestigious wines in the country and in the world. According to the philosophy of her grandfather, her father and now her, wine is a heritage that, like the land, must be protected. Knowing the history and understanding the culture behind the production of a bottle of Vino Nobile di Montepulciano, with unique characteristics, is a way to celebrate and appreciate not only each sip of the wine itself, but the entire region of Montepulciano. Caterina’s mission with Cantine Dei is to protect and promote Vino Nobile di Montepulciano and its terroir, with total respect for the environment. This is why you are welcomed to the winery, to hear the story of their land, and to celebrate the precious gifts.
Tutankhamun's mask, or funerary mask of Tutankhamun, is the death mask of the 18th-dynasty ancient Egyptian Pharaoh Tutankhamun. It was discovered by Howard Carter in 1925 in tomb KV62 and is now housed in the Egyptian Museum in Cairo. The mask is one of the best-known works of art in the world. Bearing the likeness of Osiris, Egyptian god of the afterlife, it is 54 centimetres (1.8 ft) tall, weighs over 10 kilograms (22 lb) or 321.5 Troy Ounces, and is decorated with semi-precious stones. An ancient spell from the Book of the Dead is inscribed in hieroglyphs on the mask's shoulders. The mask had to be restored in 2015 after its 2.5-kilogram (5.5 lb) plaited beard fell off and was hastily glued back on by museum workers. According to Egyptologist Nicholas Reeves, the mask is not only the quintessential image from Tutankhamun's tomb, it is perhaps the best-known object from Ancient Egypt itself. Tutankhamun was only the age of nine when he became king of Egypt during the 18th dynasty of the New Kingdom (c. 1332–1323 B.C.E.). His story would have been lost to history if it were not for the discovery of his tomb in 1922 by the archaeologist Howard Carter in the Valley of the Kings. His nearly intact tomb held a wealth of objects that give us unique insights into this period of ancient Egyptian history. Tutankhamun ruled after the Amarna age, when the pharaoh Akhenaten, Tutankhamun’s probable father, turned the religious attention of the kingdom to the worship of the god Aten, the sun disc. Akhenaten moved his capital city to the site of Akhetaten (also known as Amarna), in Middle Egypt—far from the previous pharaoh’s capital. After Akhenaten’s death and the rule of a short-lived pharaoh, Smenkhkare, Tutankhamen shifted the focus of the country’s worship back to the god Amun and returned the religious center back to Thebes. Tutankhamun married his half-sister, Ankhesenamun, but they did not produce an heir. This left the line of succession unclear. Tutankhamun died at the young age of eighteen, leading many scholars to speculate on the manner of his death—chariot accident, murder by blow to the head, and even a hippopotamus attack! The answer is still unclear. Tutankhamun’s much-older advisor (and possible step-grandfather), Ay, married the widowed Ankhesenamun and became pharaoh. During the early twentieth century, Howard Carter, a British Egyptologist, excavated for many years in the Valley of the Kings—a royal burial ground located on the west bank of the ancient city of Thebes. He was running out of money to support his archaeological digs when he asked for funding for one more season from his financial backer, the fifth Earl of Carnarvon. Lord Carnarvon granted him one more year—and what a year it was! At the beginning of November 1922, Carter came upon the first of twelve steps of the entrance that led to the tomb of Tutankhamun. He quickly recovered the steps and sent a telegram to Carnarvon in England so they could open the tomb together. Carnarvon departed for Egypt immediately and on November 26, 1922, they made a hole in the entrance of the antechamber in order to look in. The task of cataloging the finds was an immense undertaking for the team. Carter spent a decade systematically recording the finds and having them photographed. Tutankhamun’s sarcophagus (a box-like stone container) held not one but three coffins in which to hold the body of the king. The outer two coffins were crafted in wood and covered in gold along with many semiprecious stones, such as lapis lazuli and turquoise. The inner coffin, however, was made of solid gold. When Howard Carter first came upon this coffin, it was not the shiny golden image we see in the Egyptian Museum today. The image of the pharaoh is that of a god. The gods were thought to have skin of gold, bones of silver, and hair of lapis lazuli—so the king is shown here in his divine form in the afterlife. He holds the crook and flail, symbols of the king’s right to rule. The goddesses Nekhbet (vulture) and Wadjet (cobra), inlaid with semiprecious stones, stretch their wings across his torso. Beneath these goddesses are two more—Isis and Nephthys—etched into the gold lid.
Samarkand is a city in south-eastern Uzbekistan and one of the oldest continuously inhabited cities in Central Asia. There is evidence of human activity in the area of the city from the late Paleolithic era, though there is no direct evidence of when Samarkand was founded; some theories propose that it was founded between the 8th and 7th centuries B.C. Prospering from its location on the Silk Road between China and the Mediterranean, at times Samarkand was one of the greatest cities of Central Asia. Samarkand is a cross of world cultures for over two and a half millennia, and is one of the most important sites on the Silk Routes traversing Central Asia. If there is a jaw-dropping glitzy blue in Central Asia, a lot of it would be concentrated here, especially on the tiles, a UNESCO World Heritage Site. Its layered history is colored by such personas as Alexander the Great, Genghis Khan, Amir Timur, and others, evoking a sense of grandeur, beauty, culture, and definitely the weight of time. Hence, a visit here is a must.
The history of Tokiwamatsu Gakuen began with the Tokiwamatsu Private Girl School which was established in Shibuya-cho, Toyotama-gun, Tokyo (currently Shibuya-ku) in 1916. The first president was Ms. Suzuko Misumi. She is also known as a lyricist of “The Roots of White Fuji.” Ms. Suzuko Misumi established the Tokiwamatsu Private Girls School with the aim of educating girls to be independent with the expression of “a single violet with steel.” Her spirit of founding the school has been continued for many years and the school was established and transferred in Himonya, Meguro-ku, Tokyo in 1947. Later, Ms. Haya Murotani was appointed to be the chairwoman of Tokiwamatsu Gakuen in 1961, and then established the Tokiwamatsu Gakuen Women’s Junior College, which was a 2-year-college specialized in Art in Kohoku-ku (currently Aoba-ku), Yokohama-shi, Kanagawa in 1966. Since then, the school has evolved and progressed according to the needs of society. The school’s name changed to Yokohama Junior College of Art and Design in 2001 and became coeducational. Yokohama University of Art and Design is proud of the above history and was established with an educational philosophy which is “Art education that cultivates the roots of creative activity is education in its most essential form” in 2010. We aim to foster human resources who can make a contribution to society in a creative way, as well as understanding the requirements of society in the international city of Yokohama. Tokiwamatsu Gakuen celebrated the 100th anniversary of it foundation in 2016. We will keep improving and activating our education and the level of study, as well as linking up with regional communities to increasingly become a creative university which appeals to society.
Anna Pilla, a professional photographer, has a natural gift for capturing and transmitting the emotions of an instant. She prefers animals but its versatility takes her to catch anything she sees everywhere. She works throughout Italy. Anna Pilla, fotografa professionista, ha un dono naturale per catturare e trasmettere le emozioni di un istante. Predilige gli animali ma la sua versatilità la porta a catturare qualsiasi cosa veda ovunque. Lavora in tutta Italia.
Founded in 1977, Radio Veronica One is one of the longest-running Italian radio stations, which has always been at the top of the Piedmont listening charts. Radio Veronica One is a Hit Radio and has often hosted great artists who have chosen it to promote albums and concerts. Live with an 18-hour speaker, in a mix of hits of yesterday and today. Fondata nel 1977, Radio Veronica One è una delle radio italiane più longeve, da sempre ai vertici delle classifiche di ascolto piemontesi. Radio Veronica One è una Hit Radio e ha ospitato spesso grandi artisti che l'hanno scelta per promuovere album e concerti. Dal vivo con un relatore di 18 ore, in un mix di successi di ieri e di oggi.
Founded in 1928 as the first art academy with complete academic programs in China, China Academy of Art, undergoing changes in name and location, continues to yield outstanding achievements known both at home and abroad. CAA has experienced early hardship, ample maturity and leaping expansion as a vanguard in art. With a mission to revitalize Chinese art, it is in active dialogue with the world and has great influence in the development of modern and contemporary art in China. Nowadays, the academy has expanded its departments and academic teams and has garnered tremendous achievements in the school history. The infrastructure of CAA has improved in unprecedented ways. With Nanshan Campus being finished in 2003, and Xiangshan Campus being fully functional in 2007, covering an area of 1000 hectares and total space of 300,000 square meters, the academy now has three beautiful and well-equipped campuses in the cities of Hangzhou and Shanghai.
Dr. Osteopata, expert in Kinesiology and operator Manual lymphatic drainage with the Vodder method, Giorgia Fasolo combines professionalism with love for her work, the results are evident from the first, sometimes unique, session. She operates in Turin, but also moves elsewhere. Dott.ssa Osteopata, esperta in Kinesiologia e operatrice linfodrenaggio manuale con il metodo Vodder, Giorgia Fasolo unisce la professionalità all'amore per il proprio lavoro, i risultati sono evidenti sin dalla prima, a volte unica, seduta. Opera a Torino ma si sposta anche altrove.
La Banca della Calce offers materials and services to professionals in sustainable building and architectural restoration: certified aged lime putty, natural hydraulic lime, innovative products based on lime and hemp and the knowledge to use them to the best, from formulations to on-site consultancy. La Banca della Calce specializes in the use of lime for the realization of the highest quality products; the company proposes itself as a reference point in the development and distribution of knowledge of technologies related to this material with very ancient origins but with a “green” and sustainable future. Starting from the excellent results achieved over the years and the satisfaction of its customers, Banca della Calce aims to increase the number of construction companies that use eco-friendly materials to improve livability. La Banca della Calce offre materiali e servizi ai professionisti dell'edilizia sostenibile e del restauro architettonico: grassello di calce invecchiato certificato, calce idraulica naturale, prodotti innovativi a base di calce e canapa e la conoscenza per utilizzarli al meglio, dalle formulazioni alla consulenza in cantiere. La Banca della Calce è specializzata nell'utilizzo della calce per la realizzazione di prodotti di altissima qualità; l'azienda si propone come punto di riferimento nello sviluppo e nella diffusione della conoscenza delle tecnologie legate a questo materiale dalle origini antichissime ma con un futuro “verde” e sostenibile. Partendo dagli ottimi risultati raggiunti negli anni e dalla soddisfazione dei propri clienti, Banca della Calce punta ad aumentare il numero delle imprese di costruzione che utilizzano materiali eco-compatibili per migliorare la vivibilità.
Palazzo Saluzzo di Paesana, the largest and most articulated noble palace in the city, built by Gian Giacomo Plantery between 1715 and 1722 on behalf of the Marquis Baldassarre Saluzzo di Paesana. In 1715 Count Baldassare Saluzzo di Paesana, at the height of his career, started the construction of the grandiose family palace located in the area hitherto occupied by the Piazza d'Armi of the nearby Cittadella, theater, starting from that year, of the third urban expansion of the city of Turin, commissioned by Vittorio Amedeo II and entrusted after the assumption of the title of King of Sicily to the Messina architect Filippo Juvarra. The urban plan of the western expansion, in the overall design, clearly bears the characteristics of a royal city and at the same time of the changed social conditions of Piedmont, which was about to experience the great season of the Enlightenment. In harmony with the intentions of the sovereign, the Palace completes the urban picture through its internal scenography. The engineer Giovanni Giacomo Plantery (Turin 1680-1756) built in the years between 1715 and 1722 a building complex that houses, with the different needs and due confidentiality, commercial activities on the ground floor, representative and master apartments on the "nobile”, rental housing for the good bourgeoisie on the second and third floors and finally housing for the common people in the mezzanines and attics. In fact, thanks to this innovative building typology that sees the various social classes mixed, Plantery obtains an unusual volume for Turin, completely occupying the Island of San Chiafredo and giving life to the largest and most magnificent noble building in the city that still stands today. For elegance, monumentality and harmonious proportions. Almost 300 years of history, of housing changes and distribution variations due to the economic needs of Baldassarre Saluzzo's heirs, have largely erased the sign of the first tenants and their aesthetic taste, especially the furniture furnishings. Only inside the main apartment, located in the south-east corner of the building, the rooms retain significant eighteenth-century decorations, witnesses of the ancient magnificence and splendor of the Saluzzo family, created starting from 1718 by the Savona painter Domenico Guidobono and Lugano plasterer Pietro Somasso, authors, among other things, of the decorations of the rooms of the Duchess Maria Giovanna Battista of Savoy Nemours at Palazzo Madama. The Saluzzo Manor Apartment located on the Noble Floor of the Palazzo, which still retains eighteenth-century furnishings and decorations, including the frescoed vaults and the over doors by Domenico Guidobono, was intended by the current property as a space for private, corporate and cultural events, in the same spirit of the Saluzzo di Paesana family, which already at the time explored the avant-gardes even outside the moral codes imposed by the eighteenth-century noble label. Thanks to a recent restoration work that has brought the kitchen of the Marquises of Saluzzo back to its splendor, the spaces are presented in a renewed guise and equipped with professional equipment. Through the collaboration with selected chefs, caterers and suppliers, the space management team makes its skills available for the realization of events of absolute prestige. In addition to the main apartment, an additional space is available, located on the ground floor on the opposite side of the main entrance on Via della Consolata: the former Paesana Theater, born in the mid-1700s in the spaces originally conceived as the second entrance hall of the building. The space is now the subject of an important restoration project, aimed at restoring its original vocation and function of public entertainment, through the organization of exhibition and cultural events, thanks to the connection with the Noble Floor of the Palazzo through the imposing Courtyard of Honor.
Italy is the country with the most important architectural heritage and historical real estate in the world. Assocastelli is the association that represents 350 managers and owners of historical and historical residences and residences of Italy (castles, farms, palaces, estates and villas) available for events and hospitality. The mission of Assocastelli is to promote and enhance the historical and architectural heritage of Italy, especially through the development of commercial, receptive and tourist activities that are carried out in these residences (marketing and production of agri-food products and wine, organization of events, management of hospitality and catering). Particular attention is paid by Assocastelli to the sector of architectural and artistic restoration that considers an important economic asset. L'Italia è il Paese con il patrimonio architettonico e immobiliare storico più importante al mondo. Assocastelli è l'associazione che rappresenta 350 gestori e proprietari di dimore e residenze storiche e storiche d'Italia (castelli, masserie, palazzi, tenute e ville) a disposizione per eventi e ospitalità. La mission di Assocastelli è promuovere e valorizzare il patrimonio storico e architettonico del Paese, soprattutto attraverso lo sviluppo delle attività commerciali, ricettive e turistiche che si svolgono in queste residenze (commercializzazione e produzione di prodotti agroalimentari e vinicoli, organizzazione di eventi , gestione dell'ospitalità e della ristorazione). Particolare attenzione è riservata da Assocastelli al settore del restauro architettonico e artistico che lo considera un importante bene economico.
Il Cartiglio Libreria Antiquaria was founded in 1985 by Roberto Cena and Elsie Deferre, current co-owners of the business with his son Luca Cena. Over the years prestigious and thematic catalogues have been published. The Gallery participated and participated in the main Italian exhibitions of the sector and at the Turin antique biennials organized by Roberto Cena himself as President of the Piedmont Antiques Association. The bookshop is amazing, just only a visit tells us so much about the history, the views and the technical skills in the past. The Cartiglio Antiquarian Library is located in the centre of Turin, under the magnificent arcades of the so-called "King's Walk" in via Po, and is arranged over three exhibition floors. It offers valuable antique books and prints, manuscripts, Neapolitan gouaches and watercolours, ancient geographical maps, historical documents, graphics by old masters and the best authors of the '900. For years, he has collaborated with institutions and prestigious companies, providing them with books and prints for corporate gifts. Roberto Cena carries out appraisals and evaluations with confidence and competence in collaboration with numerous professional firms. He is registered in the Roll of Experts and Experts of the Turin Chamber of Commerce and is the expert witness of the Turin Court. Il Cartiglio Libreria Antiquaria è stata fondata nel 1985 da Roberto Cena ed Elsie Deferre, attuali contitolari dell'attività con il figlio Luca Cena. Negli anni sono stati pubblicati prestigiosi cataloghi tematici. La Galleria ha partecipato e partecipato alle principali mostre italiane del settore e alle biennali di antiquariato di Torino organizzate dallo stesso Roberto Cena in qualità di Presidente dell'Associazione Piemonte Antiquariato. La libreria è fantastica, solo una visita ci racconta tanto della storia, dei punti di vista e delle capacità tecniche del passato. La Biblioteca Antiquaria Cartiglio si trova nel centro di Torino, sotto i magnifici portici del cosiddetto "Cammino del Re" di via Po, ed è disposta su tre piani espositivi. Offre libri e stampe antiche di pregio, manoscritti, gouaches e acquerelli napoletani, antiche carte geografiche, documenti storici, grafiche degli antichi maestri e dei migliori autori del '900. Da anni collabora con istituzioni e aziende prestigiose, fornendo loro libri e stampe per regali aziendali. Roberto Cena effettua perizie e valutazioni con fiducia e competenza in collaborazione con numerosi studi professionali. E' iscritto all'Albo dei Periti ed Esperti della Camera di Commercio di Torino ed è CTU del Tribunale di Torino.
Elena Amodei, fiorentina doc, cresce nell'ambiente internazionale culturale di una delle città più belle al mondo. Suo padre Francesco Amodei e Sauro Martini, in seguito ai danni dell'alluvione del 1966 a Firenze, decidono di dare vita ad un Istituto dedicato all’arte e al restauro al quale in futuro parteciperà anche Elena. E’ il 26 settembre 1976. Elena ha avuto l'intuizione di fondare il Salone dell'Arte e del Restauro di Firenze. Da più di dieci anni ne è la direttrice e se ne occupa con grande professionalità e gestione innovativa. Conduce il Salone con una visione ampia, oltre a quella fieristica, e ha realizzato un progetto d'interrelazione tra entità internazionali, che non sempre dialogavano tra loro. La sua continua ricerca e la sua capacità d'intuire i protagonisti del mondo del restauro locale ed internazionale, e portarli a Firenze al Salone del Restauro, a cadenza biennale,2 che occupa l’intero padiglione Monumentale della Fortezza da Basso dove, durante la settimana, espongono ditte, enti, il Ministero della Cultura Italiana e tutte le realtà, nazionali e internazionali, legate al mondo dei beni culturali e si susseguono tantissimi eventi e laboratori. Il Salone è garanzia di successo e si conferma come l’evento di punta in Italia, l’unico che ha in sé la forza di una Città che è riferimento nel mondo per i Beni Cultuali. La capacità di legare arte, sapere e tecnologia rende il Salone una rassegna di forte valenza culturale, sottolineando come la valorizzazione e la tutela dei beni culturali possano rappresentare uno dei motori della crescita economica e sociale del nostro Paese.
Immersed in a centuries-old park stands the eighteenth-century country house Villa Lucia. The interior of the villa, uninhabited for years, opens to the public as a meeting place and with the restaurant "La Chimera" whose cuisine, typically Piedmontese, has its roots in the in-depth knowledge of tradition to innovate it with originality and personal artistic interpretations. . The menu changes periodically, studied by Lucia based on the products of the territory and the season. The ancient charm of the precious rooms, expertly restored, contrast with those completely repainted according to the style of the contemporary artist Franco Novarino. The permanent exhibition space is dedicated to him on the upper floor of the Ristorante La Chimera Pinacoteca. Immersa in un parco secolare sorge la settecentesca dimora di campagna Villa Lucia. L'interno della villa, disabitato per anni, apre al pubblico come luogo d'incontro e con il ristorante "La Chimera" la cui cucina, tipicamente piemontese, affonda le sue radici nella conoscenza approfondita della tradizione per innovarla con originalità e personali interpretazioni artistiche. Il menu cambia periodicamente, studiato da Lucia in base ai prodotti del territorio e della stagione. Il fascino antico delle preziose sale, sapientemente restaurate, si contrappongono a quelle ridipinte interamente a nuovo secondo lo stile dell'artista contemporaneo Franco Novarino. A lui, al piano superiore della Chimera Ristorante Pinacoteca, è dedicato lo spazio espositivo permanente un museo pinacoteca.
Cristina Pellion di Persano, an artist who has always had a talent for colors. His paintings are watercolor collages composed of brilliant colors that come and go and lines of cut out words, full of pure beauty. Everyone will see the words for the important moments in their life. Cristina draws great inspiration from nature. Cristina Pellion di Persano, un artista che ha da sempre un talento per i colori. I suoi quadri sono acquarelli collages composti da brillanti colori che vanno e vengono e linee di parole ritagliate, pieni di pura bellezza. Ciascuno vedrà le parole per i momenti importanti della propria vita. Cristina trae grande ispirazione dalla natura.
The criminal lawyer Giuseppina Paragano has been specializing in the defense of women for years. He appears sweet and kind but on the pitch he will become the fierce defender of the injustice he has suffered. Intuition and careful analysis successfully guide her through the most difficult cases. Based in Turin, he follows cases throughout Italy. L'avvocato penalista Giuseppina Paragano, è da anni specializzata nella difesa della donna. Appare dolce e gentile ma sul campo si trasformerà nell'accanito difensore dell' ingiustizia subita. L'intuizione e l'analisi attenta, la guidano con successo attraverso i casi più difficili. Di base a Torino, segue casi in tutt'Italia.
Since 1995, Studio Vairano Architettura has been active in Architectural Design and Conservative Restoration. The studio has expanded its panorama towards interior design, the refurbishment of listed historic buildings and cultural initiatives. The consolidated professional activity allows you to manage complex projects and issues, with internal and external work groups. Norberto Vairano is the owner of the Studio Architettura Vairano since 1995. After his degree at the Politecnico of Turin he started his career with professional internships at the offices of Oscar Niemeyer in Rio de Janeiro and Andrea Bruno in Turin. Norberto Vairano graduated in 1990 in Architecture from the Faculty of Architecture of the Polytechnic of Turin with a thesis on Restoration, after having obtained the qualification to practice the profession he enrolled in the Order of Architects of the Province of Turin. During the years of his training, he collaborated with various professionals, including Andrea Bruno, Norberto Vairano Senior and Ettore Cometto. In 1992, he participated in an internship in Brazil, at the studio of the architect Oscar Niemeyer, at the end of the same year he was appointed head of the restoration sector of the Cofra company in Turin, for which he participated in the political-technical delegation for the development of relationships bilateral trade between Italy and Libya. Over the course of his career Norberto Vairano consolidated his professional experience in the restoration of restricted assets both through collaborations with the Cultural Heritage Sector of the Piedmont Region, and as president of Municipal Building and Landscape Commissions. In recent years, the studio has expanded its landscape towards interior design, the refurbishment of listed historic buildings and cultural initiatives. The consolidated professional activity allows you to manage complex projects and issues, with internal and external work groups. In the architectural field he has mainly focused his activity on projects of restoration and preservation of buildings protected by environmental and architectural restrictions. This professional choice has allowed him to establish important relationships and collaborations with the administration authorities. Furthermore, the Studio Architettura Vairano counts prestigious projects of private buildings, custom residential design, urban spaces, commercial spaces and exhibit fittings. The experience acquired in the restoration sector is highlighted by attendances to courses and conferences of national and international relevance. The executive roles that Norberto Vairano assumed in landscape and building committees have strengthened his knowledge of the restoration theme and his reputation in Turin’s architectural context. At the moment the Studio is involved in prestigious collaborations as the one with Studio Lombardini 22 of Milan, with the architect Teresa Sapey of Madrid and with Studio Pierandrei of Genova. Now Studio Architettura Vairano, together with Studio Lombardini 22, is working on the restoration project of Porta Susa station in Turin that includes its functional transformation. At the same time the Studio is pursuing other two prestigious projects, both of them in Cagliari: the restoration of the historic palace “Palazzo Accardo” and the conversion to a hotel of the building “Scala di Ferro”, giving it back its original function.
Our history is our starting point, solidity and experience are the basis of our future. Family tradition and unity, passion and commitment: these qualities have helped us create a solid business that stands out in every sector. Today, Podini Holdings is synonymous with quality and excellence, in every field. We get the job done; we are flexible yet solid: these are the qualities that sustain our business. Awareness and dedication push our companies and partners to achieve increasingly better results, to reach the highest objectives together: excellence! Our values are our strength. Tradition and family unity, passion and commitment, have allowed us to create a solid reality with the ability to establish ourselves in every sector. Podini is a company synonymous with quality and excellence in every field. Reliability, flexibility and concreteness animate our business, sensitivity and dedication push our companies and our collaborators towards ever better results, to reach ever higher goals together! In 2010 all humanitarian interventions were institutionalized through a non-profit organization: the Podini Foundation. This was born with the desire to spread the values, spirit and charity that have always guided our family over the years. A story of love and solidarity. The Podini family through the Podini Foundation has been carrying out, for more than 40 years, humanitarian actions for the Eritrean and Cambodian populations living below the subsistence level, focusing mainly on children and young people and supporting initiatives to promote their right to education and health. improving their quality of life. In recent years, the projects have also spread to our region: Trentino Alto Adige. We are committed to protecting the environment. The noble feeling of harmony and respect for all environmental and natural forms is reflected in all the entrepreneurial initiatives connected to each company of the Podini Group. For this reason, we support initiatives and policies that help reduce the ecological impact on the community in order to improve the quality of life today and contribute to a more sustainable future.
Piazza San Marco is in the heart of Venice. It is 590 ft (180 m) long and 230 ft (70 m) wide, and is the only “piazza” in Venice, since the rest of the squares are called “piazzales” or “campos”. It was established during the ninth century, but adopted its current size and form in 1177, and was paved one hundred years later. The Piazza San Marco is one of the most beautiful in the world. Napoleon called it “the world’s most beautiful drawing room”. It is the lowest point in Venice; therefore, when there is Acqua Alta, it is the first place to be flooded. When this happens, the authorities place wooden footbridges for the locals and tourists. Several times a year, the square is completely flooded, so depending on whether you want to experience the Acqua Alta, you might be lucky or not, depending on when you visit the city. The most famous buildings in the piazza are: St Mark’s Basilica, the Doge’s Palace, the Museo Correr and the Campanile (the Basilica’s bell tower) and the Torre dell’ Orologio. In the Renaissance-style top balcony of the Torre dell’ Orologio (Clock Tower), two bronze figures representing Moors strike the hour. During Ascension week and Epiphany, statues of the Three Wise Men emerge from the clock tower and are presided over by an angel every time the little figures strike the hour. A real treat for all visitors. It is also worth highlighting the Columns of Saint Mark and Saint Theodore. The two columns are made of granite and marble and were placed near the entrance of the square in 1172. During the eighteenth century, public executions were held between the two pillars.
The Basilica of San Marco welcomes the faithful and visitors who every day have the opportunity to come to pray and admire its extraordinary artistic heritage, except for those days when for reasons of worship the access of visitors to the Basilica can be temporarily suspended. To build the basilica of San Marco, Venice transfers the spiritual and material heritage of Byzantium to the West. The Greek cross plan rests on a structure which in the central longitudinal nave shows basilical architectural motifs: the vertical arm of the cross is larger than those of the transepts, the altar is placed in the apse area. Above the cross rest the five domes, symbol of the presence of God. The articulation of the space is full of suggestions not found in other Byzantine churches. Inside, a unitary sequence is proposed divided into individual spatial scores, to which the mosaic with a gold background guarantees continuity and the particular way of being of the church. On January 31 of the year 828 the relics of the patron saint Marco, which were in Alexandria in Egypt, are adventurously transferred to Venice and welcomed by the Doge Giustiniano Particiaco. In those times, the relics represented a powerful social and economic aggregator, attracting pilgrims and merchants. Every relic is therefore welcome and that of St. Mark is particularly welcome in Venice, as that Saint would have evangelized the Venetian people, becoming their patron and emblem in the form of a winged lion, armed with a sword and equipped with a book on which, in time of peace, you can read the phrase Pax Tibi Marce Evangelista Meus (Peace to You or Marco Mio Evangelista); a book that is threateningly closed when the sword, instead of discriminating between good and evil, is stained with warrior blood. La Basilica di San Marco dà il benvenuto ai fedeli e ai visitatori che ogni giorno hanno la possibilità di venire a pregare e ad ammirare il suo straordinario patrimonio artistico, fatta eccezione per quei giorni in cui per motivi di culto l’accesso dei visitatori alla Basilica può essere temporaneamente sospeso. Per edificare la basilica di San Marco, Venezia trasferisce in Occidente l’eredità spirituale e materiale di Bisanzio. L’impianto a croce greca poggia sopra una struttura che nella navata longitudinale centrale riporta motivi architettonici basilicali: il braccio verticale della croce è maggiore rispetto a quelli dei transetti, l’altare è posto nell’area dell’abside. Al di sopra della croce poggiano le cinque cupole, simbolo della presenza di Dio. L’articolazione dello spazio è ricca di suggestioni non riscontrabili in altre chiese bizantine. All’interno si propone una sequenza unitaria suddivisa in singole partiture spaziali, cui il mosaico a fondo d’oro garantisce continuità ed il particolare modo di essere della chiesa. Il 31 gennaio dell’anno 828 le reliquie del Santo Patrono Marco, che si trovavano ad Alessandria d’Egitto, vengono avventurosamente traslate a Venezia ed accolte dal Doge Giustiniano Particiaco. In quei tempi le reliquie rappresentano un potente aggregatore sociale ed economico, attirano pellegrini e mercanti. Ogni reliquia è quindi bene accetta e quella di San Marco lo è particolarmente a Venezia, in quanto proprio quel Santo avrebbe evangelizzato le genti venetedivenendone Patrono ed emblema sotto forma di leone alato, armato di spada e munito di un libro sul quale, in tempo di pace, si può leggere la frase Pax Tibi Marce Evangelista Meus (Pace a Te o Marco Mio Evangelista); un libro che viene minacciosamente chiuso quando la spada, anziché discriminare il bene dal male, si sporca di sangue guerriero.
Save Venice Inc. is the leading American nonprofit organization dedicated to preserving the artistic heritage of Venice, Italy. Since 1971, Save Venice has funded the conservation of nearly 2,000 individual artworks. In 2015, Save Venice established the Rosand Library & Study Center in Venice, creating a nexus for the research of Venetian art, history, and conservation. Save Venice also provides grants for fellowships, exhibitions, and publications to advance Venetian scholarship and conservation. Conservation projects are selected on the basis of artistic merit, historical importance, and urgency of need by the Save Venice Board of Directors and its Projects Committee of renowned experts in the fields of art, history, and conservation. Save Venice works in collaboration with the Italian Ministry of Culture. Save Venice has numerous restorations underway throughout the city, carried out by carefully selected restorers who are supervised by the Superintendency and Save Venice staff. This oversight assures that donations are tracked at each step of the restoration process and are used wisely. Conservation treatments are made possible with support from individuals, foundations, and corporations that believe in a shared responsibility to preserve the world’s irreplaceable artistic and cultural treasures found in Venice.
Orsolina 28 came to life in 2016 by the enthusiasm and passion of its founder, Simony Monteiro. She chose an unconventional place, an eighteenth-century farmhouse that once accommodated the monastery of the Orsoline Sisters of Moncalvo. Built in 1794, next to a Romanesque parish surrounded by vineyards, O28 is located between Moncalvo and Penango, the heart of the Monferrato Astigiano region in Italy. The winding hills protect the land, while the Western Italian Alps and Mount Monviso observe from afar. Orsolina Art Foundation was born to promote and transform the future of the performing arts into a social culture. It is a place devoted to the universal language of the arts that transcends time. The spectacular colors and sensations of nature, seasonal gifts and surprises, and breathtaking harmony of the landscape all represent the generating forces and exquisite beauty of Orsolina 28. Orsolina Art Foundation supports the local community by promoting encounters with O28 guest artists and offering complimentary classes to primary schools, introducing students to movement and the world of dance. Their desire at Orsolina 28 is for every individual to experience dance as a powerful vehicle for discovery, freedom, courage, joy, and human connection. O28 offers a breathtaking atmosphere that welcome anyone who wishes to study, research, or explore dance as a means for personal growth. They also support the educational commitment by offering merit-based scholarships and guaranteeing eligible students access to preparatory courses. The Foundation also supports young choreographers through calls for grant-based choreographic residencies. Orsolina Art Foundation is always committed to developing activities of inclusion: motor-skills education for people with or without disabilities, children at risk of marginalization, and people with diseases, in cooperation with associations and foundations of social engagement. Over the years, many artists have shared the magical atmosphere of Orsolina 28, including those who taught, performed, or completed choreographic residencies. To each artist who has contributed to O28, they offer their deepest thanks for embracing our mission and vision.
In the 1980s, Tony Margolis, Bob Emfield and their wives mused about never leaving the beach. This led to the invention of a character named Tommy Bahama. By asking "What would Tommy wear?" and imagining the details of his life, they unwittingly created the springboard for a new brand and the Tommy Bahama Group, Inc. In 1991, Tony and Bob discussed their concept with Lucio Dalla Gasperina. From the outset, the three envisioned the kind of upscale casual apparel Tommy would wear: printed silk shirts and tailored pants for refined island living. They soon launched a collection of menswear that transported people to an island state of mind and celebrated the best part of the week - the weekend. Tommy Bahama has since become a total "island lifestyle" experience that includes men's and women's clothing and accessories, food, cocktails, home furnishings, beach gear and more. From days at the water's edge to elegant evenings out on the town, their guests are treated to subtle textures and refined finishes that are all carefully considered and meticulously crafted. Since 2003, the Tommy Bahama Group has been wholly owned by Oxford Industries, Inc., an international apparel design, sourcing and marketing company. Oxford's acquisition of Tommy Bahama gave the brand more exposure and the secure financial backing to grow. They share their values and respect their desire to maintain the unique culture of the brand. Tommy Bahama is committed to extending the relaxed, positive vibe of our brand into philanthropic efforts. Their primary areas of focus are cancer research, assistance for disadvantaged families and children, and the ethical treatment of animals. Their support of the Garden of Hope and Courage is an example of this commitment. Janet Emfield (wife of Bob) was diagnosed with breast cancer in 1990; she envisioned a peaceful garden in the midst of a sterile hospital setting. In 2004, the Garden of Hope and Courage Foundation became a reality. Its goals: to increase public awareness of breast cancer; to improve early detection and treatment; and to fund research. Since 1996, they've donated a percentage of sales from apparel and accessories designed specifically for this cause. They donate to hundreds of other organizations including Make-A-Wish Foundation®, Juvenile Diabetes Research Foundation, United Way, American Heart Association, Gift of Life, Shane Victorino Foundation, Ryan House, Food Bank for New York City, Citymeals-on-Wheels, Olive Crest and the Humane Society. Their retail stores also provide community support by hosting events like Shop for a Cause, with a portion of the profits from the events going to local charities. And each of their restaurants sponsors annual golf tournaments to raise funds for the local non-profit organizations of their choice.
The Regional Institute for the Tuscolan Villas, IRViT, is based in Rome and in the splendid Villa Mondragone of Monte Porzio Catone. The institution has a public legal personality and works to promote and ensure the conservation, enhancement, the most suitable use and better knowledge of the Tuscolan Villas and their parks and gardens. There are ten Tuscolane Villas distributed throughout the Castelli Romani territory: in Frascati, Villa Aldobrandini, Villa Falconieri, Villa Lancellotti, Villa Sora, Villa Torlonia and Villa Tuscolana; in Monte Porzio Catone, Villa Mondragone and Villa Taverna Borghese (Parisi); in Grottaferrata, Villa Grazioli and Villa Muti. One of the objectives of the IRViT is to promote, disseminate and encourage the knowledge of these wonderful Renaissance mansions which represent, for the whole territory, not only a heritage of history and culture to be cared for, restored, handed down and enhanced, but also a concrete resource for the growth and development of the Tuscolo area. Rediscover the past, therefore, looking to the future. In order to give greater visibility to the immense architectural complex formed by the Tuscolan Villas on a national and international level, the Institute organizes various initiatives with the aim of educating the new generations to respect and protect their historical and artistic heritage. The IRViT collaborates with various institutions, associations and national cultural institutes for culture including APGI - Italian Parks and Gardens Association, FAI - Fondo Ambiente Italiano and the Circuit of Italian Historic Houses. The IRViT was established with Regional Law no. 43 of 6 November 1992, within the scope of the powers contained in the decree of the President of the Republic of 16 July 1977, n. 616, and in compliance with the principles contained in the law of 8 June 1990, n. 142. L’IRViT, l’Istituto Regionale per le Ville Tuscolane, ha sede a Roma e nella splendida Villa Mondragone di Monte Porzio Catone. L’Ente è dotato di personalità giuridica pubblica e opera per favorire e assicurare la conservazione, la valorizzazione, la più idonea utilizzazione e la migliore conoscenza delle Ville Tuscolane e dei relativi parchi e giardini. Le Ville Tuscolane sono dieci così distribuite sul territorio dei Castelli Romani: a Frascati, Villa Aldobrandini, Villa Falconieri, Villa Lancellotti, Villa Sora, Villa Torlonia e Villa Tuscolana; a Monte Porzio Catone, Villa Mondragone e Villa Taverna Borghese (Parisi); a Grottaferrata, Villa Grazioli e Villa Muti. L’IRViT si pone tra gli obiettivi quello di promuovere, divulgare e incentivare la conoscenza di queste meravigliose dimore rinascimentali che rappresentano, per tutto il territorio, non solo un patrimonio di storia e cultura da curare, restaurare, tramandare e valorizzare, ma anche una concreta risorsa per la crescita e lo sviluppo dell’area del Tuscolo. Riscoprire il passato, dunque, guardando al futuro. Per dare maggiore visibilità in ambito nazionale e internazionale all’immenso complesso architettonico formato dalle Ville Tuscolane, l’Istituto organizza diverse iniziative con l’intento di educare anche le nuove generazioni al rispetto e alla tutela del loro patrimonio storico-artistico. L’IRViT collabora con diverse istituzioni, associazioni e istituti culturali nazionali per la cultura tra cui l’APGI – Associazione Parchi e Giardini d’Italia, il FAI – Fondo Ambiente Italiano e il Circuito delle Dimore Storiche Italiane. L’IRViT è stato costituito con Legge regionale n. 43 del 6 novembre 1992, nell’ambito delle competenze contenute nel decreto del Presidente della Repubblica 16 luglio 1977, n. 616, e nel rispetto dei principi contenuti nella legge 8 giugno 1990, n. 142.
Casa Tosca is the design lab of Nicolò Castellini Baldissera and was founded in 2019 as an extension of his interior design studio. All products are hand made by artisans in Italy and Morocco with a desire to blend comfort and elegance. Nicolo Castellini Baldissera, a Milan-born designer, draws inspiration from over thirty years of experience working across Europe. The descendant of a long line of architects, artists and industrialists, his work is rooted in the traditions of Italian design and employs a production team that has been built up over generations.
Lunigiana World was born to promote the homeland of two young boys, Federico and Maurizio, who together have bet on this project, together offer everyone the beauties that that wonderful land with the name of Lunigiana encloses. Lunigiana is rich in history, it is located in the north of Tuscany, on the border with Emilia and Liguria, an ancient crucial crossing point of the Via Francigena. Born for fun, and for the spirit of initiative Lunigiana world offers to those who want to visit this splendid territory, the complete guide of what nature offers, visible on the App with the name "LUNIGIANA WORLD", the application already boasts 25,000 downloads and more than 2500000 pages open, it is very successful because all the locations are geolocated and described in a precise way. Lunigiana deserves to be visited by everyone, and we hope that all institutions develop a unique project in the tourist development of the territory, useful to allow a univocal and organized organization. Lunigiana world nasce per promuovere la terra natia di due giovani ragazzi, Federico e Maurizio, che insieme hanno scommesso su questo progetto, insieme propongono a tutti le bellezze che racchiude quella terra meravigliosa con il nome di Lunigiana. La Lunigiana è ricca di storia, si trova a Nord della Toscana, a confine con Emilia e Liguria, antico punto di passaggio cruciale della Via Francigena. Nata per gioco, e per spirito di iniziativa Lunigiana world offre a chi vuole visitare questo splendido territorio, la guida completa di quello che la natura offre, visibile sull’App con appunto il nome "LUNIGIANA WORLD", l’applicazione vanta già 25000 download e più di 2500000 di pagine aperte, riscuote molto successo perche tutte le località sono geolocalizzate e descritte in modo preciso. La Lunigiana merita di essere visitata da tutti, e speriamo che tutti gli enti sviluppano un progetto univoco nello sviluppo turistico del territorio, utile a permettere una organizzazione univoca ed organizzata.
CRIZU is craftsmanship and mind, patience and passion, abstraction and materia. It is a pure act of creativity. It is an object that inspires peace of mind and harmony. It is a gesture, deeply humane, repeated over and over, like a prayer. It is a second life for books. CRIZU gives old books a second chance: all pages are folded by hand, one by one, with art and patience until and old volume is transformed into a new and marvelous paper sculpture. Old manuals and encyclopedias are reborn into sophisticated pieces of design. The shape changes, but the book remains intact: it can still be read and scrolled through or, more simply one can admire it’s metamorphosis in an object of art and design. Old, but new. Poetic in it’s simplicity. At the beginning you have the book. The volumes chosen by CRIZU have many pages, good quality paper and the binding is stitched: beautiful in form but no longer up to date in contents. Only when a book looses it use, it is ready to be transformed into sculpture: maybe it will no longer be read, but surely admired. The folded is done by hand, one page at a time. All done slowly and without interruption, repeating each gesture thousands of times, watching the paper transform under the fingers: touch is more important than sight. It is an art that requires patience and dedication, a sort of meditation where the rhythm of the gestures synchronize with the rhythm of the soul until the metamorphosis is complete. These objects are imbued with memories and become more and more beautiful with the passing of time. By folding the pages of such books, I bring elements of history, culture and beauty to the finished piece. CRIZU also produces a small line of paper jewelry. The collections are limited edition and entirely hand made in Italy. Starting from paper of old books and mixing the most unexpected materials, earrings and necklaces are created with a very unusual, unique and sophisticated design.
At Gabriella Molinari Storie di Tela we can tailor everything: bed linen, table linen. We love the most ECOLOGICAL and NATURAL materials: Linen, Cotton, Hemp, Fine wools. We have an amazing assortment of Embroidery Cloths. Our shop has always been in the heart of San Giovanni in Persiceto! We sell home linen, linen and natural fibers, home textiles. Our Values + our Passion + our Work = our shop. Possiamo confezionare tutto su misura: biancheria per il letto, per la tavola. Amiamo i materiali più ECOLOGICI e NATURALI: Lino, Cotone, Canapa, Lane pregiate. Abbiamo un sorprendente assortimento di Tele da Ricamo. Da sempre nel cuore di San Giovanni in Persiceto c'è la nostra bottega! Vendiamo Biancheria per la casa, Tele in lino e Fibre naturali, tessuti per la casa. I nostri Valori + la nostra Passione + il nostro Lavoro = la nostra Bottega.
Royal Botanic Gardens Kew is a place where you can discover the world of science behind our botanical collections, with over 50,000 living plants to be found across our UNESCO World Heritage site. Our mission at Royal Botanic Gardens Kew is to understand and protect plants and fungi, for the wellbeing of people and the future of all life on Earth. Earth is the only planet in the universe that we know for certain supports life. Yet that life is in crisis. The unprecedented rate of degradation means we are living through an age of extinction. We know the next decade is critical to reverse this trend. Our aspiration at Royal Botanic Gardens Kew is to end the extinction crisis and help create a world where nature is protected, valued and managed sustainably. Our scientists will identify and strive to protect species of plants and fungi globally, as well as revealing those that could be new sources of food, medicine, fuel or materials. We will promote and provide access to knowledge, ideas and beautiful gardens that motivate individuals to be advocates for nature. The world needs brilliant scientists and horticulturists. We commit to training students from the UK and around the world. Royal Botanic Gardens, Kew is a public body and charity with global collections and influence. We must be for everyone, disseminating our knowledge and collections both physically and digitally for global benefit. We will speak with confidence and prominence to advocate policies aligned with our mission. We will be an exemplar of environmental responsibility in all that we do, including by exceeding net-zero carbon emissions to become Climate Positive by 2030.
Traditional or innovative, everyone has their own taste. La Sirenetta Ice Cream Parlour has been producing ice cream since 1969 with the same unchanged dedication and care. A passion that has been handed down for generations and that chooses only quality raw materials. For a tasty break overlooking the enchanting beach of San Vito Lo Capo, choose The Little Mermaid. Founded by Adele Pizzimenti and continued by his son, the master of ice cream Natalino Pizzimenti, the artisan laboratory of the La Sirenetta ice cream parlour has been producing ice cream since 1969, today as then, with the same unchanged dedication and care. A passion that has been handed down for generations and that chooses only quality raw materials. The choice of ingredients of the highest quality and the knowledge of a sophisticated technique makes our production of ice cream and desserts unique. All our products are free of preservatives and additives and are made with artisanal processing methods and a great deal of care. Our ice cream meets everyone's tastes, consistency and balanced proportion of ingredients enhance the flavour. There is a lot of choice to satisfy your sweet wishes. Indulge the craving for chocolate or enjoy the velvety softness of mulberry trees, the tasteful creations of La Sirenetta are a dip in authentic Sicilian flavours. For a sweet lunch, an energetic breakfast or a delicious after dinner, stop at our terrace overlooking the sea. Sweeten your holiday with unique moments, enriched by the view of the beautiful sea of San Vito Lo Capo. At La Sirenetta you can enjoy, in addition to ice cream, also the typical Sicilian sweets such as cannolo and cassata.
52-year-old Gianluigi Colucci from Bari, Assemble new volumes and save ancient texts using only vintage needle, thread and tools. A craftsman who in his small workshop carries on a historical and "poetic" profession: that of the restorer and bookbinder. To differentiate Gianluigi from the others is precisely the manual skills. In fact, if his colleagues have long since adapted to new technologies and modern equipment, he continues to be faithful to the tools of his father Giuseppe, the one who opened the shop in 1971. The binding and the restoration are carried out by Gianluigi using his own hands. For example, he continues to join the pages using only the needle and thread, as well as to cut cardboard and paper he uses tools that can only work with the strength of the arms. Most of his colleagues now use devices where you just need to push a button to make sure the game is done. The restoration of ancient books: a passion passed on to him by his father. "It is a niche profession - he underlines -: it is reserved for collectors, people who want their volumes to return to their original appearance". Gianluigi say that the binding is what makes him live, above all thanks to the degree theses, while the restoration satisfies the unconditional love he feels for the beautiful and immortal ancient books. Gianluigi Colucci, 52 anni di Bari, Assembla nuovi volumi e salva testi antichi usando solo ago, filo e strumenti vintage. Un artigiano che nel suo piccolo laboratorio svolge un mestiere storico e “poetico”: quello del restauratore e del legatore. A differenziare Gianluigi dagli altri è proprio la manualità. Infatti, se i suoi colleghi si sono adattati da tempo alle nuove tecnologie e alle moderne attrezzature, continua ad essere fedele agli strumenti del padre Giuseppe, colui che nel 1971 aprì il negozio. La legatura e il restauro sono eseguiti da Gianluigi con le proprie mani. Ad esempio continua a unire le pagine usando solo ago e filo, oltre a tagliare cartone e carta usa strumenti che possono lavorare solo con la forza delle braccia. La maggior parte dei suoi colleghi ora utilizza dispositivi in cui è sufficiente premere un pulsante per assicurarsi che il gioco sia terminato. Il restauro dei libri antichi: una passione tramandatagli dal padre. "E' un mestiere di nicchia - sottolinea -: è riservato ai collezionisti, persone che vogliono che i loro volumi tornino al loro aspetto originale". Gianluigi dice che la rilegatura è ciò che lo fa vivere, soprattutto grazie alle tesi di laurea, mentre il restauro soddisfa l'amore incondizionato che prova per i bei e immortali libri antichi.
The Goodwood Estate is in the heart of West Sussex and is home to the world-famous Festival of Speed, Goodwood Revival and Glorious Goodwood. Goodwood House and Estate have been a family's home for over 300 years, and there can be few places as beautiful. The history began with the first Duke of Richmond, illegitimate son of Charles II by his French mistress, Louise de Kérouaille, when originally rented Goodwood to enjoy the fox hunting with the nearby Charlton Hunt, then the most fashionable hunt in the country. In 1697, he bought the house, built in 1616-17 by the 9th Earl of Northumberland - known as the ‘Wizard Earl’ - whose main home was at Petworth. There is evidence that a house had existed at Goodwood as early as 1570. Colen Campbell’s floorplan of 1724 shows the small Jacobean house with gabled ends and, later, sash windows, which must have been added by the first or second Duke. The second Duke of Richmond employed Matthew Brettingham to enlarge the house to the south, with a pedimented front based on William Kent’s Devonshire House in Piccadilly. This was unfinished when the Duke died in 1750, so it was left to Sir William Chambers to complete the interiors. His son, the third Duke of Richmond, employed a young James Wyatt to remodel and extend the north wing (now mainly demolished) in 1771. This included the Tapestry Drawing Room, which was decorated in 1776-7. In 1791, the family’s main seat, Richmond House in Whitehall, London, burnt down. Much of the great art collection was saved, and James Wyatt added two great wings to showcase it, taking advantage of the sweeping views across the park. To give unity to the two new wings and Brettingham’s south wing, Wyatt added copper-domed turrets framing each façade. When the third Duke died in 1806 he left massive debts, so the wing containing the Ballroom was only completed in 1836, when the fifth Duke of Richmond inherited the Scottish properties of his maternal uncle, the last Duke of Gordon. When the tenth Duke and Duchess of Richmond moved into the house in the late 1960s, the north wing was riddled with dry rot. The decision was taken to demolish the wing but preserve the Tapestry Drawing Room. During this period, the external colonnade and modern kitchens were added to the rear of the house. In 1994 the Duke’s son and daughter-in-law, the eleventh Duke and Duchess of Richmond, moved into the house and completed an extensive refurbishment programme, restoring the rooms to their original Georgian glory. Nowadays, Goodwood is England’s greatest sporting estate. Seat of the Dukes of Richmond for over three centuries, the family has always welcomed their friends and guests to share in their love of sport. Horseracing, motor racing, golf, flying, shooting and cricket have all been introduced by enthusiastic family members since the first Duke came to Goodwood in 1697. Within its 12,000 acres, Goodwood is home to one of the largest lowland organic farms in England, a famous Battle of Britain airfield, a celebrated racecourse, a historic motor circuit, two golf courses and one of the oldest cricket grounds in the country, all centred around Goodwood House with its magnificent Regency interiors.
The historic city of Bukhara has been a hub for traders and travellers since its foundation over 2,000 years ago. Situated on an oasis in the Zerafshan river delta in central Uzbekistan, Bukhara lies on a crossroads of ancient trade routes that stretched across Central Asia, and was a vital stopping point for merchants on the edge of the Kyzyl Kum (Red Sand) and Kara Kum (Black Sand) deserts. It was one of the most prosperous cities in Central Asia throughout the Middle Ages, and became a centre not only for exchange between merchants but also for culture, scholarship and religious studies. Bukhara also contributed many locally produced goods that enriched Silk Road trade, and was particularly renowned for its textile industry. Karakul lambs' fleeces, silk, cotton, leather, carpets and clothing were all traded from Bukhara, as well as gold embroidery and metal work, and many of these crafts are still practised in the city today. Bukhara's ancient history was closely intertwined with the growth of the Silk Roads through Central Asia. Indeed, a settlement on the site of Bukhara has been discovered dating from as early as the 2nd millennium BC, and the city grew up nourished by the merchants that arrived from Persia, India, China, and Russia as well as those travelling east from the Caspian Sea and beyond. Its geographical situation, on the edge of the deserts but also close to Uzbekistan’s most prosperous agricultural region, meant that Bukhara was a popular and important resting point in the development of these routes. Following the Arab conquest of the city in 709 AD, Bukhara also became a major cultural and religious centre, and was chosen by the Emir Ismail ibn Amad to be the capital city for the independent Samanid kingdom in 892. The Emir’s tomb, built in Bukhara in the early 10th century, is one of the most striking and well-preserved examples of the architecture of the Muslim world from this period. The city increasingly attracted intellectuals and religious scholars, gaining a reputation as a centre of Islamic learning, and so earned the title of Bukhoro-i-Sharif, or "Noble Bukhara". The scholars and students from across the Muslim world who gathered in the city to learn and teach were themselves partaking in travel along the Silk Roads, and brought their own cultures and ideas with them. The city continued to expand, both economically and socially, under the rule of the Karakhanids in the 11th century, up until the invasion by Ghengis Khan in 1220, and became part of the Timurid Empire in 1370. However, it was in the 16th century that Bukhara reached the peak of its prosperity and renown as a cultural, trading and religious centre on the Silk Roads. Conquered in the late 15th century by Khan Sheibani, a nomadic Uzbek tribal leader, the city went on to become the capital of the Khanate of Bukhara under the Sheibanid dynasty. As Sheibanid rule expanded and was consolidated over large areas of Central Asia, Bukhara was the first to benefit from this prosperity, and the majority of the most celebrated and striking monuments that distinguish the city today date from this period. Many of these reflect Bukhara's status as a spiritual and cultural as well as economic centre, such as the remarkable Poi-Kalyan complex, which consists of the Kalyan mosque, minaret and the Mir-i Arab madrassah. The Lyabi-Khauz ensemble similarly dates from this period, as well as the Kosh madrassah and the Gaukushon madrassah. The Taki Sarafon (Dome of the Moneychangers) and the Taki-Tilpak-Furushan (Dome of the Headguard Sellers) both hint at the vibrant commercial activity that was taking place in Bukhara in this period. The Magoki Kurns and Abdullaziz-Khan madrassah were added in the mid-17th century. This historic old town is in fact the most complete example of a medieval city in Central Asia today, and its well-preserved urban structure and striking medieval architecture, as well as the remains of many covered bazaars, all reflect the influence of the Silk Roads throughout the long history of Bukhara.
i-Italy is a group of journalists, academics and “public intellectuals” determined to create an authoritative point of encounter, information, and debate on the Internet concerning Italy and Italian America. i-Italy is a TV, a print magazine and a multimedia, bilingual web project which focuses on three major fields: Information and discussion on current, social and cultural events. In-depth examination and cultural debate, hosting opinions, comments, columns, analyses, and reviews; Community building/social networking Our project addresses three major segments: American "Italophiles" who love Italy and everything Italian. Americans of Italian descent. Italians living and working in the U.S. It also addresses three main topics: Italian America: social, political and cultural events related to the Italian/American community. Italy in the U.S.: Italian events in America, including among others artistic, cultural, and business events; Italy in Italy: Italian current events and lifestyle. Finally, our project is bilingual, with English as its main language as it is spoken by the most part of our target audiences.
The Réunion des musées nationaux - Grand Palais is a cultural operator whose mission is to promote access to culture throughout the national territory, and beyond. It brings together expertise of excellence in the artistic and cultural field: production of exhibitions, reception of the public, mediation, art history courses, publishing, management of museum shops and publishing of cultural products, art, photographic agency, acquisitions of works of art for national collections, cultural engineering, digital innovation... These allow it to play a unique role in the cultural world, with one ambition: to encourage the greatest number of people to meet art, the art of all cultures, of all eras and in all its forms. The Grand Palais, which entered an important phase of work in 2021, is the emblem of the institution: it exercises many of its skills there, including the production of major exhibitions and cultural events. Temporarily installed on the Champ-de-Mars, the Grand Palais Éphémère will host the event program presented in the Nave of the Grand Palais until the reopening of the monument. In Paris, at the Luxembourg Museum, and everywhere in France, the Rmn - Grand Palais deploys its skills around ambitious and innovative projects. Built for the Universal Exhibition of 1900 and consecrated "by the Republic to the glory of French art", the Grand Palais was classified as a historic monument in 2000. Its architecture combining classicism and modernity, its exceptional dimensions (70,000 m²) and its remarkable volumes (the largest Nave in Europe with a surface area of 13,500 m², crowned by a glass roof of 17,500 m²) make it a unique cultural and heritage site. La Réunion des musées nationaux - Grand Palais est un opérateur culturel dont la mission est de favoriser l’accès à la culture sur l’ensemble du territoire national, et au-delà. Elle regroupe des expertises d’excellence dans le domaine artistique et culturel : production d’expositions, accueil des publics, médiation, cours d’histoire de l’art, édition, gestion de boutiques de musées et édition de produits culturels, Ateliers d’art, agence photographique, acquisitions d’oeuvres d’art pour les collections nationales, ingénierie culturelle, innovation numérique… Celles-ci lui permettent de jouer un rôle singulier dans le monde culturel, avec une ambition : favoriser la rencontre du plus grand nombre avec l‘art, l’art de toutes les cultures, de toutes les époques et sous toutes ses formes. Le Grand Palais, entré dans une phase importante de travaux en 2021, est l’emblème de l’institution: elle y exerce nombre de ses savoir-faire, dont la production de grandes expositions et d’événements culturels. Installé provisoirement sur le Champ-de-Mars, le Grand Palais Éphémère accueillera jusqu’à la réouverture du monument la programmation événementielle présentée dans la Nef du Grand Palais. À Paris, au Musée du Luxembourg, et partout en France, la Rmn - Grand Palais déploie ses compétences autour de projets ambitieux et innovants. Construit pour l’Exposition Universelle de 1900 et consacré «par la République à la gloire de l’art français», le Grand Palais a été classé monument historique en 2000. Son architecture mêlant classicisme et modernité, ses dimensions exceptionnelles (70 000 m²) et ses volumes remarquables (la plus grande Nef d’Europe avec 13 500 m² de surface, couronnée d’une verrière de 17 500 m²) en font un site culturel et patrimonial à part.
La fondazione Accorsi Ometto nasce da un sodalizio di passione, conoscenza e intuito lungo una vita intera. Nato a Torino il 25 ottobre 1891, Accorsi rivela subito quelle straordinarie doti d'intuito artistico che lo resero in seguito famoso e stimato in Italia e all’estero. La sua storia inizia infatti all’età di diciotto anni quando, grazie a un prestito, comincia la sua febbrile ricerca ovunque lo portasse il suo straordinario fiuto per gli oggetti di prestigio. A vent’anni, già famoso e apprezzato, comincia a comprare pezzo dopo pezzo il palazzo della sua gioventù per farne il fulcro della sua attività. In settant’anni di lavoro, Accorsi ha recuperato opere d’arte smembrate e disperse ed è stato fidato consulente di collezionisti, mercanti, istituzioni d’ogni nazionalità. Da giovane appassionato d’arte Giulio Ometto conoscerà Pietro Accorsi a Torino negli anni Settanta, collaborando con lui fino alla scomparsa del grande antiquario. Durante gli ultimi anni, il suo contributo è fondamentale per lo sviluppo e la crescita della galleria di antichità di Pietro Accorsi, di cui diverrà il proprietario nel 1978. Dal 1986 è presidente a vita del consiglio artistico della Fondazione, costituita nel 1975 per volontà di Accorsi, che scriveva nel suo testamento: “Grazie al tuo sapere e al tuo gusto, quanto farai per Torino sarà una cosa stupenda”. Da questo momento Giulio Ometto dirige sapientemente il restauro di Palazzo Accorsi ed è l’artefice della messa a punto dei locali destinati al Museo e degli immobili della Fondazione, di cui diverrà presidente nel 1993. Dopo la sua morte, avvenuta il 18 giugno 2019, per sua volontà la sua collezione d’arte personale è confluita in quella del Museo. L’ipotesi di una Fondazione viene concepita da Pietro Accorsi sul finire degli anni Sessanta del Novecento quando, dopo lunghe discussioni e molti incontri con Giovanni Agnelli e Werner Abegg nell’antica Vigna della Regina che l’antiquario ha in gran parte arredato e di proprietà del banchiere e industriale tessile zurighese, prende corpo l’idea di unire le forze e fare nascere una Fondazione culturale, chiamata amichevolmente “Le tre A”, dalle iniziali dei tre fondatori. Il progetto si arenerà sul finire del 1969, quando Agnelli si svincolerà per dedicarsi alle sue fabbriche, durantei quello che venne definito l’Autunno caldo, con scontri e proteste di piazza; a seguire, anche Abegg rinuncerà al progetto, abbandonando definitivamente Torino per tornare in Svizzera. Accorsi però continua ad inseguire un sogno: catturare il Bello per lasciare alla città che ha visceralmente amato un’impronta, una traccia forte di sé e della sua storia con una Fondazione di caratura internazionale. A tal fine, incaricherà l’avv. Paolo Emilio Ferreri di occuparsi di tutte le pratiche per fare nascere una Fondazione. Il suo sogno si concretizzerà il 14 maggio del 1975, quando sarà presentato lo Statuto della Fondazione: del consiglio d’amministrazione, oltre al fondatore Pietro Accorsi, farà parte, a vita, il suo segretario Giulio Ometto. La motivazione della scelta della Fondazione è riportata nel suo testamento: “Desidero che il mio nome resti legato agli oggetti d’arte e d’antiquariato da me in un’intera vita di lavoro raccolti e conservati […] perché la villa stessa da me con passione arredata costituisca una raccolta museologica dove la gente possa visitare e apprezzare quei mobili e quegli oggetti d’arte e d’antiquariato. Questo vuole essere un dono fatto alla gente intesa come insieme di persone da coltivare”. Dopo la scomparsa di Accorsi, avvenuta nel 1982, la Fondazione, presieduta da Giulio Ometto fino alla sua morte, si occuperà di realizzare nel Palazzo Accorsi il Museo di Arti Decorative, nonchè di preservare le opere del celebre antiquario e di incrementarne la raccolta attraverso il recupero di capolavori senza tempo. L’origine del palazzo Accorsi, see del Museo, è dovuta all’intraprendenza dei Padri Antoniani, che nel 1616 aprirono ai religiosi e ai malati un grande complesso, comprensivo di palazzo e chiesa dedicata a Sant’Antonio abate, al fondo dell’odierna Via Po; per circa 150 anni il complesso fu una delle sedi più prestigiose degli Antoniani in Piemonte ed Italia. Pochi sono oggi i resti riconoscibili delle costruzioni antiche. Nel Novecento la storia del palazzo ha trovato una prosecuzione ideale ed un nuovo grande impulso. Nel 1956 l’intero palazzo fu acquistato da Pietro Accorsi che adibì il piano nobile a sua abitazione e galleria d’arte. Alla sua scomparsa Giulio Ometto, suo allievo, attraverso un meticoloso lavoro, rispettoso della storia secolare del palazzo, ha completamente rinnovato lo storico edificio, rendendolo degna e splendida sede del Museo di Arti Decorative. Il Museo contiene lo straordinario doppio corpo, firmato e datato, come recita la scritta al centro della ribalta “Petrus Piffetti Inve./ fecit et sculpsit/ Taurini 1738”, ritenuto dalla critica internazionale “il mobile più bello del mondo“. Esso è un esplodere fastoso di forme mistilinee, lastronate e arricchite da intarsi in avorio e tartaruga, riportanti scene tradotte in gran parte da celebri incisioni del Cinque e Seicento. Un’opera imponente, caratterizzata da fonti iconografiche molteplici e complesse, commissionata per un matrimonio, evento cui alludono non solo la frase “PERPETVVM NODIS“, ma anche numerosi simboli, quali per esempio lo svettante Cupido armato di arco e frecce o scene significative, tra cui spicca un matrimonio, probabilmente quello di Alessandro e Rossana, che si svolge davanti alla statua di Apollo citaredo. Il museo ospita nelle sue sale oltre 2500 oggetti, di cui solo una minoranza collocati dentro vetrine museali. Il resto delle collezioni è allestito nei vari ambienti, secondo quello che con il tempo viene ormai definito il “gusto Accorsi“. All’interno del percorso museale sono custoditi preziosi capolavori, veri e propri gioielli d’arte.
The Smithsonian Institution is the world’s largest museum, education, and research complex, with 21 museums and the National Zoo—shaping the future by preserving heritage, discovering new knowledge, and sharing their resources with the world. The Smithsonian Institution was established with funds from James Smithson, a British scientist who left his estate to the United States to found “at Washington, under the name of the Smithsonian Institution, an establishment for the increase and diffusion of knowledge.” Smithson died in 1829, and six years later, President Andrew Jackson announced the bequest to Congress. On July 1, 1836, Congress authorized acceptance of the Smithson bequest, but it took another ten years of debate before the Smithsonian was founded. The Institution was founded in 1846 according to Smithson wishes. Once established, the Smithsonian Institution became part of the process of developing an American national identity—an identity rooted in exploration, innovation, and a unique American style. That process continues today as the Smithsonian looks toward the future. They continue to honor this mission and invite you to join them in their quest. When you visit the Smithsonian, you’re entering the world’s largest museum complex, with approximately 155 million artifacts and specimens in its trust for the American people. As a center for research, they are also dedicated to public education; national service; and scholarship in art, design, science, technology, history, and culture.
The Sassi di Matera are two districts, Sasso Caveoso and Sasso Barisano, of the Italian city of Matera, well-known for their ancient cave dwellings inhabited since the Paleolithic period. The Sassi di Matera quarters were listed as a World Heritage Site by UNESCO in 1993. They are a unique place with extraordinary charm that shows how man has lived in a fairytale-like environment for thousands of years: both the Sassi districts and the surrounding area - comprised by the Parco Archeologico Storico Naturale for the most part - are characteristically rocky. The sassi quarters are connected to the current town centre all throughout, admittedly there are many streets and alleys that lead down to the old town. Initially, the Sassi di Matera were just a rocky area, very similar to the opposite side of the canyon created by the Gravina river. The western side of the canyon is made up of a steep side overlooking the stream, along with several hills and terraces more suitable for human habitation. As time went on, these places transformed into villages and ultimately into a fully-fledged town. The first human settlements date back to the Palaeolithic age, and they developed in the many caves that characterize the local rocky landscape. Over time, the landscape has been increasingly modified by man, as the local sandstone is soft enough to be carved, meaning that it can be manipulated to create shelter. The caves that were dug in this period constitute the basis of urbanization, still visible in the buildings constructed during the last millennium. Hence, Matera has gone through the prehistoric phase, comprised of the Palaeolithic age, the neolithic age and the Iron Age, and later its history was strongly affected by the advent of Christianity, which quickly became culturally prevalent. During the Middle Ages, the landscape was transformed as a result of the systematic construction of a series of places of worship. Today, the Sassi di Matera represent a fascinating cultural landscape, which is the reason why they are now part of the UNESCO World Heritage list. Architecturally, they encompass a mixture of different elements that were stratified over time, such as rock dwellings, cave churches and burial grounds that repeatedly alternate with buildings belonging to disparate time periods such as the Middle Ages, the renaissance, the baroque and the modern age. As a matter of fact, caves, hypogea, palaces, churches, neighbourhoods, staircases, galleries and gardens all intertwine together, creating a magical and unique atmosphere in this place.
With a legacy of more than 60 years, which brought hundreds of hours of live television and over 1,500 songs from some 50 countries, the Eurovision Song Contest is a great source of historic facts and mind-blowing figures. On this page, we are sharing the most significant ones with you. The history of the Eurovision Song Contest began as the brainchild of Marcel Bezençon of the EBU. The Contest was based on Italy's Sanremo Music Festival and was designed to test the limits of live television broadcast technology. The Eurovision Song Contest started with just 7 participating countries in 1956. It was the only contest with 2 songs per country. Following the break-up of the Soviet Union, more countries wanted to join in the 1990s. In 1993 and 1994, a then-record 25 countries took part. In 1996, a pre-qualification heat was organized to reduce 29 participants to 23, while host country Norway automatically qualified for the contest as 24th country. The challenge was solved in 2004, when a Semi-Final was introduced. Growing interest lead to the introduction of a second Semi-Final in 2008. As a result, a record number of 43 countries took part in 2008 for the first time. Over 1,500 songs have taken part in the Eurovision Song Contest (not including the 7 songs that didn’t make it to the 1996 pre-qualification round). In 2006, Ireland’s Brian Kennedy delivered the 1,000th entry to the contest, appropriately titled Every Song is a Cry for Love. If you listened to all the songs without a break, you would be sitting up for nearly 72 hours. In 2001, the largest audience ever attended the Eurovision Song Contest. Almost 38,000 people gathered at Copenhagen’s Parken Stadium to witness the first-ever Estonian victory. Ratings of the Eurovision Song Contest have varied greatly over the past decades. In 2016, some 204 million people saw at least one of the 3 shows in whole or in part. With 7 victories, Ireland is the most successful country at the contest. Sweden won the contest 6 times, while Luxembourg, France, the Netherlands and the United Kingdom won 5 times. Poland made the most impressive debut in 1994, when Edyta Gorniak came second with To Nie Ja, closely followed by Serbia’s victory in 2007. Although Serbia & Montenegro was represented twice before, it was the first time that Serbia took part as an independent country. Norway could be found at the bottom of the scoreboard as many as eleven times. The unfortunates came last in 1963, 1969, 1974, 1976, 1978, 1981, 1990, 1997, 2001, 2004 and in the Grand Final of 2012. Nevertheless, they also won 3 times, in 1985, 1995 and 2009. In 2015, the Eurovision Song Contest celebrated its 60th anniversary. The BBC hosted a grand anniversary show in London, featuring over a dozen former participants. And to honour the country's Eurovision Song Contest commitment for over 30 years, the organizers admitted Australia to participate for the first time ever. Despite the 'grand old lady' being of respectable age, her pension is nowhere in sight, as the Eurovision Song Contest is still the most modern live TV entertainment spectacle in the world.
The Oropa Sanctuary is the most important and largest Sanctuary dedicated to the Virgin Mary to be found in the Alps. It is located in a unique, natural and unspoilt setting at only 15 minutes drive from the centre of Biella. Historical lore states that the Sanctuary was founded in the 4th century AD by St. Eusebio, the first bishop of Vercelli. The first written documents that mention Oropa date back to the beginning of the 13th century and mention the first simple churches of St. Mary and St. Bartholomew. These served as important reference points for ‘viatores’ (travellers) who travelled back and forth to the nearby Aosta Valley. The Sanctuary grew and has been developed through the years into a spectacular architectural ensemble of important monumental buildings. This led to a change in the use of Oropa from one of transit to a destination used by pilgrims brought here by their strong sense of devotion. The complex is made up of three large courtyards built on three levels and was designed by the great Savoyard architects Arduzzi, Gallo, Beltramo, Juvarra, Guarini, Galletti and Bonora between the mid 17th and 18th centuries finishing with the “Upper Basilica” which was consecrated in 1960. The first courtyard, faced by restaurants, bars, and several shops for the visitors, is followed by the wide square containing the Ancient Basilica. It can be reached by the monumental staircase and the Royal Door. The majestic buildings of Oropa have been edified in the course of the centuries starting from a core unit: the small sacellum of the Black Virgin. The rooms of the Sanctuary offer hotel-quality accommodation suitable to meet all needs, for tourism accessible to all. Il Santuario di Oropa sorge a 1200 m di altitudine ed è il più importante Santuario mariano delle Alpi: inserito in una cornice naturale di assoluta bellezza, si trova a 15 Km dal centro di Biella. Secondo la tradizione l’origine del Santuario è da collocarsi nel IV secolo, ad opera di S. Eusebio, primo vescovo di Vercelli. I primi documenti scritti che parlano di Oropa, risalenti all’inizio del XIII secolo, riportano l’esistenza delle primitive Chiese di Santa Maria e di San Bartolomeo, di carattere eremitico, che costituivano un punto di riferimento fondamentale per i viatores (viaggiatori) che transitavano da est verso la Valle d’Aosta. Lo sviluppo del Santuario subì diverse trasformazioni nel tempo, fino a raggiungere le monumentali dimensioni odierne tramutandosi da luogo di passaggio a luogo di destinazione per i pellegrini animati da un forte spirito devozionale. Il maestoso complesso è frutto dei disegni dei più grandi architetti sabaudi: Arduzzi, Gallo, Beltramo, Juvarra, Guarini, Galletti, Bonora hanno contribuito a progettare e a realizzare l’insieme degli edifici che si svilupparono tra la metà del XVII e del XVIII secolo. Dal primitivo sacello all'imponente Basilica Superiore, consacrata nel 1960, lo sviluppo edilizio ed architettonico è stato grandioso. Articolato su tre piazzali a terrazza, il complesso è imperniato su due grandi luoghi di culto: la Basilica Antica, realizzata all'inizio del XVII secolo e in cui si venera la Madonna Nera, per tradizione portata e nascosta da S. Eusebio ad Oropa, e la Chiesa Nuova. Completano la struttura monumentali edifici, chiostri e la solenne scalinata che conduce alla Porta Regia.
Saving Castles, where a castle is only as good as the ground it stands on! They are saving castles one project at a time, in the hope that by building a global community, many people can help them do their job! The castles of Europe are unlike any other. They range from fancy, to small and simple; but they all have one thing in common: every castle has a story behind it that makes it so special! Some people have dreamt since they were kids, about owning their own personal castle or château with cobblestone streets leading up to the gates. For others, inheriting property is just an expectation-a family tradition passed down through generations for centuries. And then there’s those who contribute to projects for these majestic structures because of the beauty or history within them, no matter how old or new…all kinds come together under the banner of “Saving Castles.” We all will be saving history as Guardians of the Saving Castle Foundation. When you become involved in the preservation and protection of these historic buildings, it’s more than just your support that saves them – their transformation will impact all who visit! Savings Castles Foundation hopes to bring life back into history by giving contributors, partners and visitors first-hand experiences with historic castles, châteaus, manors, events, artifacts, and more! Their projects are reviewed by experts, then chosen because they deserve and need more public attention. If you want to get involved, there are lots of different ways to join in! Project Guardians, Defenders and Saviours are key supporters that often have the opportunity to become intimately involved with restoring their chosen castle. This is a hugely important role, which enables these monuments of history to stay standing for future generations and visitors alike! Guardians play an integral part in saving Castles from destruction or deterioration by funding necessary repairs that can’t be done on their own as volunteers. They have several contribution levels and all include some wonderful gifts from their online shop in appreciation. The Volunteer Program offers challenging alternative opportunities. The Saving Castles staff place individuals who wish to contribute their time and expertise as part of a project. Volunteers in this program work with their staff members on both short-term or long-term projects, bringing the necessary knowledge base that is desperately needed for specific areas such as restoration, construction, remodelling, archaeology, engineering, fund-raising, event planning, website work, etc. The volunteer positions change from helping out at one event to becoming an important member of the team working alongside them in different parts of the world. They want to create inspiring member experiences that bring the story of Europe’s history alive by selecting historic buildings and sites that need expert care, so that in turn they can be enjoyed by future generations. Building on their work with heritage experts, they’ve partnered up with local organizations around the world who share this passion and interest in preserving history – it’s a way to give back what was once taken away from them without forgetting where you came from!
Gone are the days when people learned about history simply from reading books. People are increasingly looking for experiences that bring history to life in an engaging way and nothing beats standing on the spot where history happened. English Heritage wants to create inspiring visitor experiences that bring the story of England to life. They ensure that their historic sites and artefacts are expertly cared for, so that they can be enjoyed by future generations From small beginnings towards the end of the 19th century, the collection of historic places now managed by English Heritage has grown to over 400, inspired by a determination to put England's heritage ahead of private interest. The extraordinary collection of buildings and monuments now in the care of English Heritage began to be amassed in 1882. At that stage heritage was the responsibility of the Office of Works, the government department responsible for architecture and building. In 1913 an Act of Parliament was passed that gave the Office new powers. These were essentially to make a collection of all the greatest sites and buildings that told the story of Britain. At that stage these were regarded as being prehistoric and medieval remains - country houses and industrial sites were then not really seen as heritage. After the Second World War the Ministry of Works (as it had become) started to be interested in buildings other than castles, abbeys and manor houses. Its first industrial sites were acquired and in 1949 it acquired its first country house, Audley End in Essex. The Ministry had its sights set on a number of other big houses, but the Treasury was very nervous. The government felt it was one thing to take on old castles and abbeys, but quite another to look after, and maintain, huge roofed buildings full of works of art. After some debate it was decided that it would be financially more sustainable if the National Trust took on the country houses and that the Ministry of Works confined itself to the older monuments. This ruling, though disappointing to the men at the Ministry, did not stop them collecting and huge numbers of historic sites, as windmills, iron works and Georgian villas were added to the collection. By 1970 the English part of the collection alone stood at 300 sites visited by more than 5.5m people: it was by far the largest visitor attraction business in the country. Many of the sites now had museums and shops selling souvenirs and it was possible to buy a season ticket and visit the Ministry's sites across the country for free. In 1983 what had effectively become the English national heritage collection was transferred to a new body set up by Mrs Thatcher's government. It was called the Historic Buildings and Monuments Commission. Its name was not thought to be very snappy by its first Chairman, Lord Montagu of Beaulieu, and so it was re-christened English Heritage. Under Lord Montagu's inspired leadership English Heritage did two jobs: it cared for the National Heritage Collection and it ran the national system of heritage protection, including listing buildings, dealing with planning issues and giving grants. By 1933 there were 273 sites in the collection including Stonehenge, Rievaulx Abbey, Carisbrooke Castle and Richborough Roman Fort. Preservation of these important places was, of course, the primary objective, but telling their stories was almost as important. All these places were open to the public and had guidebooks and explanatory signs. Some also sold postcards and even had tea shops. Over a period of a decade or more, the collection became better run, better displayed and the old season ticket was transformed into a membership scheme. Lord Montagu and his successor as chairman, Sir Jocelyn Stevens, began to collect more buildings, now including country houses, such as Brodsworth Hall. Membership grew, visitor numbers increased, and people enjoyed the collections more than ever before. In fact, by the mid-2000s, income from the collection was beginning to make a contribution to their maintenance and conservation. In 2011, for the first time, the national heritage collection made an operational surplus. In other words, instead of costing money to open it to the public, a small surplus was made. Thanks to these successes, the government agreed that it would provide £80m to English Heritage if it transferred the national heritage collection to a charitable trust. This happened on 1 April 2015 when the old English Heritage separated into two parts: a charity that looks after the collections, and Historic England that champions the nation's wider heritage, running the listing system, dealing with planning matters and giving grants. English Heritage offers a hands-on experience that will inspire and entertain people of all ages. Their work is informed by enduring values of authenticity, quality, imagination, responsibility and fun. Their vision is that people will experience the story of England where it really happened. They seek to be true to the story of the places and artefacts that they look after and present. They do not exaggerate or make things up for entertainment's sake. Instead, through careful research, they separate fact from fiction and bring fascinating truth to light. They pursue the highest standards in all their work, from the service they provide to their visitors to the quality of their communications, from the way their events are run to the standard of their conservation work. They seek to be imaginative in the way that history is brought to life, thinking creatively, using the most effective means, surprising and delighting people. They want each experience to be vivid, alive and unforgettable. English Heritage wants people to enjoy their time with them. That doesn't mean they are frivolous or superficial. They want to provide experiences that elicit emotion as well as stimulate the mind. They aim to entertain, as well as inspire!
“Il poeta prima di creare l’uomo creò l’albero per rendergli la vita possibile e gradevole. L’uomo, con il legno dell’albero, si costruì tutto ciò che gli serviva: la casa, il ponte, gli utensili, l’aratro, la ruota, le armi, dal carro all’aereo.” Noi che siamo Tesio Legno, crediamo che ancora oggi il legno sia un materiale insostituibile, perciò continuiamo a produrre manufatti in legno di qualunque genere come la vera falegnameria completa, impiegando naturalmente anche i metodi più avanzati di produzione. Nascono così dalla nostra azienda serramenti esterni ed interni, persiane (gelosie), mobili, boiseries ed arredi di ogni tipo, ma sempre di altissima qualità e con caratteristiche squisitamente artigianali. Ricostruiamo nei centri storici ogni cosa come l’originale che viene sostituito. Abbiamo lavorato nei più importanti immobili del Polo Reale di Torino ed eseguito infiniti lavori che la privacy ci vieta di nominare. Abbiamo collaborato con i grandi studi di architettura del passato e continuiamo a collaborare con gli studi di architettura più prestigiosi del momento. Noi siamo produttori. Non commercializziamo prodotti se non di nostra produzione. Non costruiamo, tanto meno commercializziamo serramenti in plastica o prodotti di bassa qualità. Utilizziamo prodotti naturali, non sintetici, non nocivi e le vernici impiegate sono all’acqua, di ultima generazione. La falegnameria Tesio ha iniziato la sua attività nel 1909 dai fratelli Giuseppe e Severino, producendo quello che veniva richiesto dai nostri clienti, comprese le forniture per la Sanità Militare. Continua oggi, sempre in famiglia con competenza e passione per il nostro lavoro. "The poet before creating the man created the tree to make his life possible and pleasant. The man, with the wood of the tree, was built everything that served him: the house, the bridge, the utensils, the plow, the wheel, the weapons, from the wagon to the plane." We at Tesio Legno, believe that still today wood is an irreplaceable material, so we continue to produce wood artefacts of any kind as the true complete carpentry, naturally also using the most advanced methods of production. Thus are born from our company External and interior windows, shutters (jealousies), furniture, boiseries and furnishings of all kinds, but always of the highest quality and with exquisitely artisan characteristics. We reconstruct in historical centers everything like the original that is replaced. We have worked in the most important real estate of the Royal Polo of Turin and performed infinite works that privacy prohibits us to appoint. We have collaborated with the great architecture studios of the past and we continue to collaborate with the most prestigious architecture studies of the moment. We are manufacturers, and do not sell products if not of our production. We do not build, let alone market plastic frames or low quality products and use natural, non-synthetic, non-harmful products and the paints used are at the latest generation. The Tesio carpentry started his business in 1909 by the Brothers Giuseppe and Severino, producing what was requested by our customers, including supplies for military health. Still today, the firm is run always in the family, with competence and passion for our work.
Things to do in Pistoia are many and varoius, the area of Pistoia is specially very well known for the cultivation of plants and flowers exported all over the world, with a long tradition of local nurseries being passed down generation after generation. Thermal baths are another important resource for the province of Pistoia. The thermal baths of Montecatini and Monsummano can boast of waters with beneficial health effects and thus are much sought after by anyone wishing to take care of themselves, as well as treat themselves to spa treatments. These are the thermal baths which hosted nobility and royalty, as well as more recent movie stars, through the centuries. The dome of the Baptistery was frescoed in the third decade of the 13th century by workers from the Po Valley, influenced by Byzantine iconographic models. An educating city with a very ancient foundation, Pistoia is a place that will amaze lovers of art and traditions. Poets and writers have exalted the charm of what they have renamed "city of enchanted stone" and "city of wide streets and beautiful churches", and indeed the centre offers the opportunity to enter a path full of churches, cloisters, palaces, museums and monuments that revolve around one of the most fascinating Piazza del Duomo in Italy. Not to mention that, on the outskirts of the city, there are villages, churches and fortified castles of striking beauty. Pistoia, proclaimed Italian Capital of Culture in 2017, is a city of Roman origin, whose urban fabric traces the limits of the three ancient walls. Those lucky enough to be able to visit the territory of Pistoia for at least two days, can discover the treasures that the mountain holds. The famous ski resorts, including Abetone and Doganaccia, are visited every year by ski and snowboard enthusiasts; but also in summer, the Pistoia Apennines offer many opportunities. These peaks are ideal for trekking: among the most interesting routes there are certainly those of Monte Gomito, Monte Cimone and the Open Book, as well as the paths that lead to admire the suggestive Nero and Scaffaiolo lakes. If we move towards Lucca, however, we are enchanted by the remains of the fortresses of Serravalle Pistoiese: Torre del Barbarossa and Rocca Nuova characterize the entire village and the valley. Finally, the territory of Marliana is recognized for being covered almost exclusively by chestnut groves, it is no coincidence that the great riches of this land are the products of the forest, such as chestnuts and mushrooms, rows and olive groves.
Many things to do in Como in Italy, a wonderful and exclusive place is waiting for you. Lake Como is a destination with a pure beauty, a marvellous nature and breathtaking views, from where you can walk, relax, discover the peace and enjoy the calm of a holiday. Not far from Milan, near the Switzerland, there's Como, a town where everything is special. Famous for its lake, for its villas with florid parks and secular trees, for its famous "VIP" guests, Como can offer you every kind of solution for your spare time. The lake provides a very special and unique microclimate that produces also a very fine and rich of nutritions and that give longevity extra virgin oil. Cultural routes are ready. From old Romanesque churches to Rationalist architecture, Como is rich in proposals, and the nearly valleys are full of opportunities for mountain lovers, who through wild environments and unspoilt valleys can try out every kind of experience that this natural setting can offer. Things to do in Como may start with enjoining your daily trips boat, ferries, hydrofoils and sea plain too. In Como, you can find the only European school where it's possible to obtain a pilot licence for this kind of vehicle. Famous also for the Spa treatments and luxury staying. Tastings the typical Larian speciality a fantastic mix of lake fish, cheese from our mountains, meats and traditional Italian cooking. For your shopping you can find every kind of silk products, visit silk factory and buy at concept stores. As you can see, here all is waiting for you.
Parma is a city in the northern Italian region of Emilia-Romagna famous for its architecture, music, art, prosciutto, cheese and surrounding countryside. With a population of 198,292 inhabitants, Parma is the second most populous city in Emilia-Romagna after Bologna, the region's capital. The city is home to the University of Parma, one of the oldest universities in the world. Parma is divided into two parts by the stream of the same name. The district on the far side of the river is Oltretorrente. Parma's Etruscan name was adapted by Romans to describe the round shield called Parma. Things to do in Parma should start from the Cathedral, and it's amazing Baptistery. The dome of the Baptistery was frescoed in the third decade of the 13th century by workers from the Po Valley, influenced by Byzantine iconographic models. Also, you should see the originally called the New Ducal Theatre, the Teatro Regio in Parma was built at the behest of the Duchess Maria Luigia of Habsburg-Lorraine, wife of Napoleon, who was sent to govern the Duchy of Parma, Piacenza and Guastalla following the Congress of Vienna. Work began in 1821 on a project by the court architect Nicola Bettoli and the Theatre opened on 16thMay 1829 with Zaira by Vincenzo Bellini with a libretto by Felice Romani. Built in the neoclassical style, the façade is characterized by a colonnade with ionic capitals with a large thermal window above. Visiting Parma is worthwhile just for its amazing food, with parmesan cheese and Parma ham topping the list of must-eat produce. But art and culture lovers will also fall in love with the romanesque cathedral, Roman ruins, Renaissance art and famous opera house. The iconic Palazzo della Pilotta, home to the Galleria Nazionale, houses the main art collection in the city and is a must-visit spot for fans of Old Masters paintings. Over 700 pieces are on show here – from Leonardo da Vinci’s famous unfinished painting Head of a Woman to the fascinating oil painting Turkish Slave by renowned local artist Parmigianino. Various exhibitions centred around everything from the art of 14th-century Parma to Correggio’s High Renaissance paintings make this gallery worth the trip.
Magically suspended between the blue sky and the iridescent coloured sea, the Amalfi coast seems to be born from the palette of a painter who wanted to use the warmer colour gradients for creating a landscape that enchants the visitor at the first shot. The most of the things to do in Amalfi is enjoying thrilling experience and such evocative view to doubt, for a moment, it is real. It is the land where the sweet scent of lemon blossoms harmonizes itself with the most aromatic one of the Mediterranean vegetation and the acrid aroma of saltiness; where the brilliant colours of the majolica domes, bougainvillea and carnations pergolas give an evident coloured touch to the typical whitewashed houses, clinging to the last offshoots of the Lattari Mounts that plunge dramatically into the sea. A vertical landscape, in short, characterized by a picturesque labyrinth of stairways and narrow alleys, connecting the two main elements of this landscape: the mountains and the sea. A continuous succession of headlands and inlets, bays and fjords, interspersed with pebbled beaches and rocks on which you can still see the ancient viceregal towers, the first bulwark of the local population against the Saracen attacks. The shift from the sea to mountain is seamless: the mountain sides were terraced over the centuries, shaped by human labour to create flaps of arable land and already compared, during the Renaissance period, to the legendary Hesperides by the Italian writer and naturalist Giambattista Della Porta. All the towns of the Amalfi Coast are connected by the scenic SS. 163 road, built in the first half of the XIX century during the Bourbon period and always considered one of the most beautiful road in Italy. Following the natural course of the coastline, the route is full of curves, nestled between the rock and the sea cliffs, giving new and spectacular shots at the exit of every tunnel or hairpin bend. Before the construction of the coastal road, locals reached all the towns via mule tracks and footpaths, still existing and particularly appreciated by trekking lovers for the stunning views that can be enjoyed. There are 13 towns spreading across a strip of land kissed by the sun and declared by UNESCO "World Heritage Site".
San Rossore is one of the most precious and lovely pine forest by the sea of Italy in Tuscany. Its Historical evidence has allowed the reconstruction of the evolution of this area, which has always been characterized by large lagoons interspersed with woods and Mediterranean scrub, typical of the delta areas. In the maps of the past it is evident that, in the past, the coastline was significantly shifted to the east: the action of the sea currents and the instability of the rivers determined the formation of long sandy strips, blocking the outlet to the waters and thus creating a wonderful environment of woods and swamps that has survived to the present day without excessive intervention. Here in the 15th century the great Grand Ducal estates of the Medici family and the share cropping farms settled. The reclamation interventions carried out over the centuries, begun by the Medici family and completed around 1940, then defined the current geography of the area. The park and the estate of the same name are named after a little-known saint: a certain San Lussorio. Who was he? Luxurius was a Roman official from Cagliari who, having converted to Christianity at the time of Diocletian, was arrested and sentenced to death in Fordungianus, the ancient Forum Traiani. Before the execution, he allegedly led two young men to conversion, Camerino and Cisello, who were also later executed. The name "Rossore" derives from the corruption of the name Luxurius or Luxorius in Ruxurius or Ruxorius made on some Pisan manuscripts. Thanks to the fact that the relics of the saint were kept for many years in the territories of the estate, the area, the estate and then the park took the name of the martyr, renamed in popular language "San Rossore". Things to do in this amazing forest of San Rossore is mainly walking, riding a bicycle and enjoying nature the sea and the animals. The route is about 30 km long on dirt and asphalted roads (as little traffic as possible). The agricultural estate of Coltano, inside the estate, is a fascinating area of the Park, an area with a particular history and nature that deserve to be discovered on a bicycle trip departing from the center of Pisa. Ancient villas, radio centres, wet canals, agricultural fields and woods with tall and ancient laurels are some of the peculiarities that can be observed and told during the cycle-walk of about 6 hours characterized by crossing the most iconic natural environments of the Estate.
Hello! I am Natacha and I am a Chemical engineering graduate from the Cape Peninsula University of Technology. I am a self-motivated and positive team player. I’m friendly, professional, flexible and organised. I pay good attention to details and can work independently and own initiative. I efficiently communicate in French and English. I have excellent computer skills including outlook, word and Excel. I have worked extensively in customer services and have developed communication, problem-solving, analytical thinking, collaboration, performance and marketing skills that built me ready for any organisation including Zagenie. I can’t wait to be part of Zagenie Family!
When Count and Countess Antonio Bolza found their peaceful holiday retreat in 1984, it was encircled by an overgrown and ramshackle estate. A decade later, Antonio sold his successful publishing company, invested all the proceeds in buying the surrounding 1,500-hectare Reschio estate. Unbeknownst to him it included fifty abandoned farmhouses and an ancient castle. Together with his family of five children, they set up home in relatively unknown Umbria. He decided to share their utopia with like-minded souls, those seeking tranquility and seclusion in an unspoilt swathe of Italian countryside. Fortunately, this aristocratic family had the wherewithal within their ranks. In 1999, their son Count Benedikt returned from studying and practicing architecture in London and immediately took up the reigns, designing and building masterful creations from the original farmhouses, winning awards along the way. Benedikt, together with his wife, Donna Nencia, whom he describes as his unconventional advisor, lived in the dilapidated castle where their five children were born. Benedikt visualised a phenomenal hotel and set about the metamorphosis of the ancient castle into the magnificent 36-room Hotel Castello di Reschio. Benedikt is responsible for all aspects of Reschio. His parents continue to live on the estate and his father’s stable of 40 magnificent Spanish horses, bred and trained for dressage, are much acclaimed. Today half the abandoned farmsteads are beautiful villas; the 1940’s tobacco warehouse has become the Tabaccaia where the vibrant architectural & design studio realise Benedikt’s designs; furniture & lighting made by local artisans, have evolved into B.B. for Reschio. While ancient forests and meadows have been re-wilded, protecting animals living in their natural habitat. Undoubtedly, the dynamic Bolzas have rejuvenated this corner of Umbria, the family’s energetic drive has ensured Reschio continues as a haven of wilderness. Those who own houses or rent villas share the owner’s ethos to preserve the tranquility and natural balance for future generations. Castello di Reschio is a slice of timeless Italy. A grand estate huddled amidst the rolling green hills of Umbria, this is a place made for romantics and intrepid travellers alike. Imagine centuries-old stone and Cypress trees wreathed in mist. The silence of a sun-drenched morning, broken only by the distant echo of cantering Andalusian horses. Come here for adventure or relaxation, and leave utterly enchanted. Rooms come courtesy of nine bespoke farmhouses dotted across a 1,500-hectare landscape. Each one has been exquisitely renovated, with vintage furniture complementing the original stone. Feast on locally-inspired dishes at the Alle Scuderie restaurant, which prides itself on using homemade produce – including honey, olive oil, pasta, and wine. And if you want to work off all that indulgence, make the most of your private swimming-pool or the estate’s state-of-the-art tennis courts or simply taking a walk in the vast nature surrounding you. The surrounding countryside, both on and off the estate, gives you plenty of reasons to go off the beaten track. Take in stunning vineyard-filled vistas on horseback, on mountain bike or on foot. Pack a picnic and breathe in the scent of the meadows by the lake. If you fancy venturing into the world beyond, the hilltop town of Cortona is only a short drive away. It boasts evidence of Umbria’s ancient Etruscan past, plus an impressive Renaissance cathedral.
The Internet Archive, a 501(c)(3) non-profit, is building a digital library of Internet sites and other cultural artifacts in digital form. Like a paper library, we provide free access to researchers, historians, scholars, people with print disabilities, and the general public. Our mission is to provide Universal Access to All Knowledge. We began in 1996 by archiving the Internet itself, a medium that was just beginning to grow in use. Like newspapers, the content published on the web was ephemeral - but unlike newspapers, no one was saving it. Today we have 25+ years of web history accessible through the Wayback Machine and we work with 950+ library and other partners through our Archive-It program to identify important web pages. As our web archive grew, so did our commitment to providing digital versions of other published works. Today our archive contains: 625 billion web pages, 38 million books and texts, 14 million audio recordings (including 240,000 live concerts), 7 million videos (including 2 million Television News programs), 4 million images, 790,000 software programs. Anyone with a free account can upload media to the Internet Archive. We work with thousands of partners globally to save copies of their work into special collections. Because we are a library, we pay special attention to books. Not everyone has access to a public or academic library with a good collection, so to provide universal access we need to provide digital versions of books. We began a program to digitize books in 2005 and today we scan 4,000 books per day in 18 locations around the world. Books published prior to 1927 are available for download, and hundreds of thousands of modern books can be borrowed through our Open Library site. One of the Internet Archive's missions is to serve people who have difficulty interacting with physical books, so most of our digitized books are available to people with print disabilities (learn about access here). Like the Internet, television is also an ephemeral medium. We began archiving television programs in late 2000, and our first public TV project was an archive of TV news surrounding the events of September 11, 2001. In 2009, we began to make selected U.S. television news broadcasts searchable by captions in our TV News Archive. This service allows researchers and the public to use television as a citable and sharable reference. The Internet Archive serves millions of people each day and is one of the top 300 web sites in the world. A single copy of the Internet Archive library collection occupies 99+ Petabytes of server space (and we store at least 2 copies of everything). We are funded through donations, grants, and by providing web archiving and book digitization services for our partners. As with most libraries, we value the privacy of our patrons, so we avoid keeping the IP (Internet Protocol) addresses of our readers and offer our site in https (secure) protocol.
I am Annie Mwila, a Zambian born, from a family of 8 and the youngest of the Mwila’s. My siblings always thought I was spoilt because I was the youngest, but I don’t think so! I was born in a town called Mufulira on the Copper belt side of Zambia in 1981,the Copper belt province is rich with mineral finds and Mines, hence the name. I am Married to Eric and we have a beautiful daughter called Chanda, she is 15 years. I completed my matric in 1999 and my mother advised me to study food production since I loved cooking, I did it for her though it was a course that I never dreamt of studying. I graduated successfully and worked for 2 years as a chef, got tired of cooking, I dodged that career and went into studying computers, worked as a receptionist and studied Human resources at the same time and obtained a diploma. I worked for a courier company as a Human Resources assistant. In 2012, I moved to South Africa, Cape Town when I got married, joined a Mobile Money company called Zoona with operations in Zambia, and I worked there for 5 years as a support agent. Zoona is an African Fintech company founded in 2009 with the vision of helping communities thrive. Since launching, it created over 2,500 jobs in Zambia and Malawi, empowered over 1,000 entrepreneurs to start their own business and allowed them to reach earnings of over $10 million. I enjoyed working for this company because we really helped girl child prevail. Apart from the above, I am a lover of interior designing, and my wish is to have one of the most successful Interior business one day, through my passion for interior, I designed my sister’s Kitchen area, how amazing!!! I love cooking and baking (especially Cake pops), they are my favorites!!! I love adventure, gardening and working out too, I am a gym freak. Most importantly, I love spending time with my loved ones. I reflect a varied personality, including ambition, and the qualities of generosity and thoughtfulness. I am also a well determined and vigorous individual, and yet calm. I encourage fighting for what you desire and believe in and doing it through God because nothing great comes easy. I believe mindfulness in the workplace is key to success. Having worked in Customer care I have gained extensive experience in; Empathy, Adaptability, Ability to Use Positive Language, Clear Communication Skills, Self-Control, Taking Responsibility and Patience.
I have four passions in life. My sport, family, work and God. Each I pursue with dogged determination to be better and to excel. The greatest blessing and experience in life is the privilege of life is having a loving and supporting wife and incredible children. My relationship with each of them is treasured above all. I am blessed in that I am healthy, enjoy the blessing of life and am extremely active. I am thrilled to be able to compete on the international stage for home and country. Success therein is just a cherry on top. Career and work has been an incredible experience. Knowing what I wanted to be early in high school and achieving such has brought about economic emancipation and a lifestyle I could only dream about as a little boy. I bask in the success and abilities given to me and the blessing poured out in great abundance.
During your things to do in Florence, be aware that you are standing in the heart of heritage in Italy and in Europe. One of the most beautiful cities in the world. Florence makes art-lovers' hearts beat double time. The beating heart of Florence is Piazza del Duomo, with its monumental complex of the Basilica di Santa Maria del Fiore surmounted by Brunelleschi's majestic dome; the San Giovanni or St. John’s Baptistry, a magnificent example of the Florentine Romanesque; and Giotto’s Campanile or Bell Tower, a Florentine Gothic architectural master work. Behind the Duomo stands the Museo dell’Opera di Santa Maria del Fiore, with various works from the Cathedral on display; visitors can admire pieces intended for all the structures of the complex, from the Baptistry to Giotto's Bell Tower. Piazza della Signoria represents the historical hub of civil and political life, and hosts the 13th-Century Loggia dei Lanzi, the Fountain of Neptune and the Palazzo della Signoria or Palazzo Vecchio, one of the city’s most symbolic monuments. In front of the Palazzo, statues, including a copy of Michelangelo’s famous David, stand tall. Next to the Piazza is the marvellous Uffizi Gallery, home to one of the most important museums in the entire world, hosting works by Botticelli, Michelangelo, Leonardo da Vinci and numerous other master artists. A remarkable architectonic element of the Uffizi Gallery is the Vasari Corridor, realized by Giorgio Vasari himself around the mid-Fifteenth Century; the Corridor connects the Gallery to the Palazzo Vecchio and Palazzo Pitti. The church of Santa Croce, rebuilt for the Franciscan order in 1294 by Arnolfo di Cambio, is the burial place for the great and good in Florence. Michelangelo is buried in Santa Croce, as are Rossini, Machiavelli, and the Pisan-born Galileo Galilei, who was tried by the Inquisition and was not allowed a Christian burial until 1737, 95 years after his death. There is also a memorial to Dante, but his sarcophagus is empty (he is actually buried in Ravenna, as he was exiled from Florence). The Church of Santa Maria Novella might not be at the top of your list of places to visit in Florence but we highly recommend you place it on there. Architecturally, it is one of the most important Gothic churches in Tuscany, built with the golden section's perfection. The exterior is the work of Fra Jacopo Talenti and Leon Battista Alberti. The interior holds extraordinary works of art including Masaccio's Trinità, Ghirlandaio's fresco cycle in the Tornabuoni Chapel and Giotto's Crucifix, among others. Crossing the very old and suggestive Ponte Vecchio, with its storied gold workshops, one arrives in the Oltrarno quarter to encounter the scenographic piazza that gives way to Palazzo Pitti, an imposing, sumptuous palace where resided the Medici and Lorena clans. The Pitti boasts a wondrous park, the glorious Boboli Gardens; the Gardens are an exemplar of Italian garden landscaping. Fans of Renaissance art will feel giddy touring The Galleria dell'Accademia, which is bursting with works by Michelangelo. Palazzo Pitti, this enormous palace, is one of Florence's largest architectural monuments. The original palazzo was built for the Pitti family in 1457, designed by Filippo Brunelleschi and built by his pupil Luca Fancelli. Don't forget during your visit to Florencethat just walking around and enjoining a fabulous fiorentina steak in any of the Osteria in the city centre, will leave you great memories!
Per noi di adArte restauro, prima di eseguire un buon lavoro di restauro è basilare conoscere al meglio delle possibilità il bene oggetto di intervento. Competenza e strumentazione tecnologica sono componenti imprescindibili per un lavoro che si deve svolgere in maniera metodologica. Un buon restauro non può prescindere da una valida indagine conoscitiva preliminare. adArte, grazie alla competenza professionale del suo personale, offre un ventaglio di metodologie di indagine che spaziano dalle ricerche archeologiche, storiche e d’archivio, ad analisi tecniche di tipo non invasivo (termocamera, infrarosso, endoscopio, droni), fino alla realizzazione di tasselli stratigrafici murari. Allo stesso tempo anche l’aspetto documentale di queste tipologie di ricerca è fondamentale, motivo per il quale siamo in grado di fornire relazioni preliminari e di indagine dettagliate, realizzate con programmi specifici e spesso open source. La progettazione di un restauro è una fase delicata ed importantissima, in cui il dialogo tra specialisti, committenti ed enti svolge un ruolo fondamentale. adArte, in linea con la normativa vigente nell’ambito del Restauro dei Beni Culturali, si avvale di figure abilitate alla realizzazione di progetti di restauro completi, mappature di cantiere o del bene in oggetto (anche con tecnologia 3D), computi metrici e, su richiesta, rilievi grafici di diverse tipologie a seconda delle necessità. Oggi lavorare su un complesso architettonico di interesse storico, artistico richiede l’apporto integrato di più competenze, per poter offrire un risultato di qualità e valorizzare al meglio il bene oggetto di intervento. In condizioni di lavoro particolarmente complesse (come ad esempio il recupero di un immobile articolato) e che richiedono una particolare integrazione di competenze con interazione di professionalità diverse, siamo in grado di fornire e coordinare per conto della Committenza l’intera squadra di lavoro (archeologi, storici, geologi, restauratori, impresa edile, impiantisti, falegnami, fabbri, imbianchini, ecc…) compresa la parte professionale afferente alla progettazione, alla direzione lavori e al coordinamento della sicurezza. I nostri campi d'intervento perciò sono ampi e comprendono: restauro di superfici decorate, Restauro di strutture edili, restauro e recupero di beni archeologici, rimozione atti vandalici, manutenzione e protezione, coordinamento lavori. L’azienda si avvale di strumenti e tecnologie all’avanguardia rappresentate dal nostro settore ICT (Information and Communications Technology) che comprendono il rilevamento strumentale (GNSS e Stazione Totale), geofisico e aerofotogrammetrico (Aerial Remote Sensing). adArte si è dotata da subito di un software gestionale autoprodotto (pyArchInit) ed una realtà dinamica in grado di fornire soluzioni tecnico – informatiche al servizio del territorio. L’azienda opera anche nell’ambito della pianificazione urbanistico-territoriale attraverso analisi e valutazioni d’impatto dei progetti sulla paesaggistica (3d modelling & rendering) e lo sviluppo di Sistemi Informativi territoriali per PSC e PUG comunali. Dal 2012 la società ha la certificazione SOA OS25, II livello ed è consociata ad Archeoimprese.
DSA Study Maps è la pagina di un sito web dove si possono trovare e scaricare migliaia di mappe concettuali per le superiori. Siamo due fratelli. Giuseppe Cipolla, (studente di Psicologia) e Pietrosilvio Cipolla (studente di Giurisprudenza). Durante i mesi di forzata permanenza in casa, abbiamo approfittato per caricare sul web tutto il materiale prodotto durante i nostri anni di studio. Speriamo possa essere d’aiuto a tutti i ragazzi DSA/BES e non. Mappe concettuali parlanti, migliaia di mappe concettuali animate che spiegano in maniera sintetica e chiara i concetti chiave e importanti da memorizzare. Gli argomenti trattati sono relativi alle materie scolastiche: Italiano - Grammatica - Storia - Letteratura latina - Letteratura inglese - Filosofia - Scienze -Biologia - Genetica - Chimica - Corpo umano - Geologia -Geografia astronomica - Storia dell'arte ecc. Le mappe concettuali in formato jpeg potete trovarle e scaricarle dal sito. DSA Study Maps is the page of a website where you can find and download thousands of concept maps for high school. We are two brothers, Giuseppe Cipolla, (student of Psychology) and Pietrosilvio Cipolla (student of Law). During the months of forced stay at home, we took the opportunity to upload all the material produced during our years of study to the web. We hope it will be of help to all SLD / BES and non-SLD kids. Talking concept maps, thousands of animated concept maps that briefly and clearly explain the key and important concepts to be memorized. The topics covered are related to school subjects: Italian - Grammar - History - Latin literature - English literature - Philosophy - Science - Biology - Genetics - Chemistry - Human body - Geology - Astronomical geography - History of art etc. Concept maps in jpeg format can be found and downloaded from the site.
La Fondazione Marisa Bellisario è un network di energie e competenze, una lobby del merito, una rete di dialogo e confronto, un gruppo solidale e unito, che condivide attività e iniziative per costruire un Paese a misura di donne e di crescita. «Sono sempre rimasta colpita dall’energia e determinazione di questo network e dalla capacità di cogliere sempre il senso del presente, intraprendendo battaglie per il merito con estrema concretezza. Il coraggio di osare, la sfida perché le donne raggiungessero i vertici ma anche perché diventassero autentiche Protagoniste delle loro professioni e delle loro vite è stato il faro che ha illuminato il cammino della Fondazione. Se oggi le donne sono sempre più presenti nei gangli vitali del sistema economico e politico, in Italia come in Europa, il merito non è solo dei loro talenti finalmente riconosciuti ma anche di associazioni come la Fondazione Bellisario che hanno lavorato con serietà e dedizione per quest’obiettivo fondamentale» (Viviane Reding). Nel 1989, da un’idea di Lella Golfo, nasce la Fondazione Marisa Bellisario. L’obiettivo è sostenere le donne nella loro vita professionale e personale, valorizzarne il merito e il talento, favorire le carriere al femminile, sensibilizzare l’opinione pubblica, le istituzioni e l’economia al raggiungimento di condizioni di reale pari opportunità. La Fondazione Marisa Bellisario è oggi un network che raccoglie migliaia di manager, imprenditrici, professioniste, donne “arrivate” ai vertici e giovani promesse, tutte con un sogno realizzato o in fieri e tutte con la volontà di lasciare un segno e incidere sul presente e sul futuro del Paese. La Fondazione è un laboratorio di crescita e scambio d’idee ed esperienze che aiuta a leggere e comprendere la realtà e a trovare le soluzioni per “cambiare passo” e rendere le donne Protagoniste del loro tempo. Gli strumenti sono il dialogo e confronto con il mondo politico, le Istituzioni e l’imprenditoria per portare avanti progetti sul lavoro, sull’imprenditoria, sulle politiche di welfare e sulla violenza di genere. Ma l’azione muove anche dalle iniziative concrete e innovative che negli anni tracciano la strada del cammino verso la parità delle donne italiane. Inseguire i sogni, lasciare un segno: «La Fondazione Bellisario rappresenta un pezzo di storia d’Italia. Prima che nascesse, il nostro Paese era certamente meno maturo e consapevole delle tante risorse femminili di cui dispone e che deve utilizzare se vuole avviare un percorso di sviluppo equilibrato e sostenibile. Le tantissime Mele d’Oro ci hanno mostrato e fatto conoscere talenti che fino a quel momento erano rimasti in un cono d’ombra e che dopo hanno conquistato anche incarichi di prestigio. I riconoscimenti a giovani donne e il Premio alle neolaureate hanno dato a tante ragazze lo sprone a inseguire i propri sogni di vita e carriera. Le tante iniziative della Fondazione Bellisario hanno poi contribuito a quel cambiamento culturale che in tanti oramai giudichiamo indispensabile» (Antonio Catricalà). The Marisa Bellisario Foundation is a network of energies and skills, a lobby of merit, a network of dialogue and discussion, a united and united group, which shares activities and initiatives to build a country suitable for women and growth. «I have always been struck by the energy and determination of this network and by the ability to always grasp the sense of the present, waging battles for merit with extreme concreteness. The courage to dare, the challenge for women to reach the top but also for them to become authentic Protagonists of their professions and their lives was the beacon that illuminated the path of the Foundation . If today women are increasingly present in the vital ganglia of the economic and political system, in Italy as in Europe, the merit is not only of their finally recognized talents but also of associations such as the Bellisario Foundation who have worked with seriousness and dedication for this 'fundamental objective' (Viviane Reding). In 1989, from an idea of Lella Golfo, the Marisa Bellisario Foundation was born. The goal is to support women in their professional and personal life, enhance their merit and talent, promote female careers, raise awareness of public opinion, institutions and the economy to achieve conditions of real equal opportunities. The Marisa Bellisario Foundation is today a network that gathers thousands of managers, businesswomen, professionals, women "arrived" at the top and young promises, all with a dream come true or in progress and all with the will to leave a mark and affect the present and on the future of the country. The Foundation is a laboratory of growth and exchange of ideas and experiences that helps to read and understand reality and to find solutions to "change pace" and make women the protagonists of their time. The tools are dialogue and confrontation with the political world, institutions and entrepreneurship to carry out projects on work, entrepreneurship, welfare policies and gender-based violence. But the action also stems from concrete and innovative initiatives that over the years have traced the path towards equality for Italian women. «The Bellisario Foundation represents a piece of Italian history. Before it was born, our country was certainly less mature and aware of the many female resources at its disposal and which it must use if it wants to start a balanced and sustainable development path. The many Golden Apples showed us and made known talents who until then had remained in a shadow and who afterwards also won prestigious positions. The awards to young women and the award for recent graduates have given many girls the spur to pursue their dreams of life and career. The many initiatives of the Bellisario Foundation then contributed to that cultural changewhich many now consider indispensable» (Antonio Catricalà).
Born and raised in England, Penelope Chilvers originally trained as a painter at the Byam Shaw School of Art in London, and was granted a scholarship from the Spanish Ministry of Culture, to complete an MA at Complutense University in Madrid. Her love affair with Spain and local craftsmanship began long before. As a child, she spent every school holiday in the province of Girona, where she first came across rustic, handmade alpargatas. She has been trying to make the perfect raw edged, bullhide moccasin that only exists in her childhood memories ever since! Penelope lived for a few years in the city of Barcelona, as a painter and designer, where she collaborated with artists and artisans. She worked with woodturners, designed for the textile industry and worked on interesting projects e.g. the restoration of the Picasso Museum. While living in Barcelona, she enjoyed riding in her lunch break in the national park of Collserola in the hills above the city, wearing traditional Spanish riding boots. She pursued the idea of bringing the Spanish riding boot to England and commissioned a small number of traditional artisans in the hills of Spain to make the perfect equestrian boot – our Long Tassel boot - to her own specifications. This boot remains a firm favourite in the collection, most famously worn back in 2004 by Prince William’s then girlfriend, Kate Middleton. Kate, the Duchess of Cambridge, continues to wear her boots to this day, most recently on a royal engagement in County Durham to visit Manor Farm. Having returned to the UK, Penelope began to work from her kitchen table, selling over 100 pairs of the Long Tassel Boot in a short space of time to a leading fashion boutique in Notting Hill, called The Cross. From that moment on, she got to work, designing her first comprehensive collection to launch at Paris Fashion Week in 2004. The collection has since grown to include iconic styles, such as the Incredible Boot, our highly sought after après ski boot, the crepe soled Neon Safari boot and a solid offer of Goodyear welted outdoor boots and footwear for experience and adventure.
Artenova, dopo una decennale esperienza nella produzione di manufatti artistico-ornamentali ha deciso di rispondere ad una evidente flessione della domanda di mercato, iniziando ad utilizzare, dopo una lunga fase di sperimentazione, la pregiatissima argilla di Impruneta per la realizzazione di grandi giare in terracotta per la lavorazione del vino. Il nuovo corso aziendale, grazie anche alla preziosa collaborazione interdisciplinare di vari esperti, ne ha sancito un immediato successo internazionale. Ad oggi Artenova è l’unica fornace in Italia a produrre Giare per vino e conta fra i suoi clienti, oltre a numerose aziende italiane, produttori da numerosi paesi del mondo (Stati Uniti, Australia, Nuova Zelanda, Francia, Canada, Austria, Serbia, Albania, Sud Africa ecc.) La terracotta di Impruneta è il risultato di un particolare tipo di argilla, presente soltanto in una ristretta area geografica intorno al paese, in grado di conferirle speciali caratteristiche di resistenza e di colore. Una terra speciale, unica, inalterabile nel tempo ma che, per essere lavorata, ha bisogno di una grande maestria artigianale. Artenova, after a decade of experience in the production of artistic-ornamental artefacts, has decided to respond to an evident decline in market demand, starting to use, after a long period of experimentation, the highly prized Impruneta clay for the creation of large terracotta jars for wine processing. The new company course, thanks also to the precious interdisciplinary collaboration of various experts, has sanctioned an immediate international success. To date, Artenova is the only furnace in Italy to produce Jars for wine and counts among its customers, in addition to numerous Italian companies, producers from numerous countries around the world (United States, Australia, New Zealand, France, Canada, Austria, Serbia , Albania, South Africa etc.) The terracotta of Impruneta is the result of a particular type of clay, present only in a limited geographical area around the town, capable of giving it special characteristics of resistance and color. A special land, unique, unalterable over time but which, in order to be worked, needs great craftsmanship.
I'm the family person, hard-working woman, a mom of a handsome boy, adventures and a God fearing woman. I worked at the Department of Health as an Administration Clerk for 5 years. We've opened an N.P.O Youth Initiative. We are developing youth in programs such as soccer, reading and our culture. We conduct awareness campaigns about the dangers of drugs and alcohol. We facilitate the formation of support groups. And I have passion in farming. We started poultry farming and rabbits and we are selling the eggs in our community. I've done short course in Financial Management at University of Forte at PFMA.
The Arabia Steamboat Museum is a unique Kansas City attraction: a time capsule of life on the American frontier in the mid-19th century. Visitors have a one-of-a-kind opportunity to experience everyday objects that made life possible for pioneers in the 1800s. Voted “Favorite Kansas City Hidden Gem” by Visit KC, the museum is one of Kansas City’s most popular attractions. It is the largest single collection of pre-Civil War artifacts in the world, featured by National Geographic Traveler, Smithsonian Magazine, PBS, Antiques Roadshow, Good Morning America, Southern Living, CNN, the History Channel and many other news and entertainment organizations. The Steamboat Arabia was one of many casualties of the perilous Missouri River—the longest river in the United States that claimed nearly 400 other steamboats over its 2,500-mile course. In September 1856, the Arabia was carrying over 200 tons of cargo intended for general stores and homes in 16 Midwestern frontier towns. The steamer was still fully loaded when it hit a tree snag and sank just 6 miles west of Kansas City. Due to erosion, the Missouri River changed course over time, and the Arabia was buried underground for over a century – along with all of its precious cargo. Lying 45 feet deep beneath a Kansas cornfield, the Arabia’s payload was protected from light and oxygen and, thus, was remarkably well-preserved. In the winter of 1988, five men and their families banded together to begin the adventure of a lifetime … recovering the Steamboat Arabia's long-lost treasure. What they found will astound you. In 1991, the Arabia’s cargo was transformed into the Arabia Steamboat Museum, a top Kansas City attraction and favorite local destination in the historic City Market. From fine china and carpentry tools to children’s toys and the world’s oldest pickles—the Arabia’s artifacts captivate visitors of all ages. The museum accommodates all types of visitors, including walk-ins, families, RV groups and more. It has become a favorite destination for Kansas City field trips year after year. The collection is a work in progress as preservationists continue to clean 60 more tons of artifacts in a preservation lab that’s available for visitors to watch. Come and see what they are working on today. More artifacts and interactive displays are added on an ongoing basis. Whether it’s your first visit to this favorite Kansas City attraction or you come in every year, the treasures of the Steamboat Arabia will connect you to American history in a new and exciting way.
Dal 1435 la famiglia Mazzei produce vini unici con spirito e passione che si rinnovano di generazione in generazione. A Fonterutoli nel Chianti Classico come a Belguardo e a Zisola vive la stessa filosofia nella valorizzazione dei vitigni autoctoni. Contemporanei dal 1435. 600 anni di attività vitivinicola, ricerca e valorizzazione del territorio nel Chianti Classico, in Maremma e Sicilia. Visita la spettacolare cantina di Castello di Fonterutoli. Da oltre sei secoli, la nostra famiglia si dedica all’attività vitivinicola con passione e impegno che si rinnovano di generazione in generazione. La continua ricerca di nuovi orizzonti qualitativi ci ha portato a estendere le nostre attività su diverse frontiere enologiche, da quella storica del Castello di Fonterutoli nel Chianti classico, verso due realtà altrettanto promettenti: Belguardo nella Maremma Toscana e Zisola nella Sicilia Sud-Orientale. Attraverso il loro potenziale espressivo vogliamo declinare in contesti diversi il nostro patrimonio di esperienza, sempre nel rispetto delle caratteristiche e delle specificità di questi grandi “terroirs”. La costante attenzione a questi valori si riflette su tutti i nostri vini, per la soddisfazione dei “connaisseurs” di tutto il mondo che riconoscono nel nome Mazzei uno dei punti di riferimento del panorama enologico italiano. Con questo spirito lavoriamo per continuare a meritare la fiducia dei nostri estimatori, nel presente e nel futuro. Since 1435 the Mazzei family has been producing unique wines with spirit and passion that are renewed from generation to generation. In Fonterutoli in the Chianti Classico as in Belguardo and in Zisola, the same philosophy lives in the enhancement of native vines. Contemporary since 1435. 600 years of winemaking, research and enhancement of the territory in the Chianti Classico, Maremma and Sicily. Visit the spectacular Castello di Fonterutoli winery. For over six centuries, our family has been dedicated to the wine business with passion and commitment that are renewed from generation to generation. The continuous search for new qualitative horizons has led us to extend our activities on different oenological frontiers, from the historical one of the Castello di Fonterutoli in the classic Chianti, towards two equally promising realities: Belguardo in the Tuscan Maremma and Zisola in South-Eastern Sicily. Through their expressive potential we want to decline our wealth of experience in different contexts, always respecting the characteristics and specificities of these great “terroirs”. The constant attention to these values is reflected in all our wines, to the satisfaction of the "connaisseurs" from all over the world who recognize in the name Mazzei one of the reference points of the Italian wine scene. With this spirit we work to continue to deserve the trust of our admirers, in the present and in the future.
Patrimony UNESCO from over 20 years, the city of Venice and its Lagoon, form a pearl set in a territory rich in charm which extends for kilometres. Your visit to Venice will remain in your heart forever. Things to do in Venice should start from Piazza San Marco: the beating heart of Venice and is considered one of the most beautiful squares in the world. That of San Marco is the only town square overlooking the sea, and is the favourite place for Venetians and tourists to stroll along an extraordinary path of Italian art and history. Napoleon Bonaparte called it "the most beautiful hall in Europe". It was built in the 9th century and paved in 1177, 100 years after its construction. The first church dedicated to San Marco, commissioned by Giustiniano Partecipazio, was built next to the Doge's Palace in 828 to house the relics of San Marco. When thinking about Saint Mark’s Basilica, the first images that come to the minds of many people are those of the mosaics and their golden backgrounds. More than 8000 square metres of mosaic cover the walls, vaults and cupolas of the Basilica. Essentially Byzantine in its architecture, the Basilica finds in the mosaics its natural integrating element. The mosaic decorations were developed through some 8 centuries of the Basilica’s history. The island of San Giorgio Maggiore is the smaller of the two and is a few tens of meters from the Giudecca Island: it is a magical and silent place, far from the tourist itineraries and, for this reason, it maintains its ancient charm intact, whose roots can be found in the distant 10th century, when the Benedictine monks founded the first convent with an adjacent church here. The Civil Hospital of Saints John and Paul in Venice is one of the major monumental complexes in the city; it is also an architectural-artistic compendium that spans nearly nine centuries; it is a moral and medical-scientific reality that is indispensable for knowing and experiencing the extraordinary Venetian civilization. In fact, it contains the hospital world of contemporary care but also the world of culture, history, art, spirituality. The sixteenth-century Hospital of San Lazzaro overlooks the Rio dei Mendicanti with the original double-façade church; on the Campo SS. Giovanni e Paolo, on the other hand, the most beautiful Renaissance facade of a secular Venetian building is mirrored, this is one of the most important urban spaces with the great Dominican Basilica of the thirteenth century and the amazing equestrian monument of Andrea Del Verrocchio, master of Leonardo. The Rialto Bridge is the oldest bridge that was built to cross the Grand Canal. What most characterizes Venice are its canals, which cross the city like streets. The largest is the Grand Canal, which divides the city in two, with its four kilometres in length. The first thing that catches the eye when you arrive in Burano is the variety of colours of its houses. It goes from yellow to fuchsia. From teal to fiery red. A kaleidoscope that amazes our view and magically reflects the lagoon. Burano is an inhabited centre of 2373 inhabitants, which rises on four islands of the northern Venice lagoon. It is part of the municipality of Venice and in particular of the municipality of Venice-Murano-Burano. It is connected by a bridge to the island of Mazzorbo, which has become a sort of appendage. The town is known for its typical brightly coloured houses and for the centuries-old needlework of Burano lace.
Rome caput mundi, that's how the Romans used to entitle the city of Rome. In their times it really was the head of the world, today we can still enjoy the Heritage that tells us the history of the Roman Impire of more than 2000 years ago. Things to do in Rome will start from its symbol: the Colosseum. The Colosseum, the construction of the Flavian Amphitheater, better known as the Roman Coliseum, began around AD 7 under the Emperor Vespasian. The Colosseum became the largest Roman amphitheater, with an elliptical structure of 188 meters long, 156 meters wide and 57 meters high. Made in brick and covered with travertine, it was divided into five levels with a capacity for more than 50,000 people. Close to the Colosseum, you will walk into the Imperial Fora, a monumental architectural complex, formed by a series of buildings and monumental squares, the centre of the political activity of ancient Rome, built in a period of about 150 years, between 46 BC and 113 AD. If you get there during the sunset, you will enjoy the special lights of the Roman skyes. Walking toward the centre, you will find another beauty, the Pantheon, the only ancient Roman building remained nearly intact through the centuries. The Pantheon's dome, is the largest hemispherical dome ever built in unreinforced concrete. Despite being so ancient, with its internal diameter of 44.30 m, the dome of the Pantheon is still the largest hemispherical dome ever built in unreinforced concrete. According to tradition, St. Peter's Basilica is built on the site of the tomb of the apostle Peter, which dates back to the year 60. He was crucified in the circus of Nero next door. The foundations of the basilica were then completed, and the works begun in 315 were completed eleven years later. During the Renaissance, Bernini was entrusted with the redesign of the place from 1629, in particular by building the great colonnade, between 1656 and 1665. The Trevi Fountain with its 26 meters high and 20 wide is one of the largest fountains in all of Rome. Famous throughout the world for its majesty, its history has very ancient roots. From 19 d.c. to 1700, emperors and popes took turns until the restoration in 2014. Famous the scene with Anita Ekberg walking into the fountain during the Dolce Vita movie. Piazza di Spagna, with the Spanish Steps, is one of the most famous in Rome. It owes its name to the palace of Spain, seat of the Iberian state embassy to the Holy See. In the center of the square there is the famous Barcaccia fountain, which dates back to the early Baroque period, built by Pietro Bernini and his son, the most famous Gian Lorenzo. Piazza Navona, at the time of ancient Rome, was the Stadium of Domitian which was built by the emperor Domitian in 85 and in the third century it was restored by Alexander Severus. It was 265 meters long, 106 meters wide and could accommodate 30,000 spectators. Piazza Navona is one of the most famous monumental squares in Rome, built in the monumental style by the Pamphili family at the behest of Pope Innocent X with the typical shape of an ancient stadium.
The idea of a national garden in Singapore started in 1822 when Sir Stamford Raffles, the founder of modern Singapore and a keen naturalist, developed the first ‘Botanical and Experimental Garden’ at Fort Canning. It was only in 1859 that the Gardens at its present site was founded and laid out in the English Landscape Movement’s style by an Agri-Horticultural society. The Gardens were soon handed over to the British colonial government (in 1874) and a series of Kew-trained botanists saw the Gardens blossom into an important botanical institute over the following decades. Today, the Gardens is managed by the National Parks Board, a statutory board of the Singapore government. In the early years, the Gardens played an important role in fostering agricultural development in Singapore and the region through collecting, growing, experimenting and distributing potentially useful plants. One of the earliest and most important successes was the introduction, experimentation and promotion of Para Rubber, Hevea brasiliensis. This became a major crop that brought great prosperity to the South East Asian region in the early 20th century. From 1928, the Gardens spearheaded orchid breeding and started its orchid hybridisation programme, facilitated by new in vitro techniques pioneered in its laboratories. In contemporary times, the Gardens also played a key role in Singapore’s Garden City programme through the continual introduction of plants of horticultural and botanical interest. Established in 1859, the 82-hectare Gardens hold a unique and significant place in the history of Singapore and the region. Through the botanical and horticultural work carried out today, it will continue to play an important role as a leading tropical botanical institute, and an endearing place to all Singaporeans. The Gardens have been inscribed as a UNESCO World Heritage Site at the 39th session of the World Heritage Committee (WHC) on 4 July 2015. The Gardens are the first and only tropical botanic garden on the UNESCO’s World Heritage List. It is the first in Asia and the third botanic gardens inscribed in the world, following Orto botanico di Padova and the Royal Botanic Gardens, Kew.
Born in Kinshasa, Democratic Republic of the Congo and I am currently living in South Africa at Cape Town for seven years. I am single from now and busy shaping my programming skills and IT knowledge at Cape Peninsula university of technology (CPUT). I am a software developer, I am always keen to discover and learn about new technology and invention in IT world, I have a good understanding of programming languages, internet cloud services and Desktop support CompTIA A+. I am a self-motivated person, reliable, determined, very skilful in communication, fast learner with an open mind to expose myself into new world and concept. Live is a journey about challenges and discovering that’s why I am always ready to face new challenge in technology and software world. I really like to play guitar and read books about science and others because knowledge for me is one of the keys to open doors, make a difference and discovering new area in live.
Set in the heart of the historic Rother valley landscape, with spiral staircases, battlements and a portcullis, 14th century Bodiam Castle is one of Britain's most picturesque and romantic ancient monuments. One of the most famous and evocative castles in Britain, Bodiam was built in 1385 as both a defence and a comfortable home. The exterior is virtually complete and the ramparts rise dramatically above the moat. Enough of the interior survives to give an impression of castle life. There are spiral staircases and battlements to explore, and wonderful views of the Rother Valley from the top of the towers. In the impressive gatehouse is the castle's original wooden portcullis, an extremely rare example of its kind.
En 2021, Chambord célèbre le 200e anniversaire de l'ouverture au public d'un monument qui continue de susciter admiration et fascination dans le monde entier. Sélectionnée en 1840 pour la première liste des monuments historiques de France, inscrite depuis 1981 au patrimoine mondial de l'UNESCO, Chambord s'impose comme l'une des constructions Renaissance les plus impressionnantes. Loin d'apparaître comme un palais d'habitation ou un pavillon de chasse, Chambord incarne une véritable utopie : œuvre d'art inépuisable, elle n'a pas encore livré tous ses secrets. En effet, l'utopie était le mot d'ordre de son 500e anniversaire et la philosophie directrice de la Renaissance. In 2021, Chambord is celebrating the 200th anniversary of the opening to the public of a monument that continues to elicit admiration and fascination throughout the world. Selected in 1840 for the initial list of historic monuments in France, listed since 1981 in the UNESCO World Heritage, Chambord stands out as one of the most awe-inspiring Renaissance constructions. Far from figuring as a residential palace or a hunting lodge, Chambord embodies genuine utopia: as an inexhaustible work of art, it has yet to deliver all its secrets. Indeed, utopia was the watchword of its 500th anniversary and the guiding ethos of the Renaissance.
Lieu de résidence des rois de France du XVe au XIXe siècle, son destin est indissociable de l'histoire de France. De nombreuses personnalités littéraires et artistes y ont été conviés, comme Léonard de Vinci dont le tombeau est conservé au château. Ce château royal est ainsi l'expression du luxe à la française. Depuis ses balcons, ses toits et ses jardins en terrasses, le visiteur peut contempler les paysages de la Loire et se délecter de ce dont jouissaient les rois. A place of residence for French kings from the 15th to the 19th centuries, its destiny is inextricably linked to the history of France. Numerous literary figures and artists were invited here, like Leonardo da Vinci whose tomb is preserved at the château. This royal château is thus the expression of French-style luxury. From its balconies, its roofs and its terraced gardens, visitors can take in the Loire landscape and delight in what the kings enjoyed.
Sieben Wochen nach dem Tod König Ludwigs II. wurde Neuschwanstein im Jahr 1886 dem Publikum geöffnet. Der menschenscheue König hatte die Burg erbaut, um sich aus der Öffentlichkeit zurückzuziehen – jetzt wurde sein Refugium zum Publikumsmagneten. Neuschwanstein gehört heute zu den meistbesuchten Schlössern und Burgen Europas. Rund 1,4 Millionen Menschen jährlich besichtigen "die Burg des Märchenkönigs". Im Sommer drängen sich im Durchschnitt täglich mehr als 6.000 Besucher durch Räume, die für einen einzigen Bewohner bestimmt waren. Das führt – in Verbindung mit dem alpinen Klima und Licht – zu erheblichen Belastungen für die wertvollen Möbel und Textilien, um deren Erhalt wir uns intensiv bemühen. Die idyllische Lage von Neuschwanstein ist einmalig. Allerdings müssen Bewegungen im Fundamentbereich ständig überwacht und die steilen Felswände immer wieder gesichert werden. Ebenso greift das raue Klima die Kalkstein-Fassaden stark an, was immer wieder Sanierungsmaßnahmen erfordert. Seven weeks after the death of King Ludwig II, Neuschwanstein was opened to the public in 1886. The shy king built the castle to withdraw from the public eye - now his refuge has become a crowd puller. Today Neuschwanstein is one of the most visited palaces and castles in Europe. Around 1.4 million people visit "the castle of the fairy tale king" every year. In summer, an average of more than 6,000 visitors a day push their way through rooms that were intended for a single resident. In connection with the alpine climate and light, this leads to considerable strain on the valuable furniture and textiles, which we strive to preserve intensively. The idyllic location of Neuschwanstein is unique. However, movements in the area of the foundations must be constantly monitored and the steep rock faces must be secured again and again. The harsh climate also has a strong impact on the limestone facades, which repeatedly requires renovation measures.
My name is Noxolo Femele and I'm 42 years old and I have 2 kids both are girls age 17 and 14 years. I worked for 43 Air School as a Receptionist for the past 5 year, and while I was there I used to help out at the Admin area and at Marketing department. That's where I got the interested on becoming 1 of the Managers but unfortunately we got retrenched. Then I went to work at Lendcor group as a Sales consultant for 1 year 6 months same we got retrenched. That's where I decided to start my small business just to make money and put food on the table until now, but things are not doing well due to COVID-19.
Windsor Castle has been the home of British kings and queens for almost 1,000 years. It is an official residence of Queen Elizabeth II, whose standard flies from the Round Tower when Her Majesty is in residence. The Queen spends most of her private weekends at Windsor Castle and takes up official residence for a month over Easter, known as 'Easter Court'. The Queen is also at Windsor for one week each June, while attending Royal Ascot and the service of the Order of the Garter at St George’s Chapel. Windsor Castle is still very much a working royal palace and is regularly used for ceremonial and State occasions, including official visits from overseas Heads of State. St George’s Hall makes a spectacular setting for a State Banquet, when a table seating 160 guests is decorated with porcelain and silver-gilt from the Royal Collection. While it was William the Conqueror who first built the castle, he didn’t live in the castle, it was used as a defensive base at the time. The Castle has been enlarged and restructured by different kings and queens during their reigns. Find out more about who built the Castle. The first king to use Windsor Castle as a residence was Henry I. Henry’s marriage to Adela, the daughter of Godfrey of Louvain, took place in the Castle in 1121. The first Plantagenet king, Henry II, lived at Windsor and built extensively there between 1165 and 1179. Windsor was also one of the favourite residences of Henry III, and he invested heavily in the royal accommodation at the Castle during his reign from 1216. It was Edward III who left the greatest impression on Windsor in the 14th-century. Windsor was the intended centre of his court and government, and the seat of the newly founded Order of the Garter.
O Palácio Nacional da Pena é como uma joia sagrada que coroa a Serra de Sintra. O parque envolvente, em sintonia com o caráter feérico do palácio, desperta emoções de mistério e de descoberta. Nos seus recantos, os olhares perdem-se de encanto. Os tons coloridos do palácio, expoente máximo do Romantismo em Portugal e obra eterna de D. Fernando II, Rei-Artista, abrem portas à imaginação de todos os que ali chegam, e os infinitos matizes de verde que pintam o parque circundante constituem um cenário idílico, frequentemente sob o véu do característico nevoeiro da serra de Sintra. Como que saído de um conto de fadas, este lugar faz sonhar todas as gerações dos que por ali passam e que com ele se deslumbram. The Palácio Nacional da Pena is like a sacred jewel that crowns the Serra de Sintra. The surrounding park, in tune with the fairy character of the palace, awakens emotions of mystery and discovery. In its corners, eyes lose their charm. The colorful tones of the palace, the greatest exponent of Romanticism in Portugal and the eternal work of D. Fernando II, King-Artist, open doors to the imagination of all who arrive there, and the infinite shades of green that paint the surrounding park provide a backdrop idyllic, often under the veil of the characteristic fog of the Sintra mountains. As if out of a fairy tale, this place makes dreaming of all the generations who pass by and who are dazzled by it.
Gehen Sie mit uns auf eine Zeitreise durch 850 Jahre… In einem Seitental der Mosel zwischen Koblenz und Cochem steht auf einem steilen Felskopf inmitten unberührter Natur Burg Eltz – die Burg mit über 850 Jahren Geschichte. Der Name der Burg stammt vom vielfach gewundenen Elzbach, der sie umfließt. Burg Eltz wurde erstmals 1157 urkundlich erwähnt und überstand alle Wirren der Jahrhunderte unbeschadet. Somit gehört sie zu den wenigen niemals zerstörten Burgen in Europa. Seit dem 13. Jahrhundert bewohnten die drei Hauptlinien des Familie Eltz verschiedene Häuser der Burg: Eltz-Kempenich, Eltz-Rodendorf und Eltz-Rübenach. So waren zwar die jeweiligen Wohnbereiche und Haushalte getrennt, die Einheit der Familie blieb aber durch den gemeinsamen Namen und das Wappen gewahrt. Diese Wohn- und Erbengemeinschaft überdauerte viele Jahrhunderte. Seit nunmehr 34 Generationen befindet sich Burg Eltz nach wie vor im Besitz der Edlen Herren und Grafen von und zu Eltz. Mit ihrer einzigartigen Architektur und ihrer malerischen Lage ist sie für die Besucher der Inbegriff einer deutschen Ritterburg! Der englischen Autorin Katherine Macquoid erschien sie mit ihren Erkern, Spitzen und Türmen wie ein „wahrhaftig verzauberter Platz, ein Märchen aus Stein“, denn in der 500-jährigen Bauzeit entstand um den Innenhof herum ein verwinkeltes Ensemble mit eng aneinander geschmiegten hohen Wohntürmen. Die Führung durch Burg Eltz nimmt den Gast mit auf eine Zeitreise durch acht Jahrhunderte, die sich in der Architektur der Räume und in deren Einrichtung widerspiegelt. Ob in der Rüstkammer, im Rittersaal, Jagdzimmer, Schlafgemach oder in der Küche – überall werden vielfältige Einblicke in das Leben auf Burg Eltz gewährt. Die Möbel und Kunstwerke aus dem Besitz der Familie Eltz vermitteln einen unvergesslichen Eindruck mittelalterlicher Wohnkultur. In den Kellergewölben der Burg erwartet den Besucher die Schatzkammer – eine private Sammlung von über 500 Exponaten nationaler und internationaler Bedeutung, darunter Gold- und Silberschmiedearbeiten, Schmuck, Porzellan, Waffen und Rüstungen. Wir freuen uns über Ihren Besuch! Übrigens: Bis in die frühen 1990er Jahre war eine Banknote der bekannteste Werbeträger für Burg Eltz - sie zierte lange Zeit die Rückseite des alten 500-Mark-Scheins. Come with us on a time travel through 850 years... In a side valley of the Moselle between Koblenz and Cochem, Eltz Castle stands on a steep rock head in the midst of untouched nature - the castle with over 850 years of history. The name of the castle comes from the winding Elzbach that flows around it. Eltz Castle was first mentioned in a document in 1157 and survived all the turmoil of the centuries unscathed. This makes it one of the few castles in Europe that has never been destroyed. Since the 13th century, the three main lines of the Eltz family lived in different houses in the castle: Eltz-Kempenich, Eltz-Rodendorf and Eltz-Rübenach. Although the respective living areas and households were separated, the family unity was preserved through the common name and the coat of arms. This community of living and heirs lasted for many centuries. For 34 generations, Eltz Castle has been owned by the noble lords and counts von und zu Eltz. With its unique architecture and its picturesque location, it is the epitome of a German knight's castle for visitors! The English author Katherine Macquoid saw it with its bay windows, spiers and towers like a “truly enchanted square, a fairy tale made of stone”, because in the 500-year construction period a winding ensemble with high residential towers nestled together was created around the inner courtyard. The guided tour through Eltz Castle takes the guest on a journey through eight centuries, which is reflected in the architecture of the rooms and their furnishings. Whether in the armory, in the knight's hall, hunting room, bedchamber or in the kitchen - diverse insights into life at Eltz Castle are granted everywhere. The furniture and works of art owned by the Eltz family convey an unforgettable impression of medieval living culture. In the vaulted cellar of the castle, the treasury awaits the visitor - a private collection of over 500 exhibits of national and international importance, including gold and silversmiths, jewelry, porcelain, weapons and armor. We are looking forward to your visit! By the way: up until the early 1990s, a banknote was the best-known advertising medium for Burg Eltz - it adorned the back of the old 500-mark note for a long time.
La contemplation de Chenonceau évoque l’idée d’une harmonie parfaite entre une nature, faite d’eau, d’air et de verdure, et une architecture unique et reconnue dans le monde entier. Chef-d’œuvre de la Renaissance, directement inspiré du Ponte Vecchio, Chenonceau, plus que nul autre, inspire un sentiment universel de paix. Le monument recèle des chefs-d’œuvre, une admirable collection de tapisseries, peintures et mobilier. Ces tableaux exceptionnels, signés par les plus grands maitres européens des XVIe, XVIIe, et XVIIIe siècles, font écho à l’histoire, très riche du château et au rôle de premier plan qu’y ont tenu les femmes. De la Renaissance, avec la reine Catherine de Médicis et ses fêtes somptueuses, au XVIIIème siècle, avec Louise Dupin, Dame des Lumières, Chenonceau a toujours cultivé les rencontres et accueilli philosophes, écrivains et artistes, dans l’échange et l’amitié… Ses jardins de Catherine de Médicis et de Diane de Poitiers soulignent l’élégance de son paysage, du Jardin Vert, dessiné par Bernard Palissy, jusqu’au labyrinthe italien… Les majestueux bouquets, présents dans chacune des pièces, sont créés dans l’atelier floral, situé dans la couThe contemplation of Chenonceau evokes the idea of a perfect harmony between nature, made up of water, air and greenery, and a unique architecture recognized throughout the world. A Renaissance masterpiece, directly inspired by the Ponte Vecchio, Chenonceau, more than any other, inspires a universal feeling of peace. The monument contains masterpieces, an admirable collection of tapestries, paintings and furniture. These exceptional paintings, signed by the greatest European masters of the 16th, 17th and 18th centuries, echo the rich history of the castle and the prominent role played by women there. From the Renaissance, with Queen Catherine de Medici and her sumptuous festivals, to the 18th century, with Louise Dupin, Lady of the Lights, Chenonceau has always cultivated encounters and welcomed philosophers, writers and artists, in exchange and friendship... Its gardens of Catherine de Médicis and Diane de Poitiers underline the elegance of its landscape, from the Green Garden, designed by Bernard Palissy, to the Italian labyrinth… The majestic bouquets, present in each of the rooms, are created in the workshop floral, located in the courtyard of the 16th century farmhouse. The florists have at their disposal the production of the Flower Garden and its greenhouses.r de la ferme du XVIe siècle. Les fleuristes ont à leur disposition, la production du Potager des Fleurs et de ses serres.
Aigle Castle is a castle in the municipality of Aigle of the Canton of Vaud in Switzerland. It is a Swiss heritage site of national significance. The Barons of Aigle were first mentioned in 1179. At that time they had a small fortification, that became the center of the modern castle, along the road over the Col du Pillon and Col des Mosses passes of the Rhone. However, only traces of this first castle have been archaeologically discovered. Some time before 1200, the Barons of Aigle ended up as vassals of the powerful Counts of Savoy. In 1232, Count Thomas of Savoy granted Aigle as a fief to the brothers Jacob and Peter of Saillon in exchange for their ancestral castle in Valais. The Saillon family seems to have been closely related with the barons of Aigle. In the second half of the 13th Century, Aigle expanded and received a city charter. The castle was rebuilt, with a fortified donjon and a curtain wall. In the 14th Century, the Lords of Compey inherited the rights of the Saillon family. They were also vassals of the Counts of Savoy and made Aigle into their headquarters. They added turrets and in 1450 built a massive tower in the south corner. This tower was an example of late French Donjon architecture.
Alnwick Castle has over 950 years of history to discover, and the origins of the Castle date back to the Norman period. Since 1309, its story has been intertwined with that of the Percy family, a family with a history as illustrious as the castle’s own. The second largest inhabited castle in the UK, Alnwick has served as a military outpost, a teaching college, a refuge for evacuees, a film set, and not least as a family home. Delve deeper into this extraordinary history and travel through the centuries of this living, evolving castle. In 1309, Henry Percy, great-great grandfather of Hotspur, purchased a typical Norman-style castle of motte and bailey form. In the following 40 years he and his son converted it into a mighty border fortress. They added towers and guerites around its curtain walls with a strong gatehouse at the entrance and a concealed postern gate to the rear. The gateway to the keep was strengthened with the addition of two massive octagonal towers. Stone figures were added to the tops of the battlements, as was fashionable at that time, either for ornament, or to confuse attackers. This was a medieval device that the 1st Duchess was to copy to excess in the more fanciful mid-18th century castle restoration. Early in the 16th century, the castle was assessed and written off in defensive terms as not liable to abide the force of any shot or to hold out any time if it should be assaulted. In 1567, the 7th Earl employed George Clarkson to survey the castle and his northern estates. His detailed account, together with the plans drawn by Treswell in 1608, enable us to be quite accurate about how the castle looked and what the buildings were used for during this period. Clarkson also describes the condition of the buildings, mentioning that the Ravine Tower was "so rente that it is mooche like to fall", as indeed it did later in the 17th century. Clarkson describes the corner tower in the inner bailey as having no back to it, being two storeys and only as high as the battlements, and being used for storing hay. By 1608, Treswell shows it as three storeys high with a stone back. Perhaps this reflects the creation of the Record Tower between 1567 and 1608. During the 17th century, the castle fell into disrepair, both through neglect because the Percy family was mainly resident in the south, and through damages done in wartime. The best visual evidence for the appearance of the castle at this date is a painting by Peter Hartover (fl.1674-1690), which depicts the ruinous chapel and trees growing out of the stonework. Transforming the castle from a decaying garrison fortress to a palace was conceived in a high gothick style to the designs of the architects Daniel Garrett, James Paine and Robert Adam in the 1760s. Work on the parklands carried on in tandem. Weirs were built on the River Aln to slow the water flow with the effect of enhancing the landscape and providing a reflective surface for the newly restored castle. The 4th Duke disliked the ‘fairytale gothick’ style and inconvenience of the castle created by the restoration undertaken a century previously. He employed the architect Anthony Salvin to restore a more authentic medieval border fortress appearance to the exterior. For the state apartments, however, Algernon chose the lavish style of an Italianate palazzo. Improvements were made across the castle site exploiting new technologies of the Victorian age. By the time Hugh Percy entered the dukedom in 1940, the large team of live-in domestic servants he had known as a boy was no longer in existence. This left vast areas of the castle unused and unoccupied. These provided facilities, first for the accommodation of Alnwick Teacher Training College, and then, from 1981, for St Cloud State University students from Minnesota in the United States. The Duke and his family share their home with Estates Office staff, American students from St Cloud State University residential programme and the general public. Recent years have witnessed an extensive programme of conservation, repair and refurbishment to the fabric of the building, both exterior and interior. Roof leads have been replaced; essential masonry repair and re-pointing has been undertaken, as well as conservation work and refurbishment of the interiors. Such works both preserve the castle and continue its development. Alnwick Castle contains an extraordinary and unusual survival in the 21st century of a collection and archive remaining in a property owned by the same family for over 700 years. A small professional team manages the Northumberland Collection and Archive; no public funding is received towards its conservation and preservation. Alnwick Castle most recently featured in Transformers: The Last Knight, and as the magnificent Brancaster Castle in Downton Abbey's 2015 and 2016 Christmas specials. Having already featured as Hogwarts in the first two Harry Potter films, as well as appearing in Elizabeth and Robin Hood: Prince of Thieves, among others, the castle is no stranger to film crews!
El Hotel Humboldt se encuentra ubicado en la cima del Cerro Ávila en Caracas, Venezuela. Este edificio es un ícono en la arquitectura venezolana por su diseño de vanguardia. Su construcción se realizó en 199 días de 200 dispuestos por el gobierno de entonces, entre los meses de mayo y noviembre de 1956. El hotel formó parte de un gran proyecto de modernización de la ciudad, en donde la principal intención de esta obra era unir a Caracas con el Litoral a través de un complejo turístico y recreativo que involucraba un teleférico como medio de transporte. El hotel Humboldt se caracteriza por ser una cápsula del tiempo que nos lleva directamente a los años cincuenta del siglo pasado. El hotel es una isla en medio de un verde apabullante, un faro que se divisa desde casi cualquier rincón de Caracas, un homenaje a la luz del trópico. También es un espacio para el descanso y la diversión, donde la historia y la tecnología se unen para brindar una experiencia de altura, a más de 2.200 metros sobre el nivel del mar. Este complejo hotelero, con sus amplios espacios sociales, es quizá la obra más conocida del arquitecto venezolano Tomás Sanabria (1922 – 2008), quien junto a los ingenieros Gustavo Larrazábal y Oscar Urreiztieta logró construir y poner en funcionamiento el hotel en solo 199 días, ¡justo un día antes de vencer el plazo establecido para su finalización! El edificio está construido a una altura de 2140 metros sobre el nivel del mar. El resultado de esta construcción vanguardista es una torre cilíndrica con 70 habitaciones adosadas a un cuerpo bajo destinado a áreas sociales, entretenimiento y servicios, alojados bajo una serie de cubiertas abovedadas y prismáticas. En la parte alta del edificio se encuentra un bar con vistas panorámicas de 360 grados que fungen de mirador para apreciar la iluminada ciudad de Caracas hacia el sur y las tonalidades azul del Mar Caribe hacia el norte. La fachada del edificio está hecha con cristal y aluminio, materiales que se implementaron con la finalidad de ayudar a mantener un ambiente cálido en el interior de la edificación, y que además permitió facilitar el mantenimiento rutinario de limpieza desde adentro por medio de ventanales basculantes. Entre los datos interesantes que vale la pena destacar de esta edificación es que el alto coste de su mantenimiento lo mantuvo cerrado por más de 20 años y no es sino hasta 2019 que abre sus puertas nuevamente al público. Sin embargo, en aras de conservar el ambiente de la época del momento de su construcción, toda la decoración está inspirada en el estilo de los años 50’ y se mantienen muchos de los recursos originales que se utilizaron en aquel entonces, tales como los pisos, las barandas de aluminio, entre otros. La principal forma de acceso a este hotel en la cima del Cerro el Ávila sigue siendo mediante el teleférico de Caracas, desde el cual se pueden apreciar unas increíbles imágenes de la ciudad mientras se van adentrando en medio de la montaña. Sin embargo, para los amantes de la naturaleza y el tracking también es posible realizar el ascenso caminando.
I am a God fearing individual, and I’m also a father to two beautiful kids, a boy and a girl. I worked for Tekkie Town as a Sales Assistant and I was chosen as the best Sales person for the entire Mpumalanga province. I also worked for the Department of agriculture as a Data capture. I have a passion for sports, football is one of my favourites and one day I wish I can own a soccer team. While I was in high school, I always wanted to be a lawyer but due to financial constraints I could not become one. My interest in the justice system came when I realised that the late former president Mr Nelson Mandela was also a lawyer representing his people. I wish one day I could give back to my community and its people because my community gave us the likes of the late Steve Bantu Biko, one of the BCM Members who fought for the people of South Africa. My community is one of the underdeveloped communities of this country, but I know that one day all of this will change because I know that with education anything is possible. When a child is educated communities will change for the better and if one community changes, then our country will change for the better as well and poverty will be no more. Education topped with one’s perseverance is the key to a bright future for all. With this pandemic people have lost their jobs and in some households you find that no one is working and people resort to drugs and alcohol, some get depressed to a point of taking their own lives. If we can start developing jobs for people, our continent would become a better place for us all. Being part of an initiative that supports the empowerment of those less privileged is one of my greatest wishes. I will be glad if all my wishes do come through because nothing is as important as education and hard work, and an educated country means a better world for us all.
Uncem Piemonte, Unione Nazionale Comuni, Comunità ed Enti montani. Da sessant'anni è il "sindacato del territorio montano". La Delegazione piemontese - a cui aderiscono: 50 Unioni montane di Comuni (eredi delle Comunità montane secondo quanto previsto dalla legge nazionale 56/2014 e dalle leggi regionali 11/2012 e 3/2014), i 552 Comuni montani, 5 Province, 2 Consorzi Bim, il Formont e il Consorzio Pra Catinat - ha sede in via Gaudenzio Ferrari 1 a Torino. L'Uncem Piemonte rappresenta gli enti a livello regionale presso gli organi competenti per l'esame dei provvedimenti di interesse montano, allo scopo di valorizzare e sviluppare il territorio e le istituzioni; promuove il coordinamento delle attività delle Comunità montane e degli enti al fine di potenziarne le capacità di intervento collegandosi alle linee di programmazione europea, nazionale e regionale; promuove inoltre studi e ricerche per una migliore conoscenza della realtà montana. Dal 2007, l'attività delle Comunità montane, delle Unioni e della Delegazione piemontese dell'Uncem viene presentata sulla rivista bimestrale PieMonti, cinquanta pagine che raccolgono e diffondono le nuove sfide e le opportunità di sviluppo della montagna piemontese. Uncem Piemonte, National Union of Municipalities, Communities and Mountain Bodies. It has been the "mountain territory union" for sixty years. The Piedmontese Delegation - to which the following adhere: 50 mountain Unions of Municipalities (heirs of the mountain communities according to the provisions of national law 56/2014 and regional laws 11/2012 and 3/2014), the 552 mountain municipalities, 5 provinces, 2 consortia Bim, the Formont and the Pra Catinat Consortium - is based in via Gaudenzio Ferrari 1 in Turin. Uncem Piemonte represents the bodies at regional level at the competent bodies for the examination of measures of mountain interest, in order to enhance and develop the territory and the institutions; it promotes the coordination of the activities of the mountain communities and of the entities in order to strengthen their intervention capacities by connecting to the European, national and regional programming lines; it also promotes studies and research for a better knowledge of the mountain reality.
Founded as a Cistercian monastery in the 12th Century, Rufford Abbey came into being about the same time that Robin Hood may have roamed nearby Sherwood Forest. When Henry VIII closed the English abbeys, its buildings, watermills, fields and farms were granted to George Talbot, the Earl of Shrewsbury. Later, it passed by marriage to the Yorkshire Savile family, and grew from a hunting lodge into a magnificent country house. On the eve of World War II, Rufford Abbey was sold, and passed through the hands of various owners. Requisioned for wartime use, it housed cavalry offices, a tank regiment and later Italian prisoners of war. Stripped of its fine interiors, furnishings and land, by the late 1950s it languished. Wartime damage, coal mining subsidence and neglect left the Abbey and its grounds in a sorry state. In 1957 Nottinghamshire County Council bought the house and the remains of its gardens, later opening them as a country park. Though sadly, most of the building had to be demolished, the original abbey undercroft, the Jacobean wing and many historic garden features remain for today's visitors to explore. The area surrounding Rufford has been inhabited since prehistoric times. At Creswell Crags - a limestone gorge near Worksop- a discovery centre tells the story of Ice Age hunters who sheltered in its caves 40,000 years ago. Local forests of oak, birch and lime were first partly cleared by Neolithic people. However, areas of ancient oak and birch woodland still remain. Three miles away at Sherwood Forest Country Park you can walk in Birklands and Bilhaugh. Pollen analysis shows that they were woodland right back to the Ice Age. By the time of the Romans (around 120 AD), we have mention of a Roman settlement near Ruchford, Rutherford or Runford. The town of Southwell, not many miles east of Rufford, had a Roman villa. You can still see part of its mosaic floor under a pew in Southwell Minster. It's believed that a Roman road passed through the area from Oxton, north of Nottingham, to Blyth in what is now south Yorkshire. The name “Rufford” comes from the Old English or Saxon and means “rough ford." Though it's often assumed this is the ford that modern cars now splash through on Rufford Lane, in fact it was probably another ford to the east of the present day park. Old estate maps show a watermil there, on the stream which was later dammed to become Rufford Lake. The first recorded owner of Rugforde or Rumforde, according to the Domesday Book, was "Ulf, son of Suertebrand" - a Saxon chieftain. But everything changed when the Normans invaded England. King William the Conqueror gave Ulf’s estate to his nephew, Gilbert de Gant (Gilbert of Ghent.) The grandson of Gilbert de Gant, (confusingly, also called Gilbert) was Earl of Lincoln. He gave land at Rufford to the Cistercian order of monks in 1146. In the middle ages, it was believed that prayers would help the souls of the dead to reach Heaven. So giving land and gifts to a monastery was a kind of spiritual insurance policy! The Cistercian order was a spartan and austere order. St Bernard of Clairvaux was one of their founding fathers. The movement started in Citeaux in France, and spread all over Europe. Fountains Abbey and Rievaulx Abbey in Yorkshire are two of the best known Cistercian monasteries in England. Their ruins can still be visited today. Twelve Monks from Rievaulx Abbey - led by an abbot called Gamellus - travelled down to Nottinghamshire to create a "daughter house" on their newly acquired land. They immediately set to work creating an abbey church, and probably diverting local watercourses for the water they would need for mills, washing and fulling cloth. The Cistercians believed in making or growing almost everything they needed to survive. In 1156 Rufford received its official blessing from Pope Adrian IV, and various charters in the following years saw the abbey expand its land. It is said that the villagers of Rufford, Cratley, Grimston and Inkersall were evicted to make way for the abbeys farming activities. Some were probably resettled in a new village called Wellow, just outside the abbey estate. Medieval records relate that there were frequent disputes between the Abbot of Rufford and the men of Wellow, usually over the rights to wood from a local forest. It is thought that the construction of permanent stone buildings of Rufford Abbey was well underway by the 1160s, although work may well have continued on and off for almost a century. Local craftsmen and stone were both used to construct the building. Find out more about the life of the monks who lived at Rufford in our on-site exhibits. When Henry VIII famously broke away from the Church of Rome in 1530, he was eager to stake his claim to the assets of the great Catholic religious orders. One of these was Rufford, which by 1534 was worth £176. In 1536 he appointed the Commissioners Legh and Layton to find sufficient evidence to allow him to close down the abbey. Among the "disgraceful offences" they found at Rufford was the claim that the abbey possessed some of the Virgin Mary's milk. They also alleged that the Abbot, Thomas of Doncaster, had broken his vows of chastity with at least two married and four single women, and claimed that six of the other monks were of "disgraceful character." Following this a Royal Commission closed Rufford Abbey and the lands were granted to George Talbot, 4th Earl of Shrewsbury. It was while owned by the 6th Earl, another George Talbot, that the transformation of the old abbey into a fine country house first began and under the guidance of the 7th Earl new wings were added onto the north and south ends of the lay brothers’ wing of the old abbey, forming some of the country house we still see today. In 1626 the Rufford estate passed to Sir George Savile and his first wife, Lady Mary, who was a sister to the 7th and 8th Earls of Shrewsbury. The Saviles were a long-established and landed family whose seat was Thornhill Hall near Huddersfield in West Yorkshire. The family supported the Royalists during the English Civil War, living up to their family motto to “Fear God and Honour the King” and Charles I visited Rufford in July 1642, shortly before raising his standard at Nottingham on August 22nd, which signalled the start of the war. The family prospered under the restoration of the monarchy and continued to enhance and develop the estate. Throughout the 18th and 19th Centuries, the grounds were continually expanded and developed. In 1750, for example, the 8th Baronet dammed the stream to the north and created the lake. Not only did this enhance the grounds, it also provided power for his new corn mill, now known as Rufford Mill. In 1837 the eminent Victorian architect Anthony Salvin was hired to undertake a thorough re-design of the house, much of which can be seen today. Rufford made rough-cut wooden coffins for the dead of the First World War, but this war also heralded the beginning of the end for many large country estates, and Rufford was no exception. The estate suffered from rising taxes and wages and reduced income from farm rents, so that by 1938, the trustees of the young 3rd Baron were forced to sell the estate. The estate, house and contents were eventually taken over by the Army in 1939 during the Second World War and the Leicestershire Yeomanry, 6th Cavalry Brigade were stationed there, arriving as horse-mounted troops, and leaving as motorised artillery. About 20 army huts were constructed and these later housed Italian prisoners of war. By 1949 the house was in a poor state of repair and the Government announced that in the event of demolition, the 12th Century parts of the abbey, including the crypt, must be preserved at all costs. In 1952 Nottinghamshire County Council decided to purchase the Abbey and about 130 acres of land around the house and in 1956, despite some public outcry, a necessary controlled demolition of the Abbey’s upper floors, the 17th Century north wing and the 18th Century east wing was started and completed two years later. In 1969 a park ranger service was set up and the site officially designated a Country Park. After years of neglect the future was finally looking brighter for Rufford Abbey.
Il Sentiero di Leonardo 26 giorni e 540 km a piedi: da Milano a S. Bernardino lungo l'Adda e il Lario - da S. Bernardino a Milano lungo la Mesolcina, il Ticino e il Naviglio pavese. La nascita di un Sentiero dedicato a Leonardo da Vinci intende mettere in attenzione territori e luoghi che - dal capoluogo milanese alla Svizzera dei Cantoni Grigioni e Ticino - videro Leonardo da Vinci protagonista indiscusso con la sua attività di artista, studioso della natura, geologo, alpinista, ingegnere e inventore. Oltre al capoluogo di Milano, la Martesana, il corso dell’Adda, il ramo lecchese del Lario, la corona alpina, l'attuale Svizzera italiana, il corso del Ticino, i Navigli Grande e Pavese furono gli ambiti da lui più esplorati e studiati. Leonardo da Vinci, affascinato in Lombardia dall'acqua fluente e interessato al moto dei fluidi, trovò lungo il corso abduano e del Ticino i motivi di studio, di riflessione e a seguire di creazione-invenzione che poi si tradussero nelle sue celeberrime produzioni artistiche e tecnologiche, le quali tuttora stupiscono e affascinano il mondo intero. Il percorso del Sentiero di Leonardo ricalca una sentieristica già nota e consolidata, nel seguito sintetizzata: Alzaia della Martesana da Milano a Trezzo sull’Adda, Alzaia del fiume Adda da Trezzo sull’Adda a Lecco, Sentieri lungo i Piani Resinelli da Lecco ad Abbadia Lariana (in futuro, quando sarà disponibile, la ciclopedonale lungolago), Sentiero del Viandante da Abbadia Lariana a Piantedo. Via Francisca da Piantedo a Chiavenna, Via Spluga da Chiavenna a Madesimo, Passo del Baliscio da Madesimo a San Bernardino, Valle Mesolcina da San Bernardino a Bellinzona, Sentiero svizzero 7 da Bellinzona a Lugano e Ponte Tresa, Via Francisca da Ponte Tresa a Busto Arsizio, Alzaia del Naviglio Grande da Busto Arsizio ad Abbiategrasso, Sentieri del Parco del Ticino da Abbiategrasso a Pavia, Alzaia del Naviglio Pavese da Pavia a Milano. La suggestione del percorso prefigurato è tale da configurare il Sentiero di Leonardo come una originale valorizzazione dei territori coinvolti, portandolo a competere - grazie alla presenza di numerosi temi attrattivi - coi più blasonati cammini europei. 26 days and 540 km on foot: from Milan to S. Bernardino along the Adda and Lario - from S. Bernardino to Milan along the Mesolcina, Ticino and Naviglio Pavese. The birth of a path dedicated to Leonardo da Vinci intends to focus on territories and places that - from the Milanese capital to the Switzerland of the cantons of Grisons and Ticino - saw Leonardo da Vinci the undisputed protagonist with his activity as an artist, nature scholar, geologist, mountaineer, engineer and inventor. In addition to the capital of Milan, the Martesana, the course of the Adda, the Lecco branch of the Lario, the Alpine crown, the current Italian Switzerland, the course of the Ticino, the Navigli Grande and Pavese were the areas he most explored and studied. Leonardo da Vinci, fascinated in Lombardy by flowing water and interested in the motion of fluids, found along the Abduano and Ticino courses the reasons for study, reflection and subsequent creation-invention which then resulted in his famous artistic and technological productions, which still amaze and fascinate the whole world. The path of Leonardo's Path follows an already known and consolidated path, summarized below: Towpath of the Martesana from Milan to Trezzo sull'Adda, Towpath of the Adda river from Trezzo sull'Adda to Lecco, Paths along the Resinelli Plains from Lecco to Abbadia Lariana (in the future, when the lakeside cycle path will be available), Path of the Wayfarer from Abbadia Lariana to Piantedo, Via Francisca from Piantedo to Chiavenna, Via Spluga from Chiavenna to Madesimo. Passo del Baliscio from Madesimo to San Bernardino, Mesolcina Valley from San Bernardino to Bellinzona, Swiss path 7 from Bellinzona to Lugano and Ponte Tresa, Via Francisca from Ponte Tresa to Busto Arsizio, Towpath of the Naviglio Grande from Busto Arsizio to Abbiategrasso Trails of the Ticino Park from Abbiategrasso to Pavia, Towpath of the Naviglio Pavese from Pavia to Milan. The suggestion of the prefigured path is such as to configure Leonardo's Path as an original enhancement of the territories involved, leading it to compete - thanks to the presence of numerous attractive themes - with the most noble European paths.
Emblema dell'eccellenza italiana sin dalla sua fondazione nel 1889, Bonacina 1889 è un Design Brand indipendente a conduzione familiare che, negli anni, ha definito uno stile unico e senza tempo, fatto di sensibilità alla Creatività e all'Arte, cura dei dettagli e utilizzo del Rattan, una materia prima naturale che cresce in Estremo Oriente. Ogni pezzo è tessuto e curvato a mano in Italia da artigiani appassionati: la sapiente e sapiente lavorazione rende i nostri pezzi unici ed estremamente duraturi nel tempo. Ricca di un patrimonio eccezionale, l'azienda ha collaborato con "Maestri" del design italiano come Franco Albini, Franca Helg, Gae Aulenti, Marco Zanuso, Joe Colombo e Gio Ponti, e Decoratori e Architetti riconosciuti a livello internazionale come Renzo Mongiardino, Jacques Grange e Peter Marino in progetti sognanti e all'avanguardia. L'azienda rimane fedele alle materie prime naturali che maggiormente hanno definito la sua cultura, consolidando il know-how, per quanto riguarda il mondo Outdoor, su nuove tecniche e materiali.Bonacina 1889 affonda le sue radici nel territorio del Lago di Como, potendo contare sul know-how del distretto produttivo della Brianza, parte collinare e fertile dell'area a nord di Milano. La filosofia di Bonacina 1889 è fatta di Qualità, Sostenibilità, Autenticità Italiana e Stile di Vita e Tradizione Europea. Emblematic of Italian excellence since its foundation in 1889, Bonacina 1889 is an independent, family-owned Design Brand that, over the years, defined a unique and timeless style, made of sensitivity to Creativity and Arts, attention to detail and use of Rattan, a natural raw material that grows in the Far East. Each piece is hand-woven and curved in Italy by passionate artisans: savvy and skillful workmanship makes our pieces unique and extremely lasting in time. Rich in exceptional heritage, the company has collaborated with Italian Design "Maestri”, such as Franco Albini, Franca Helg, Gae Aulenti, Marco Zanuso, Joe Colombo and Gio Ponti, and Internationally recognized Decorators and Architects like Renzo Mongiardino, Jacques Grange and Peter Marino in dreamy and cutting-edge projects. The company remains faithful to the natural raw materials that mostly defined its culture while consolidating the know-how, regarding the Outdoor world, on new techniques and materials. Bonacina 1889 is rooted in the Lake Como territory, relying on the know-how of the production district of Brianza, a hilly, fertile part of the area north of Milan. Bonacina 1889 philosophy is made of Quality, Sustainability, Italian authenticity and European Lifestyle and Tradition.
The Agora was the heart of ancient Athens, the focus of political, commercial, administrative and social activity, the religious and cultural centre, and the seat of justice. The site was occupied without interruption in all periods of the city's history. It was used as a residential and burial area as early as the Late Neolithic period (3000 B.C.). Early in the 6th century, in the time of Solon, the Agora became a public area. After a series of repairs and remodellings, it reached its final rectangular form in the 2nd century B.C. Extensive building activity occured after the serious damage made by the Persians in 480/79 B.C., by the Romans in 89 B.C. and by the Herulae in A.D. 267 while, after the Slavic invasion in A.D. 580, It was gradually abandoned. From the Byzantine period until after 1834, when Athens became the capital of the independent Greek state, the Agora was again developed as a residential area. The first excavation campaigns were carried out by the Greek Archaeological Society in 1859-1912, and by the German Archaeological Institute in 1896-97. In 1890-91, a deep trench cut for the Athens-Peiraeus Railway brought to light extensive remains of ancient buildings. In 1931 the American School of Classical Studies started the systematic excavations with the financial support of J. Rockefeller and continued until 1941. Work was resumed in 1945 and is still continuing. In order to uncover the whole area of the Agora it was necessary to demolish around 400 modern buildings covering a total area of ca. 12 hectares. In the 19th century the four colossal figures of Giants and Tritons at the facade of the Gymnasium were restored by the Greek Archaeological Society. In the years 1953-56, the Stoa of Attalos was reconstructed to become a museum and in the same period the Byzantine church of Aghioi Apostoloi, built around A.D. 1000, was restored by the American School. Between 1972 and 1975, restoration and preservation work was carried out at the Hephaisteion; the area was cleared of the vegetation, and the roof of the temple was repaired in 1978 by the Archaeological Service.
La Catedral de Sal es una infraestructura que fue construida en el interior de las minas de sal de Zipaquirá, en el departamento de Cundinamarca, Colombia. La antigua catedral fue construida entre 1950 y 1954, mientras que la nueva catedral data de 1995. En su interior se encuentra una rica colección artística, especialmente de esculturas de sal y mármol, en un ambiente lleno de un profundo sentido religioso. La catedral de la Sal de Zipaquirá es considerada como uno de los logros arquitectónicos y artísticos más notables de la arquitectura colombiana, por lo que se le ha otorgado incluso el título de joya arquitectónica de la modernidad. La importancia de la Catedral, radica en su valor como patrimonio cultural, religioso y ambiental. A 180 metros bajo tierra se encuentra un lugar alejado de lo cotidiano, que invita a la reflexión, al autodescubrimiento y al encuentro interno. Con una arquitectura tallada completamente en sal y con diferentes actividades de esparcimiento que lo harán vivir una experiencia única. En el primer tramo del recorrido subterráneo se encuentra el viacrucis, el cual tiene 386 metros de longitud y 13 metros de altura, en donde están dispuestas las 14 estaciones del viacrucis, en su mayoría están ubicadas en las magníficas cámaras largas que componen la Catedral. Estas estaciones fueron talladas en Roca de Sal por los Mineros y representan las diferentes etapas vividas por Jesús hasta su crucifixión y sepultura. La cúpula es el sitio en donde converge el túnel que llega desde las 14 estaciones, con el primer encuentro visual de la gran cámara central de la Catedral de Sal. Allí, las personas se encuentran a tan solo 145 metros de la cruz tallada más grande del mundo. El coro se encuentra en la parte superior de la nave central que forma un balcón y está compuesto por una serie de escaleras totalmente talladas en sal que representa la escala musical. El nártex es una obra compuesta por una serie de paralelepípedos tallados en sal que muestra la formación salina en sus muros y da una sensación de laberintos que, según la historia bíblica, los no bautizados deberían recorrer como acto de penitencia. La iglesia subterránea hace parte del complejo cultural "Parque de la Sal", espacio cultural temático dedicado a la minería, la geología y los recursos naturales.
1834 Dopo 25 anni passati come maestro di cucina al servizio dei Principi di Cattolica, Salvatore Alaimo riceve in dono la cappella sconsacrata di un antico palazzo nel cuore di Palermo. Sulla porta d’ingresso appende una tavola di legno con un’incisione che recita “Focacceria” e decide di cucinare per il popolo. 1848 In onore della Sicilia che festeggia l’indipendenza dai Borboni, il primo governatore del nuovo Regno organizza un banchetto proprio in Focacceria a base di sfincioni, focacce e marsala. 1851 Nasce la “focaccia maritata”, creata da Alaimo per consentire anche alla povera gente di mangiare carne: un taglio economico, ma cucinato in modo raffinato, viene aggiunto alla tradizionale “focaccia schietta” (nubile). 1860 Prima di risalire l’Italia per unificarla, Giuseppe Garibaldi si ferma a Palermo, accampandosi nella piazza della Focacceria, che per una decina di giorni diventa la sua mensa quotidiana. 1861 La nobiltà palermitana si scaglia contro la Focacceria S. Francesco, che svela e diffonde al pubblico l’ottima “pasta ch’i sardi”, fino a quel momento, preparazione riservata alle mense reali. La ricetta è la stessa utilizzata ancora oggi. 1890 Da Pirandello a Sciascia a Guttuso, sono decine gli illustri scrittori e artisti che si incontrano abitualmente alla Focacceria, che diventa così un caffè letterario, una sorta di circolo culturale. 1901 L’architetto Ernesto Basile, mentre siede insieme al noto Vincenzo Florio a un tavolo della Focacceria, disegna su una tovaglia l’attuale logo, il prospetto del locale, i tavoli in ghisa e le sedie in ferro battuto. 1902 A 60 anni dalla nascita, il locale viene definitivamente battezzato “Antica Focacceria San Francesco” e nel menù entrano nuove deliziose pietanze, presenti ancora oggi: arancine, panelle e sarde a beccafico, per citarne alcune. 1834 After 25 years spent as a cooking master in the service of the Princes of Cattolica, Salvatore Alaimo receives as a gift the deconsecrated chapel of an ancient palace in the heart of Palermo. On the front door he hangs a wooden board with an engraving that reads "Focacceria" and decides to cook for the people. 1848 In honor of Sicily, which celebrates independence from the Bourbons, the first governor of the new Kingdom organizes a banquet at the Focacceria based on sfincioni, focaccia and marsala. 1851 The “married focaccia” was born, created by Alaimo to allow poor people to eat meat: an economical cut, but cooked in a refined way, is added to the traditional “sincere focaccia” (single). 1860 Before going up to Italy to unify it, Giuseppe Garibaldi stops in Palermo, camping in the Focacceria square, which for about ten days becomes his daily canteen. 1861 The Palermitan nobility lashes out against the Focacceria S. Francesco, which reveals and disseminates to the public the excellent "pasta ch'i sardi", up to that moment, a preparation reserved for royal tables. The recipe is the same still used today. 1890 From Pirandello to Sciascia to Guttuso, there are dozens of illustrious writers and artists who usually meet at the Focacceria, which thus becomes a literary café, a sort of cultural circle. 1901 the architect Ernesto Basile, while sitting together with the well-known Vincenzo Florio at a table in the Focacceria, draws the current logo, the façade of the restaurant, the cast iron tables and the wrought iron chairs on a tablecloth. 1902 60 years after its birth, the place was definitively baptized "Antica Focacceria San Francesco" and new delicious dishes enter the menu, still present today: arancine, panelle and sardines a beccafico, to name a few.
1885 Apre l'osteria Manuelina, frequentata negli anni da grandi come Montale, D'Annunzio ed Einstein: inizia la rivoluzione della Focaccia di Recco. Manuelina si sposta nella sede attuale e diventa il ristorante tipico amato da tanti buongustai e citato da Umberto Eco nel Pendolo di Foucault. Nasce la Focacceria Manuelina, un fast food tipico a pochi metri dal Ristorante. La Focacceria Manuelina sbarca a Milano con il secondo punto vendita nell’Annex Rinascente. È l’anno di una nuova grande rivoluzione! Il Ristorante diventa Il Ristorante Gourmet, per un’esperienza ancora più immersiva e di gusto. Oggi siamo noi, i pronipoti di Manuelina, a portare avanti la tradizione. Negli anni siamo riusciti a mantenere la sua passione, la sua dedizione e il suo rispetto per la qualità della cucina e delle materie prime fino a far diventare “Manuelina” un vero e proprio brand che racchiude il rinomato Ristorante, un Taste Hotel a 4 stelle, un prestigioso catering e naturalmente la nostra Focacceria Bistrot. In 1885 the Manuelina tavern opens, frequented over the years by greats such as Montale, D'Annunzio and Einstein: the Focaccia di Recco revolution begins. 1960 Manuelina moves to its current location and becomes the typical restaurant loved by many gourmets and mentioned by Umberto Eco in Foucault's Pendulum. Focacceria Manuelina is born, a typical fast food a few meters from the restaurant. Focacceria Manuelina arrives in Milan with the second store in the Annex Rinascente. It is the year of a new great revolution! The Restaurant becomes the Gourmet Restaurant, for an even more immersive and tasteful experience. Today we, the great-grandchildren of Manuelina, carry on the tradition. Over the years we have managed to maintain his passion, his dedication and his respect for the quality of the cuisine and raw materials until "Manuelina" becomes a real brand that includes the renowned Restaurant, a 4-star Taste Hotel, a prestigious catering and of course our Focacceria Bistrot.
Il Gambrinus: il più importante Caffè di Napoli. Tra i locali più celebri della penisola, membro dell'Associazione Culturale Locali Storici d'Italia, salotto letterario partenopeo, celebre galleria d'arte, animatore della cultura cittadina, questi in breve i tratti d'eccellenza del Caffè che dal 1860 è punto di riferimento tra i più importanti della cultura della nostra città. La storia del Gran Caffè Gambrinus inizia con l'Unità di Italia quando, nel 1860, al piano terra del palazzo della Foresteria, l'elegante edificio del 1816 che oggi ospita la sede della Prefettura, viene aperto il “Gran Caffè”. Affacciato direttamente su Piazza Plebiscito e Palazzo Reale, il Caffè diventa in breve tempo il salotto del bel mondo cittadino. La fama dovuta all'opera dei migliori pasticceri, gelatai e baristi provenienti da tutta Europa procura subito al Caffè la benevolenza della famiglia reale e il riconoscimento per decreto di “Fornitore della Real Casa”, onorificenza tributata dai Savoia soltanto ai migliori fornitori del Regno delle due Sicilie. Nel 1885 il Gran Caffè sembra essere sul punto di chiudere, ma di lì a poco le sue sale sarebbero state aperte ai napoletani e ai viaggiatori in una nuova più grande magnificenza. Nel 1890, infatti, Mariano Vacca, uomo avveduto e frequentatore di artisti e attori, prende in fitto i locali della Foresteria e ne affida la ristrutturazione all'architetto Antonio Curri, docente di Architettura, nonché Ornato nella Real Università di Napoli e professore onorario dell'Istituto di Belle Arti. Grazie alla perizia di più di quaranta tra artigiani e artisti, il Caffè diventa uno scrigno prezioso di opere d'arte: le sale vengono decorate con i marmi di Jenny e Fiore, gli stucchi del Bocchetta, i bassorilievi del Cepparulo e le tappezzerie del Porcelli; le pareti decorate dai più importanti paesaggisti napoletani. Il Caffè diventa una preziosa galleria d'arte nel cuore nobile di Napoli e viene valorizzata con l'ultima conquista della modernità, l'illuminazione elettrica. Per festeggiare la rinascita, il Caffè viene ribattezzato “Gran Caffè Gambrinus”, in nome del leggendario re delle Fiandre inventore della birra. L'intenzione è quella di fondere nell'immaginario le due più famose bevande d'Europa: la birra, nordica, bionda e fredda, e il caffè, scuro, bollente, piacere tipicamente napoletano. Inaugurato ufficialmente il 3 novembre 1890, il Gran Caffè Gambrinus diventa da subito il cuore della vita mondana, culturale e letteraria della città: re, regine, politici, giornalisti, letterati e artisti di fama internazionale ne fanno il luogo dove incontrarsi, discutere e scrivere versi, come nella migliore tradizione europea del caffè letterario. Le sale iniziano ad essere indicate per l'argomento degli incontri e dei simposi che vi si tengono: la sala politica, la sala della vita, la sala rotonda. Il Caffè è ormai tappa obbligata per qualsiasi visita della città: non c'è un solo viaggiatore che, arrivato a Napoli, rinunci a fare sosta al Gran Caffè Gambrinus. Lo storico locale partenopeo è sbocciato nel periodo della Belle Epoqué; infatti durante gli anni del primo novecento era il centro della cultura e dell'arte della città; ricordiamo tra gli ospiti più illustri l'imperatrice d'Austria Sissi, che degustò un ottimo gelato alla violetta, Gabriele D'Annunzio che scrisse al Gambrinus i versi della celebre canzone “A'vucchella”, Matilde Serao che fondò il quotidiano “Il Mattino” seduta proprio ai tavolini del caffè, Benedetto Croce che fece di Napoli la sua seconda città, lo scrittore irlandese Oscar Wilde che si recò nella città partenopea con Lord Alfred Douglas dopo i tristi giorni di prigionia, Ernest Hemingway, il filosofo francese Jean-Paul Sartre che scrisse pensieri su Napoli ai tavolini del Gambrinus “davanti a una granita che guardavo malinconicamente mentre si scioglieva nella sua coppa di smalto” e tantissimi altri. Sull'onda francese anche a Napoli verso la fine dell'Ottocento arrivò il Cafè Chantant o detto anche Caffè Concerto. Insieme al Salone Margherita, il Gambrinus fu uno dei ritrovi più frequentati dalla nobiltà napoletana. Con il passare del tempo, nella versione napoletana del Cafè Chantant si andò a delineare e a definire la figura della “sciantosa”, personaggio principale del concerto (il termine deriva da una storpiatura della lingua napoletana della parola francese chanteuse che letteralmente significa “cantante”. Il Gran Caffè Gambrinus prosperò fino al 1938 quando il prefetto Marziale ne ordinò la chiusura perché considerato luogo antifascista e da quel giorno i locali furono ceduti in parte al Banco di Napoli. Dei fasti che vide il Gambrinus, con questa scissione rimase solo il ricordo, imboccando una triste strada di decadenza. Agli inizi degli anni '70 Michele Sergio dà inizio alla battaglia per recuperare i locali del Caffè situato nel cuore di Napoli. Grazie al lavoro minuzioso di restauro degli antichi stucchi e di recupero dei pregevoli affreschi, il Gran Caffè Gambrinus rinasce a nuovo splendore. La battaglia è vinta. Napoli si riappropria della sua storia. Riportato ai suoi antichi fasti, il Gran Caffè Gambrinus torna ad essere il cuore pulsante e il salotto elegante della città. Oggi, il lavoro di valorizzazione iniziato da Michele Sergio è portato avanti dai figli Arturo e Antonio Sergio che fanno ancora grande l'unico storico caffè letterario della città di Napoli. The history of the Gran Caffè Gambrinus begins with the unification of Italy when, in 1860, the “Gran Caffè” was opened on the ground floor of the Foresteria building, the elegant 1816 building which now houses the headquarters of the Prefecture. Directly overlooking Piazza Plebiscito and Palazzo Reale, the café quickly becomes the living room of the beautiful city world. The fame due to the work of the best pastry chefs, ice cream makers and baristas from all over Europe immediately procured the benevolence of the royal family and the recognition by decree of "Supplier of the Royal House", an honor bestowed by the Savoy only to the best suppliers of the Kingdom of the Two Sicilies. In 1885 the Gran Caffè seems to be about to close, but soon its rooms would be opened to Neapolitans and travelers in a new, greater magnificence. In 1890, in fact, Mariano Vacca, a shrewd man and frequenter of artists and actors, rented the premises of the Foresteria and entrusted the renovation to the architect Antonio Curri, professor of Architecture, as well as Ornato at the Royal University of Naples and honorary professor of 'Institute of Fine Arts. Thanks to the expertise of more than forty artisans and artists, the Café becomes a precious treasure chest of works of art: the rooms are decorated with Jenny and Fiore marbles, the stuccoes by Bocchetta, the bas-reliefs of Cepparulo and the tapestries of Porcelli; the walls decorated by the most important Neapolitan landscape architects. The Caffè becomes a precious art gallery in the noble heart of Naples and is enhanced with the latest conquest of modernity, electric lighting. To celebrate the rebirth, the coffee is renamed “Gran Caffè Gambrinus”, in the name of the legendary king of Flanders, inventor of beer. The intention is to fuse in the imagination the two most famous drinks in Europe: beer, Nordic, blonde and cold, and coffee, dark, hot, a typically Neapolitan pleasure. Officially inaugurated on November 3, 1890, the Gran Caffè Gambrinus immediately became the heart of the social, cultural and literary life of the city: kings, queens, politicians, journalists, writers and artists of international fame make it the place to meet, discuss and write verses, as in the best European tradition of literary coffee. The rooms begin to be indicated for the subject of the meetings and symposia that are held there: the political room, the room of life, the round room. The Caffè is now a must for any visit to the city: there is not a single traveler who, having arrived in Naples, gives up stopping at the Gran Caffè Gambrinus. The Neapolitan local historian blossomed during the Belle Epoqué period; in fact during the years of the early twentieth century it was the center of culture and art of the city; we remember among the most illustrious guests the empress of Austria Sissi, who tasted an excellent violet ice cream, Gabriele D'Annunzio who wrote to Gambrinus the verses of the famous song "A'vucchella", Matilde Serao who founded the newspaper "The morning" sitting right at the coffee tables, Benedetto Croce who made Naples his second city, the Irish writer Oscar Wilde who went to the Neapolitan city with Lord Alfred Douglas after the sad days of imprisonment, Ernest Hemingway, the French philosopher Jean-Paul Sartre who wrote thoughts about Naples at the tables of the Gambrinus "in front of a slush that I looked sadly as it melted in its enamel cup" and many others. On the French wave also in Naples towards the end of the nineteenth century the Cafè Chantant or also called Caffè Concerto arrived. Together with the Salone Margherita, the Gambrinus was one of the most popular haunts of the Neapolitan nobility. Over time, in the Neapolitan version of the Cafè Chantant the figure of the "sciantosa" was outlined and defined, the main character of the concert (the term derives from a distortion of the Neapolitan language of the French word chanteuse which literally means "singer". The Gran Caffè Gambrinus prospered until 1938 when the prefect Martial ordered its closure because it was considered an anti-fascist place and from that day the premises were partly sold to the Banco di Napoli. Of the glories that Gambrinus saw, with this split only the memory remained, taking a sad path of decadence. At the beginning of the 70s, Michele Sergio began the battle to recover the premises of the café located in the heart of Naples. Thanks to the meticulous restoration of the ancient stuccos and the recovery of the valuable frescoes, the Gran Caffè Gambrinus is reborn to a new splendor. The battle is won. Naples regains its history. Returned to its former glory, the Gran Caffè Gambrinus is once again the beating heart and elegant lounge of the city. Today, the enhancement work started by Michele Sergio is carried out by his sons Arturo and Antonio Sergio who still make the only historic literary café in the city of Naples great.
Benvenuti “Al Vèdel” e “Podere Cadassa”. La nostra storia inizia da qui. Da questo piccolo lembo di terra adagiato sulle sponde del Grande Fiume, racchiuso fra il silenzio della campagna agreste e la magnificenza di quello che fu il Gran Ducato di Parma e Piacenza. Da una parte il fiume Po a delimitare quel caleidoscopio di uomini e racconti che è il Mondo Piccolo narrato da Guareschi e dall’altra parte la Reggia Ducale, la piccola Versailles, nelle cui stanze ancora oggi si rivivono i fasti della vita di corte. Siamo a Colorno, alle porte di Parma. Siamo nella Bassa parmense. Siamo nella Food Valley italiana. È da qui che veniamo ed è da qui che parte il nostro racconto. Tutto ebbe inizio nel lontano 1780, quando l’anziana zia Cleofe decise di trasformare il proprio rustico in uno spaccio di generi alimentari e posto di ristoro per viandanti. “Dalla Siora” aprì le sue porte a viaggiatori, commercianti e compaesani. “Dalla Siora” si poteva trovare ristoro, ci si informava, si riposava. Come in famiglia. La famiglia Bergonzi che continuò negli anni la tradizione dell’ospitalità e dell’amore per la buona cucina, con la trattoria “Marietta” nel 1927, “Da Ernesto” nel 1962 e infine con il ristorante “Al Vèdel” nel 1976. In campagna tutto era fatto in casa. Anche la cucina era artigianalità. E così, come vuole la tradizione di questa terra, a fianco del rustico si trovava il Podere Cadassa, il piccolo laboratorio di famiglia per la produzione dei salumi tipici del parmense, a partire dal più nobile degli insaccati: il Culatello. Il lavoro artigianale delle sapienti mani dei norcini veniva così offerto agli avventori del locale, proprio come succede oggi ai clienti de “Al Vèdel”. “Al Vèdel” è il nome che abbiamo deciso di conservare per il nostro ristorante. “Al Vèdel”, perché la cucina non è solo una questione di famiglia, ma anche di territorio. O almeno questo è quello che proponiamo noi tutti i giorni ai nostri ospiti e che qui si ha la certezza di trovare. “Al Vèdel” è infatti il nome dialettale de “Le Vedole”, la piccola località alle porte di Colorno, dove, da quel lontano 1780, la nostra famiglia ha il piacere di accogliere quei viandanti che nel corso del tempo sono diventati clienti, turisti, gourmand. Tradizione, qualità e ricerca. Questa è la nostra cucina, questo è il nostro sapere, questa è la nostra arte. A family history. A centuries-long history. A story of flavors. Welcome to “Al Vèdel” and “Podere Cadassa”. The Our story starts here. From this small strip of land lying on the banks of the Great River, enclosed between the silence of the rural countryside and the magnificence of what was once the Grand Duchy of Parma and Piacenza. On the one hand the Po river delimiting that kaleidoscope of men and tales that is the Little World narrated by Guareschi and on the other hand the Ducal Palace, the little Versailles, in whose rooms the glories of court life are still relived today. We are in Colorno, on the outskirts of Parma. We are in the Parma lowlands. We are in the Italian Food Valley. This is where we come from and this is where our story starts. It all began back in 1780, when the elderly aunt Cleofe decided to transform her cottage into a grocery store and a refreshment place for travelers. “Dalla Siora” opened its doors to travelers, traders and fellow villagers. "From the Siora" you could find refreshment, you inquired, you rested. Like in the family. The Bergonzi family who continued the tradition of hospitality and love for good food over the years, with the restaurant "Marietta" in 1927, "Da Ernesto" in 1962 and finally with the restaurant "Al Vèdel" in 1976. In the countryside everything was homemade. The cooking was also handcrafted. And so, according to the tradition of this land, the Podere Cadassa was located next to the cottage, the small family workshop for the production of typical Parma cured meats, starting with the noblest of sausages: Culatello. The craftsmanship of the skilled hands of the butchers was thus offered to the patrons of the restaurant, just as happens today to the customers of “Al Vèdel”. “Al Vèdel” is the name we have decided to keep for our restaurant. “Al Vèdel”, because cooking is not just a matter of family, but also of territory. Or at least this is what we offer to our guests every day and that you are sure to find here. "Al Vèdel" is in fact the dialectal name of "Le Vedole", the small town on the outskirts of Colorno, where, since that distant 1780, our family has the pleasure of welcoming those travelers who over time have become customers, tourists, gourmand. Tradition, quality and research. This is our cuisine, this is our knowledge, this is our art.
Dal 1870 il Finsterwirt Oste Scuro è la meta ideale per chi è alla ricerca del buon cibo, del buon vino e di un’atmosfera unica. Accanto alla piazza del Duomo di Bressanone, questo antico locale offre qualità autentica senza compromessi e all’insegna di un‘ospitalità che si perpetua ogni giorno, a pranzo e a cena. Lo chef Hubert Ploner cucina piatti creativi e raffinati, realizzati principalmente con prodotti Slowfood, biologici e di provenienza regionale. La carta dei vini sorprende con più di 400 etichette che descrivono non solo l’Alto Adige ma anche altre regioni italiane ed estere. Accomodatevi nelle sale storiche o sulla terrazza con un magnifico pergolato e lasciatevi viziare dalla famiglia Mayr e dal loro team. Se siete qui è perché ve lo siete meritato. Alto Adige, alta cucina. La qualità dei prodotti di prima classe e la creatività dello chef Hubert Ploner fanno del Finsterwirt Oste Scuro un luogo di culto gastronomico nel bel mezzo della città vecchia. A pranzo o a cena, chi visita Bressanone almeno una volta deve fermarsi qui, questo è poco ma sicuro. The Finsterwirt Oste Scuro has been a haven for food connoisseurs since 1870 and boasts delectable menus, refined wines, and a unique ambience. The building is steeped in history and is located right next to Piazza Duomo in Bressanone. Genuine quality and outstanding service are what you come to expect when dining at the restaurant which serves mouth-watering meals every day. Chef Hubert Ploner follows the Slow Food principles and creatively mixes organic and regional ingredients to prepare refined dishes. The wine menu is a veritable encyclopaedia of more than 400 South Tyrolean, Italian, and international labels. Take a step back in time as you sit down in these wood-panelled dining rooms, or head out to the terrace and its beautiful arbour. The Mayr family will take care of your every need: after all, you are worth it. Refined palates feel right at home in South Tyrol. Even more so at the Finsterwirt Oste Scuro. Chef Hubert Ploner deftly and creatively uses exceptional ingredients for his dishes, and the meals have made the restaurant the go-to place at the heart of the old city centre. In other words: when visiting Bressanone lunch or dinner here are an absolute must.
I am Elnet Girly Ndlovu. I am 29 years old. I was born and raised in Mpumalanga, South Africa. I graduated from high school in the year 2012 and am currently studying for a higher certificate in economics and management sciences through the university of South Africa. I have also obtained a certificate in business administration and Computer literacy, of which I seek to study further to do entrepreneurship. I began my career as a customer service representative in 2014. Naturally, I have a growth mindset that enables me to grow and to help me by learning from mistakes to improve myself continually. I am kind, loving, caring and a person who is full of empathy often. I am a go-getter, positive, bubbly person who loves a positive fun filled environment. I am self-motivated and also enjoy motivating my team members. I work well in a team or individually. I am passionate about education, uplifting others, entrepreneurship and making a better society for the future generation to come while walking the journey of self-discovery I have more than four years experience in customer service and administration combined with a demonstrated history of working in the information technology and services industry. Skilled in Administrative Assistance, Meeting Scheduling, Executive Support. I have excellent interpersonal skills, I am also a fast learner and adapt quickly to a new environment My hobbies are reading books, listening to music, walking and learning new things.
Storica pasticceria milanese fondata nel 1817. Luogo di incontro e di incanto famoso in tutto il mondo, Cova celebra l’artigianalità, l’italianità e l’eccellenza, offrendo a una clientela d’élite cosmopolita prodotti di sublime qualità. Corre l'anno 1817 quando Antonio Cova apre il "Caffe del Giardino" al lato del Teatro alla Scala. Le sale sfolgoranti di specchi e lampadari diventano ritrovo del bel mondo dell'epoca e profumano di spirito patriottico, animato di fervore anti-austriaco gli spiriti dell'epoca. Distrutto dai bombardamenti della Seconda Guerra Mondiale, nel 1950 il Cova muove dalla sede originaria verso l'attuale sito di Via Montenapoleone 8, dove diventa un salotto elegante e raffinato, riproponendo arredi ed ambienti mutuati da quelli originari. Distrutto dai bombardamenti della Seconda Guerra Mondiale, nel 1950 il Cova muove dalla sede originaria verso l'attuale sito di Via Montenapoleone 8, dove diventa un salotto elegante e raffinato, riproponendo arredi ed ambienti mutuati da quelli originari. L’espansione internazionale del marchio ha iniziato nel 1993, quando Cova apre ad Hong Kong SAR il suo primo negozio oltre frontiera. Nel 2013 diventa parte del Gruppo LVMH e continua la sua espansione nel mondo. Nascono quindi boutique di Pasticceria in Cina, a Taiwan, negli Emirati Arabi e nella vicina Montecarlo. La storia di Cova si intreccia a quella della città e dei suoi momenti più rappresentativi. Ritrovo di una clientela cosmopolita, di borghesia e nobiltà, il Cova entra a pieno titolo nella storia e nelle storie di Milano. Cortesia e accoglienza sono punti fermi dell'arte di ricevere, che punta a servire la clientela con garbo, gusto e riservatezza. Unendo una presenza attenta al più piccolo cenno e la cordialità di professionisti del settore, nasce un ambiente raffinato dove musica soffusa, tovaglie di lino e divanetti in velluto ospitano esponenti del jet set, viaggiatori accaniti e semplici curiosi. Cova is one of Italy’s oldest pasticceria and an international destination. Celebrated for its product excellence, impeccable service and fascinating interiors, Cova is an institution that exalts tailored craftsmanship and creativity. Founded in 1817 by Antonio Cova –a Napoleonic soldier– Cova is one of Italy’s oldest pasticceria. Celebrated for its product excellence, impeccable service and exquisite interiors, this historical Milanese institution has always been a place where tradition meets elegance and style. Fashionable rendez-vous for patriots of the Risorgimento, those days Cova hosted the very representatives of the high society and the most stylish crowd. And it has never stopped: from Giuseppe Verdi to Ernst Hemingway to contemporary élite, even after the relocation to Via Montenapoleone 8 in 1950. In 1993 Cova inaugurated its first venue in Hong Kong SAR, beginning its worldwide expansion. Today Cova, part of the LVMH Group since 2013, is present in Hong Kong SAR, Shanghai, Beijing, Taiwan, Monte Carlo and Dubai, recreating the traditional Italian combination of creativity and elegance around the world. Milanese culture has inspired and energized Cova that has unveiled its pastry making art, conquering the senses and touching the imagination of its nobility and bourgeoisie. The heritage of the city evolved with Cova, one being essential to the other. The ardor and the artisanal know-how of its Chefs, the exceptional quality of its products and the inner art of hospitality of its discrete service initiated the unique Cova experience in the 19th century and continue nowadays magnifying its heritage and matching the needs of an increasingly conscious clientele.
Il caffè prende il nome dal suo proprietario greco (greco in italiano) che lo aprì nel 1760. Personaggi storici tra cui Stendhal, Goethe, Arthur Schopenhauer, Bertel Thorvaldsen, Mariano Fortuny, Byron, Franz Liszt, Keats, Henrik Ibsen, Hans Christian Andersen, Felix Mendelssohn, Wagner, Levi, María Zambrano, Lawrence Ferlinghetti e persino Casanova hanno preso il caffè lì. Per più di due secoli e mezzo, il Caffè Greco è rimasto un rifugio per scrittori, politici, artisti e personaggi illustri a Roma. Trenta secoli fa una colonia greca si stabilì intorno a Piazza di Spagna e vi fondò il "Caffè Greco". A quei tempi la piazza era un lago, come lo diventa ancora nei giorni di pioggia. Romolo e Remo, quando furono sazi del latte di lupa, sorseggiarono allegramente la bevanda fuligginosa, che un cameriere del Caffè Greco portava loro di nascosto. Casanova, Goethe, Gogol, Stendhal, Byron, Andersen e altri grandi personaggi frequentavano la bottega fondata dagli Elleni. Nel 1918 nasce l'intenzione di istituire un circolo di studi in alcuni spiriti eletti. Tre volte si radunarono in una polverosa biblioteca, ma era filosofico ei concetti che impregnavano l'aria oscuravano tanto quegli spiriti, da mortificare la loro primitiva divisione. Discordanti e disperati si separarono, finché una voce si levò di nuovo a raccoglierli. The café was named after its Greek (Greco in Italian) owner, who opened it in 1760. Historic figures including Stendhal, Goethe, Arthur Schopenhauer, Bertel Thorvaldsen, Mariano Fortuny, Byron, Franz Liszt, Keats, Henrik Ibsen, Hans Christian Andersen, Felix Mendelssohn, Wagner, Levi, María Zambrano, Lawrence Ferlinghetti and even Casanova have had coffee there. For more than two centuries and a half, the Caffè Greco has remained a haven for writers, politicians, artists and notable people in Rome. Thirty centuries ago a Greek colony took up residence around Piazza di Spagna and founded the "Greek Coffee" there. In those days the square was a lake, as it still becomes on rainy days. Romulus and Remus, when they were sated with she-wolf milk, happily sipped the sooty drink, which a waiter from the Caffè Greco brought them secretly. Casanova, Goethe, Gogol, Stendhal, Byron, Andersen and other great people frequented the shop founded by the Hellenes. In 1918 the intention of setting up a circle of studies was born in some chosen spirits. Three times they gathered in a dusty library, but it was philosophical and the concepts which impregnated the air so darkened those spirits, as to mortify their primitive division. Discordant and desperate they parted, until a voice rose again to gather them.
Il Caffè Florian fu aperto il 29 dicembre 1720 a Venezia in Piazza S.Marco da Floriano Francesconi con il nome di “Alla Venezia Trionfante”, ma ben presto la clientela prese l’abitudine di chiamarlo “Florian”. Nei quasi tre secoli di vita il Florian è stato meta di incontro di artisti, scrittori, intellettuali, politici e personaggi illustri come Lord Byron, Goethe e Casanova. Simbolo di stile e qualità il brand Florian propone una selezione di prodotti esclusivi e prestigiosi che rappresentano l’arte di vivere con eleganza. La gamma Gourmet, la linea Lifestyle e la collezione Design si distinguono per la raffinatezza dello stile italiano e l’eccellente qualità dei prodotti. Disponibili nei corner presso i Florian di Venezia, Firenze e Londra. Caffè Florian first opened its doors in St. Mark’s Square, Venice in 1720, baptised “Alla Venezia Trionfante” by its owner Floriano Francesconi, but the clientele soon took to calling it simply “Florian”. For nearly three centuries Florian has also been the meeting-place of famous artists, writers, intellectuals and politicians such as Lord Byron, Goethe and Casanova. The symbol of style and quality, the Florian brand name offers a selection of exclusive and prestigious products representing the art of elegant living. The Gourmet range, the Lifestyle line and the Design collection are characterized by refined Italian taste and the excellent quality of the products.
Il Pedrocchi è uno dei simboli di Padova, luogo eletto per la degustazione del caffè e della cucina. Riconosciuto come la sede più esclusiva del centro della città dove realizzare gli eventi più importanti e spettacolari. Senza nome, del prato senza erba e del caffè senza porte”: la Basilica di S. Antonio, detta “del Santo”‚ il Prato della Valle, fino all’800 privo d’erba, e il Caffè Pedrocchi, “senza porte” perché rimase aperto giorno e notte dall’inaugurazione nel 1831 fino al 1916. La presenza a Padova di un Gran caffè internazionale si deve ad Antonio Pedrocchi, famoso caffettiere, citato da Stendhal ne “La certosa di Parma”. Ai primi dell’800 nei numerosi caffè si mescolavano nobili e borghesi, intellettuali e popolani. Antonio Pedrocchi sognava un caffè monumentale, dall’architettura rappresentativa e funzionale, situato proprio al centro della città, di fronte all’Università e alla Gendarmeria Austriaca e chiamò a realizzarlo Giuseppe Jappelli, famoso architetto ed ingegnere di idee illuministe e profondo conoscitore del gusto asburgico che lo inaugurò nel 1831. Divenne presto crocevia di intellettuali e letterati “luogo dove nascevano le idee”, dove si organizzavano feste, balli, riunioni massoniche e persino trattative commerciali, un punto di riferimento per i padovani, ma anche per i viaggiatori e gli uomini d’affari provenienti da tutta la Penisola che in quest’imponente edificio neoclassico trovavano sempre accoglienza e ristoro. Il successo fu immediato e il caffè divenne ritrovo di studenti, artisti e letterati come Ippolito Nievo o Giovanni Prati, ma anche di patrioti, come Arnaldo Fusinato. Tra gli ospiti illustri oltre a Stendhal, si ricordano Alfred De Musset, George Sand, Téophile Gauthier, Gabriele d’Annunzio, Eleonora Duse, Filippo Tommaso Marinetti e molti altri. Lasciato in dono al Comune di Padova, con l’impegno “di promuovere e sviluppare tutti quei miglioramenti che verranno portati dal progresso dei tempi, mettendolo a livello di questi e nulla trascurando, onde nel suo genere possa mantenere il primato in Italia”, il Caffè Pedrocchi ha ormai conquistato una posizione privilegiata nel centro e nel cuore di Padova. Pedrocchi is one of the symbols of Padua, a place chosen for tasting coffee and cooking. Recognized as the most exclusive venue in the city center where the most important and spectacular events are held. Without a name, of the lawn without grass and of the café without doors: the Basilica of S. Antonio, known as "del Santo"‚ the Prato della Valle, up to the 19th century without grass, and the Caffè Pedrocchi, "without doors" because it remained open day and night from its inauguration in 1831 until 1916. The presence in Padua of a great international coffee is due to Antonio Pedrocchi, famous coffee maker, mentioned by Stendhal in "La Certosa di Parma". At the beginning of the 19th century, nobles and bourgeois, intellectuals and commoners mixed in the numerous cafés. Antonio Pedrocchi dreamed of a monumental café, with a representative and functional architecture, located right in the center of the city, in front of the University and the Austrian Gendarmerie, and he called Giuseppe Jappelli, famous architect and engineer of Enlightenment ideas and profound connoisseur of Habsburg taste to build it. who inaugurated it in 1831. It soon became a crossroads for intellectuals and writers "a place where ideas were born", where parties, dances, Masonic meetings and even commercial negotiations were organized, a point of reference for Paduans, but also for travelers and businessmen from the whole peninsula which always found welcome and refreshment in this imposing neoclassical building. Success was immediate and the café became a meeting place for students, artists and writers such as Ippolito Nievo or Giovanni Prati, but also for patriots, such as Arnaldo Fusinato. In addition to Stendhal, the illustrious guests include Alfred De Musset, George Sand, Téophile Gauthier, Gabriele d'Annunzio, Eleonora Duse, Filippo Tommaso Marinetti and many others. Left as a gift to the Municipality of Padua.
L'attività della ditta Mulassano comincia nella seconda metà dell'800, con apertura di una bottiglieria in via Nizza 3. L'allora proprietario, Amilcare Mulassano, era titolare anche della rinomata Distilleria Sacco, produttrice del famoso sciroppo di menta. Nel 1907, il locale fu poi trasferito nella più centrale piazza Castello luogo che non ha più lasciato. Nel corso dei primi anni il locale si trasformò in Caffè. Angela Nebiolo era andata sposa bambina a Detroit, negli Stati Uniti, dove il marito e i cognati gestivano ristoranti e locali notturni. Aveva 15 anni. Il lavoro non la spaventava: l'appassionava quel mondo nuovo e frenetico: scoprì l'automobile, prese la patente giovanissima. Ma, nel cuore, le batteva forte la nostalgia: avrebbe dato l'America intera pur di tornare a Torino, la sua città natale. E così fu: nel 1925 Angela e Onorino Nebiolo, che nel frattempo avevano avuto due figli, tornarono in Italia con il proposito di gestire un locale tutto loro. In quei mesi la famiglia Mulassano aveva messo in vendita il proprio scrigno prezioso: il caffè Mulassano. Ai coniugi non parve vero e con i risparmi accumulati in America, comprarono il locale. La spesa: 300 mila lire di allora per la sola licenza. Con l'intento di ridare vigore agli affari del locale, cercarono di ideare delle nuove proposte da accompagnare all'aperitivo. Avevano portato con sé dagli States una macchina che tostava il pane: così importarono, per primi a Torino, il toast. Non paghi di questa innovazione, pensarono di utilizzare quel pane morbidissimo, usato per i toast, senza tostatura e con una speciale e più intensa farcitura: fu così che il signor Onorino inventò il tramezzino. Dapprima lo serviva in accompagnamento agli aperitivi, poi, visto il successo, lo propose per lo spuntino di mezzogiorno dei tanti impiegati e delle sartine di via Roma e via Po. Alcuni anni più tardi, Gabriele D'Annunzio gli diede il nome che ora conosciamo: "tramezzino". Furono anni intensi e di grandi successi; la buvette divenne popolarissima, come è oggi. Ci andava un giovane studente in medicina allora sconosciuto: Achille Mario Dogliotti; ci tornò spesso anche da affermato chirurgo. Per l'aperitivo venivano Luigi Spazzapan e Italo Cremona, Gigi Chessa e Giacomo Grosso, Gigetta Morano e Caterina Boratto. La Torino dell'arte e del cinema oltre che la Torino d'ogni giorno. Fra i più assidui Mario Soldati e Gianandrea Gavazzeni che hanno frequentato il Mulassano per decenni. Nel 1938 i coniugi Nebiolo vendettero il locale per andare a gestire alcuni cinematografi della periferia e il locale, con la guerra conobbe un periodo di declino. I suoi tesori sparirono sotto la calce. Negli anni '70 il Mulassano è tornato quello del commendatore Amilcare e di Onorino grazie ad un accurato restauro che l'allora titolare, Antonio Chessa, svolse con grande pazienza e sapienza. La nipote di Antonio Chessa, Vanna, insieme a un nuovo socio Patrizio Abrate, ne conserva oggi la tradizione e la cura, illuminati da quella passione per la quale lo zio ha dedicato una vita. Oggi il locale è come fu pensato da Antonio Vandone e rimane patrimonio della città di Torino e di chi ne vuole godere la bellezza. The activity of the Mulassano company began in the second half of the 19th century, with the opening of a bottle shop in via Nizza 3. The then owner, Amilcare Mulassano, was also the owner of the renowned Sacco Distillery, producer of the famous mint syrup. In 1907, the restaurant was then moved to the more central Piazza Castello, a place it has never left. During the first few years the place was transformed into a café. Angela Nebiolo had gone as a child bride to Detroit, in the United States, where her husband and in-laws ran restaurants and nightclubs. He was 15. Work did not scare her: she was passionate about that new and frenetic world: she discovered the car, got her driving license very young. But nostalgia beat strongly in her heart: she would have given the whole of America to return to Turin, her hometown. And so it was: in 1925 Angela and Onorino Nebiolo, who in the meantime had had two children, returned to Italy with the intention of running their own place. In those months the Mulassano family had put their precious treasure chest up for sale: Mulassano coffee. To the spouses it didn't seem real and with the savings accumulated in America, they bought the place. The cost: 300 thousand lire at the time for the license alone. With the intention of reviving the business of the place, they tried to come up with new proposals to accompany the aperitif. They had brought with them from the States a machine that toasted bread: so they were the first to import toast in Turin. Not satisfied with this innovation, they thought of using that very soft bread, used for toast, without toasting and with a special and more intense filling: this was how Mr. Onorino invented the sandwich. At first he served it as an accompaniment to aperitifs, then, given its success, he proposed it for the midday snack of the many employees and tailors of via Roma and via Po. A few years later, Gabriele D'Annunzio gave it the name we now know: "sandwich". They were intense and successful years; the buvette became hugely popular, as it is today. A young medical student then unknown went there: Achille Mario Dogliotti; he also often returned as a well-known surgeon. For the aperitif came Luigi Spazzapan and Italo Cremona, Gigi Chessa and Giacomo Grosso, Gigetta Morano and Caterina Boratto. The Turin of art and cinema as well as the Turin of every day. Among the most assiduous Mario Soldati and Gianandrea Gavazzeni who have frequented the Mulassano for decades. In 1938 the Nebiolo couple sold the place to go and manage some cinemas in the suburbs and the place, with the war experienced a period of decline. His treasures disappeared under the lime. In the 1970s Mulassano returned to that of Commendatore Amilcare and Onorino thanks to an accurate restoration that the then owner, Antonio Chessa, carried out with great patience and wisdom. Antonio Chessa's niece, Vanna, together with a new partner Patrizio Abrate, today preserves the tradition and care, enlightened by that passion for which the uncle dedicated a life. Today the place is as it was thought by Antonio Vandone and remains the heritage of the city of Turin and of those who want to enjoy its beauty.
La storia inizia nel 1763 a Torino, quando l’acquacedratario Giuseppe Dentis apre la sua piccola bottega nell’edificio di fronte all’ingresso del Santuario della Consolata. Il locale all’epoca era arredato semplicemente, con tavole e panche di legno. Nel 1856, su progetto dell’architetto Carlo Promis, viene edificato l’attuale palazzo e in questa sede il caffè assume l’elegante forma che oggi possiamo apprezzare: le pareti vengono abbellite con boiseries di legno decorate da specchi e lampade e fanno la loro comparsa i caratteristici tavolini tondi di marmo bianco, il bancone di legno e marmo e le scaffalature per i vasi dei confetti. Alla fine dell’Ottocento viene posta esternamente la devanture in ferro, con le vetrinette ai lati, le colonnine e i capitelli in ghisa. In questo ambiente viene svolta l’attività di confetteria e di caffè-cioccolateria. L’invenzione del bicerin è stata, senza alcun dubbio, la base del successo del locale e, più che invenzione, fu evoluzione della settecentesca bavareisa, una bevanda allora di gran moda che veniva servita in grossi bicchieri e che era fatta di caffè, cioccolato, latte e sciroppo. Il rituale del bicerin prevedeva all’inizio che i tre ingredienti fossero serviti separatamente, ma già nell’Ottocento vengono riuniti in un unico bicchiere e declinati in tre varianti: pur e fiur (simile all’odierno cappuccino), pur e barba (caffè e cioccolato), ‘n poc ‘d tut (ovvero “un po’ di tutto”), con tutti e tre gli ingredienti. Quest’ultima formula fu quella di maggiore successo e finì per prevalere sulle altre, arrivando integra ed originale ai nostri giorni e prendendo il nome dai piccoli bicchieri senza manico in cui veniva servita (bicerin, appunto). La bevanda si diffuse anche negli altri locali della città, diventandone addirittura uno dei simboli di Torino. Stefani-Mondo scrive: “...è la bibita prediletta della mattina: ministri, magistrati, professori, negozianti, fattorini, cestaie, venditori e venditrici ambulanti, campagnuoli ecc, tutti spendono volentieri i loro tre soldi per rifocillarsi economicamente lo stomaco“. Il prezzo di tre soldi, cioè 15 centesimi di lira, venne mantenuto dalla metà dell’Ottocento fino al 5 dicembre del 1913, quando passò a 20. “…per venti soli centesimi si aveva il classico bicchierino che costituisce un nutritivo spuntino…“. La storia del Bicerin, come questo locale venne nel tempo a essere semplicemente chiamato dai torinesi per il successo della sua bevanda, nel tempo si intreccia saldamente a quella della “Consolà”. La nuova miscela era infatti il sostegno ideale per i fedeli che, avendo digiunato per prepararsi alla comunione, cercavano un sostegno energetico appena usciti dalla chiesa. Ugualmente era molto gradita in tempo di Quaresima poiché, non essendo la cioccolata calda considerata “cibo”, poteva essere consumata senza remore durante il digiuno prescritto. The story begins in 1763 in Turin, when the acquactress Giuseppe Dentis opens his small shop in the building opposite the entrance to the Sanctuary of the Consolata. At the time, the place was simply furnished, with wooden tables and benches. In 1856, based on a project by the architect Carlo Promis, the current palace was built and here the café takes on the elegant shape that we can appreciate today: the walls are embellished with wooden boiseries decorated with mirrors and lamps and make their own the characteristic round white marble tables, the wooden and marble counter and the shelves for the confetti jars appeared. At the end of the nineteenth century the devanture was placed externally in iron, with the showcases on the sides, the columns and capitals in cast iron. In this environment the confectionery and coffee-chocolate shop is carried out. The invention of the bicerin was, without any doubt, the basis of the success of the place and, more than an invention, it was the evolution of the eighteenth-century bavareisa, a drink at the time very fashionable that was served in large glasses and was made of coffee, chocolate, milk and syrup. The bicerin ritual initially provided for the three ingredients to be served separately, but already in the nineteenth century they were combined in a single glass and declined in three variants: pur and fiur (similar to today's cappuccino), pur e barba (coffee and chocolate), 'n poc' d tut (or “a bit of everything”), with all three ingredients. This last formula was the most successful and ended up prevailing over the others, arriving intact and original to our days and taking its name from the small glasses without handles in which it was served ( bicerin, in fact). The drink also spread to other places in the city, even becoming one of the symbols of Turin. Stefani-Mondo writes: “...it is the favorite drink of the morning: ministers, magistrates, professors, shopkeepers, messengers, baskets, street vendors and vendors, country men, etc., all willingly spend their three sous to economically refresh their stomach". The price of three soldi, that is 15 cents of a lira, was maintained from the mid-nineteenth century until December 5, 1913, when it passed to 20. "...for only twenty cents you had the classic glass which is a nutritious snack...". The history of Bicerin, as this place came over time to be simply called by the Turinese for the success of its drink, over time is firmly intertwined with that of the "Consolà". The new blend was in fact the ideal support for the faithful who, having fasted to prepare for communion, sought energetic support as soon as they left the church. It was also very welcome in time of Lent since, not being the hot chocolate considered "food", it could be consumed without hesitation during the prescribed fast.
The Tournai Cathedral, or Cathedral of Our Lady (French: Notre-Dame de Tournai, Dutch: Onze-Lieve-Vrouw van Doornik), is a Roman Catholic Church, see of the Diocese of Tournai in Tournai, Belgium. It has been classified both as a Wallonia's major heritage since 1936 and as a World Heritage Site since 2000. There was a diocese centered at Tournai from the late 6th century and this structure of local blue-gray stone occupies rising ground near the south bank of the Scheldt, which divides the city of Tournai into two roughly equal parts. Begun in the 12th century on even older foundations, the building combines the work of three design periods with striking effect, the heavy and severe character of the Romanesque nave contrasting remarkably with the Transitional work of the transept and the fully developed Gothic of the choir. The transept is the most distinctive part of the building, with its cluster of five bell towers and apsidal (semicircular) ends. The nave belongs mostly to the first third of the 12th century. Prefiguring the Early Gothic style, it has a second-tier gallery between the ground-floor arcade and the triforium. Pilasters between the round-arched windows in the clerestory help support the 18th-century vaulting that replaced the original ceiling, which was of wood, and flat. The transept arms, built in about the mid-12th century, have apsidal ends, a feature borrowed in all probability from certain Rhenish churches, and which would appear to have made its influence felt in the northeast of France, as at Noyon and Soissons. The square towers that flank the transept arms reach a height of 83 metres (272 ft). They vary in detail, some of the arcade work with which they are enriched being in the round-arched and some in the pointed style. West portico. Bishop Gautier de Marvis (1219-1252) had the earlier Romanesque choir demolished in the 13th century, in order to replace it with a Gothic choir of much grander dimensions, inspired by the likes of Amiens Cathedral. The construction of the new choir began in 1242, and ended in 1255. The rest of the cathedral was supposed to be rebuilt in the same style as the choir, but this was never attempted, the only later additions being the western porch, and a large Gothic chapel which was built alongside one of the side aisles, whose original walls and windows disappeared in the process. The rood screen is a Renaissance masterpiece by Flemish sculptor Cornelis Floris and dates from 1573. The cathedral was damaged by a severe tornado on the 24 August 1999. Assessment of the damage revealed underlying structural problems and the cathedral has been undergoing extensive repairs and archaeological investigation ever since. The Brunin Tower was stabilised in 2003. In recognition of Tournai cathedral's cultural value, UNESCO designated the building a World Heritage Site in the year 2000.
The Mir castle complex is a unique monument of the national culture of Belarus, included in 2000 in the UNESCO World Cultural and Natural Heritage List. On the territory of the complex there are the Mir Castle of the 16th – 20th centuries, the church-burial vault of the princes Svyatopolk-Mirsky, the watchman's house, the ruins of the palace of the last owners, an outhouse, a roadside chapel, an English landscape park with a pond, the remains of an Italian garden, earthen ramparts with bastions. The museum has 39 exposition and exhibition halls. Along with sightseeing and thematic excursions, theatrical ones are also provided, and the ceremony "Wedding in the Mir Castle" will make the happy day in your life unforgettable. Mir Castle is an object with a developed infrastructure: two conference rooms for holding high-level events, a hotel with 16 rooms, a restaurant of ancient cuisine, a souvenir shop with products of Belarusian craftsmen. Mir Castle Complex of XVI–XX centuries in a small town Mir is a historical and cultural value of national importance and UNESCO World Heritage. For the first time Мir was mentioned in 1434 when it becomes a private estate of Senko Gedygoldovich. According to his will in 1451 Mir passes to Anna Butrimovna, his foster daughter. In 1476 Anna gives Mir as possession for life to Senko’s wife Milokhna, and after her death – to her cousin Yury Ilinich, who started building the castle. The owner of Mir had strong reasons for erecting such a mighty fortification building. At the beginning of the 16th century Crimean Tatars attacked these lands more frequently. Unstable political situation was worsened by the hostility among the feudal groups inside the country. In particular, the Iliniches were in confrontation with a very powerful and influential prince Mikhail Glinsky. Nevertheless there was one more important reason for building the castle. Yury Ilinich aspired to get a title of a count of the Holy Roman Empire and one of the necessary conditions for this was having a stone castle. This was the first case when such a mighty fortress was built on the territory of the Grand Duchy of Lithuania by a private owner. At the first stage of construction five towers were erected. They were connected with walls whose thickness at the foundation was up to three meters. All the towers were planned as independent centers of resistance. They were erected in such a way that it was convenient to deliver flanking fire along the walls and to hit an approaching target. Each tower was about 25 meters in height and had five fighting storeys with loopholes and a complex system of inner passages. The builders used three-layer laying – the inner and outer parts of the walls were made of brick and huge stones and the space between them was filled with small stones and broken bricks. Although all the towers may seem to have the same construction, each of them has its own architectural peculiarities. The lower tetrahedral part of the towers becomes octahedral at different heights slightly losing in its size. The decoration of the towers’ fronts also varies. The owners of the castle – the Iliniches – didn’t manage to accomplish the construction. Their family died away within forty years. Shortly before his decease Yury Ilinich Junior, the grandson of the founder, bequeathed Mir County to his cousin Prince Mikolaj Krzysztof Radziwill nicknamed the Orphan. Over the next three centuries the castle was owned by the representatives of a powerful dynasty of the Radziwills. Having acquired the ownership rights for Mir County in 1569, Prince Mikolaj Krzysztof Radziwill nicknamed the Orphan decided to make the castle one of his residences. At his behest three-storey living palaces were erected along the northern and eastern walls of the castle, the three adjacent towers were rebuilt and a barbican at the Entrance tower appeared. Earth mounds with bastions at the angles were raised around the castle. A fosse filled with water was dug behind the earth mounds. At the end of the 16th century the bastion fortifications lost their importance. The reasons why Mikolaj Krzysztof Radziwill decided to stop further modernization of Mir Castle are still unknown. After the construction of a mighty castle in Nesvizh at the end of the 16th – beginning of the 17th centuries the princely residence moved there. Mir Castle became something like a country seat. The walls of the palace and towers were plastered and painted pink. The window and door portals were made from grey sandstone imported from Galicia. The basement and the ground floor of the palace incorporated housekeeping facilities and storerooms; the administration of Mir County, a municipal court and a clerical office were located on the first floor, the second floor was intended for the owners whose living accommodation was situated there. At the beginning of the 17th century an Italian garden was laid out near the castle. After these massive transformations the castle had seen a peaceful lifetime which was broken off by a war between the Polish-Lithuanian Commonwealth and the Tsardom of Muscovy. In 1655 Mir Castle was ravaged by Cossacks of Ivan Zolotorenro and Russian troops of voivode Aleksey Trubetskoy. The castle fell into oblivion for around 30 years. And it wasn’t until 1680 that Katarzyna (Ekaterina) Radziwill from the Sobiesky family initiated restoration works in Mir Castle after her husband Mikhail Kazimierz had died. But the Great Northern War of 1700–1721 suspended her undertakings for many years. In April 1706 Mir was invaded by the troops of Charles XII. The whole township with the castle was on fire, everything that had been restored was destroyed. The castle regained its former grandeur thanks to a new owner – Prince Mikhail Kazimierz Radziwill nicknamed the Rybonka. The chambers of the fourth princely floor were replanned. The rooms of a similar layout, predominantly of a square type, were replaced by a suite of halls of different sizes. For this purpose the internal partitions were rearranged, the stairs line was changed. The Stateroom as well as the Portrait and Dance Halls were decorated with oak parquet floors, gilded ceilings, superb furniture, tapestry, paintings, chinaware and delftware. A lot of valuable and refined objects were produced at the Radziwills’ manufactories. In 1891 Mir estate and the castle were purchased by a Cossack chieftain of the Don Troops, Prince Nikolay Svyatopolk-Mirsky. Apparently, the prince was attracted by the name of the estate. When he came to Mir he immediately got down to work with great enthusiasm. An alcohol plant and a two-storey palace, which became the main composition center of the palatial and park complex, were built opposite the castle. A water reservoir with islands was made in front of the new palace instead of five ponds and a cut down garden. In 1922 Nikolay’s son Mikhail started to restore Mir Castle. The works had lasted for 16 years. During this period a part of the Eastern palace and two southern towers were restored. During the Great Patriotic War from May to August 1942 the castle served as a ghetto where Hitler’s forces imprisoned around 800 local Jews. In summer the prisoners organized a resistance group. On August 9, 1942 over 250 Jews managed to escape. Three days later those who stayed in ghetto were shot by fascists in the forest not far from Mir. After the liberation of Belarus in July 1944 dwellers of Mir whose houses had been ruined found refuge in the castle. The last family moved out from the castle in 1962. The restoration works in Mir Castle began only in 1983. In 2000 it was listed by UNESCO as a World Heritage Site. On December 16, 2010 an official opening of Mir Castle took place.
Schönbrunn Palace was the main summer residence of the Habsburg rulers, located in Hietzing, Vienna. The name Schönbrunn (meaning “beautiful spring”) has its roots in an artesian well from which water was consumed by the court. The 1,441-room Rococo palace is one of the most important architectural, cultural, and historic monuments in the country. The history of the palace and its vast gardens spans over 300 years, reflecting the changing tastes, interests, and aspirations of successive Habsburg monarchs. It has been a major tourist attraction since the mid-1950s. In 1569, Holy Roman Emperor Maximilian II purchased a large floodplain of the Wien river beneath a hill, situated between Meidling and Hietzing. The former owner, in 1548, had erected a mansion called Katterburg. The emperor ordered the area to be fenced and put game there such as pheasants, ducks, deer and boar, in order for it to serve as the court's recreational hunting ground. In a small separate part of the area, “exotic” birds such as turkeys and peafowl were kept. Fishponds were also built. Das kaiserliche Lustschloß Schönbrunn, Ehrenhofseite by Bernardo Bellotto, 1759-1760 During the next century, the area was used as a hunting and recreation ground. Eleonora Gonzaga, who loved hunting, spent much time there and was bequeathed the area as her widow's residence after the death of her husband, Ferdinand II. From 1638 to 1643, she added a palace to the Katterburg mansion, while in 1642 came the first mention of the name “Schönbrunn” on an invoice. The origins of the Schönbrunn orangery seem to go back to Eleonora Gonzaga as well. The Schönbrunn Palace in its present form was built and remodelled during the 1740–50s during the reign of empress Maria Theresa who received the estate as a wedding gift. Franz I commissioned the redecoration of the palace exterior in the neoclassical style as it appears today. Franz Joseph, the longest-reigning emperor of Austria, was born at Schönbrunn and spent a great deal of his life there. He died there, at the age of 86, on 21 November 1916. Following the downfall of the Habsburg monarchy in November 1918, the palace became the property of the newly founded Austrian Republic and was preserved as a museum. After World War II and during the Allied Occupation of Austria (1945—55), Schönbrunn Palace was requisitioned to provide office space for both the British Delegation to the Allied Commission for Austria, and for the headquarters for the small British Military Garrison present in Vienna. With the reestablishment of the Austrian republic in 1955, the palace once again became a museum. It is still sometimes used for important events such as the meeting between U.S. president John F. Kennedy and Soviet premier Nikita Khrushchev in 1961. Since 1992 the palace and gardens have been owned and administered by the Schloss Schönbrunn Kultur-und Betriebsges.m.b.H., a limited-liability company wholly owned by the Republic of Austria. The company conducts preservation and restoration of all palace properties without state subsidies. UNESCO catalogued Schönbrunn Palace on the World Heritage List in 1996, together with its gardens, as a remarkable Baroque ensemble and example of synthesis of the arts.
Palazzo Salis é rimasto attraverso i secoli sempre di proprietà dei Conti Sertoli Salis. Si sviluppa su una struttura che presenta una facciata di stile tardo-cinquecentesco, fiancheggiata da due torri, con un portale centrale barocco realizzato su disegno del Vignola. La lunga e complessa storia dei Salis prosegue come Conti Sertoli Salis a partire dal 1800, quando il Conte Ing. Ulisse Salis, eroe del Risorgimento, e sua moglie Teresa Calvi, ebbero una sola figlia femmina, Rita. Con la contessa Rita Salis, sposata al patrizio sondriese Don Francesco Sertoli di Sondrio, prosegue la storia dei Conti Sertoli Salis, con i 3 figli di Rita e Francesco, ovvero Cesare (primogenito Conte), Pietro (padre dello storico N.H. Dott.Renzo Sertoli Salis) e Ulisse. Quest’ultimo, nobiluomo avvocato, fu un illuminato pioniere dei viaggi intorno al mondo degli inizi del '900, lasciando in eredità alla famiglia splendidi album di scatti unici, che hanno dato vita alla mostra fotografica “I viaggi dello Zio Ulisse”. Dal Conte Cesare discendono in linea diretta i nipoti Cesare Virgilio, illuminato imprenditore scomparso prematuramente nel febbraio del 2005 a soli 52 anni, e Francesco, attuale e principale proprietario del palazzo. Oggi palazzo Salis di Tirano si colloca come una delle mete culturali e turistiche di maggior interesse di tutta la Valtellina, visitabile tutto l’anno con visite guidate per piccoli e grandi gruppi. E' una meta di visita ideale per le scuole e gli amanti della storia ed architettura del 600 e 700, ma anche per gli appassionati della natura, dello sport e dell’enogastronomia valtellinese, per un completamento di grande soddisfazione del loro week-end o della settimana di vacanza. Palazzo Salis has remained through the centuries always owned by the Conti Sertoli Salis. It develops on a structure with a late-fifteenth-century façade, flanked by two towers, with a central baroque portal built on the design of the Artchitect 'Vignola'. The long and complex history of the Salis family continues as “Conti (Counts) Sertoli Salis” in 1800, with the Count Engineer Ulisse Salis, hero of the “Risorgimento”, becoming father of a girl, Rita. Countess Rita married a nobleman Francesco Sertoli and received a special permission to continue the family line as Counts Sertoli Salis. 3 sons were born, Cesare (grandfather of the present owners of Palazzo Salis in Tirano), Pietro and Ulisse. The youngest son Ulisse became a lawyer and enjoyed travelling around the world beginning of 1900, thus leaving beautiful pictures of a fascinating and, sad to say, almost disappeared world. From Count Cesare derives in direct line the two nephews, Cesare, admired Entrepreneur that died in 2005 at the age of only 53, and his younger brother Francesco, present main owner of the Palazzo. Today Palazzo Salis represents one of the most important and attractive cultural and turistic destinations of the region and can be visited by groups all over the year. Perfectly responding to those looking for a cultural trip, like schools and historical experts, or lovers of the splendid architecture of the 17th and 18th century, the visit will lead you through 500 years of history and splendid decorated rooms.
Situated at Badi Choupad, Pink City of Jaipur, Hawa Mahal was built in 1799. It has 953 windows on the outside walls. The honeycomb shaped and beautifully carved windows allow breeze to blow through the palace and makes it a perfect summer palace. It was built as an extension to the City Palace nearby. See below for more information about Hawa Mahal. In 1799, the Kachhwaha Rajput ruler, Sawai Pratap Singh, grandson of Maharaja Sawai Jai Singh ordered Lal Chand Usta to construct an extension to the Royal City Palace. The Purdah system at the time was strictly followed. Rajput royal ladies should not be seen by strangers or appear in any public area. The construction of Hawa Mahal allows the royal ladies to enjoy from every day street scenes to royal processions on the street without being seen. The five-stores palace was built in the form of Krishna’s crown because Sarai Pratap Singh was devoted to Krishna, the Hindu god. The mahal has a total of 953 small casements each with small lattice worked pink window, balconies and arched roofs with hanging cornices. This allows cool breeze blow through the mahal and keep it cool and airy in summer. Despite the large number of windows, each of them are size of a peephole such that the royal ladies were not to be seen by the public. The top three storeys are a single room thick, namely Vichitra Mandir, Prakash Mandir and Hawa Mandir. The Maharaja worshipped the Krishna at the Vichitra Mandir. While the Prakash Mandir provides an open terrace to both sides. Worth noting is that there are no steps to the upper floors but ramps. They are for the palanquin of the royal ladies. The autumn celebrations took place on the Sharad Mandir on the first floor. Don’t miss out on the colourful glassworks on Ratan Mandir on the second floor. In contrast to the rich decoration of the exterior, the interiors of the mahal is much simpler. But it is also where you will find the best view of the city of Jaipur.
1962 Ivo Dotto costruisce per hobby il primo trenino su rotaia azionato da motore. Il fascino e il successo di tale trenino sono confermati dai sempre più numerosi bambini che ogni giorno si fermano col naso incollato al recinto per vederlo in movimento, speranzosi di poter fare un giretto. Nasce il primo trenino su pneumatici. Il 1966 rappresenta una svolta molto importante nella tradizione dei trenini, fino ad allora concepiti soltanto su rotaia. “Liberare” il trenino dal vincolo del binario significò rendere versatile un mezzo di trasporto che da quel momento venne utilizzato per gli scopi più diversi. Nasce il primo trenino su pneumatici per il trasporto di adulti. Quello che era nato come un'attrazione per bambini diviene ora un mezzo di trasporto all'interno dei parchi e non solo. I treni Dotto ben presto iniziano ad essere venduti anche al di fuori dei confini nazionali. Nasce il primo treno elettrico L’attenzione per l’ecologia e l’ambiente ha portato DOTTO TRAINS a realizzare la linea Muson River in versione elettrica, per riscoprire l’emozione di viaggiare a contatto con la natura, gustando la varietà dei paesaggi che ci circondano. Il treno TM970, dal design aerodinamico è adatto anche alle città più moderne. Per soddisfare mercati sempre più esigenti, DOTTO TRAINS progetta e realizza modelli sempre più evoluti e sofisticati tecnologicamente, capaci di circolare in qualsiasi tipologia di ambiente. Nuova linea di treni: Funny Trains Sono treni molto colorati, dal simpatico design che sembrano usciti dai fumetti. Questa linea è stata studiata principalmente per i parchi divertimento, ma ben si adattano anche in villaggi turistici e Resort. I treni elettrici Dotto nel rispetto dell'ambiente. Nasce Dottobus, ecologico per natura. L’attenzione per l’ecologia e l’ambiente che da sempre contraddistingue la filosofia aziendale di DOTTO TRAINS, ha portato alla realizzazione di diverse linee di treni elettrici, senza rinunciare alla consueta affidabilità, manegevolezza ed efficienza che contraddistinguono DOTTO TRAINS. Dottobus Enclosed Euro 6 Shuttle bus dal design moderno, con motore Euro 6 a basse emissioni, può essere decorato con grafica personalizzata. Ben si presta come transfer aeroportuale e come bus urbano. Dotato di riscaldamento e aria condizionata, è ideale sia nelle località con clima rigido che torrido. Dottobus Enclosed in versione elettrica Shuttle bus elettrico dal design moderno, ecologico al 100%, può essere decorato con grafica personalizzata. Ben si presta come transfer aereoportuale e come bus urbano. Dotato di riscaldamento e aria condizionata, è ideale sia nelle località con clima rigido che torrido. BIG BOY La nuova locomotiva made in Dotto La nuova potente locomotiva 4x4 con motore Turbo Diesel Euro VI è in grado di affrontare percorsi in salita fino ad ora ritenuti inacessibili, con pendenze anche del 25%. In 1962 Ivo Dotto built the first engine driven train on rails as a hobby. The allure and success of this little train were proved by the increasing number of children who stopped and glued their noses to the fence every day to watch it in action, ever hopeful that they might be lucky enough to have a ride. he first road train was launched 1966 marked a very important turning point in the history of these small trains, which had only run on rails until now. “Freeing” the train from its tracks transformed it into a completely versatile means of transport that could now be used for an amazingly wide range of different purposes. The first road train for adults was launched. What initially began as a children’s attraction now became a means of transport used in parks and many other places. It wasn't long before Dotto trains began to be sold outside of Italy as well. The first electric train was launched Understanding the importance of environmental awareness and protection led DOTTO TRAINS to build an electric version of the Muson River line so you can rediscover the thrill of travelling through the countryside while savouring the rich and varied landscapes around us. The TM970 is launched, a train with an aerodynamic design also perfect for modern cities. Over the last years DOTTO TRAINS has designed and built more advanced and technologically sophisticated models, that suit every type of setting, meeting the needs of increasingly demanding markets. A new line: Funny Trains The brightly coloured trains with fun, appealing designs that look just like cartoon characters. This line was primarily designed for amusement parks but Funny Trains are also ideal for holiday villages and resorts. Dotto's eco-friendly electric trains. The new Dottobus. Eco-friendly by nature. Environmental awareness and protection has always been a key part of the DOTTO TRAINS philosophy and this led to the creation of different lines of electric trains that maintained the same reliability, easy handling and efficiency for which DOTTO TRAINS is renowned. The first Dottobus Enclosed Euro 6 was launched. The Euro 6 low emission shuttle bus, with a modern design, can be decorated with customized graphics. It is suitable as an airport shuttle and city bus. Fitted with heating and air conditioning, it is ideal for places with cold or hot climates. Dottobus Enclosed electric model The 100% eco-friendly electric shuttle bus with a modern design can be decorated with customized graphics. It is suitable as an airport shuttle and city bus. Fitted with heating and air conditioning, it is ideal for places with cold or hot climates. BIG BOY The new locomotive made in Dotto. The new powerfull 4x4 locomotive, with Euro VI Turbo Diesel engine, will be able to climb slopes of even 25% getting to peak never thinked before.
Ten years to the day after Nelson Mandela’s release from prison on 11 February 1990, the Nelson Mandela Museum opened its doors. Nelson Mandela insisted that it was not just to be a static collection and tribute to him, but a living memorial to his values and vision. It was to inspire and enrich all who visit it, serve as a catalyst for development and should share the heritage resources linked to him. The Department of Arts and Culture took his words to heart and pledged funding for the Nelson Mandela Museum as part of its series of national legacy projects that honour South Africa’s liberation heroes. The Nelson Mandela Museum is more than a place; it is an experience that allows visitors to follow the footprints of a man whose long walk to freedom began in the foothills that rise from the banks of the Mbhashe River. His journey took him back to the village of Qunu, where he put down roots and grew tall and strong. The young man listened to and learned from his elders, moved by their stories of battles for their land. His battle for liberation would be waged a long way from the rural landscape of his birth. It would take him from studying at the University of Fort Hare in Alice to the mines in Johannesburg; and from the capital cities of the world to a prison cell on Robben Island, before he emerged from his long imprisonment, unbowed and victorious on a summer day in February 1990. His gift is a living one – one that embodies his commitment to the principles of human rights, freedom, peace and democracy. This constantly evolving legacy is housed in the Nelson Mandela Museum, with its two main sites: the Nelson Mandela Youth and Heritage Centre in Qunu, and the Bhunga Building in Mthatha. A third site, Mvezo, is not currently operated by the museum. Here there are exhibitions that celebrate his life and his journey, including Gift to the Nation, which showcases the gifts he has received from the people, institutions and governments around the world, and a collection of images and artefacts that illustrate and illuminate his life. The Nelson Mandela Museum is situated on the N2 highway and is the gateway to the Wild Coast. It offers a memorable cultural experience that gives insight into the life of Nelson Mandela, with guided tours and a heritage trail that follows his in his footsteps.
The Castle of Good Hope is known locally as "The Castle". Its Dutch name is "Kasteel de Goede Hoop" and is a bastion fort built in the 17th century in Cape Town, South Africa. The Castle was originally located on the coastline of Table Bay but, following reclamation, the fort is now located a short distance inland within the Central Business District. The Castle was declared a historical monument (now a provincial heritage site) in 1936. Following restoration work in the 1980s, it is considered the best preserved example of a 17th century architectural structure in the entire world. In 1652, the Dutch East India Company (DEIC) settled on the shores of Table Bay to establish a refreshment base for ships en route from Europe to East Asia and to maintain its monopoly over the Spice Trade. Built by the DEIC between 1666 and 1679, the Castle of Good Hope is the oldest existing colonial building in South Africa. It replaced an older fort called the Fort de Goede Hoop which was constructed from clay and timber and built by Jan van Riebeeck, the first Commander of the Cape. During 1664, tensions between Britain and the Netherlands rose amid rumours of war. That same year, Commander Zacharias Wagenaer, successor to Jan van Riebeeck, was instructed by Commissioner Isbrand Goske to build a pentagonal fortress out of stone. The first stone was laid on 2 January 1666. Work was interrupted frequently because the DEIC was reluctant to spend money on the project. On 26 April 1679, the five bastions were named after the main titles of William III of Orange-Nassau: Leerdam to the west, with Buuren, Katzenellenbogen, Nassau, and Oranje clockwise from it. In 1682 the gated entry replaced the old entrance, which had faced the sea. A bell tower, situated over the main entrance, was built in 1684—the original bell, the oldest in South Africa, was cast in Amsterdam in 1697 and weighs just over 300 kilograms (660lb). It was used to announce the time, as well as warning citizens in case of danger, since it could be heard 10 kilometres away. It was also rung to summon residents and soldiers when important announcements needed to be made. The fortress housed a church, bakery, various workshops, living quarters, shops, and cells, among other facilities. The yellow paint on the walls was originally chosen because it lessened the effect of heat and the sun. A wall, built to protect citizens in case of an attack, divides the inner courtyard, which also houses the De Kat Balcony – now with the “Kings of the Castle” statues in front of it. The original balcony was built in 1695, but rebuilt in its current form between 1786 and 1790. From the balcony, announcements were made to soldiers, slaves and burghers (town inhabitants) of the Cape. During the Second Boer War (1899–1902), part of the castle was used as a prison, and the former cells remain to this day. The Castle acted as local headquarters for the South African Army in the Western Cape, and today houses the Castle Military Museum and ceremonial facilities for the traditional Cape Regiments. The Castle is also the home of the Cape Town Highlanders Regiment, a mechanised infantry unit.
Tra il 1760 e il 1763 il conte Vittorio Amedeo Costa di Carrù e Trinità, che fu governatore di Novara e poi vicerè di Sardegna, dava incarico all’architetto Birago di Borgaro per la costruzione del suo palazzo affacciato su via San Francesco da Paola. Al palazzo venne successivamente annesso il complesso detto “delle Cascine”, frutto di acquisti di case da reddito che si affacciavano sulle attuali vie Giolitti e Accademia Albertina. Nel 1837 nella proprietà delle Cascine venne a collocarsi il Ricovero delle figlie della Misericordia, istituzione assistenziale fondata in connessione con le Dame della Carità di san Vincenzo de’ Paoli, da Luigia Alfieri che ne affidò il funzionamento alle Figlie della Carità; l’opera venne proseguita dopo la sua morte da Luisa Costa, moglie di Cesare Alfieri, e da Costanza Alfieri marchesa Tapparelli d’Azeglio. Nel 1882 moriva la contessa Costanza Luserna di Rorà, vedova del conte Costa di Carrù e Trinità, che a sua volta aveva fondato il “Ritiro Carrù” e che con testamento segreto lasciava precise disposizioni sull’utilizzo del palazzo di via Accademia. Nel 1882 il conte Carlo Alfieri affidò, in accordo con Paolo Costa della Trinità, l’amministrazione provvisoria del Ritiro Alfieri, al quale era di fatto unito il Ritiro Carrù, all’ing. Melchiorre Pulciano. A questi il conte Costa dà incarico, tra il 1892 e il 1896, per «opere di sistemazione del fabbricato». Nel 1896 avvenne la fusione ufficiale dei due ritiri in un unico Istituto che funzionava come educandato per fanciulle cattoliche di non agiata condizione. Negli anni della seconda Guerra mondiale l’edificio ospitò altre istituzioni, come l’Educatorio della Provvidenza e un ospedale del Sovrano Militare Ordine di Malta provvisto di ambulatorio medico chirurgico e pediatrico. Subì gravi danni alle coperture e all’ultimo piano che furono interamente rifatti. Nella seconda metà del secolo scorso l’Istituto fu trasformato in convitto femminile con 75 posti letto sostituendo le originarie camerate in camere a due letti. All’inizio del 2003 venne elaborato un progetto di ristrutturazione e restauro conservativo che venne sottoposto alla Compagnia di San Paolo e alla Fondazione CRT che si fecero carico dei lavori di ristrutturazione. Between 1760 and 1763, Count Vittorio Amedeo Costa di Carrù e Trinità, who was governor of Novara and then viceroy of Sardinia, commissioned the architect Birago di Borgaro to build his palace overlooking via San Francesco da Paola. The complex called “delle Cascine” was subsequently annexed to the palace, the result of the purchase of income-generating houses that overlooked the current via Giolitti and Accademia Albertina. In 1837 on the property of the Cascine the Shelter of the Daughters of Mercy was placed, a welfare institution founded in connection with the Ladies of Charity of St. Vincent de 'Paoli, by Luigia Alfieri who entrusted its operation to the Daughters of Charity; the work was continued after his death by Luisa Costa, wife of Cesare Alfieri, and by Costanza Alfieri marquise Tapparelli d'Azeglio. In 1882 Countess Costanza Luserna di Rorà died, widow of Count Costa di Carrù and Trinità, who in turn had founded the “Carrù Retreat” and who with a secret will left precise provisions on the use of the building in Via Accademia. In 1882 Count Carlo Alfieri entrusted, in agreement with Paolo Costa della Trinità, the provisional administration of the Retiro Alfieri, to which the Retiro Carrù was in fact joined, to Eng. Melchiorre Pulciano. To these Count Costa gave assignment, between 1892 and 1896, for "works to refurbish the building". In 1896, the two retreats were officially merged into a single institute that functioned as a boarding school for Catholic girls of not well-off conditions. In the years of the Second World War the building housed other institutions, such as the Educatory of Providence and a hospital of the Sovereign Military Order of Malta equipped with a medical, surgical and pediatric clinic. It suffered serious damage to the roofs and the top floor which were entirely redone. In the second half of the last century, the Institute was transformed into a boarding school with 75 beds, replacing the original dormitories with two-bed rooms. At the beginning of 2003 a renovation and conservative restoration project was elaborated which was submitted to the Compagnia di San Paolo and to the CRT Foundation which took charge of the renovation works.
Francesca Guicciardini nasce a Firenze nel 1978 da una storica famiglia fiorentina, qui studia presso l’istituto d’arte di Porta Romana, seguendo lezioni di decorazione e grafica. Durante questi anni inizia a sperimentare la pittura murale, prima direttamente sui muri di casa propria, poi per piccoli committenti fiorentini. Nel 1997 si diploma e si rasferisce a Roma, dove inizia a studiare computer grafica, alternando gli studi a decorazioni per committenze in giro per l’Italia. Lavora per un paio d'anni come grafica per l’artista romani Matteo Basilè, segue un corso di montaggio video presso Cinecittà per realizzare documentari durante i suoi lunghi viaggi nel sud del mondo, dove si porta sempre dietro l’occorrente per realizzare gli acquarelli che ispirano i suoi lavori di decorazione. Dal 1999 ad oggi ha decorato svariati muri, ville, casali e locali pubblici in giro per il mondo, specializzata nella decorazione “classica” (molto in voga nelle ville toscane del xix secolo), Francesca ha saputo coniugare gli studi di grafica, all’arte orientale conosciuta durante i viaggi in Asia, senza dimenticare il Rinascimento fiorentino che l’ha circondata e ispirata durante la sua formazione artistica. As a young girl, raised in one of the oldest Florentine families, Francesca began by painting the walls of her mother's home, and it was while still at the Art Institute that she began to receive her first commissions. Over the years, she has applied her talent as an artist and eye for design to walls all around Italy. She always prefers to work closely with her commissioner and since her days as a young student, she has painted Florentine apartments, ancient Roman villas, Tuscan country homes, and public spaces. After her studies, she moved to Rome, where her talent was nurtured by her work for the Roman artist Matteo Basilè. At the same time she was also specializing in graphic design and editing, and it was her capacity in her studies that bought her to Cinecitta' where she directed small documentaries based on her voyages around the world. Francesca's passion for travel has bought her to some of the most remote and beautiful places in the world. Her travels could last up to a whole year if she felt inspired. The result of these travels has been an extraordinary collection and study of the various decorative themes and ornaments she encountered along the way. Today Francesca specializes in combining the knowledge she has acquired over the years, and during her travels, to work on some of the most important walls in Europe. Her main passion remains classical decoration, a reminder of the Italian Renaissance that surrounded her most of her life, but her originality comes from joining this innate passion with her knowledge as a designer and avid traveler.
El Hostal de los Reyes Católicos es un edificio que fue construido en el año 1492. En 1501, este edificio fue destinado por los Reyes Católicos para atender a los enfermos y peregrinos del divino Xacobe, según se puede leer en la inscripción latina que recorre el friso superior de la portada. El proyecto de las obras se debe al arquitecto real Enrique Egas. Delante de la fachada se puede ver una fuerte cadena del siglo XVI sostenida por pilares esmeradamente tallados que delimita la propiedad del hospital y que tiene su origen en las disputas de propiedad entre el Ayuntamiento y las autoridades del hospital. Cuenta con una hermosa portada plateresca, obra de los maestros franceses Martín de Blas y Guillén de Colás. En las pilastras de esta portada podemos ver de abajo arriba, las figuras de Adán, Santa Catalina y San Juan Bautista en la izquierda y las de Eva, Santa Lucía y María Magdalena en la derecha. En el friso de la puerta, estructurada a modo de arco triunfal romano, aparecen alineadas las figuras de los doce apóstoles. En las pechinas sobre el arco se pueden ver los medallones que recogen los bustos de los reyes Isabel y Fernando. Sobre el friso, en el cuerpo superior se abre la ventana del Aposento Real, reservado para hospedar a los monarcas cuando acudieran a Compostela, esta parte se encuentra bordeada por las imágenes de Cristo, la Virgen, Santiago, San Juan Evangelista, San Pedro y San Pablo. Dos grandes escudos, con las armas de Castilla flanquean así mismo, la portada. Recorriendo todo el frente del edificio vemos los balcones diseñados por fray Tomás Alonso, apoyados en ménsulas muy trabajadas que representan figuras fantasiosas. La cornisa se decora con una minuciosa cadena en la que sobresalen grotescas y obscenas gárgolas. El espacio interior está estructurado en una planta rectangular con cuatro patios. El más artístico de estos patios es el que se encuentra de primero al entrar del lado izquierdo, en el que destaca sobre todo, la puerta que conduce a la antigua sala de San Luis. El interior del Hostal alberga una hermosa capilla ojival, declarada Monumento Nacional en 1912. La parte más interesante de esta capilla de planta de cruz latina, situada entre los cuatro patios, es el crucero al que se accede a través de un enrejado de hierro de hermosa factura, obra del cerrajero francés Guillén. La bóveda del crucero, confeccionada en piedra litográfica de Coimbra, es de una bellísima filigrana.
La Catedral de Santiago de Compostela es una construcción medieval que se encuentra ubicada en la capital de Galicia, Santiago de Compostela, al noreste de España. Esta construcción fue iniciada en el año 1075, bajo el reinado de Alfonso VI y promovida por el obispo Diego Peláez. Inicialmente, el edificio contaba con tres naves y una planta de cruz latina, que abarcaba una superficie de 8.300 metros cuadrados. Aunque la estructura medieval se ha mantenido en lo fundamental, a lo largo de los siglos la Catedral ha ido variando su fisonomía con construcciones como la del Claustro y sus espacios anejos durante el Renacimiento. Así como la construcción de la capilla mayor, los órganos, el cierre de la cabecera o la fachada del Obradoiro, entre otras importantes actuaciones que se realizaron durante la época del Barroco. Durante el Neoclasicismo se realizó la nueva fachada de la Azabachería y en los últimos cien años se han seguido realizando diversas actuaciones. Por esta razón, hoy en día la edificación reúne diversos estilos arquitectónicos tales como el románico, el gótico, el barroco, el plateresco y el neoclásico. La entrada principal es conocida como el Pórtico de la Gloria y fue construida por el Maestro Mateo en el 1188. En ella se albergan dos centenares de figuras alusivas al Apocalipsis, dentro de las cuales destaca la figura del Apóstol Santiago que parece dar la bienvenida a los peregrinos. La fachada del Obradoiro de la Catedral es obra de Fernando de Casas y Novoa, y está considerada como una de las expresiones máximas del barroco español. El Altar Mayor es de estilo barroco, debajo del cual se encuentra la cripta del Apóstol Santiago. La catedral de Santiago de Compostela se ha convertido en un atractivo turístico y religioso ya que es el final del viaje de los peregrinos que deciden realizar el “Camino de Santiago”, recorrido que parte desde distintos lugares de Europa. Este trayecto, es conocido como el Primer Itinerario Cultural Europeo y Patrimonio de la Humanidad, y es una de las más antiguas y principales vías de peregrinación de la cristiandad. Desde el descubrimiento del sepulcro del Apóstol Santiago, innumerables peregrinos se han puesto en camino hacia la Catedral de Santiago de Compostela, para venerar sus reliquias, conformando así toda una cultura jacobea a lo largo de Europa. Como atractivo turístico, también se encuentra el Museo Catedral de Santiago que le permite a los visitantes profundizar su conocimiento en la historia y el arte de la Catedral, a través de sus diferentes espacios y las exposiciones temporales que se organizan con regularidad.
The Tower of London, founded by William the Conqueror in 1066, is one of the world’s most famous fortresses, and one of Britain’s most visited historic sites. Despite a grim reputation for a place of torture and death, there are so many more stories to be told about the Tower. This powerful and enduring symbol of the Norman Conquest has been enjoyed as a royal palace, served as an armoury and even housed a zoo! An intriguing cast of characters have played their part: including the dastardly jewel-thief Colonel Blood, tragic Lady Jane Grey and maverick zookeeper Albert Cops. The Tower of London played an important role in the First and Second World Wars. From training WWI recruits in the Tower moat including the Royal Fusiliers (whose headquarters and museum still exists at the Tower of London today), to guarding the infamous Nazi prisoner of war Rudolph Hess, during each devastating conflict the Tower returned to its former role as a military store, barracks and prison. And it became, once again, a grim place of execution for enemies of the state. A total of 12 spies were executed behind the Tower's walls. In 2014 and again in 2018, The Tower of London commemorated the centenary of WWI with two major installations. In 2014, ‘Blood Swept Lands and Seas of Red’ marked Britain’s first full day of involvement in the war by filling the moat with 888,246 ceramic poppies while in 2018, ‘Beyond the Deepening Shadows: The Tower Remembers’ saw the moat filled with thousands of flames that commemorated those who lost their lives. Within days of Britain's announcement to enter WWI, young men who worked near the Tower in the City answered the call to enlist. Some formed volunteer brigades with friends or work colleagues. 1300 men who worked for city firms joined the City of London Battalion, pictured here in the Tower moat, waiting to swear the oath of allegiance. By the turn of the 20th Century the Tower of London was seen as a tourist attraction, but the Tower never formally dissolved its function as a garrison, prison and execution site. The fortress actively carried out all three roles during the war, even as it remained open to visitors.
Taos Pueblo is the only living Native American community designated both a World Heritage Site by UNESCO and a National Historic Landmark. The multi-story adobe buildings have been continuously inhabited for over a 1,000 years. The Pueblo is 3 miles northeast of Taos Plaza. Archaeologists say that ancestors of the Taos Indians lived in this valley long before Columbus discovered America and hundreds of years before Europe emerged from the Dark Ages. Ancient ruins in the Taos Valley indicate our people lived here nearly 1000 years ago. The main part of the present buildings were most likely constructed between 1000 and 1450 A.D. They appeared much as they do today when the first Spanish explorers arrived in Northern New Mexico in 1540 and believed that the Pueblo was one of the fabled golden cities of Cibola. The two structures called Hlauuma (north house) and Hlaukwima (south house) are said to be of similar age. They are considered to be the oldest continuously inhabited communities in the United States. The Pueblo is made entirely of adobe – earth mixed with water and straw, then either poured into forms or made into sun-dried bricks. The walls are frequently several feet thick. The roofs of each of the five stories are supported by vigas – large timbers hauled down from the mountain forests. Smaller pieces of wood – pine or aspen latillas – are placed side-by-side on top of the vigas; the whole roof is covered with packed dirt. The outside surfaces of the Pueblo are continuously maintained by re plastering with thin layers of mud. Interior walls are carefully coated with thin washes of white earth to keep them clean and bright. The Pueblo is actually many individual homes, built side-by-side and in layers, with common walls but no connecting doorways. In earlier days there were no doors or windows and entry was gained only from the top.
For almost 100 years, Monticello has been maintained and kept open to the public by the Thomas Jefferson Foundation, Inc., which owns over 2,500 acres of Jefferson's 5,000-acre plantation. As a private, nonprofit 501(c)3 corporation, the Foundation receives no ongoing federal, state, or local funding in support of its dual mission of preservation and education. Monticello is the autobiographical masterpiece of Thomas Jefferson—designed and redesigned and built and rebuilt for more than forty years—and its gardens were a botanic showpiece, a source of food, and an experimental laboratory of ornamental and useful plants from around the world. Monticello, Thomas Jefferson’s plantation near Charlottesville, Va., was the center of his world. To understand Jefferson, one must understand Monticello; it can be seen as his autobiographical statement. Monticello encompassed a house, an ornamental landscape, a farm, a plantation, a small mountain, and a large and diverse community. It encapsulated the interests, talents, ideals, ambitions, and realities of its creative and complex owner. In 1923, Monticello was purchased by the Thomas Jefferson Foundation, a private nonprofit corporation and was opened as a public attraction in 1924. Since then, the Foundation has instituted numerous research and educational programs and major restoration and renovation projects, and Monticello has attracted more than 27 million people. Today, the Thomas Jefferson Foundation remains committed to a twofold mission: preservation – to conserve, protect, and maintain Monticello in a manner which leaves it enhanced and unimpaired for future generations – and education – to interpret and present Thomas Jefferson to the widest possible audiences, including scholars and the general public. Monticello is a National Historic Landmark, an international Site of Conscience, and the only presidential house in the United States designated a UNESCO World Heritage site. The Thomas Jefferson Foundation seeks to bring history forward into national and global dialogues. The Foundation seeks to facilitate conversations and to use its extensive research and knowledge to stimulate interactions on a variety of topics that were of keen interest to Jefferson, the most powerful of which are liberty and self government. Through virtual, off-site and on-site engagement, the Foundation seeks to excite the world about Jefferson’s relevance today and ignite a passion for history.
"The Statue of Liberty Enlightening the World" was a gift of friendship from the people of France to the United States and is recognized as a universal symbol of freedom and democracy. The Statue of Liberty was dedicated on October 28, 1886. It was designated as a National Monument in 1924. Employees of the National Park Service have been caring for the colossal copper statue since 1933. In 1865, a French political intellectual and anti-slavery activist named Edouard de Laboulaye proposed that a statue representing liberty be built for the United States. This monument would honor the United States' centennial of independence and the friendship with France. French sculptor Auguste Bartholdi supported de Laboulaye's idea and in 1870 began designing the statue of "Liberty Enlightening the World." While Bartholdi was designing the Statue, he also took a trip to the United States in 1871. During the trip, Bartholdi selected Bedloe's Island as the site for the Statue. Although the island was small, it was visible to every ship entering New York Harbor, which Bartholdi viewed as the "gateway to America." In 1876, French artisans and craftsmen began constructing the Statue in France under Bartholdi's direction. The arm holding the torch was completed in 1876 and shown at the Centennial Exposition in Philadelphia. The head and shoulders were completed in 1878 and displayed at the Paris Universal Exposition. The entire Statue was completed and assembled in Paris between 1881 and 1884. Also in 1884, construction on the pedestal began in the United States. After the Statue was presented to Levi P Morton, the U.S. minister to France, on July 4, 1884 in Paris, it was disassembled and shipped to the United States aboard the French Navy ship, Isère. The Statue arrived in New York Harbor on June 17, 1885, and was met with great fanfare. Unfortunately, the pedestal for the Statue was not yet complete and the entire structure was not reassembled on Bedloe's Island until 1886. Once the pedestal was completed in 1886, the Statue was reassembled with surprising speed by a fearless construction crew - many of whom were new immigrants. The first piece of the Statue to be reconstructed was Alexandre-Gustave Eiffel's iron framework. The rest of the Statue's elements followed without the use of scaffolding - all construction materials were hoisted up by steam driven cranes and derricks. In order to sculpt the Statue's skin Eiffel used the repoussé technique developed by Eugene Viollet-le-Duc. This technique was the process of molding light-weight copper sheets by hammering them onto the Statue's hallowed wooden framework. The last section to be completed was the Statue of Liberty's face which remained veiled until the Statue's dedication. Although Fort Wood remained on Bedloe's Island, it was not an obstacle in the design, construction, or reassembly of the Statue of Liberty. Instead, the star-shaped structure became a part of the Statue's base - the pedestal sits within its walls. On October 28, 1886, the statue of "Liberty Enlightening the World" was officially unveiled. The day's wet and foggy weather did not stop some one million New Yorkers from turning out to cheer for The Statue of Liberty. Parades on land and sea honored the Statue while flags and music filled the air and the official dedication took place beneath the colossus "glistening with rain." When it was time for Bartholdi to release the tricolor French flag that veiled Liberty's face, a roar of guns, whistles, and applause sounded. In 1982, four years before the Statue's centennial anniversary, President Ronald Reagan appointed Lee Iacocca, the Chairman of Chrysler Corporation, to head the Statue of Liberty - Ellis Island Foundation. The Foundation was created to lead the private sector effort and raise the funds for the renovation and preservation of the Statue for its centennial in 1986. The Foundation worked with the National Park Service to plan, oversee, and implement this restoration. A team of French and American architects, engineers, and conservators came together to determine what was needed to ensure the Statue's preservation into the next century. In 1984, scaffolding was erected around the exterior of the Statue and construction began on the interior. Workers repaired holes in the copper skin and removed layers of paint from the interior of the copper skin and internal iron structure. They replaced the rusting iron armature bars (which joined the copper skin to the Statue's internal skeleton) with stainless steel bars. The flame and upper portion of the torch had been severely damaged by water and was replaced with an exact replica of Bartholdi's original torch. The torch was gilded according to Bartholdi's original plans. The restoration was completed in 1986 and the Statue's centennial was celebrated on July 4 with fireworks and fanfare. On July 5th, a new Statue of Liberty exhibit opened in the base of the pedestal.
The Great Living Chola Temples were built by kings of the Chola Empire, which stretched over all of south India and the neighbouring islands. The site includes three great 11th- and 12th-century Temples: the Brihadisvara Temple at Thanjavur, the Brihadisvara Temple at Gangaikondacholisvaram and the Airavatesvara Temple at Darasuram. The Temple of Gangaikondacholisvaram, built by Rajendra I, was completed in 1035. Its 53-m vimana (sanctum tower) has recessed corners and a graceful upward curving movement, contrasting with the straight and severe tower at Thanjavur. The Airavatesvara temple complex, built by Rajaraja II, at Darasuram features a 24-m vimana and a stone image of Shiva. The temples testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting. The great Cholas established a powerful monarchy in the 9th CE at Thanjavur and in its surroundings. They enjoyed a long, eventful rule lasting for four and a half centuries with great achievements in all fields of royal endeavour such as military conquest, efficient administration, cultural assimilation and promotion of art. All three temples, the Brihadisvara at Thanjavur, the Brihadisvara at Gangaikondacholapuram and Airavatesvara at Darasuram, are living temples. The tradition of temple worship and rituals established and practised over a thousand years ago, based on still older Agamic texts, continues daily, weekly and annually, as an inseparable part of life of the people. These three temple complexes therefore form a unique group, demonstrating a progressive development of high Chola architecture and art at its best and at the same time encapsulating a very distinctive period of Chola history and Tamil culture. The Brihadisvara temple at Tanjavur marks the greatest achievement of the Chola architects. Known in the inscriptions as Dakshina Meru, the construction of this temple was inaugurated by the Chola King, Rajaraja I (985-1012 CE) possibly in the 19th regal year (1003-1004 CE) and consecrated by his own hands in the 25th regal year (1009-1010 CE). A massive colonnaded prakara with sub-shrines dedicated to the ashatadikpalas and a main entrance with gopura (known as Rajarajantiruvasal) encompasses the massive temple. The sanctum itself occupies the centre of the rear half of the rectangular court. The vimana soars to a height of 59.82meters over the ground. This grand elevation is punctuated by a high upapitha, adhisthana with bold mouldings; the ground tier (prastara) is divided into two levels, carrying images of Siva. Over this rises the 13 talas and is surmounted by an octagonal sikhara. There is a circumambulatory path all around the sanctum housing a massive linga. The temple walls are embellished with expansive and exquisite mural paintings. Eighty-one of the one hundred and eight karanas, posed in Baharatanatya, are carved on the walls of second bhumi around the garbhagriha. There is a shrine dedicated to Amman dating to c.13th century. Outside the temple enclosure are the fort walls of the Sivaganga Little Fort surrounded by a moat, and the Sivaganga Tank, constructed by the Nayaks of Tanjore of the 16th century who succeeded the imperial Cholas. The fort walls enclose and protect the temple complex within and form part of the protected area by the Archaeological Survey of India. These temples represent the development of Dravida architecture from Chola period to Maratha Period. All three monuments have been in a good state of preservation from the date of the inscription of the property and no major threats affect the World Heritage monuments. These monuments are being maintained and monitored by the Archaeological Survey of India. The tradition of temple worship and rituals established and practiced over a thousand years ago, based on still older Agamic texts, continues daily, weekly and annually, as an inseparable part of life of the people.
En 1900, cuando se inició la construcción del Park Güell, Barcelona era una metrópolis moderna y cosmopolita que basaba su economía en la potencia de su industria y que superaba el medio millón de habitantes. Ya hacía casi medio siglo que se habían derribado sus murallas y la ciudad nueva, el Ensanche proyectado por el ingeniero Ildefons Cerdà, había crecido de manera espectacular a partir de 1860. Fue la mayor operación urbanística del siglo XIX en Europa. Eusebi Güell encargó a Gaudí el proyecto de hacer una urbanización para familias acomodadas en una gran finca que había adquirido en la zona conocida popularmente como la Montaña Pelada. Su situación era inmejorable, en un entorno saludable y con unas espléndidas vistas del mar y la llanura de Barcelona. En la urbanización se preveían unas 60 parcelas con forma triangular, con una compleja red de caminos, viaductos y escaleras que salvaban la topografía del terreno. Güell quería recrear los parques residenciales británicos y por ese motivo lo llamó Park Güell, en inglés. Gaudí respetó la vegetación existente en la antigua finca, como los algarrobos y los olivos. En cuanto a la introducción de nuevas especies, optó por plantas mediterráneas con baja demanda de agua. Asimismo, ideó diversos sistemas de captación y almacenamiento de agua a partir de los sistemas de riego que conocía del entorno rural de su niñez. De esa manera, tanto la vegetación como la gestión de los recursos hídricos contribuían a evitar la erosión del terreno ocasionada por las torrenciales lluvias mediterráneas, al tiempo que ayudaban a cubrir las necesidades de agua de los habitantes de la urbanización. Las complejas condiciones de la venta de las parcelas, mediante antiguos contratos enfitéuticos, la falta de un transporte adecuado y el carácter muy exclusivo de la urbanización la hicieron inviable. A falta de compradores, las obras se abandonaron en 1914. Solo se habían construido dos de las 60 casas previstas. El parque se convertía así en un gran jardín privado, que Güell cedía para actos públicos, mientras empezaba a aparecer en las guías turísticas de Barcelona como uno de los puntos de atracción de la ciudad. Eusebi Güell murió en su casa del Park Güell en 1918, y sus herederos ofrecieron al parque al Ayuntamiento, que acordó su compra en el pleno municipal celebrado el 26 de mayo de 1922. En 1926 se abrió como parque municipal. La casa de la familia Güell se habilitó como escuela pública, que adoptó el nombre del pedagogo catalán Baldiri Reixac, y la zona situada a la izquierda de la entrada se destinó a vivero de flores ornamentales para el Ayuntamiento. El Park Güell se convirtió así en un parque público muy apreciado por los barceloneses y en un importante foco de atracción de visitantes. Fue reconocido como monumento artístico en 1969 y fue declarado Patrimonio Cultural de la Humanidad por la UNESCO en 1984.
Casa Batlló se sitúa en el número 43 de Paseo de Gracia, una calle que antiguamente unía la ciudad con la Villa de Gracia, hoy plenamente integrada como barrio de la ciudad. Originalmente, el edificio fue construido en 1877 por Emilio Sala Cortés (uno de los profesores de arquitectura de Gaudí), cuando en Barcelona todavía no había luz eléctrica. En 1903 lo adquirió D. Josep Batlló y Casanovas, un industrial textil propietario de varias fábricas en Barcelona y destacado hombre de negocios. D. Josep Batlló concedió total libertad creativa a Antoni Gaudí, encargándole unas obras que en principio consistían en derribar el edificio. Sin embargo, gracias la audacia de Gaudí, se descartó el derrumbe de la Casa, llevando a cabo una reforma integral entre 1904 y 1906. El arquitecto cambió completamente la fachada, redistribuyendo la tabiquería interior, ampliando el patio de luces y haciendo de su interior una auténtica obra de arte. Además de su valor artístico, la obra reviste una enorme funcionalidad, más propia de nuestro tiempo que del pasado. Incluso hay quien ve en ella elementos precursores de las vanguardias arquitectónicas de finales del s. XX. La Casa Batlló dejó de pertenecer a la familia Batlló en la década de los 50. Tras acoger diferentes empresas y particulares, desde la década de los 90 el edificio está en manos de los actuales propietarios, la familia Bernat, quien ha restaurado íntegramente la casa. En 1995 la familia abre la casa a la sociedad y presenta esta joya arquitectónica al mundo, ofreciendo el espacio para eventos. A partir de 2002, coincidiendo con el Año Internacional Gaudí, Casa Batlló acoge también visitas culturales. Ambas actividades se desarrollan en la actualidad innovando constantemente en su oferta y contenidos. Actualmente, Casa Batlló es Patrimonio Mundial de la UNESCO y un icono de Barcelona, una parada imprescindible para conocer la obra de Gaudí y el modernismo en su máxima expresión. También es uno de los atractivos culturales y turísticos mejor valorados, acogiendo a 1 millón de visitantes al año.
The Bukhara Museum was established in November 8, 1922. Since 1945, the museum has been situated in the Ark citadel, the former residence of the Bukharan emirs. And that’s where the main office of the museum is located. In 1985, the museum got the status of the Bukhara State Art-Architectural Museum-Preserve. The museum-preserve consists of six branches, including 18 permanent exhibitions placed in the architectural monuments. In the depositories of the museum-preserve, there are over 100000 objects, representing material and spiritual culture of the region. Bukhara is one of the most famous and picturesque cities in Central Asia. This is an amazing museum city, where a large number of cultural and architectural monuments from different eras are concentrated - in total, there are more than 140 structures and buildings from the Middle Ages alone. The historical center of Bukhara, along with its sights, is included in the list of World Heritage Sites, compiled by UNESCO. For 100 years, within the walls of the museum, wonderful collections of archeological items, numismatics and epigraphy, arts and crafts, books and documents, everyday life and ethnography, a collection of paintings, graphics and sculptures, etc. have been collected and carefully kept. All these items are exhibited in numerous expositions and exhibitions of the museum-reserve and reflect the richest history of Bukhara. The collection of the Bukhara Museum-Reserve is represented by primary sources and material evidence of the history of the Bukhara oasis and covers almost all spheres of public life in the region. The closest analogues of the Bukhara Museum-Reserve are the museums of Novgorod, Vladimir-Suzdal, Venice, Athens, Louvre, the Metropolitan Museum, the State Hermitage.
This magnificent building is the oldest surviving from the Great Exhibition era that is still operating as an exhibition hall. Standing strong in Carlton Gardens, the Royal Exhibition Building is beautiful inside and out—a true landmark of Melbourne. In 1879 the somewhat unkempt Carlton Gardens were redeveloped with grand avenues, decorative fountains and parterre garden beds, creating an ornamental pleasure garden for the new Exhibition Building. Designed by Joseph Reed and built by David Mitchell for the 1880 Melbourne International Exhibition, the Exhibition Building epitomised the wealth, opulence, excitement, energy and spirit of Marvellous Melbourne. Together the 1880 and 1888 International Exhibitions attracted over three million visitors, brought cultures, technology and ideas from across the world to Melbourne, and were a place to see and be seen. The Exhibition Building cemented its status Melbourne’s leading event venue and a tourist icon on 9 May 1901, hosting the opening of Australia’s Federal Parliament. Since that time baby shows, home shows, motor shows, bicycle races and pole sitting competitions are just some of the events that have found a home in the Exhibition Building. More than just a setting for events the Exhibition Building and Carlton Gardens have been at the heart of many of Melbourne’s stories. People delight in remembering childhood visits to Australia’s first aquarium or marvelling at the view over Melbourne from the dome. Recalling the building’s use as a makeshift hospital and morgue during the 1919 Spanish Influenza pandemic and the aquarium fire in 1953 prompt sombre reflections. Memories of the building filled with rows of desks and the sound of pens quietly scratching away during exams still strikes fear into the hearts of past and current Victorian students. While as a migrant reception centre in the 1950s its stories were ones of new beginnings and hope. In 1980 the Exhibition Building became the lead character in this never ending series of stories when Princess Alexandra bestowed the Royal title on the building and program of restoration works commenced. The 1 July 2004 was the start of yet another a new chapter in the history of the Royal Exhibition Building and Carlton Gardens with the site inscribed onto the World Heritage List. It’s outstanding value the result of it being the only International Exhibition Place of Industry, with its garden setting, to survive largely intact and still be used as an exhibition and event venue. Today, as in the 1880s, events take over both the building and gardens and draw international crowds. First held in 1995 the Melbourne International Flower and Garden Show is the largest in the Southern Hemisphere attracting over 100,000 visitors in 5 days. While the Virgin Australia Melbourne Fashion Festival continues the tradition of drawing the most fashion forward and stylish to the building and gardens to see and be seen, whether on the runway or promenading on the plaza.
Creatività, stile, sperimentazione e innovazione convivono con tutti gli elementi della tradizione nelle perle della ditta S.U.V. fondata nel centro storico di Venezia durante gli anni ‘40 da Umberto Scognamiglio, consolidata dal genero Oscar Sito, il cui figlio Salvatore ne è oggi titolare assieme alla moglie Antonella. Nello storico laboratorio artigianale si respira ancora l’aria dell’autenticità dei prodotti, manufatti artistici di esperti perleri in cui il vetro si mescola e si confonde ad altri materiali preziosi. La lavorazione adottata dal laboratorio è principalmente “a lume”, una tecnica che permette di modellare una canna vitrea facendo raggiungere al vetro una temperatura tale da renderlo “morbido” e quindi modellabile. Con tale tecnica si creano innumerevoli nuances di colore, mescolando a caldo canne differenti e personalizzando ogni singolo pezzo con decori realizzati con finissime vette colorate, fuse sull’elemento di base, o mediante l’accorpamento ad esso di murrine, graniglia in vetro, foglie d’oro o d’argento. Oltre all'attività artigianale di lavorazione a lume, questi artigiani conservano un enorme archivio di perle e usano proprio il vetro storico per le loro creazioni, anche eseguite su misura, perché ne hanno una quantità infinita. Creativity, style, experimentation and innovation coexist with all the elements of tradition in the pearls of the SUV company founded in the historic center of Venice during the 1940s by Umberto Scognamiglio, consolidated by his son-in-law Oscar Sito, whose son Salvatore is today the owner together with wife Antonella. In the historic artisan workshop you can still breathe the air of the authenticity of the products, artistic artifacts by perleri experts in which glass mixes and merges with other precious materials. The process adopted by the laboratory is mainly "lamp-based", a technique that allows you to model a glass rod by making the glass reach a temperature that makes it "soft" and therefore modelable. With this technique, countless shades of color are created, by hot mixing different rods and personalizing each single piece with decorations made with very fine colored peaks, fused on the base element, or by combining it with murrine, glass grit, gold or silver leaves. In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them. If you are looking for those big antique glass beads but also want to compose something unique of yours with an infinity of other glass objects, this is the right place for you! In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them. If you are looking for those big antique glass beads but also want to compose something unique of yours with an infinity of other glass objects, this is the right place for you! In addition to the artisan activity of lampworking, these artisans keep an enormous archive of pearls and use historical glass for their creations, even made to measure, because they have an infinite quantity of them.
The Blaenavon World Heritage Centre is situated within the former St. Peter’s Church School which was founded in 1816 by Sarah Hopkins to provide free education for children whose parents worked for the Blaenavon Company. Like its historic predecessor, learning lies at the very heart of the World Heritage Centre. The Blaenavon World Heritage Centre aims to create a world-class learning resource helping people to understand the Outstanding Universal Value of the Blaenavon Industrial Landscape World Heritage Site. It aims to become a centre for education of the sciences, technology, engineering, maths, innovation and development, using the story of Blaenavon’s Industrial Landscape. It will provide access for all to a wide range of learning opportunities, both formal and informal, and will inspire people to relate to their place in the global culture. Blaenavon’s Industrial landscape became a World Heritage Site in December 2000. It is a landscape shaped by human hand, dating from the early days of the Industrial Revolution - a significant stage in human evolution, when the iron and coal industries of South Wales were of global importance. The Blaenavon Industrial Landscape is an important place of study of the Industrial Revolution. It is an ideal venue for schools studying changes in people’s daily lives in the 19th century, as well as changes that happened in Wales, Britain and the wider world between 1760 and 1914. It provides an excellent case-study for students studying urban decline and economic regeneration. The Blaenavon World Heritage Centre was established to provide a focal reference point to the area’s rich industrial legacy, telling the story of the people who have shaped this landscape from the earliest days of the Industrial Revolution to the present day using a range of media including film, audio, graphics and interactive displays. The Blaenavon World Heritage Centre currently houses a resource room with items covering a wide range of topics relevant to the Blaenavon World Heritage Site. There is an interactive display in the main exhibition space, with touch screens hosting both adult and child-friendly programs to explore key information relevant to the World Heritage Site. A new Victorian replica classroom and learning facility has recently been created in the World Heritage Centre with costumes, slates, and other props and toys of a 19th century Schoolroom. The Centre also has many educational resources, covering the history through time of the Blaenavon Industrial Landscape. The Blaenavon World Heritage Centre works in close partnership with learning staff at Big Pit National Coal Museum, Blaenavon Ironworks and Natural Resources Wales to deliver education across the World Heritage Site. The Blaenavon World Heritage Centre is a logical starting point for visits into the Blaenavon Industrial Landscape. The former heavy industries left their mark on the environment, which is full of hidden treasures, making it an ideal location for outdoor educational visits that can be facilitated by staff. In order to maximise the educational benefit of a visit, we recommend that you take advantage of one or more organised activities or workshops led by an experienced education officer. Blaenavon’s Industrial landscape became a World Heritage Site in December 2000. It is a landscape shaped by human hand, dating from the early days of the Industrial Revolution - a significant stage in human evolution, when the iron and coal industries of South Wales were of global importance. The Blaenavon Industrial Landscape is an important place of study of the Industrial Revolution and is an ideal venue for schools studying changes in people’s daily lives in the 19th century and changes that happened in Wales, Britain and the wider world between 1760 and 1914. It is also an excellent case-study for students of urban decline and economic regeneration. The Blaenavon World Heritage Site now boasts three visitor attractions which offer full-time, dedicated educational services: The Blaenavon World Heritage Centre is based in the former St Peter’s School founded in 1816 to educate the ironworker’s children. Now it offers an overview of the World Heritage Site and offers educational workshops for all age groups, focusing on the lives of local people from the early Celts through to modern days. It is also the starting point for a number of outdoor activities. Big Pit National Coal Museum offers guided underground tours conducted by former coal miners. The restored pithead baths features displays and interactive exhibitions enabling visitors to learn about the history of coal mining, and the people who lived and worked in coal mining communities in Wales. Blaenavon Ironworks is the most significant historical feature within the Blaenavon Industrial Landscape. Today you can view the extensive remains of the blast furnaces, cast houses and iconic water-balance tower, and gain a fascinating insight into the social history of the Industrial Revolution at the reconstructed company ‘truck’ shop, 19th century workers’ cottages and the newly interpreted cast houses.
La Pedrera, también conocida como Casa Milà, es el edificio civil más emblemático de Antoni Gaudí, tanto por su innovación constructiva y funcional, como por las soluciones decorativas y ornamentales. Es un edificio Patrimonio Mundial de la UNESCO y también la última obra civil del arquitecto. La Pedrera es el único centro de interpretación de Gaudí en Barcelona, imprescindible para conocer la totalidad de la obra del arquitecto y su inspiración. En 1900 el Paseo de Gracia era la avenida más importante de la ciudad, donde se empezaron a construir edificios emblemáticos, se instalaron los mejores teatros y cines y las tiendas, restaurantes y cafeterías más exclusivas. Fue también donde los burgueses más adinerados y con más empuje decidieron edificar sus casas y, en una carrera de osadía y exhibicionismo, encargaron los proyectos a los arquitectos más prestigiosos del momento. En 1905 Pere Milà y Roser Segimon contraen matrimonio. Atraídos por la fama del Paseo de Gracia, compran una torre con jardín que ocupa una superficie de 1.835 metros cuadrados y le encargan al arquitecto Antoni Gaudí la construcción de su nueva residencia con la intención de ocupar el piso principal y alquilar el resto de las viviendas. Construida entre 1906 y 1912, el edificio se compone de una sucesión de muros de piedra en su exterior. Mientras, el interior consta de distintos patios pintados, columnas y diversas habitaciones. La fachada, ondulada, está abierta con grandes ventanales y balcones de hierro forjado. Por su parte, en la azotea se sitúan las chimeneas, verdaderas esculturas dignas de ser admiradas, desde donde se puede contemplar una vista espléndida sobre toda Barcelona. Después de muchos años de abandono, La Pedrera fue declarada Patrimonio Mundial de la UNESCO en 1984. En 1996, fue restaurada y abierta al público como centro cultural. Actualmente, desde enero de 2013, el edificio es la sede de la Fundación Catalunya La Pedrera y aloja un importante centro cultural de referencia en la ciudad de Barcelona por el conjunto de actividades que organiza y por los diferentes espacios museísticos y de uso público que aloja. Uno de los proyectos de la Fundación es “La Pedrera inédita”, que contribuye a ampliar el conocimiento de este edificio de más de 100 años de historia.
As one of the country’s largest military installations, Charles Fort has been part of some of the most momentous events of Irish history. During the Williamite Wars, for example, it withstood a 13-day siege before it fell. Later, in the Civil War of the early 1920s, anti-Treaty forces on the retreat burned it out. Charles Fort is a massive star-shaped structure of the late seventeenth century, well-preserved despite its history. William Robinson, architect of the Royal Hospital in Kilmainham, Dublin, is credited with designing it. Its dimensions are awe-inspiring – some of the outer defences are 16 metres high. The view from the ramparts looking out over Kinsale Harbour is spectacular. The waterside location of Charles Fort is, without question, captivating. The ramparts and walks of the magnificent fortress provide for leisurely strolls – a great way to view the picturesque town of Kinsale and enjoy the fantastic scenery out to sea. Revel in the architectural magnificence of this star-shaped fortification, inspired by the French military engineer Vauban. Bastions, barracks, turrets and moats will transport you back to the seventeenth century, an era rocked by warfare and siege. Walk in the footsteps of the great military commanders associated with Charles Fort. Learn about the Williamite War and the bloody turbulence of 1690. Find out how, John Churchill, first Duke of Marlborough, laid siege to Charles Fort from high ground; and how the garrison held out for 13 days before finally surrendering to the Williamite forces. Charles Fort was a British Army barracks for 200 years. Visit our state-of-the-art multimedia exhibition centre and learn about the harsh realities of life in Charles Fort for the enlisted soldier. Find out about the day-to-day routines in the married soldier’s quarters and discover the austere experience of those who devoted their lives to duty and discipline. Listen to the haunting legend of the White Lady of Charles Fort, who is said to have hurled herself from the parapets on her wedding night after her new husband, Sir Trevor Ashurst, was shot dead for falling asleep at his watch post. The White Lady is reputed to walk the battlements of Charles Fort with the train of her ghostly wedding dress floating eerily behind her. Could you be the next person to catch a glimpse of her?
No less a figure than St Brendan the Navigator was born in the Ardfert area in the sixth century. He founded a monastery there not long before embarking on his legendary voyage for the Island of Paradise. It was Brendan’s cult that inspired the three medieval churches that stand on the same site today. The earliest building is the cathedral, which was begun in the twelfth century. It boasts a magnificent thirteenth-century window and a spectacular row of nine lancets in the south wall. One of the two smaller churches is an excellent example of late Romanesque architecture. The other, Temple na Griffin, is named for a fascinating carving inside it – which depicts a griffin and a dragon conjoined. Anyone with a passion for architecture will find Ardfert Cathedral well worth a visit. Take a guided tour of the sublime cathedral building. As you explore, listen to exciting stories associated with St Brendan, who founded a monastery here in the sixth century. Find out all about Brendan’s legendary voyage in search of the Island of Paradise how he became known as ‘The Navigator’. On display in the transept are a selection of impressive stone effigies and carvings, as well as an ancient ogham stone. Observe the magnificence of the Romanesque West Door and remark on its parallels with Cormac’s Chapel on the Rock of Cashel. There are two smaller churches at Ardfert that you won’t want to miss. The Romanesque Temple na Hoe, adjacent to the cathedral, is an excellent example of late Romanesque architecture. See the fifteenth-century Temple na Griffin with its bell-cote which was removed in the seventeenth century and recently replaced.
Ejmiadzin, which means the «The Descent of the Only Begotten Son» is an ancient capital of Armenia. According to legend, Jesus Christ descended from heaven and indicated the spot for a church to be built. Holy Ejmiatsin Cathedral was erected at that site in the 4th century (301-303), at the dawn of the Christian conversion of the country by King Trdat III and Saint Gregory the Illuminator. The Cathedral was built on top of the pagan temple of Vagharshapat, after it was destroyed by King Trdat. As you return to the cathedral on the northern face, you can see the different strata of construction, beginning with the main wall, which has blocks of stone from the original 301-303 AD edifice, inscribed in Greek, the language used before the adoption of the Mashtots Armenian Alphabet (ca. 405 AD). You can also see angled cornices in the upper wall, which show where the original roofline was. Armenia was the first country in the world to adopt Christianity as its state religion. Ejmiatsin is the residence of the Supreme Catholicos of all Armenians and the center of the Armenian Apostolic Church. Every seven years, the rite of blessing of holy chrism is held here; thousands of believers come to Ejmiatsin as pilgrims from different parts of the world for this ceremony. Hripsimeh Vank is located 2 kilometers east of Komitas Hraparak on Mashtots Poghots, and is the first stop by tourists visiting Ejmiatsin from Yerevan. Hripsimeh's martyrdom, as well as those of Gayaneh and 37 other Roman maidens precipitated King Trdat's madness and later conversion to Christianity. As such, Hripsimeh is often sited as the determining factor in the conversion of the nation. Trdat attempted to persuade Hripsimeh to marry him. However, Hripsimeh became more and more eloquent in her refusals, finally declaring she could not wed one when she was already promised to another. Furious, Trdat demanded to know her suitor. «Christ», was the reply, and in a rage Trdat had Hripsimeh and the rest of her entourage beheaded, their bodies buried in a common burial site. The original martyrion was built in the 4th century over Hripsimeh's burial site and was reconstructed in the 5th century as a two-story monument (a 5th-6th centuries picture of the monument can be found carved on the southeast stele at Odzun Vank in Northern Armenia). Visiting Ejmiatsin we can not neglect Astvatsatsin also called the «village» or «peasant» church. Astvatsatsin is in the heart of Ejmiatsin. It houses a beautiful Rococo style altar, the only of its kind in Armenia and hold one of the most elegant altars in Armenia, a work of Italianate art in itself. Ejmiatsin is the most popular destination in Armenia. In addition Ejmiatsin lies in the heart of Armenia's Cradle of Civilization, an area that gave birth to the first bronze and iron civilizations in the ancient world.
El Castillo de Santa Bárbara se encuentra ubicado sobre el monte Benacantil, mole rocosa de 166 m. de altitud lindante con el mar, lo que le confería un enorme valor estratégico, ya que desde la misma se divisa toda la bahía de Alicante y sus alrededores terrestres. Llamada esta roca Banu-lQatil por el geógrafo musulmán Al-Idrisi (s. XII), hay historiadores que datan el origen del topónimo en las palabras "bena", transcripción al árabe de "pinna", peña en latín, y de "laqanti", adjetivo que proviene de "Laqant", Alicante para los árabes. En sus laderas se han encontrado restos arqueológicos de la Edad del Bronce, ibéricos y de la época romana, si bien el origen de la actual fortaleza hay que buscarlo a finales del siglo IX cuando la dominación musulmana. Adquiere este castillo el nombre de Santa Bárbara porque el día de su festividad, 4 de diciembre de 1248, la tomó a los árabes el infante Alfonso de Castilla, futuro rey Alfonso X el Sabio. En 1296 se posesiona de todo el recinto y para la corona de Aragón Jaime II, que ordena su remodelación. Casi un siglo después Pedro IV el Ceremonioso manda sea rectificado el recinto y el rey Carlos I ordenará su fortificación a comienzos del siglo XVI. Hasta el reinado de Felipe II no se produce la gran reforma del castillo, con la construcción de las dependencias que en su mayoría hoy contemplamos. Duraron las obras de 1562 a 1580, según proyectos de Juan Bautista Antonelli y Jorge Palearo "El Fratín". Los bombardeos que sufrió Alicante en 1691 por la escuadra francesa y las acciones bélicas llevadas a cabo contra el castillo durante el período 1706-1709, cuando la guerra de Sucesión, en que estuvo en poder de los ingleses, afectaron gravemente a todo el recinto que sufrió la última acción militar en 1873 cuando la fragata acorazada "Numancia", en manos de rebeldes cantonalistas de Cartagena, lanzó sus proyectiles sobre la población y su castillo, que sería desartillado veinte años después. Hasta 1963, en que fue abierto al público, estuvo en una situación de abandono. Fue en ese año cuando se inauguraron los dos ascensores que hacen un recorrido por dentro de la montaña de 142,70 metros y a los que se accede por un túnel de 204,83 m. de longitud que nace en la avenida de Jovellanos, frente a la playa del Postiguet. Se divide este castillo en tres recintos bien diferenciados. El primero de ellos es el más alto, se le conoce por "La torreta", al encontrarse en él la vieja Torre del Homenaje, y tiene los vestigios más antiguos de toda la fortaleza, unos basamentos de los siglos XI al XIII. En este recinto contemplamos, entre otros, el llamado Baluarte de los Ingleses, así como otras dependencias: Parque de Ingenieros, Sala Noble, que fuera hospital, Casa del Gobernador, etc. La explanada más elevada es conocida por "Macho del Castillo" y allí estuvo la antigua alcazaba. El recinto intermedio corresponde a las dependencias más importantes concluidas en 1580: Salón Felipe II, antiguo Cuerpo de la Tropa frente al amplio Patio de Armas a cuyas espaldas se hallan las ruinas de la ermita de Santa Bárbara, Cuerpo de Guardia, Baluarte de la Reina, entre otras. Del siglo XVIII data el recinto inferior donde encontramos el Revellín del Bon Repós, que hace actualmente las funciones de aparcamiento y en el que se ubica el monumento al ilustre militar alicantino Félix Berenguer de Marquina que fuera capitán general de Filipinas y virrey de Nuevo México. El gran escudo de mármol blanco (s. XVIII) que hay sobre la puerta de acceso al segundo recinto se hallaba en el Real Consulado del Mar, edificio destruido por una explosión.
The Carnavalet-History of Paris Museum is the oldest City of Paris museum.It opened to the public on February 25, 1880, in the Carnavalet mansion (Hôtel Carnavalet) located in the Marais, a Paris district where the architectural heritage was particularly well-preserved. Since 1880, the museum has been substantially enlarged, with the construction of new buildings and the annexation of the Le Peletier de Sant-Fargeau mansion in 1989. The museum’s architecture now offers a history spanning more than 450 years. For over 150 years, the continuously enriched museum collections have told the story of Paris, from prehistory to the present. Located at 23 Rue de Sévigné, the Hôtel des Ligneris (known as “Carnavalet”) is one of the rare examples of Renaissance architecture in Paris, along with the Louvre’s Cour Carrée. Built in the mid-16th century (1548-1560) for Jacques des Ligneris, President of the Paris Parliament, it is one of the oldest Marais District private mansions in Paris. The mansion was sold in 1578 to Françoise de la Baume, wife of Chevalier Kernevenoy, who was called “Monsieur de Carnavalet”. This deformation of “Kernevenoy” became the established name. Starting in 1660, the celebrated architect François Mansart raised the mansion’s porch on what is now Rue de Sévigné and created two new wings. Madame de Sévigné, the writer, lived there from 1677 to 1694. Finally, following a suggestion by Prefect Haussmann during the major renovation of Paris (1853-1870), the mansion was purchased by the City of Paris in 1866 and made into the capital’s historical museum. An extension of the museum was immediately decided upon and included two-tiered galleries. The façades opening on the garden feature elements from demolished Parisian buildings: the Nazareth Arch from the 16th century, the Pavillon des Drapiers from the 17th century, and the Pavillon de Choiseul from the 18th century. Several sculptures have also been transplanted from their original site to the museum, such as the statue of King Louis XIV by Antoine Coysevox, the bas-relief of Henry IV by Lemaire (formerly found at Paris City Hall), and the statue of Victory by Louis-Simon Boizot (from Place du Châtelet). Inside, the exhibition pathway includes painted ceilings and sculpted panels, as well as decorative wood paneling from Parisian interiors. The Hôtel Le Peletier de Saint-Fargeau is located at 29 rue de Sévigné. It was built between 1688 and 1690 for Michel Le Peletier de Souzy (1640-1725), according to plans made by Pierre Bullet (1639-1716), Architect of the King and the City, and has a remarkable orangery. These buildings were annexed to the museum in 1989. This was also the time when Fouquet’s Jewelry Shop by Alphonse Mucha, the dining room of the Café de Paris by Henri Sauvage and the ballroom of the Wendel Mansion by José-Maria Sert were installed. In October 2016, the museum was closed to the public for a major renovation carried out by François Chatillon, Chief Architect for Historical Monuments. This major cultural heritage site has been justifiably protected as a Historical Monument since 1846 and has been included in the Marais Protection and Promotion Plan since 1965. Showcased in an exceptional historical setting and within the reach of all types of audiences, the Carnavalet-History of Paris Museum now opens again. With the growth of Paris, the idea of a museum dedicated to the history of the city became popular during the Second Empire (1852-1870). In 1866, the municipality acquired the Carnavalet mansion on the initiative of Seine Prefect Haussmann, perhaps as a way of compensating for the partial destruction of Paris. It was meant to house a new institution designed to document Paris, while paying particular attention to how the collections would be presented. Since the beginning, the museum has been dedicated to collecting authentic objects “having belonged to” a well-known person and with a strong individual and collective emotional resonance. The Carnavalet Museum features, among others, the campaign kit belonging to Napoleon I, mementos of the French royal family and the revolutionaries, Zola’s watch and the bedroom and personal affairs of Marcel Proust. Two pioneering missions that aimed to document the transformations of Paris also provide a solid framework for the museum. Supervision of diggings and demolitions thus added nearly 10,000 archeological items to the museum, while commissions for paintings or photographs of streets and neighborhoods have been included in the collections. Donations are the main means of acquisition. Since the museum’s creation, tens of thousands of donors have contributed to building and enriching the collections, currently divided among ten departments. The first donors (Jules Cousin, Théodore Vacquer and Alfred de Liesville) even worked for the Carnavalet Museum! Outstanding donations include Georges Clemenceau’s gift in 1896 of a painting that had belonged to his father. Entitled Declaration of the Rights of Man and of the Citizen, it is attributed to Jean-Jacques Le Barbier. In 1902, Empress Eugénie, the widow of Napoleon III, donated the crib designed for the Imperial Prince by Victor Baltard. Today the Carnavalet-History of Paris Museum contains over 618,000 items dating from prehistory to the present. Paintings, sculptures, scale models, shop signs, drawings, engravings, posters, medals and coins, historical objects and souvenirs, photographs, wood paneling, interior decorations and furniture combine to present the history and tell the unique story of the capital. The singular spirit of the site ensures a rich, emotion-filled experience.
Esistono registri storici relativi al Castello Ruspoli, datando dal 847. All’epoca, si trattava di una rocca fortificata. Durante il pontificato di Leone IV (847–855) la rocca venne trasformata in convento destinato ai monaci Benedettini, così rimanendo fino al 1081. Dal 1169, il castello divenne oggetto di una lunga disputa tra la Chiesa e le famiglie Aldobrandini, Orsini e Borgia, che durò fino al XVI secolo. Nel 1531, Papa Clemente VII donò il castello a Beatrice Farnese Baglioni. La figlia di questa, Ortensia venne data in matrimonio ad Ercole Sforza Marescotti, per favori concessi a Papa Paolo III. Ortensia portava in dote il castello di Vignanello che, da allora, si chiamò Castello Marescotti. Il nome Ruspoli, antica famiglia fiorentina trasferita a Siena, venne incorporato a quello dei Marescotti nel 1704, a seguito del matrimonio dell’ultima ereditiera, Vittoria, con Sforza Vicino Marescotti. Ortensia Farnese trasformò la rocca in residenza pur mantenendo le caratteristiche architettoniche della fortezza. Il progetto fu dell’architetto Sangallo il Giovane e lo studio degli spazi esterni, tra cui la fontana centrale del giardino e l’ingresso originale, sono attribuiti a Jacopo Barozzi da Vignola. The first traces of Ruspoli Castle date back to 847, when the structure was first built on the cliff where it lies. When Leo IV was Pope (847-855), this structure was converted into a monastery for the Benedictine monks, and was used as such until 1081. In about 1169, the castle became the source of a long-standing dispute between the Church and the Aldobrandini, Orsini, and Borgia families, which continued until the 16th century. In 1531, Pope Clement VII gave the castle to Beatrice Farnese Baglioni. Her daughter, Ortensia, was betrothed to Ercole Sforza Marescotti by Pope Paul III Farnese and the Castle Vignanello, as it was called at that time, was part of her dowry. From that point on, it was referred to as Castle Marescotti. The name Ruspoli comes from an ancient Florentine family that moved to Siena and was united with the Marescotti family in 1704, when the family’s youngest heir, Vittoria, was given away in marriage to Sforza Vicino Marescotti. Ortensia Farnese converted the structure into a residence, while still maintaining the original characteristics of the cliff fortification. The state was designed by an architect named Sangallo il Giovane; however, the ideas for the exterior, including the garden, central fountain, and original entrance, are credited to Jacopo Barozzi da Vignola. The garden, considered one of the most important in Italy, was created in 1611. Marcantonio Marescotti (3rd Earl of Vignanello and Parrano) was married to Ottavia Orsini, daughter of Vicino Orsini, creator of the sacred garden of Bomarzo. She planned and supervised the creation of the Renaissance garden parterre of Castello Ruspoli. Thanks to the restoration and preservation promoted by the family, it is known in Europe as one of the most well preserved gardens of that time.
The Musée Jacquemart-André has the finest private collection of art works in Paris, combined with the atmosphere of a large nineteenth-century residence. The Jacquemart-André Museum contains collections worthy of the greatest museums: works from the Italian Renaissance, works by great Flemish masters, French works from the 18th century. Built at the end of the nineteenth century in Haussmann’s new Paris by Edouard André and his wife Nélie Jacquemart, a couple of major collectors, this private mansion (hôtel particulier) enables visitors to discover genuine nineteenth-century rooms and temporary exhibitions that are international in scope. At the beginning of the nineteenth century, Dominique André, Edouard’s grandfather, moved to Paris and collaborated with François Cottier, who assisted him with the business of the Banque André. Both men decided that it would be a good idea to unite their families through the marriage of their children: Ernest André and Louise Mathilde Cottier. Edouard was the couple’s only child. At the age of eighteen, he was admitted to Saint-Cyr, from which he graduated as an officer in one of the elite corps responsible for Napoleon III’s protection. But, with his preference for the splendour of the Cour des Tuileries, he decided to leave his post. In 1864, he took up his father’s seat as a member of the National Assembly and lead a very Parisian life. In 1860, Napoléon III entrusted the Prefect, Haussmann, with the implementation of a vast urban planning programme that fundamentally altered the physiognomy of Paris: entire districts were razed to the ground and rectilinear axes were traced out from the periphery to the centre. Between 1869 and 1876, Henri Parent created a vast and beautiful building that was greatly inspired by classical models, with its perfectly symmetrical layout and the decorative elements on its facades. The building is set back from the Boulevard Haussmann, creating a break in the alignment that draws the eye. In 1876, the inauguration of the mansion was a major event: the invitees discovered the double spiral staircase, with its improbable equilibrium, and the sumptuousness of the materials. They praised this monumental building just as they had the foyer of the Opera House that Charles Garnier had just completed. In 1881, Edouard and Nélie got married, a marriage of convenience between two very different persons, as he was a Protestant Bonapartist, and she a Catholic living in a royalist milieu. Their union turned out to be a great success. They never had any children and devoted themselves entirely to their shared passion: their collection of works of art. One year after their marriage, Nélie decided to have her husband accompany her on a series of trips around Italy, which gave them a chance to visit auction houses and antique dealers. They also went on several trips to the Near East. During this time, they had furnishing and decorative work done on their mansion, in preparation for the installation of the works they bought. Edouard André passed away at the age of sixty, leaving his wife distraught. The pain of her loss was exacerbated by an entirely unexpected situation: a lawsuit filed by her husband’s family to recuperate his fortune. Edouard’s cousins had been careful, at the time of the marriage, to prepare a ‘separation of marital property’ contract, which would ensure that the family fortune could be recuperated. But, shortly before his death, Edouard drew up a will that bequeathed all of his property to his wife. Accused of misappropriating the heritage, she won the case. Nélie continued to add to the collections on her own. In 1902, she embarked on a trip around the world. She even travelled to the Indies. She was about to go to China and Japan, but when she learned that the royal Abbey of Chaalis was up for sale, she interrupted her travels and her dearest wish came true when she acquired the property. Nélie passed away on 15 May 1912. The mansion became the property of the Institut de France, through a legacy made by the owner several months earlier. In her will, she stated her wish that the collections be made available to the broadest possible public and exhibited to the crowds of visitors. A highly practical woman, Nélie Jacquemart had thought of every detail, going so far as to stipulate in her will the conditions of the Museum’s inauguration and the exact locations of each work. She asked the Institut de France, as her legatee, to respect these arrangements to the letter. On 8 December 1913, the Museum was inaugurated with great pomp and ceremony by the President of the Republic in person, Raymond Poincare. It was an immediate success, which echoed the fame of the Andrés. Eight hundred visitors attended the Museum the next day, and 1,700 the following Sunday. The Institut de France entrusted Culturespaces with promoting and running the heritage of the Museum, which reopened the same year. The company holds two major temporary exhibitions each year. Culturespaces produces and holds temporary exhibitions that are international in scope, with the support of major cultural institutions.
Le Musée national Picasso-Paris a, depuis sa réouverture en 2014, axé une partie de son projet scientifique et culturel sur la création de réseaux de partenaires. Ces réseaux, d’ampleur internationale, visent d’une part, à renforcer les liens du musée avec les autres musées Picasso et musées de beaux-arts du XX siècle, et d’autre part, à mener des recherches approfondies autour de sujets liés à Pablo Picasso, à l’occasion notamment de projets d’exposition. À l’occasion du centième anniversaire du voyage de Picasso en Italie, le Musée national Picasso-Paris a lancé en 2017 « Picasso-Méditerranée », manifestation qui s’est développée selon cinq axes essentiels : scientifique avant tout, mais aussi patrimonial, contemporain, pluridisciplinaire et multiforme. Le projet a consisté à donner une impulsion scientifique et à fédérer autour d'une thématique commune, tissant ainsi un véritable réseau de recherches picassiennes. Le Musée national Picasso-Paris s’est mis à la disposition de soixante-dix institutions culturelles partenaires pour la construction des projets - prêt d'œuvres, gestion d'un site internet, communication visuelle et graphique de la manifestation – tout en permettant à chacun de garder sa singularité. À travers cette manifestation d’une envergure hors du commun, le musée a souhaité avant tout créer un réseau d’institutions culturelles, collaborant pour programmer une série exceptionnelle d’expositions. À cette fin, le musée a largement ouvert sa collection aux prêts, dans une volonté de faire voyager les œuvres de Picasso dans toute la Méditerranée, aire géographique si chère à l’artiste. Le rôle du musée a ainsi été avant tout celui d’un prêteur volontaire, dans une politique dynamique de diffusion de ses collections, pour des expositions de types très variés : monographiques, thématiques, en dialogue avec des contemporains de Picasso ou des artistes d’aujourd’hui, centrées sur une technique, une période, un lieu de vie ou de création, elles ont toutes offert une approche singulière et renouvelée de l’œuvre picassienne sous le prisme méditerranéen. Since its reopening in 2014, the Musée national Picasso-Paris has focused part of its scientific and cultural project on the creation of networks of partners. These international networks aim, on the one hand, to strengthen the museum's links with other Picasso museums and 20th century fine arts museums, and on the other hand, to conduct in-depth research on related subjects. To Pablo Picasso, notably on the occasion of exhibition projects. On the occasion of the hundredth anniversary of Picasso's trip to Italy, the Musée national Picasso-Paris launched “Picasso-Méditerranée” in 2017, an event that developed along five essential axes: scientific above all, but also heritage, contemporary, multidisciplinary and multifaceted. The project consisted in giving a scientific impetus and federating around a common theme, thus weaving a real network of Picassian research. The Musée national Picasso-Paris made itself available to seventy partner cultural institutions for the construction of projects - loan of works, management of a website, visual and graphic communication of the event - while allowing each to keep its uniqueness. Through this event of an extraordinary scale, the museum wanted above all to create a network of cultural institutions, working together to program an exceptional series of exhibitions. To this end, the museum has widely opened its collection to loans, in a desire to make Picasso's works travel throughout the Mediterranean, a geographical area so dear to the artist. The role of the museum was thus above all that of a voluntary lender, in a dynamic policy of dissemination of its collections, for exhibitions of very varied types: monographic, thematic, in dialogue with contemporaries of Picasso or artists of today, centered on a technique, a period, a place of life or creation, they have all offered a unique and renewed approach to Picassian work through the Mediterranean prism.
The musée du quai Branly - Jacques Chirac is the heir to 200 years of history, enrichment, study and conservation of public collections. It conserves almost 370,000 works originating in Africa, the Near East, Asia, Oceania and the Americas which illustrate the richness and cultural diversity of the non-European civilisations from the Neolithic period (+/-10,000 B.C.) to the 20th century. A public institution under the dual supervision of the Ministry of Culture and Communication and the Ministry of Higher Education and Research, the musée du quai Branly - Jacques Chirac is both a museum and a center of teaching and research: a forum open to the world presenting artistic, cultural and scientific events, with varied levels of interpretation and approach. From international conferences to more intimate encounters in the Jacques Kerchache Reading Room, from lectures at the Université Populaire du quai Branly (Branly Open University) to debates with contemporary artists, the nature and history of the museum collections continue to address issues at various levels. Due to the very nature of its collections, the musée du quai Branly - Jacques Chirac has an international vocation and pursues an active policy of cooperation with the countries from which its collections originate. The museum has built up a culture of exchange based on scientific, cultural and technical cooperation. The museum also has a media library specializing in the areas of ethnology and the history of non-European art. With the development of economic exchanges and the first colonial expansion, non-European collections began to accumulate in private collections, culminating in the 18th century in the creation of venues dedicated to their preservation and representation: cabinets of curiosities combining natural history specimens and archaeological, historical and ethnographic accounts. Following the French Revolution, the national museums were created and non-European ethnographic collections were transferred to them. Initially presented at the musée du Louvre, these principally American collections gradually found their place in specific museums within the musée du Louvre, called in turn the "Musée Dauphin", "Musée de Marine" and "Musée ethnographique". In parallel with this development, the collections were enhanced by means of instructions for the collection of objects given to the sailors and scientists who undertook voyages around the world. In 1878, echoing the Universal Exhibition in Paris, the “musée d'Ethnographie du Trocadéro” was created, causing the museums’ missions to be reorganized: "At the Louvre: the domain of art, at the Trocadéro: the history of manners and customs without distinguishing between periods." As colonial conquests accelerated during the second half of the 19th century, major African collections among others were added to the Parisian collections of the “musée d'Ethnographie du Trocadéro” and many museums in other French towns and cities. Local learned societies were often the initiators and leaders of this network of regional museums. An extensive exchange of ethnographic objects took place between national and regional museums and the numerous ethnographic museums which were established throughout Europe and the rest of the world. Colonial and Universal exhibitions stimulated emulation by these institutions and a permanent colonial exhibition with both political and economic missions was established in Paris. It led to the birth of the Colonial Museum, which opened in parallel with the Colonial Exhibition of 1931. Created in 1937, the “musée de l'Homme” took over from the musée d'Ethnographie du Trocadéro, which had fallen into disuse in the first half of the 20th century. Redesigned on scientific principles, the museum was enhanced by a large number of expeditions aimed at drawing up an inventory of the material cultures of the world. In parallel, and in line with the political development of the colonial territories, the Colonial Museum was transformed in 1935 into the “Musée de la France d’Outre-mer” (Museum of French Overseas Territories). Private collections, and particularly those of artists such as Picasso and André Breton, invited the visitor to perceive the works from an aesthetic perspective. With the independence movements of the second half of the 20th century, and under the direction of André Malraux, the artistic view of non-European civilisations was confirmed, and in 1961 the Colonial Museum became the Museum of African and Oceanian Art, then in 1990 the National Museum of African and Oceanian Art. Opening in 2006, the musée du quai Branly - Jacques Chirac contains the collections of its double inheritance: those of the “musée de l'Homme” and of the “musée national des Arts d'Afrique et d'Océanie” (National Museum of African and Oceanian Art). With more than 370,000 objects, 700,000 iconographical pieces and more than 200,000 reference works, the musée du quai Branly - Jacques Chirac is one of the richest European public institutions dedicated to the study, preservation and promotion of non-European arts and civilisations.
My name is Glorymar Hernandez, but I prefer to be called “Glory”. I was born in the capital of Venezuela, Caracas, and grew up amid the crowds of the city, the tranquility of the Andean mountains and the joy of the Caribbean coast. A mixture that has taught me to enjoy wherever I am, that aroused my curiosity to know the world, and that has helped me to adapt, with relative ease, to changes. I have a degree in Philosophy, my research works are in Philosophy of Language. Since 2019 I have been working as a Spanish teacher. I decided to start teaching my mother tongue thanks to my experience learning other languages. I had the opportunity to live for a year in Ireland, where I went to learn English and, currently, I am in Italy, where I have had the opportunity to learn Italian. These experiences allowed me to realize that, although seeking perfection when trying to “speak like a native” is the ideal, what really matters is being able to communicate, make ourselves understood and be open to the experience of knowing other cultures and understand that there are many different points of view. Professionally, I have had the opportunity to work in different contexts such as banking, outsourcing consular procedures, and teaching at university level. The biggest lesson I learned from these experiences is that I am not an office person. I prefer to own my time and have the freedom to work wherever I am. For this reason, I have decided to dedicate myself to teaching Spanish online and to enter the digital world. I consider myself a very curious and versatile person, that is why in my free time I enjoy handcrafting (such as sewing or knitting), volunteering, being in contact with nature, and trying to learn new things, like playing the guitar. Regarding my geographical preferences, the beach and the mountains are my main refuges, because I can escape from the noise of the city and connect with myself. That is why I would like to be able to live with my husband on a mountain, not far from the sea.
El Museo Art Nouveau y Art Déco es en esencia un museo de artes decorativas que propone un recorrido temporal que abarca desde las últimas décadas del siglo XIX hasta la II Guerra Mundial. Este periodo de poco más de sesenta años es sin duda uno de los más fecundos de las artes aplicadas. El grueso de las obras que se pueden ver en el museo son objetos utilitarios concebidos bajo unos cuidados criterios estéticos. Esta dualidad, que los hace muy interesantes como documento de una época y de una manera de vivir, hace que muchos de ellos no hayan llegado hasta nuestros días, ya que su uso ha hecho que no hayan perdurado en el tiempo. A través de sus diecinueve colecciones, el recorrido por sus salas muestra al visitante la producción de los talleres europeos de artes decorativas de los periodos Nouveau y Déco. Joyas de Masriera o Faberge, vidrios iridiscentes de los talleres Loetz, Kralik, Pallme König o de la escuela de Nancy con piezas de Émile Gallé, los Hermanos Daum o Paul Nicolas. Muebles de Homar, Majorelle, Busquets. Porcelanas de Rosenthal, Royal Copenhagen, Mariano Benlliure, Gustave Guetant o Zuloaga. Los fondos que atesora la Casa Lis muestran la trayectoria de autores tan importantes como Émile Gallé con sus vidrios de capas superpuestas y sus exquisitos muebles o la evolución de Rene Lalique que partiendo de la joyería Art Nouveau orienta su creatividad al diseño del vidrio en las décadas posteriores. Destaca la colección de muñecas de porcelana francesas del s. XIX, que ha sido definida por los expertos como la mejor colección expuesta al público a nivel mundial, o la muestra de criselefantinas de Demetre Chiparus o Ferdinand Preiss, pequeñas esculturas que combinan el metal para las vestimentas y el marfil para las partes desnudas del cuerpo como la cara o las manos y que se han convertido en icono del Art Déco.
Cuando hablamos de la Catedral de Salamanca nos estamos refiriendo concretamente a dos templos unidos entre sí. Por una parte, está la Catedral Vieja del siglo XII-XIII y, por otro lado, la Nueva del siglo XVI. La Catedral Vieja, dedicada a Santa María de la Sede, fue construida a lo largo de los siglos XII y XIII. Se presenta como un templo con planta basilical de tres naves y crucero desarrollado en planta y altura, conformando una cruz latina. De factura románica en su conjunto, el edificio se remata con bóvedas de transición al gótico. Entre los maestros que dirigieron la obra, los documentos conservados en el Archivo Catedral mencionan los siguientes: Florín de Pituenga, Casandro Romano, Alvar García, Pedro de la Obra, Juan el Pedrero, Sancho Pedro, Juan Franco o Petrus Petri. La nave central de la Catedral Vieja muestra un instante de transición al gótico, al estar cubierta con arcos apuntados y bóvedas de crucería, recibidas sobre soportes preparados para sostener en un primer momento una bóveda de cañón apuntado con arcos fajones, lo que obligó a la final introducción de otros elementos, como los mensulones en los que descansan los nervios, para acomodar adecuadamente la nueva solución. Los capiteles y repisas se hallan decoradas con figuras de personajes bíblicos, animales, decoración vegetal y mascarones. Las estatuas-nervio ubicadas sobre los mensulones de la bóveda son ejemplos singulares que destacan en el interior de la iglesia vieja. La Catedral Nueva, adosada a la Vieja, se comenzó a construir en 1513, inaugurándose en agosto de 1733. En la promoción inicial intervinieron los Reyes Católicos, a petición del Cabildo Catedral, quien, con los obispos sucesivos, actuó siempre como principal promotor. Entre los grandes maestros arquitectos que dirigieron las obras de la Catedral Nueva durante casi dos siglos y medio figuran, entre otros, Juan y Rodrigo Gil de Hontañón, Juan de Álava, Juan Setién Güemes, Pantaleón Pontón, los hermanos Churriguera y Juan de Sagarbinaga. Se comenzó a construir en estilo tardogótico y, aunque goza de la utilización de algunos otros estilos posteriores, conservará hasta el final una unidad estilística en este arte, impuesta y querida por el Cabildo. Se trata de una iglesia de planta rectangular, compuesta por tres naves y capillas hornacinas entre contrafuertes. Se cubre por bóvedas de crucería con terceletes y combados dibujando complejos y hermosos diseños estrellados, en los que brillan especialmente las claves. En el crucero se yergue un magnífico cimborrio formado por cuerpo ochavado sobre pechinas con monumentales relieves de los misterios marianos, sobrepasado por un luminoso tambor cilíndrico liberado merced a los amplios ventanales y cúpula semiesférica. La Iglesia recibe la luz de casi un centenar de vidrieras, procedentes originariamente de Flandes aquellas que muestran un episodio bíblico. En sus muros también se extienden dos galerías corridas, en dos alturas, numerosos medallones con bustos de profetas, evangelistas, personajes de las Sagradas Escrituras y doctores, y otros tantos escudos catedralicios con el búcaro de azucenas.
El Museo Sefardí se encuentra ubicado en el interior de la Sinagoga de Samuel ha-Leví o como popularmente se conoce Sinagoga del Tránsito. Sin embargo, desde sus orígenes, esta sinagoga ha sido objeto de diversos vaivenes y modificaciones, ofreciéndonos un apasionante testimonio de la historia de nuestro país. El origen de este espectacular edificio se remonta al siglo XIV, momento en que fue mandado erigir por Samuel ha-Leví, importante figura de la época, que ocupó diversos cargos de gran relevancia en la corte del rey Pedro I de Castilla, como por ejemplo, Oidor de la Audiencia, Diplomático o Tesorero real. Con la expulsión de los judíos en 1492, los Reyes Católicos cedieron la Sinagoga a la Orden de Calatrava a cambio de algunas de sus posesiones, como fueron el Alcázar y los Palacios de Galiana con su iglesia de Santa Fe. Dos años más tarde, el edificio pasó a formar parte del Priorato de San Benito. En este momento se producen las primeras modificaciones y se emplean la zona que ocupaba la escuela rabínica y la Galería de Mujeres como hospital y asilo a los caballeros calatravos, y la Gran Sala de Oración pasa a ser templo cristiano y lugar de enterramiento, apareciendo en la documentación como Iglesia de San Benito. Durante el siglo XVI, dejó de ser hospital y asilo para convertirse exclusivamente en iglesia. En esta época se produjeron varias modificaciones arquitectónicas, construyéndose una puerta de entrada a la sacristía, así como un arcosolio empotrado utilizado para dar culto a una imagen de la Virgen, ambos de estilo plateresco. Se adosó un retablo al cuerpo central del antiguo hejal y se colocó el altar principal sobre el primitivo suelo de la sinagoga. La antigua Galería de Mujeres se tapió y pasó a ser utilizada como vivienda. Asimismo, se colocó un entarimado de madera para el coro en el lado Oeste. En 1877 fue declarada Monumento Nacional y desde entonces y hasta 1910 se llevaron a cabo una serie de restauraciones para paliar el mal estado del edificio. En 1910, se confía la antigua Sinagoga al Patronato del Museo del Greco, regido por el marqués de la Vega-Inclán, que procede a su restauración según los criterios de la época. Así, desde 1910 a 1968, la Sinagoga estuvo bajo la protección y custodia de las Fundaciones Vega-Inclán, realizándose en los años 60 la última restauración, antes de su inauguración como Museo, en la que se hizo desaparecer la antigua sillería coral colocada en la época del Marqués, se repararon yeserías, solados, carpintería y se añadió a las paredes una tapicería en seda que imita tejidos del Monasterio de las Huelgas en Burgos. En 1968 el Museo Sefardí fue declarado “Museo Nacional de Arte Hispanojudío”, y en 1969 la Sinagoga del Tránsito se desvinculó de las Fundaciones Vega-Inclán, organismo que la había gestionado desde principios del siglo XX, comenzando su trayectoria como centro independiente. En 1971 el museo abrió sus puertas al público y desde entonces ha sido objeto de varias mejoras, llevándose a cabo un plan de remodelación integral del edificio para adaptarlo a las necesidades museológicas actuales, así como un nuevo proyecto museológico y museográfico. Por ello se han ido realizando obras arquitectónicas, restauraciones de las yeserías y artesonado, y excavaciones arqueológicas, con el fin de paliar la diversidad de actuaciones sufridas por el edificio a lo largo del tiempo y permitir que la Sinagoga forme parte del nuevo Museo como la principal pieza de su colección.
Muchos lo consideran uno de los templos góticos más bellos de España. Concebido como el lugar donde se enterrarían los Reyes Católicos, su majestuosidad no deja indiferente a nadie. Pasear por el interior de sus muros es empaparse de la historia de nuestro país y descubrir la entrega de los monarcas a San Juan. La vida monacal en San Juan de los Reyes es una de sus señas de identidad. El silencio y tranquilidad que se respiran en todas sus estancias ayudan a abstraerse de la bulliciosa ciudad. El monasterio de San Juan de los Reyes fue mandado construir por los Reyes Católicos en la ciudad de Toledo, en acción de gracias por la victoria en la batalla de Toro de 1476. En ella quedó zanjada definitivamente la guerra por la sucesión al trono a favor de la princesa Isabel, hermana del rey difunto Enrique IV, ya casada con Fernando, frente a los partidarios de Juana, la hija del matrimonio ilegítimo del rey, su sobrina y ahijada de bautismo. Isabel defendió hasta el final su derecho al trono por cuestiones de legitimidad y conveniencia para Castilla. En 1479 el monasterio recibe el nombre de “San Juan de Portalatyna”, una particular advocación de san Juan Evangelista, quien según su leyenda sufrió martirio por orden de Domiciano, en una tina de aceite hirviendo frente a la Puerta Latina de Roma. La reina solicitó y obtuvo del papa un jubileo especial para el día de San Juan ante Portam Latinam. Después pasó a llamarse de los santos Juanes. Con el tiempo, al haber sido una empresa impulsada por la reina, San Juan de la Reina. Finalmente, el monasterio ha pasado a la historia como San Juan de los Reyes. El claustro acoge un jardín síntesis del paraíso terrenal poblado de especies que originalmente buscaron evocar el Jardín del Edén. Hoy, arrayanes, ciprés, naranjo, granado y otras especies perfuman el aire con sus aromas y proporcionan a la piedra atractivas notas de color. Dividido en cuatro partes, reflejo de las cuatro partes del mundo y en el centro el pozo de agua, rememora hortus conclusus o huerto cerrado medieval, alegoría de la virginidad de María. A finales del siglo XIX, a instancias del gobierno estatal, se emprende una restauración integral dirigida por el arquitecto Arturo Mélida, quien también dará las trazas para la Escuela de Artes en el solar del segundo claustro desaparecido. Arquitecto, pintor, escultor y diseñador, Mélida reemprenderá una subjetiva restauración, desde la admiración al monumento, en un neogótico con tintes del romanticismo historicista. El paseo sosegado por sus pandas regala toda la belleza de sus filigranas en piedra y reserva numerosas sorpresas en representaciones humorísticas de animales: dragones, simios, aves fantásticas… talladas por el escultor toledano Cecilio Béjar, quien también trabajó hasta 1967 en la restauración de las imágenes de los santos que pueblan el claustro bajo. Especial ingenio se despliega en las gárgolas, ejemplares únicos y llenos de fantasía.
Aunque este magnífico edificio civil, construido entre 1541 y 1551, se venía utilizando como espacio expositivo, al menos, desde comienzos del pasado siglo XX (vale la pena recordar que en la Lonja se celebró en 1919 una Exposición Hispano-Francesa de Bellas Artes que reunió, entre otros, nombres tan destacados como los de Beruete, Domingo, Iturrino, Nonell, Picasso, Regoyos, Vázquez Díaz, Zuloaga, Mariano Benlliure, Clará, Gargallo, Julio Antonio, Macho; y de 1942 a 1945 las muestras del Salón Internacional de Otoño de Fotografía, que sigue vigente desde 1925; y durante los años 1943 a 1955 la mayoría de las trece ediciones del Salón de Artistas Aragoneses), será desde comienzos de los años 70 de dicha centuria cuando, con exposiciones como la de Manuel Viola en 1972 y la de Pablo Serrano en 1975, el uso habitual de la Lonja como sala de exposiciones comience a tomar verdadera carta de naturaleza, convirtiéndose en permanente y exclusivo desde mitad de la década siguiente. La Lonja, por sus características, emplazamiento y ya consolidada trayectoria, viene siendo considerada la primera y principal sala de exposiciones de Aragón, como consecuencia de lo cual es permanente espacio de referencia para acoger los más destacados y ambiciosos proyectos expositivos de carácter público que se realizan en nuestra Comunidad (tanto los propios del Ayuntamiento de Zaragoza como los de aquellas otras instituciones y entidades con las que colabora), circunstancia que asegura la proyección y el éxito de todos ellos, pero da lugar a que las sucesivas programaciones anuales deban conciliar muy diferentes aspectos y dar cabida a temáticas y contenidos también muy diversos, lo que, por otra parte, corresponde perfectamente al carácter y titularidad de la sala. Haciendo de la necesidad virtud, a lo largo de los últimos veinticinco años la programación se ha venido caracterizando por la presencia de grandes muestras de carácter histórico, dedicadas a presentar visiones actuales de distintas culturas o periodos históricos (entre las más recientes citaremos El oro de América. Tesoros precolombinos de Costa Rica; Egipto milenario; Hispania. El legado de Roma; Los mayas; Bhután; Una mirada al siglo XX en Aragón; La Ilustración y el proyecto liberal; Tuareg; El teatro romano. La puesta en escena; Siete mil años de arte persa; Africa. La figura imaginada; Tesoros del Museo Nacional de Escultura) junto a monográficas de grandes figuras del arte universal ya clásico o contemporáneo (como las de Gargallo, Tàpies, Genovés, Condoy, Aguayo, Zuloaga, Pablo Serrano, Ibarrola, Broto, Miró, Picasso, Lagunas, Orús, Luis Berdejo, Fernando Botero, Arnaldo Pomodoro, Chillida) y un importante número de exposiciones colectivas dedicadas a ofrecer diferentes visiones, a veces más generales y en ocasiones muy específicas, del arte de nuestro tiempo en sus diversas disciplinas y especialidades, tanto el correspondiente a los ámbitos españoles, como a los internacionales.
Desde su inauguración en el año 1997, el Guggenheim Bilbao y el perro Puppy -la escultura floral de Jeff Koons situada en el exterior del edificio- se han convertido en el símbolo más internacional de Bilbao. Forman parte de la colección las obras de grandes figuras del mundo artístico: David Salle, Chillida, Jeff Koons, Louis Bourgeois y Robert Rauschenberg son algunos ejemplos. El Guggenheim también ofrece una serie de actividades para todos aquellos visitantes que deseen ampliar sus conocimientos artísticos. El Museo Guggenheim Bilbao es obra del arquitecto canadiense-americano Frank Gehry y representa un magnífico ejemplo de la arquitectura más vanguardista del siglo XX. Con 24.000 m² de superficie, de los que 9.000 m² están destinados a espacio expositivo, el edificio representa un hito arquitectónico por su audaz configuración y su diseño innovador, conformando un seductor telón de fondo para el arte que en él se exhibe. En conjunto, el diseño de Gehry crea una estructura escultórica y espectacular perfectamente integrada en la trama urbana de Bilbao y su entorno. Una vez en el Vestíbulo, que sirve de distribuidor, el visitante accede al Atrio, auténtico corazón del Museo y uno de los rasgos distintivos del diseño arquitectónico de Frank Gehry. Se trata de un gran espacio diáfano de volúmenes curvos que conectan el interior y el exterior del edificio mediante grandes muros, cortina de vidrio y un gran lucernario cenital. Los tres niveles del Museo se organizan en torno a este Atrio central y se conectan mediante pasarelas curvilíneas, ascensores de titanio y cristal, y torres de escaleras. El Atrio, que también funciona como espacio expositivo, sirve como eje que ordena las 20 galerías que alberga el Museo, algunas de aspecto más clásico y líneas ortogonales y otras de volumetrías más orgánicas e irregulares. El juego de volúmenes y perspectivas permite disponer de espacios interiores en los que, sin embargo, el visitante no se siente en absoluto desbordado.
Victoria Falls presents a spectacular sight of awe-inspiring beauty and grandeur on the Zambezi River, forming the border between Zambia and Zimbabwe. It was described by the Kololo tribe living in the area in the 1800s as ‘Mosi-oa-Tunya’ – ‘The Smoke that Thunders’. In more modern terms, Victoria Falls is known as the greatest curtain of falling water in the world. Columns of spray can be seen from miles away as, at the height of the rainy season, more than five hundred million cubic meters of water per minute plummet over the edge, over a width of nearly two kilometres, into a gorge over one hundred meters below. The wide, basalt cliff over which the falls thunder, transforms the Zambezi from a placid river into a ferocious torrent cutting through a series of dramatic gorges. Facing the Falls is another sheer wall of basalt, rising to the same height, and capped by mist-soaked rain forest. A path along the edge of the forest provides the visitor, prepared to brave the tremendous spray, with an unparalleled series of views of the Falls. One special vantage point is across the Knife-edge Bridge, where visitors can have the finest view of the Eastern Cataract and the Main Falls as well as the Boiling Pot, where the river turns and heads down the Batoka Gorge. In 1851, Livingstone first heard of the great waterfall, but it was only in 1855 that he set out to visit it. He spent the night on Kalai Island a few kilometers upstream of the Falls, having come down river by foot, and the next morning set off in a small canoe to approach the thundering smoke. He landed on the biggest island on the lip of the falls, now called Livingstone Island and from there obtained his first view of the Falls.
Vredefort Dome, approximately 120 km south-west of Johannesburg, is a representative part of a larger meteorite impact structure, or astrobleme. Dating back 2,023 million years, it is the oldest astrobleme yet found on Earth. With a radius of 190 km, it is also the largest and the most deeply eroded. Vredefort Dome bears witness to the world’s greatest known single energy release event, which had devastating global effects including, according to some scientists, major evolutionary changes. It provides critical evidence of the Earth’s geological history and is crucial to understanding of the evolution of the planet. Despite the importance of impact sites to the planet’s history, geological activity on the Earth’s surface has led to the disappearance of evidence from most of them, and Vredefort is the only example to provide a full geological profile of an astrobleme below the crater floor. The Vredefort Dome is 120 km south west from Johannesburg. The property represents a unique geological phenomenon formed about 2 023 million years ago and is the oldest and largest known meteorite impact structure on earth. Within the area, geological strata comprising the middle to upper zones of the earth’s crust, developed over a period of more than 3 200 million years are exposed. All the classical related characteristics of a large astrobleme are found in the property. This multi-ring structure formed by the impact scar illustrates the effect of shock metamorphism of rocks, transformation of crystal structures and shatter cones of the immense force created by the impact. Vredefort Dome is the oldest, largest, and most deeply eroded complex meteorite impact structure in the world. It is the site of the world’s greatest single, known energy release event. It contains high quality and accessible geological (outcrop) sites which demonstrate a range of geological evidences of a complex meteorite impact structure. The rural and natural landscapes of the serial property help portray the magnitude of the ring structures resulting from the impact. The serial nomination is considered to be a representative sample of a complex meteorite impact structure. A comprehensive comparative analysis with other complex meteorite impact structures demonstrated that it is the only example on earth providing a full geological profile of an astrobleme below the crater floor, thereby enabling research into the genesis and development of an astrobleme immediately post impact.
Located in the Mpumalanga region of South Africa, Pilgrim’s Rest is a small town with a very colorful and exciting history. In 1873 the town and surrounding area was densely populated with prospectors all hoping to make their fortunes in the second of the Transvaal gold fields. It was estimated that in the beginning of 1874 there were some 1500 prospectors working around 4000 claims. As so often happens when an influx of potential customers increases the population of a town, no matter how temporarily, businesses appear overnight to take advantage of the boom, charging outrageous prices that the many hopefuls will pay in order to get the items they need to keep working their claims and survive another week or two. The 1870 gold rush was not the first time the area had been the site of digging. Evidence of mining of the quartz reefs in ancient times were revealed during the most recent efforts to retrieve the gold buried within the soil of the town and surrounding area, as well as other parts of South Africa. Though who the ancient miners were is unknown, it has been established that the region of Mpumalanga was part of a transit corridor that moved gold from South Africa to Arabia, India and Phoenicia. Today, the town is a tourist location that takes visitors back in time to the days of the gold rush in the 1870’s. When it first became a tourist attraction in 1970 it was changed very little from its heyday and is now a protected historical site. In 1986 the town was declared a National Monument and since then a concerted effort has been made by curators, historians, architects and other interested parties to ensure the integrity of its history is preserved at all times. It is said that there is still gold in the ground, which is exciting for visitors to contemplate as they stand on the very site where 150 years earlier men, women and children were frantically digging and panning for the elusive solid nuggets that would make them instantly rich beyond their wildest dreams. The scars of the frantic digging for gold by many prospectors are still obvious despite the passage of time, and are just a part of what makes the town unique and interesting.
Robben Island is an island in Table Bay, 6.9 kilometres west of the coast of Bloubergstrand, north of Cape Town, South Africa. It takes its name from the Dutch word for seals, hence the Dutch/Afrikaans name Robbeneiland, which translates to Seal Island. Robben Island Museum is a testament of the Triumph of the Human Spirit Over Adversity. Robben Island Museum is responsible for managing and maintaining the assets of the Island. These include the Maximum and Medium Security Prison Complexes, Robert Sobukwe’s House, the Curio and Village Shops, the Village Precinct and associated recreational facilities, the Helipad and runway on the Island, World War II memorials, power generation and water processing plants, Jetty 1 and the Nelson Mandela Gateway at the V & A Waterfront, the Mayibuye Archives, the three (3) ferries that transport people to the Island and the fleet of buses used by tourists on the Island. Robben Island is a complex, sensitive eco-system and as such is protected by South African Law as a nature conservation area. In addition to this it is designated a World Heritage Site and has to balance additional stringent conservation requirements in line with RIM’s mission of ensuring public access to the Island’s heritage. The Island’s complex and sensitive ecosystem includes Birdlife, Natural Vegetation, Marine and Wildlife, Geology and Cultural Conservation sites. The Island provides shelter and a safe haven for about 132 species of birds including some endangered species. The variety of species includes sea birds, water birds and terrestrial birds. The Chauker Partridge and Guinea Fowl were introduced to the Island by humans. Many of the birds use the Island for breeding and roosting. Some birds from the mainland such as the Crowned Cormorant and Black Crowned Night Herons breed on the Island in large colonies. The boat trip to the Island provides an opportunity to see a wide spectrum of seabirds and mammals including Cape Fur Seals, Southern Right Whales, Dusky and Heaviside Dolphins. On the Island there are about 23 species of mammals such as Bontebok, Springbok, Steenbok, Fallow Deer and Eland. Ostriches, Lizards, Geckos, Snakes and three species of Tortoises can also be found on the Island. The Island is the summit of an ancient, now submerged mountain. It is linked by an undersea saddle to Blouberg. Its lower strata consist of Malmesbury shale forming a rocky and somewhat inhospitable coastline. Above this lies a thick limestone and calcrete deposit covered by windblown sands and shell fragments. The Island is low-lying with the highest point also known as Minto’s Hill (named after the 19th century Surgeon-Superintendent of the General Infirmary) being 24 metres above sea-level. The Island favours a Mediterranean climate, but unlike nearby Cape Town, it experiences stronger winds and comparative extremes in temperature. Robben Island has important places of commemoration that include the built fabric, routes and paths, gardens, views and vistas. It has within it many and varied layers of history that are at times contested. Furthermore it is an island of many voices, including that of the disadvantaged, the oppressed, the sick, the privileged few, the religious, the imprisoned and the free. Its conservation therefore poses unique challenges. Most of Robben Island’s rich archival resources are housed at the Mayibuye Archives at the University of Western Cape. Mayibuye’s collections include artefacts, historical documents, photographs, art work and audio visual materials relating to the struggle for freedom and democracy; Robben Island; imprisonment under apartheid and South African culture making it one of the largest archives in the country that contains liberation struggle material. These include recordings of interviews with ex-political prisoners, former exiles and political activists; Radio Freedom broadcasts; unique recordings of speeches and lectures; and historical papers archive. The historical papers section includes more than 350 collections of personal and organizational records of major political events and turning points that culminated in the unbanning of political organizations in the 1990s. The Robben Island Political Prisoner’s General Recreation Committee records is also a collection of particular significance. It dates back to the 1960’s and serves as a wonderful testimony to the creative capacity of the human spirit to survive great hardship.
Newgrange is the best known Irish passage tomb and dates to c.3,200BC. The large mound is approximately 80m in diameter and is surrounded at its base by a kerb of 97 stones. The most impressive of these stones is the highly decorated Entrance Stone. The flat-topped cairn is almost 0.5 hectares in extent. It is roughly circular and is estimated to weigh 200,000 tonnes in total. It is made up of water-rolled stones from the terraces of the River Boyne. Excavations showed that white quartz stones from quartz veins in Co Wicklow and round granite boulders from the Mourne and Carlingford areas were used to build the revetment wall above the kerb along the front or south side of the mound. The mound covers a single tomb, which consists of a long passage and a cross-shaped chamber. The passage points to the southeast and is just less than 19 m long. It leads in to a chamber with three recesses. A corbelled roof covers the chamber. To construct the roof, the builders overlapped layers of large rocks until the roof could be sealed with a capstone, 6 metres above the floor. After 5000 years, the roof at Newgrange is still water proof. These basins which are on the floor of each of the recesses held the remains of the dead. The remains of at least five people were recovered during excavation, although originally much more bone may have been placed there. Most of the bones found were cremated, although small amounts were unburned. Grave goods of chalk and bone beads and pendants as well as some polished stone balls were placed with the dead. The entrance stone at Newgrange and Kerbstone 52 at the back of the mound are highly accomplished pieces of sculpture, regarded as some of the finest achievements of European Neolithic art. Many more of the kerbstones are also carved, some of them with carving on the side facing inwards. In the passage, some of the stones are beautifully carved particularly the 19th stone on the left, has a design which some visitors say reminds them of a stylised face. In the chamber in the back recess on the right hand side is the world famous tri-spiral design. A circle of standing stones also surrounds Newgrange. Its purpose is unclear, although recent research indicates that it could have had an astronomical function. The Stone Circle was erected sometime after 2000BC since excavation have shown that one of the stones of the circle lies directly on top of the Early Bronze Age Pit Circle. Originally there may have been more stones in the circle. Possibly some were broken up over the years. This was the final phase of building at Newgrange.
Eccellenza Italiana è una community di persone che vuole promuovere l’Italia nel digitale, attraverso una comunicazione semplice e innovativa. Ti portiamo con noi alla (ri)scoperta delle eccellenze del Bel Paese. L’Italia è un Paese meraviglioso, ricco di diversità e piccoli mondi nascosti. La nostra community nasce proprio con lo scopo di andare alla ricerca di quei mondi, per coinvolgere gli utenti nella scoperta di curiosità, tradizioni e primati legati all’Italia. Le persone sono la nostra forza e di questo andiamo orgogliosi. I creators sono la voce che ci accompagna in questo viaggio attraverso l’Italia. Raccontiamo storie d’Italia: il nostro passato, il nostro presente e il nostro futuro. Italian Excellence is a community of people who want to promote Italy in the digital world, through simple and innovative communication. We take you with us to the (re) discovery of the excellence of the Bel Paese. Italy is a wonderful country, rich in diversity and small hidden worlds. Our community was born precisely with the aim of going in search of those worlds, to involve users in the discovery of curiosities, traditions and primates related to Italy. People are our strength and we are proud of this. The creators are the voice that accompanies us on this journey through Italy. We tell stories of Italy: our past, our present and our future.
La Ciudad de las Artes y de las Ciencias (Ciutat de les Arts i les Ciències) de Valencia es un conjunto único dedicado a la divulgación científica y cultural, que está integrado por seis grandes elementos: el Hemisfèric, cine IMAX, 3D y proyecciones digitales; el Umbracle, mirador ajardinado y aparcamiento; el Museu de les Ciències, innovador centro de ciencia interactiva; el Oceanogràfic, el mayor acuario de Europa; el Palau de les Arts Reina Sofía, dedicado la programación operística, y el Ágora, que dota al complejo de un espacio multifuncional. A lo largo de un eje de casi dos kilómetros, en el antiguo cauce del río Turia, este complejo impulsado por la Generalitat Valenciana sorprende por su arquitectura y por su inmensa capacidad para divertir y estimular las mentes de sus visitantes que, recorriendo sus edificios, conocen diferentes aspectos relacionados con la ciencia, la tecnología, la naturaleza o el arte. El papel relevante de la arquitectura en la Ciudad de las Artes y de las Ciencias de Valencia ha sido posible gracias al trabajo de dos arquitectos españoles de prestigio internacional, que han aportado aquí lo mejor de su obra: Santiago Calatrava, con el Palau de les Arts Reina Sofía, el Hemisfèric, el Museu de les Ciències, el Umbracle y el Àgora, y Félix Candela, con las singulares cubiertas de los edificios principales del Oceanogràfic. Un conjunto arquitectónico de excepcional belleza, que armoniza el continente con el contenido. Una ciudad donde conviven el mar y la luz del Mediterráneo de manera sorprendente. Se ha constituido como uno de los mayores focos de difusión cultural. En conjunto, las proyecciones digitales y las películas en gran formato en el Hemisfèric, las exposiciones interactivas en el Museu de les Ciencies Príncip Felipe y las exhibiciones bioeducativas del Oceanogràfic, conforman una gran oferta interrelacionada, que se complementa, con el único objetivo de satisfacer la curiosidad y las ganas de divertirse del visitante. La Ciudad de las Artes y de las Ciencias une además la admirada tradición mediterránea del mar y la luz, de los colores azules y blancos, con una arquitectura vanguardista diseñada por Santiago Calatrava y Félix Candela. Sus audaces líneas identifican a la capital del Turia del siglo XXI; es la estampa futurista que simboliza a la nueva Valencia: una ciudad moderna dentro de la ciudad milenaria, donde millones de visitantes acuden cada año para disfrutar con la cultura, la naturaleza, el arte y la ciencia.
El Museo Nacional de Bellas Artes fue inaugurado en diciembre de 1896 en el edificio de las tiendas Bon Marché de la calle Florida, hoy Galerías Pacífico. Desde su origen, se planteó como un espacio destinado a albergar arte internacional de todos los períodos históricos, y a promover y consolidar un arte argentino por entonces incipiente. Hacia 1910, en épocas del Centenario de la Revolución de Mayo, el Museo ya contaba en su colección con piezas de los maestros Francisco de Goya, Joaquín Sorolla y Bastida, Edgar Degas y Pierre-Auguste Renoir. En 1911, se inauguró la segunda sede del Bellas Artes: el Pabellón Argentino, una estructura monumental que el país había utilizado en la Exposición Universal de París de 1889 y que fue instalada en la Plaza San Martín. Allí, se exhibieron nuevas adquisiciones que ampliaron la colección, como La ninfa sorprendida, de Édouard Manet, y Orillas del Sena, de Claude Monet. La institución fue trasladada en 1933 a su sede actual: la antigua Casa de Bombas de Recoleta, remodelada por el arquitecto Alejandro Bustillo. Durante esos años, se incorporaron destacadas piezas, entre ellas, Mujer del mar, de Paul Gauguin, Le Moulin de la Galette, de Vincent van Gogh, y Jesús en el huerto de los Olivos, del Greco. Las últimas décadas del siglo XX acogieron a grandes referentes del arte moderno internacional. Así, se sumaron obras de Pablo Picasso, Amedeo Modigliani, Marc Chagall, Vassily Kandinsky, Paul Klee, Lucio Fontana, Jackson Pollock, Mark Rothko y Henry Moore. The National Museum of Fine Arts was inaugurated in December 1896 in the Bon Marché store building on Florida Street, today Galerías Pacífico. From its origin, it was conceived as a space destined to house international art from all historical periods, and to promote and consolidate an Argentine art that was then incipient. Around 1910, at the time of the Centennial of the May Revolution, the Museum already had in its collection pieces by the masters Francisco de Goya, Joaquín Sorolla y Bastida, Edgar Degas and Pierre-Auguste Renoir. In 1911, the second headquarters of the Fine Arts was inaugurated: the Argentine Pavilion, a monumental structure that the country had used in the Universal Exposition of Paris in 1889 and that was installed in the Plaza San Martín. There, new acquisitions were exhibited that expanded the collection, such as The Surprised Nymph, by Édouard Manet, and Banks of the Seine, by Claude Monet. The institution was moved in 1933 to its current headquarters: the old Recoleta Pump House, remodeled by the architect Alejandro Bustillo. During those years, outstanding pieces were incorporated, including Woman of the Sea, by Paul Gauguin, Le Moulin de la Galette, by Vincent van Gogh, and Jesus in the Garden of Olives, by El Greco. The last decades of the 20th century welcomed great references of international modern art. Thus, works by Pablo Picasso, Amedeo Modigliani, Marc Chagall, Vassily Kandinsky, Paul Klee, Lucio Fontana, Jackson Pollock, Mark Rothko and Henry Moore were added.
El Biomuseo — una conjunción poderosa entre ciencia y arte — diseñado por el afamado arquitecto Frank Gehry, es un centro interpretativo dedicado a Panamá que explora la relación entre su biodiversidad y su cultura. El Biomuseo cuenta la historia de la formación del Istmo de Panamá y como este cambió el rumbo de la biodiversidad del planeta Tierra. The Biomuseo - a powerful conjunction between science and art - designed by the famous architect Frank Gehry, is an interpretive center dedicated to Panama that explores the relationship between its biodiversity and its culture. The Biomuseo tells the story of the formation of the Isthmus of Panama and how it changed the course of biodiversity on planet Earth.
La antigua ciudad maya de Tikal fue reportada en 1848 por Modesto Méndez y Ambrosio Tut, Corregidos y Gobernador de Petén, respectivamente. Eusebio Lara, acompaño esta primera expedición para elaborar las primeras ilustraciones de los monumentos de Tikal. Sin embargo, se tiene conocimiento de que Tikal fue conocido por algunos nativos de la zona y posiblemente por misioneros españoles a fines del siglo XVII (Soza, 1970; Vidal y Muñoz, 1997; Harrison, 1999). En 1853, posterior a la publicación del diario de Méndez en la Gaceta de Guatemala, se da a conocer a la comunidad científica su descubrimiento, a través de una publicación de la Academia de Ciencias de Berlin. El Parque Nacional Tikal fue creado el 26 de Mayo de 1955 bajo la responsabilidad del Instituto de Antropología e Historia, y se constituye como la primera área protegida de Guatemala, reconocida por UNESCO como Sitio de Patrimonio Mundial en 1979. Rodeado de una selva exuberante, alberga invaluables riquezas que forman parte del patrimonio cultural y natural del país, con una extensión de 575.83 km². En 1972, con el apoyo del Servicio de Parques Nacionales de los Estados Unidos, se elabora el primer Plan Maestro para la Protección y Uso del Parque Nacional Tikal, iniciativa coordinada por la Secretaría del Consejo Nacional de Planificación Económica, en apoyo al Instituto de Antropología e Historia y al Instituto Guatemalteco de Turismo. Este Plan Maestro es el único que ha tenido el Parque Tikal hasta el presente documento, y como consecuencia de él, se logra la construcción del aeropuerto de Santa Elena, el actual Centro de Visitantes, el traslado de la aldea Tikal hacia Ixlú y la pavimentación de la carretera Flores-Tikal (National Park Service, 1972). En 1970, la Secretaría de Planificación Económica crea el Proyecto Administración del Parque Nacional Tikal, bajo la dirección de Rudy Larios, con el propósito de darle seguimiento a la conservación de las obras realizadas por Pennsylvania y FYDEP, así como para habilitar otras áreas para el turismo (Crisarq-Consult, 1997:8). La misma Secretaría, en 1974 diseña el Proyecto de Desarrollo Turístico, con el fin de apoyar el desenvolvimiento del potencial turístico de Tikal, así como para proteger las ruinas y prevenir daños ecológicos en el área de influencia del Parque (SEGEPLAN, 1974). Evidencia de su importancia es el hecho que ser el ser el sitio más visitado de Guatemala, con el ingreso de más de 200,000 visitantes al año. En 1979, la UNESCO declara al Parque, como el primer Sitio de Patrimonio Mundial Cultural y Natural de la Humanidad. La combinación de lo cultural y natural de Tikal, hace que se convierta en el primero de los 23 sitios en el mundo que han sido declarados como Sitios de Patrimonio Mundial Mixto de la Humanidad5, es decir tanto Cultural como Natural6 (UNEP 1997a, 1997b). Más recientemente, el Congreso de la República, en 1989, crea el Sistema Guatemalteco de Áreas Protegidas y en 1990 la Reserva de Biosfera Maya, definiendo al Parque Nacional Tikal como una de las zonas núcleos de la Reserva. Esta misma ley ratifica en la administración del área al Instituto de Antropología e Historia. En 1993, el IDAEH transfiere la administración del sitio arqueológico de Uaxactún al Parque (Parque Nacional Tikal, 1995), extendiéndose sus responsabilidades administrativas. Durante el año 2002 se realizó una remedición de los límites y mojones del Parque, con el fin de inscribirlo en Registro de la Propiedad Inmueble, y aclarar su situación jurídica. Esta medición fue respaldada legalmente con el Acuerdo Gubernativo No. 239-2003 del 7 de abril del presente año, por medio del cual “se desmembrar a favor del estado una fracción de terreno ubicada en el municipio de Flores…”. Según el mencionado acuerdo, el Parque queda adscrito “al Ministerio de Cultura y Deportes, quien a través del Instituto de Antropología e Historia deberá darle al inmueble el correspondiente mantenimiento…” (Artículo 2). Este trascendental paso le da certeza jurídica al Parque y la base legal para emitir las políticas y ordenar la situación de los diferentes negocios que operan dentro del Parque.
El edificio que hoy sirve de sede al Museo Nacional del Prado fue diseñado por el arquitecto Juan de Villanueva en 1785, como Gabinete de Ciencias Naturales, por orden de Carlos III. No obstante, el destino final de esta construcción no estaría claro hasta que su nieto Fernando VII, impulsado por su esposa la reina María Isabel de Braganza, tomó la decisión de destinar este edificio a la creación de un Real Museo de Pinturas y Esculturas. El Real Museo, que pasaría pronto a denominarse Museo Nacional de Pintura y Escultura y posteriormente Museo Nacional del Prado, abrió por primera vez al público en 1819. El primer catálogo constaba de 311 pinturas, aunque para entonces en el Museo se guardaban ya 1510 obras procedentes de los Reales Sitios. Las valiosísimas Colecciones Reales, germen de la colección del actual Museo del Prado, comenzaron a tomar forma en el siglo XVI bajo los auspicios del emperador Carlos V y fueron sucesivamente enriquecidas por todos los monarcas que le sucedieron, tanto Austrias como Borbones. A ellos se deben los tesoros más emblemáticos que se pueden contemplar hoy en el Prado, tales como El jardín de las Delicias de El Bosco, El caballero de la mano en el pecho de El Greco, El tránsito de la Virgen de Mantegna, La Sagrada Familia conocida como La Perla de Rafael, Carlos V en Mühlberg de Tiziano, El Lavatorio de Tintoretto, el Autorretrato de Durero, Las Meninas de Velázquez, Las tres Gracias de Rubens o La familia de Carlos IV de Goya. Del Museo de la Trinidad llegaron importantes pinturas como La Fuente de la Gracia de la Escuela de Jan Van Eyck, Auto de fe presidido por santo Domingo de Guzmán de Pedro Berruguete y los cinco lienzos procedentes del Colegio de doña María de Aragón de El Greco. Del Museo de Arte Moderno proceden gran parte de los fondos del siglo XIX, obras de los Madrazo, Vicente López, Carlos de Haes, Rosales y Sorolla. Desde la fundación del Museo han ingresado más de dos mil trescientas pinturas y gran cantidad de esculturas, estampas, dibujos y piezas de artes decorativas por Nuevas Adquisiciones, en su mayoría donaciones, legados y compras. Las Pinturas Negras de Goya llegaron al Museo gracias a la donación del Barón Emile d’Erlanger en el siglo XIX. Compras muy interesantes en los últimos años han sido Fábula y Huída a Egipto de El Greco, en 1993 y 2001, La condesa de Chinchón de Goya en el 2000, El barbero del Papa de Velázquez en el 2003 o, más recientemente, El vino en la fiesta de San Martín de Pieter Bruegel el Viejo en 2010, entre otras. Numerosos legados han enriquecido los fondos del Museo, tales como el Legado de don Pablo Bosch con su magnífica colección de medallas, el Legado de don Pedro Fernández Durán, con su amplísima colección de dibujos y artes decorativas, y el Legado de don Ramón de Errazu con pintura del siglo XIX. Tanto la colección como el número de visitantes del Prado se han incrementado enormemente a lo largo de los siglos XIX y XX, por lo que el Museo ha tenido que ir acometiendo sucesivas ampliaciones en su sede histórica hasta agotar totalmente las posibilidades de intervención sobre este edificio. Por este motivo, el Prado se ha visto obligado a buscar el camino de su reciente ampliación mediante una solución arquitectónica de nueva fábrica situada junto a la fachada posterior de su sede tradicional y conectada con ésta desde el interior.
La Plaza de España es un espectáculo de luz y majestuosidad. Encuadrada en el Parque de María Luisa, esta plaza fue diseñada por el gran arquitecto sevillano Aníbal González como espacio emblemático de la Exposición Iberoamericana de 1929. El resultado fue una plaza-palacio única en el mundo. Sus proporciones son fastuosas; cuenta con una superficie total de 50.000 metros cuadrados, convirtiéndose sin duda en la plaza más imponente de España. A lo largo de todo el perímetro de la plaza se extiende un canal de 515 metros de longitud, que puedes recorrer a bordo de una barca. Los cuatro preciosos puentes que cruzan el canal representan los antiguos reinos de España. Dos altas torres se erigen en los extremos de la plaza, confiriendo un equilibrio perfecto al conjunto. Estas torres se divisan desde toda Sevilla. La galería porticada que separa el espacio abierto de la plaza con respecto al edificio invita a ser recorrido. En un principio, tras finalizar la exposición, su destino era formar parte de la Universidad de Sevilla, esa es la razón de las hornacinas existentes en cada una de las provincias. Sin embargo tras haber sido utilizada durante la exposición, pasó a ser sede del gobierno militar, sirviendo sus estancias como ubicación de la Capitanía General, albergando años después además la delegación del Gobierno central en Andalucía y al mismo tiempo el Museo Militar de Sevilla. Hoy en día alberga a la subdelegación de gobierno de España. La plaza de España ha sido utilizada como escenarios en múltiples y variadas películas. En este sentido, la Academia de Cine Europeo la ha elegido como Tesoro de la Cultura Cinematográfica Europea, distinción que otorga a espacios y localizaciones cinematográficas de naturaleza simbólica de gran valor histórico para el cine.
La Alhambra, denominada así por sus muros de color rojizo («qa'lat al-Hamra'», Castillo Rojo), está situada en lo alto de la colina de al-Sabika, en la margen izquierda del río Darro, al este de la ciudad, frente a los barrios del Albaicín y de la Alcazaba. Su posición estratégica, desde la que se domina toda la ciudad y la vega granadina, hace pensar que existían construcciones anteriores a la llegada de los musulmanes. Su conjunto, completamente amurallado, posee una forma irregular limitada al norte por el valle del Darro, al sur por el de la al-Sabika, y al este por la Cuesta del Rey Chico, que a su vez la separan del Albaicín y del Generalife, situado en el cerro del Sol. Se tiene constancia por primera vez de ella en el siglo IX, cuando en 889 Sawwar ben Hamdun tuvo que refugiarse en la Alcazaba y repararla debido a las luchas civiles que azotaban por entonces al Califato cordobés, al que pertenecía Granada. Posteriormente, este recinto empezó a ensancharse y a poblarse, aunque no hasta lo que sería con posterioridad, ya que los primeros monarcas ziríes fijaron su residencia en lo que posteriormente sería el Albaicín. A pesar de la incorporación del castillo de la Alhambra al recinto amurallado de la ciudad en el siglo XI, lo que la convirtió en una fortaleza militar desde la que se dominaba toda la ciudad, no sería hasta el siglo XIII con la llegada del primer monarca nazarí, Mohamed ben Al-Hamar (Mohamed I, 1238-1273) cuando se fijaría la residencia real en la Alhambra. Este hecho marcó el inicio de su época de mayor esplendor. Primero se reforzó la parte antigua de la Alcazaba, y se construyó la Torre de la Vela y del Homenaje, se subío agua del río Darro, se edificaron almacenes, depósitos y comenzó la construcción del palacio y del recinto amurallado que continuaron Mohamed II (1273-1302) y Mohamed III (1302-1309), al que también se le atribuyen un baño público y la Mezquita sobre la que se construyó la actual iglesia de Santa María. A Yusuf I (1333-1353) y Mohamed V (1353-1391) les debemos la inmensa mayoría de las construcciones de la Alhambra que han llegado a nuestra época. Desde la reforma de la Alcazaba y los palacios, pasando por la ampliación del recinto amurallado, la Puerta de la Justicia, la ampliación y decoración de las torres, construcción de los Baños y el Cuarto de Comares, la Sala de la Barca, hasta el Patio de los Leones y sus dependencias anexas. De los reyes nazaríes posteriores no se conserva prácticamente nada. De la época de los Reyes Católicos hasta nuestros días podemos destacar la demolición de parte del conjunto arquitectónico por parte de Carlos V para construir el palacio que lleva su nombre, la construcción de las habitaciones del emperador y el Peinador de la Reina y el abandono de la conservación de la Alhambra a partir del siglo XVIII. Durante la dominación francesa fue volada parte de la fortaleza y hasta el siglo XIX no comenzó su reparación, restauración y conservación que se mantiene hasta la actualidad.
La Sagrada Familia es un templo excepcional, tanto por lo que respecta a su origen y a su fundación como por lo relativo a sus propósitos. Fruto de la obra del genial arquitecto Antoni Gaudí, fue un proyecto impulsado por y para el pueblo, y ya son cinco generaciones las que han ido viendo la evolución del templo en Barcelona. Actualmente, con más de 135 años desde la colocación de la primera piedra, la Basílica sigue en construcción. La construcción del Templo Expiatorio de la Sagrada Familia (en catalán, Temple Expiatori de la Sagrada Família), conocido simplemente como la Sagrada Familia, se inició en 1882. Se trata de la obra maestra de Gaudí y es el máximo exponente de la arquitectura modernista catalana. Es uno de los monumentos más visitados de España, junto al Museo del Prado y la Alhambra de Granada. Además, es la iglesia más visitada de Europa tras la basílica de San Pedro del Vaticano. La Sagrada Familia es un reflejo de la plenitud artística de Gaudí. Trabajó en ella durante la mayor parte de su carrera profesional, especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico. La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior.
The Great Wall of China is one of the most notorious structures in the entire world. The Jinshanling section in Hebei Province, China, pictured here, is only a small part of the wall that stretches over 4,000 kilometers (2,500 miles). The one thing most people “know” about the Great Wall of China—that it is one of the only man-made structures visible from space—is not actually true. Since the wall looks a lot like the stone and soil that surround it, it is difficult to discern with the human eye even from low Earth orbit, and is difficult to make out in most orbital photos. However, this does not detract from the wonder of this astounding ancient structure. For millennia, Chinese leaders instituted wall-building projects to protect the land from northern, nomadic invaders. One surviving section of such an ancient wall, in the Shandong province, is made of hard-packed soil called “rammed earth” and is estimated to be 2,500 years old. For centuries during the Warring States Period, before China was unified into one nation, such walls defended the borders. Around 220 B.C.E., Qin Shi Huang, also called the First Emperor, united China. He masterminded the process of uniting the existing walls into one. At that time, rammed earth and wood made up most of the wall. Emperor after emperor strengthened and extended the wall, often with the aim of keeping out the northern invaders. In some places, the wall was constructed of brick. Elsewhere, quarried granite or even marble blocks were used. The wall was continuously brought up to date as building techniques advanced. Zhu Yuanzhang, who became the Hongwu Emperor, took power in 1368 C.E. He founded the Ming Dynasty, famous for its achievements in the arts of ceramics and painting. The Ming emperors improved the wall with watchtowers and platforms. Most of the familiar images of the wall show Ming-era construction in the stone. Depending on how the wall is measured, it stretches somewhere between 4,000 and 5,500 kilometers (2,500 and 3,400 miles). In the 17th century, the Manchu emperors extended Chinese rule into Inner Mongolia, making the wall less important as a defense. However, it has retained its importance as a symbol of Chinese identity and culture. Countless visitors view the wall every year. It may not be clearly visible from space, but it is considered “an absolute masterpiece” here on Earth.
A World Heritage Site, Stonehenge and its surrounding prehistoric monuments remain powerful witnesses to the people of the Neolithic and Bronze Ages who created them. Stonehenge has inspired people to study and interpret it for centuries, yet many questions remain to be answered – about who built it, when, and why. Find out about its archaeology and history here. Stonehenge is perhaps the world’s most famous prehistoric monument. It was built in several stages: the first monument was an early henge monument, built about 5,000 years ago, and the unique stone circle was erected in the late Neolithic period about 2500 BC. In the early Bronze Age many burial mounds were built nearby. Today, together with Avebury, Stonehenge forms the heart of a World Heritage Site, with a unique concentration of prehistoric monuments. The earliest structures known in the immediate area are four or five pits, three of which appear to have held large pine ‘totem-pole like’ posts erected in the Mesolithic period, between 8500 and 7000 BC. It is not known how these posts relate to the later monument of Stonehenge. At this time, when much of the rest of southern England was largely covered by woodland, the chalk downland in the area of Stonehenge may have been an unusually open landscape. It is possible that this is why it became the site of an early Neolithic monument complex. This complex included the causewayed enclosure at Robin Hood’s Ball, two cursus monuments or rectangular earthworks (the Greater, or Stonehenge, and Lesser Cursus), and several long barrows, all dating from the centuries around 3500 BC. The presence of these monuments probably influenced the later location of Stonehenge. It is possible that features such as the Heel Stone and the low mound known as the North Barrow were early components of Stonehenge, but the earliest known major event was the construction of a circular ditch with an inner and outer bank, built about 3000 BC. This enclosed an area about 100 metres in diameter, and had two entrances. It was an early form of henge monument. Within the bank and ditch were possibly some timber structures and set just inside the bank were 56 pits, known as the Aubrey Holes. There has been much debate about what stood in these holes: the consensus for many years has been that they held upright timber posts, but recently the idea has re-emerged that some of them may have held stones. Within and around the Aubrey Holes, and also in the ditch, people buried cremations. About 64 cremations have been found, and perhaps as many as 150 individuals were originally buried at Stonehenge, making it the largest late Neolithic cemetery in the British Isles. In about 2500 BC the stones were set up in the centre of the monument. Two types of stone are used at Stonehenge – the larger sarsens and the smaller ‘bluestones’. The sarsens were erected in two concentric arrangements – an inner horseshoe and an outer circle – and the bluestones were set up between them in a double arc. Probably at the same time that the stones were being set up in the centre of the monument, the sarsens close to the entrance were raised, together with the four Station Stones on the periphery. About 200 or 300 years later the central bluestones were rearranged to form a circle and inner oval (which was again later altered to form a horseshoe). The earthwork Avenue was also built at this time, connecting Stonehenge with the river Avon. One of the last prehistoric activities at Stonehenge was the digging around the stone settings of two rings of concentric pits, the so-called Y and Z holes, radiocarbon dated by antlers within them to between 1800 and 1500 BC. They may have been intended for a rearrangement of the stones that was never completed. The stone settings at Stonehenge were built at a time of great change in prehistory, just as new styles of ‘Beaker’ pottery and the knowledge of metalworking, together with a transition to the burial of individuals with grave goods, were arriving from the Continent. From about 2400 BC, well-furnished Beaker graves such as that of the Amesbury Archer are found nearby. In the early Bronze Age, one of the greatest concentrations of round barrows in Britain was built in the area around Stonehenge. Many barrow groups appear to have been deliberately located on hilltops visible from Stonehenge itself, such as those on King Barrow Ridge and the particularly rich burials at the Normanton Down cemetery. Four of the sarsens at Stonehenge were adorned with hundreds of carvings depicting axe-heads and a few daggers. They appear to be bronze axes of the Arreton Down type, dating from about 1750–1500 BC. Perhaps these axes were a symbol of power or status within early Bronze Age society, or were related in some way to nearby round barrow burials. From the middle Bronze Age, less communal effort went into the construction of ceremonial monuments such as Stonehenge and more on activities such as the creation of fields. In the Iron Age, probably about 700 BC, a major hillfort later known as Vespasian’s Camp was constructed 1¼ miles east of Stonehenge overlooking the river Avon. Stonehenge appears to have been frequently visited in the Roman period (from AD 43), since many Roman objects have been found there. Recent excavations raised the possibility that it was a place of ritual importance to Romano-British people. The small town of Amesbury is likely to have been established around the 6th century AD at a crossing point over the Avon. A decapitated man, possibly a criminal, was buried at Stonehenge in the Saxon period. From this time on, sheep husbandry dominated the open downland around Stonehenge. The earliest surviving written references to Stonehenge date from the medieval period, and from the 14th century onwards there are increasing references to Stonehenge and drawings and paintings of it. Since 1897, when the Ministry of Defence bought a vast tract of land on Salisbury Plain for army training exercises, the activities of the military have had an impact on the area. Barracks, firing ranges, field hospitals, airfields and light railways were established. Some of these, such as the First World War Stonehenge airfield, have long since been demolished, but others, such as the Larkhill airfield sheds, still stand and are important in the history of early military aviation. Meanwhile, the introduction of turnpike roads and the railway to Salisbury brought many more visitors to Stonehenge. From the 1880s, various stones had been propped up with timber poles, but concern for the safety of visitors grew when an outer sarsen upright and its lintel fell in 1900. The then owner, Sir Edmund Antrobus, with the help of the Society of Antiquaries, organised the re-erection of the leaning tallest trilithon in 1901. This was the start of a sequence of campaigns to conserve and restore Stonehenge – the last stones were consolidated in 1964. The monument remained in private ownership until 1918 when Cecil Chubb, a local man who had purchased Stonehenge from the Atrobus family at an auction three years previously, gave it to the nation. Thereafter, the duty to conserve the monument fell to the state, today a role performed on its behalf by English Heritage. From 1927, the National Trust began to acquire the land around Stonehenge to preserve it and restore it to grassland. Large areas of the Stonehenge landscape are now in their ownership. More recent improvements to the landscape – including the removal of the old visitor facilities and the closure of the section of the old A344 that ran close to the stones – have begun the process of returning Stonehenge to an open grassland setting, but there is more that can be done. English Heritage welcomes government plans to invest in a tunnel, which would remove much of the busy A303 and help reconnect the monument to its ancient landscape.
Sir John Soane’s Museum is the extraordinary house and museum of the British architect Sir John Soane (1753-1837). On this page, discover the history of the Museum, its founder and its world class collections. Sir John Soane was one of the foremost architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Born in 1753, the fourth son of a bricklayer, his father’s professional links with architects and his own natural talent for drawing won him the opportunity to train as an architect. A talented and hard-working student, Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. Soane’s inventive use of light, space and his experimentation with the forms of Classical architecture earned him great success as an architect. During his career he won numerous high-profile projects, including the Bank of England (where he was architect for 45 years) and Dulwich Picture Gallery, and created his own extraordinary home and Museum on Lincoln’s Inn Fields. His successes as an architect and his fascination with the history of architecture let to his appointment as Professor of Architecture at the Royal Academy in 1806. Already an enthusiastic collector, he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture.
Yorkshire Sculpture Park (YSP) is the leading international centre for modern and contemporary sculpture which celebrates its 45th anniversary in 2022. It is an independent charitable trust (number 1067908) and registered museum situated in the 500-acre, 18th-century Bretton Hall estate in West Yorkshire. Founded in 1977 by Sir Peter Murray CBE, YSP was the first sculpture park in the UK, and is the largest of its kind in Europe, providing the only place in Europe to see Barbara Hepworth’s The Family of Man in its entirety alongside a significant collection of sculpture, including bronzes by Henry Moore, and site-specific works by Andy Goldsworthy, David Nash and James Turrell. YSP mounts a world-class, year-round temporary exhibitions programme including some of the world’s leading artists across six indoor galleries and outdoors. Recent highlights include exhibitions by Robert Indiana, Joana Vasconcelos, Akeela Bertram, Not Vital, KAWS, Bill Viola, Anthony Caro, Fiona Banner, Ai Weiwei, Kimsooja, Amar Kanwar, Yinka Shonibare MBE, Joan Miró and Jaume Plensa. More than 80 works on display across the estate include major sculptures by Phyllida Barlow, Ai Weiwei, Roger Hiorns, Sol LeWitt, Joan Miró, Dennis Oppenheim and Thomas J Price. 500 acres of fields, hills, woodland, lakes and formal gardens combine to create the stunning setting for Yorkshire Sculpture Park. These historic grounds were once part of the Bretton Estate, with a country manor at the centre. As well as housing hundreds of artworks, today the landscape is rich with the stories of Bretton’s former lives. The Domesday Book listed this land as 'waste' in 1086. In the centuries since, it became an aristocratic home. And each of those who inherited and worked on the estate left their mark. As beautiful as it may be, this landscape is not entirely natural. In fact, its previous owners had it carefully designed and managed to look 'natural'. Their architects, landscape designers and gardeners dug lakes, planted trees, built lodges. They also introduced extravagant, purely ornamental buildings – or follies. Among the wealthy landowners of 18th-century Britain, a folly was a fashionable status symbol, a display of excess. Many of these fascinating features and romantic relics remain today. Seek them out in the grounds, dotted among the artworks, wildlife and trees. YSP’s driving purpose for 45 years has been to ignite, nurture and sustain interest in and debate around contemporary art and sculpture, especially with those for whom art participation is not habitual or familiar. It enables open access to art, situations and ideas, and continues to re-evaluate and expand the approach to considering art’s role and relevance in society. Supporting 45,000 people each year through YSP’s learning programme, this innovative work develops ability, confidence and life aspiration in participants. YSP's core work is made possible by investment from Arts Council England, Wakefield Council, Liz and Terry Bramall Foundation and Sakurako and William Fisher through the Sakana Foundation.
The Bob Marley Museum is the former home of reggae legend, Bob Marley. Learn about the life and accomplishments of one of Jamaica's greatest musicians. The museum is situated on the site of the legendary musician's home, which he purchased in 1975. The museum is situated on the site of the legendary musician’s home, which he purchased in 1975. This house, featuring 19th-century architecture, was Marley’s home until his transition in 1981. It was converted into a museum six years later by his wife, Mrs Rita Marley. The main museum displays Marley’s personal treasures. The property also features a well-equipped 80-seat theatre, a photographic gallery, a record shop and a gift shop filled with a wide array of Bob Marley memorabilia. Relax and enjoy a sumptuous meal from the One Love Café after you’ve completed your tour, which offers a peek into every aspect of Bob Marley’s life. The museum continues to honour Bob Marley’s life and legacy through the Bob Marley Foundation, which implements social intervention projects. These projects aim to preserve the spiritual, cultural, social and musical ideals that guided and inspired Bob Marley throughout his life. Since its inception, the Foundation has successfully implemented several projects, all geared towards transforming lives.
Davide Rivalta, artista bolognese che popola le città di tutto il mondo con massicci animali, collocandoli nei posti più impensati. La straordinaria forza di questi bronzi sta proprio nella sorpresa che coglie l’avventore quando li scopre nel cortile del Palazzo, senza aspettarselo. Il realismo delle figure, la loro stazza e l’evidenza della loro presenza contrasta con il contesto, creando un effetto straniante, a tratti ironico. I Gorilla (Occulti latices), installati nel 2002, colpiscono perché evocano l’idea della primordialità e della condizione naturale del regno animale in un luogo istituzionale, formale, piuttosto austero anche. È la loro totale estraneità rispetto al contesto che ci porta ad interrogarci sul messaggio di cui si fanno portatori. Un gruppo di gorilla che, secondo qualcuno, farebbero paura a grandi e piccini. Occasione buonaper riflettere sulla ricerca artistica di Rivalta, esponente di una figurazione di qualità, capace di relazionarsi in modo intenso con lo spazio. La presenza dei lavori di Davide Rivalta in parecchie città è uno di quei motivi che rendono grande l'arte tradizionale, che sa accogliere e valorizzare ogni forma d’arte, dal videomapping alla street art, dal mosaico alla scultura e che, soprattutto, sa far dialogare l‘antico patrimonio artistico con l’arte contemporanea. Davide Rivalta, Bolognese artist who populates cities all over the world with massive animals, placing them in the most unexpected places. The extraordinary strength of these bronzes lies precisely in the surprise that catches the customer when he discovers them in the courtyard of the Palace, without expecting it. The realism of the figures, their size and the evidence of their presence contrast with the context, creating an alienating, at times ironic effect. The Gorillas (Occulti latices), installed in 2002, are striking because they evoke the idea of the primordiality and natural condition of the animal kingdom in an institutional, formal, rather austere place. It is their total extraneousness with respect to the context that leads us to question ourselves about the message they carry. A group of gorillas who, according to some, would scare young and old. A good opportunity to reflect on the artistic research of Rivalta, an exponent of a quality figuration, capable of relating in an intense way with space. The presence of Davide Rivalta's works in several cities is one of those reasons that make traditional art great, which knows how to welcome and enhance every form of art, from videomapping to street art, from mosaic to sculpture and who, above all, knows to make the ancient artistic heritage dialogue with contemporary art.
I’m Toni-Leigh, born and bred in the Mother City of Cape Town. My fiancé and I, are parents to a lively 2-year old girl who arrived 5 years after losing our 3-year old son to a rare genetic disease. I love learning new things. Growing up, I was a voracious reader, reading anything and everything (even the classifieds and property ads) and with the advancement of technology over the years, I can have information at the tip of my fingers, so I’m always eager to learn new things and I’m a fast learner. I’ve always had an interest in Information Technology and was the go-to person in my office before my colleagues would go to the IT office, and now I’m looking into further studies so that I can develop my knowledge and skills. In 2005 I graduated from Varsity College with a Diploma in Travel and Tourism with aspirations of travelling worldwide in my profession. Things didn’t quite work out that way, having worked in retail and a company assisting young people to live and work in the UK. In the last decade or so, I’ve been in the tourism industry behind the scenes, working for an online holiday accommodation booking agency and more recently a company that does tours and safaris in Southern Africa. I also do freelance work remotely, such as, captioning for a speech-to-text service and social media evaluation. I am an introvert but enjoy working with and being in the company of others, while also enjoying being on my own. In the past I used to view being an introvert as a weakness because those higher up in the ranks of the companies I worked for were extroverted but in recent times I realised how much of a strength it is being an introvert as I also have a strong sense of empathy, which I believe is key in Customer Service and building interpersonal relationships with colleagues and clients. I’m passionate about customer service and going the extra mile and l love that feeling of knowing that I’ve made a difference in someone’s day whether big or small. People tend to describe me as hardworking, punctual, efficient, dependable and trustworthy. Covid-19 affected the tourism industry drastically, however, I still want to travel anywhere I can, just soaking up the different cultures and experiences. The last year has been both challenging and rewarding and it has made me see things in a different light and so it has been somewhat of a new beginning for me. I am motivated now more than ever to seek out new passions and adventures and to get out of my comfort zone.
The Rastafari village was created 10 years ago as a cultural sharing center, healing ground, and sanctuary. We promote, protect, and preserve traditional Rastafari practices. Villagers coexist in a living, working, preservation village. Drumming and chanting ceremonies are an important ritual in the elevation to the spiritual world of Rastafari. Irits is our monthly acoustic gathering curated with the aim of creating balance by harmonizing music, food, healing, and art, with culture, preserving living aspects of Jamaican heritage, blending live music, an ital vegan cuisine and local artists. Rastafari view on horizontal society, equality with an identity where each is an owner onto themselves based on ability, with tourism as a tool to promote, protect and preserve our culture, an authentic Jamaican conscience for humanity.
The Scottish National Gallery displays some of the greatest art in the world, including masterpieces by Botticelli, Raphael, Titian, El Greco, Velázquez, Rembrandt, Vermeer, van Dyck, Tiepolo, Landseer, Gainsborough, Constable, Turner, and Angelica Kauffmann amongst many others. The most comprehensive part of the collection covers the history of Scottish painting – including Ramsay, Raeburn and Wilkie. The Scottish National Gallery comprises both the National Gallery Building and the Royal Scottish Academy Building. Both of these buildings, designed by William Henry Playfair, stand in the heart of Edinburgh.
Stirling Castle is a great symbol of Scottish independence & a source of national pride. Visitors can now step back into the sumptuous world of Stirling Castle’s royal court. Our £12 million project has returned the six apartments in the castle’s Renaissance palace to how they may have looked in the mid-16th century. A place of power, beauty and history, discover the favoured residence of Scotland's Kings and Queens! A great day out for all the family and simply unmissable! Stirling Castle was the key to the kingdom of Scotland, dominating a vast volcanic rock above the river Forth at the meeting point between Lowlands and Highlands. Its origins are ancient and over the centuries it grew into a great royal residence and a powerful stronghold. During the Wars of Independence, which were civil wars among the Scots as well as a struggle between Scotland and England, the castle changed hands eight times in 50 years. And it is no accident that famous battles such as Stirling Bridge and Bannockburn took place within sight of its walls. In times of peace Scottish royalty came to Stirling to enjoy its comforts, the superb hunting and to hold court – the castle was often the centre of government.
Located beside the Titanic Slipways, the Harland & Wolff Drawing Offices and Hamilton Graving Dock – the very place where Titanic was designed, built and launched, Titanic Belfast tells the story of Titanic from her conception, through her construction and launch, to her maiden voyage and subsequent place in history. Stimulating enquiry, encouraging independent and collaborative learning and awakening a genuine thirst for knowledge - Titanic Belfast is a unique learning resource for students of all ages. Titanic Belfast welcomes education visitors all year round for self-guided tours of the Titanic Experience. On arrival, you will be supported by a welcome host, who will set the scene and give you advice before you enter. Supported by our downloadable resources which cover the activities and themes you’ll find in the exhibition and how these link with curriculum targets in Northern Ireland and the Republic of Ireland, a self-guided tour allows you and your pupils to explore the sights, sounds and stories of Titanic Belfast at your own leisure.
The Pearse Museum in St Enda’s Park is where the leader of the 1916 Rising, Patrick Pearse, lived and operated his pioneering Irish-speaking school from 1910 to 1916. Set in nearly 20 hectares of attractive parkland in Rathfarnham, Dublin, the museum tells the story of Patrick Pearse and his brother Willie, both of whom were executed for their part in the 1916 Rising. Here you can peruse a fascinating exhibition on Pearse’s life and wander through the historic rooms where he, his family and his students once lived and worked. The romantic landscape surrounding the museum contains a wild river valley, forested areas and some enchanting eighteenth- and nineteenth-century follies. If you are interested in the park’s varied wildlife, you will find information about it in a dedicated room in the courtyard – where you’ll also find the Schoolroom Café.
Chiara Cataldi and Ludovica Saviane at Robin Art Studio design and decorate environments using a team of architects, interior decorators and suppliers, offering a 360 degree consultation to furnish your home and work environments. Specialized in painted tapestries, wall decorations and pictorial interventions on furniture, screens, panels and more, mainly on commission. They organize drawing and painting courses in the studio.
Greetings to one and all. My name is Edith, I am a child of the universe and I want to share that every day is a beautiful day. True, our emotions fluctuate but at some point during each day we will recognise that the day is a gift we have received and if we be true to ourselves this will bring a smile and with it feel good energy. We should take this feel good energy and build on it so that each day it comes easier and earlier and like a muscle it will grow, become more evident and gather momentum and we will feel better for it. I believe in kindness and forgiveness towards others and myself. In a couple of months I will begin the first year of my sixth decade on planet Earth. Twenty years ago I was facing a life threatening illness and not doing too well, I am a miracle. I believe we are all miracles. Some would differ it can be a topic for discussion. I am a widow and live with and take care of my 87 year old mother and 7 year old granddaughter to whom I am foster mother. Thankfully both are well. We live in a truly beautiful spot, the Deep South, Cape Peninsula, CT, South Africa, blessed in many ways I have much wonder and appreciation for this. I was born in Cape Town, grew up and completed my education in the best place in the world to have grown up at that time, yes! Zambia in the sun. I have very fond memories of my formative years in Zambia and still consider myself Zambian. It is the national anthem I sang as a child and I loved the then president, KK, Kenneth Kaunda. I returned to South Africa in 1980 to attend college and begin my independent years and in 1982 I moved to the newly independent Zimbabwe where I spent the next 21 years before returning to my roots in 2003. I have extensive administrative experience - getting things organised, getting things done. With a stable track record, I am able to diversify within different industries. As part of a team I have a strong focus to resolve challenges and enjoy leaving any tasks I am busy with in a user friendly state (do unto others). I pride myself on my attention to detail & due diligence, going the extra mile in terms of improved efficiency and cost effectiveness. I did a one year secretarial course in 1980 and my working life began from there. Living and learning life then became what I did, marriage, babies, etc. I guess I was lazy to further my qualifications, in hindsight I think I would have made a damn good surgeon LOL. Seriously, I have good eye, hand coordination, a good touch, and, consciously, I have become better at threading the needle. I believe strongly in being true to and honest with myself and I think I was then because family means more to me than a career. And now, I am ready to start that next chapter in my career. I am blessed. I have over the years done various short courses including a deep tissue massage course so I am a certified masseuse however I only massage family and friends as I am no longer physically (strength and stamina) up to doing a job I am comfortable to charge for. Thought that was worth mentioning as it brings me pleasure to help others breathe and take time out. I have always worked in administrative support positions from Girl Friday to Executive PA and everything in between and in many different industries. My last couple of jobs have been from home (virtual) and in a new field namely customer service. This shift was challenging and I am proud to say I managed it pretty well. Working from home is what is necessary at this time given my current living circumstances. This change and the challenge that came with it reminded me that I have strong determination which is a very good thing. I am concerned for my granddaughter’s generation and what life will be like for them as adults, especially the environment they will find themselves in physically, mentally, emotionally. I would love to become more knowledgeable and active in the conservation of water, a precious natural resource that as long as it comes out of the tap when we open the tap many do not really appreciate just how precious it is and therefore the need to respect and conserve it. And, I would love to see the curricula in our educational systems adapting to educating our children to be more self-aware, mindful and able to guide their minds when it comes to EQ. Easy does it.
Wamkelekile (‘Welcome’ in isiXhosa) to one and all! My name is Iman Martin – ‘Iman’ having both Arabic and African meanings for ‘faith’. Just like my name, I come from a multicultural background: my mom has Indian and Malaysian origins, while my dad is from the Griqua people/clan in South Africa. In the same vein, I am a Muslim and have Christian relatives with who I am very close. It is because of my diverse background that I feel I was raised to be both tolerant and respectful towards those that are of a different culture, religion, or ethnicity. Cape Town has been the only home I know, and I’ve never ventured far out of it. I do however envision myself travelling to different parts of the world a few years from now. I am passionate about women’s empowerment and women having the choice to choose for themselves! I have recently graduated from the University of Cape Town, with a Bachelor of Social Work (Psychology Major) and placed on the Dean’s Merit List, awarded for consistent academic achievement. Through hard work and perseverance, I was fortunate to have received a scholarship from the Department of Social Development for three of my four years of study. My mini-thesis explored the experiences and challenges of 1st-year students at UCT adjusting to university. Studying social work has not only allowed me to better understand those around me and their thought processes but also, to better understand myself and the possible reasons why I am the way I am. As part of my course requirements, I had to complete field practicals – by putting the theory that I was learning in class to practice in a real-world environment. My field practice experience ranged along a spectrum: from providing social work services to underprivileged youth in a primary school in Bonteheuwel, to interning in the more affluent area of Upper Wynberg, at an international school. This experience further fostered my innate empathy and non-judgemental outlook for those around me. I am someone who is not afraid to get my hands dirty, work hard and help out where I can: currently job hunting, I have occasionally been helping my father with renovations to his property that include painting, plastering, applying putty, etc. This has taught me many practical things that I hope to apply when I own my own house one day. A few months before now, I worked as a Personal Assistant to a therapist and social worker. This was a remote job that taught me valuable organisation and time-management skills. In my early years of study, I found myself working a sales assistant job at the Robben Island Museum Gateway store, and found that my favourite part of the job was interacting with the different tourists that happened upon our humble store and hearing their stories – where they were from and why they decided to visit SA, etc. I love reading, and since a young age, I’ve been considered a bookworm. I mainly enjoy supernatural and sci-fi novels and webcomics, as well as other forms of content such as newspaper and magazine articles (need to know what’s happening in the world around me). English was also my favourite subject at school, and I think this was also encouraged by my English-teacher mother who was quick to correct any incorrect grammar and pronunciation when my siblings and I spoke incorrectly. I often assisted her in marking her learners’ English examination scripts and as a result, am quick to pick up on spelling or grammatical errors. In my free time, I enjoy spending time with my family, long walks with my dog Ninja, and photography. This has led me to submit a piece that is currently being exhibited at the Zeits Mocca Art Museum, in their long-running ‘Home is Where The Art Is’ exhibition. Furthermore, my faith has given me strength through the darkest times and taught me to be tolerant and understanding of those around me. I am still very much figuring life and myself out as I go along and am always open to learning from those around me.
"All things are possible" I love the outdoors, travelling, animals and people. I was an ardent hiker, and this allowed me to visit some of the most amazing hiking trails in South Africa. What inspires me most is the ability to positively impact the lives of others through the plethora of skills I have acquired over the many years of experience. I have the ability to add value wherever I am placed. I am energized by strategy, new challenges, and the search for the most efficient and impactful solutions. My career began in education. As an educator I enjoyed the children. I know this will always be part of who I am as I will always be passionate about teaching and will continue sharing knowledge, mentoring, and coaching, etc. I ventured into the corporate environment as I excelled with my financial skills and thought that my career would entail the chartered accountant route. I did the required academics, got the job and my focus was numbers and more numbers. Again, I was challenged because my love for people was not satisfied. I once again did a complete change in my career by studying, job shadowing and taking on projects in the learning and development and human resource departments. One of my memorable periods was asking the CFO of the organization to give me the opportunity to split my job in two areas to show my capabilities and therefore be considered for a position that was eventually created for me. This was exciting and I thrived in this environment. I felt like I was adding value as the position focused on the growth and development of the youth, once again. I knew that I could accomplish more and add more value through venturing out on my own. I started my own business which offers the services of learning and development, strategy, human resources and finance. This has been an exciting journey with many challenges.
Hello, I’m Deborah! I was born in Congo RDC and came to Cape Town South Africa in October 2012 to study at university. I have a National diploma in Financial accounting and a diploma in Financial information system. I am an ambitious young lady and I love to be surrounded by positive people. I’m a dedicated and conscientious team player with the ability to provide support and advice to people, customers, or co-workers and make a difference. I am organized, responsible, very loyal, focused and I can have the work done on time and meet deadlines. While doing my National diploma I was also working as a part time customer service sales representative. I became full time agent right after I graduated at university. I am a customer relation professional with more that six years of experience in customer service work, inbound and outbound calls, emails and social media. I have excellent verbal skills with the ability to communicate my thoughts and information in a clear and easy to understand manner. I am confident that the experience, the capabilities I have make me ready for any opportunity. I speak French, English, Swahili, and Lingala I love singing and dancing, reading, and my favorites animals are dogs and cats. Looking forward to be part of Zagenie family! Thank you!
Live and love as if there is no tomorrow! Hi, my name is Emmerentia. I was born in the beautiful city of Cape Town, South Africa, in the ‘60’s, which means that I'm an original, retro hippie chick at heart with the good, old-fashioned values to back it up. The highs and lows I’ve dealt with in life have taught me a valuable lesson…time is not guaranteed and is therefore not to be lost. I am enjoying my journey, still learning new life lessons and growing to become the person I am meant to be. I must pay tribute to the University of Experience and the School of Hard Knocks for the valuable contributions you have made to my life path thus far. Stronger. Wiser. Blessed. My passion is to help others to reach their full potential. It is even more difficult to do that in one’s own life (it’s so easy giving advice to others, isn’t it?) but making a direct contribution or figuratively planting a seed and watching it take root in someone else’s life is deeply rewarding. We are on this planet to live good lives and to make a positive difference to our direct environment, wherever our feet may fall. Aim for the stars; never forget your roots. Be yourself, stay humble, be kind, be grateful, make love an action…not a word. My mission is to help people from all walks of life, gain financial independence, while caring for the world around us. Learn how to earn. Make sure you have a meal, an income, clothes, a home and good health. There is no planet B. I’m a big fan of renewable resources, organic gardens and farming and hugging a tree. Helping our paw-legged friends in shelters, finding furever homes much faster. Same for birds, horses, donkeys, circus prisoners and liberating zoos. I am an excellent chef in my kitchen 😊 and I love baking (to put it mildly). My cakes and tarts are wickedly good and not being gluten intolerant is still my highlight of the previous decade! My downtime is spent walking, jogging, going to the beach, horse riding and playing golf. With over 38 years’ combined experience, accumulated by time spent in the corporate world and having 3 businesses over the years, I have a wealth of experience to share and utilize. Words, in a personal bio, aren't plentiful. Not to me, at least. I feel that the chances of someone reading about what your opinion is of yourself and BELIEVING it is remote. The tough part is that you don't know me, nor I you, yet I'm trying to “convince” you that what I say is who I am as a person and that what I say is what it is. The eyes are windows to the soul…that isn't exactly happening here, and that sense cannot always be replaced through words alone. So, the moral of the story is that what I list below as my key character traits, strengths, weaknesses, achievements, experience, etc. is in reality simply just that. Traits: Dedicated, honest, loyal, trustworthy, tenacious, dependable, creative, methodical, sense of integrity, ethical, tough but fair, empathetic, lighthearted and friendly. Strengths: Comfortable in a team environment or working independently, management, skills utilization, delegation, human relations, conflict resolution, analysis, strategizing, implementation, problem solving, business administration. Weaknesses: Impatience, self-critique, injustice and rudeness stirs my temper, being micro-managed, cheesecake. Experience: Sales, sales management, customer relationship management, business administration, directorship and general management of 3 x businesses previously owned/co-owned. Summary: A self-starter who gets what's required done, pronto. I am self-motivated, enjoy new challenges and try my best to excel at what's before me. I love working with people, as this is simply my passion.
Rome wasn't built in a day. I’m of a very friendly nature and love to be with people who aren’t selfish. I am ambitious and will do anything to achieve my aim - "The Universe applauds action not thought" I’m of a very adventurous nature and love to find good in everything I see. There are many things that make us depressed or upset, but that doesn’t mean that we stop living. You dust yourself off, honor the difficult times for the lesson it taught you, and walk away stronger and wiser. Independence and confidence were key in my life from a young age with venturing to the UK straight after school, and eventually ending up in Cape Town as my dream destination to live a happy balanced life where beautiful sunsets are part of your everyday life, and reminds you that dreams do come true. My professional life started as a labourer painting parks in the dire UK winter weather to an Insurance consultant for a huge corporate company. Getting to know me over time, it became clear that I adapt quickly and take pride in everything I do, as I strive to leave everything and everyone better than you found them. COVID-19 and the drastic changes that came with it has been the most challenging and rewarding time of my life. With a system that failed us all in so many ways, living a financially stable life is nearly impossible, but forced me to get grounded with nature and realize that the best things in life are truly free. My senses for nature, animals, and my overall humility enhanced drastically. We are all just reminded once again that nothing ever goes as planned and that losing everything including your mind might be necessary to make you realize what a strong, resilient, and galactic species we truly are. Realizing this, I am now more than ever ready to spread love and kindness whilst challenging myself with new adventures that push me out of my comfort zone. There is no other time than the present that truly matters. And At this moment, I am excited to change my reality and the lives of those around me.
“Fall down seven times, stand up eight.” A Japanese proverb close to my heart. It has helped me persevere in so many situations in life and those situations have molded me into the woman I am today. Here’s a brief introduction to who I am. I am a new mommy to an adorable baby boy. A jack of all trades. I’m an artist at heart, fitness enthusiast, avid reader, and quite academic. I was born on the 9th of August in the year 1996 in Elim, a small village in the Limpopo Province. I grew up in Johannesburg and later moved to Pretoria in 2006 when I was in Grade 4, where I completed the rest of my school career. I have always been a very dedicated student. I finished school as a top student in my Matric year (2014) in Hoerskool Silverton. Ideally, I thought that I would finish university on record time but it seems I had a few lessons to pick up along the way. I began my studies at the University of Pretoria but sadly dropped out due to academic and financial exclusion and so I continued the rest of my year as a freelance tutor to make some money and figure out my next move. During this time I found that I work quite well with young kids and have enjoyed tutoring ever since. I returned to the said university again and hit the financial exclusion wall yet again so I went ahead and tried out a learnership in the automotive industry, for a year, where I earned a stipend. This encouraged me to go back to school and try part-time (Yes I do not give up easily!) Presently I am currently pursuing my degree in Mechanical Engineering through the University of South Africa (UNISA). I have always been one to participate in almost every extra-mural activity since my primary school years, I played softball, hockey, and cricket. I took part in cross-country and district athletics to name a few. My love for sports made me gravitate towards what I currently do part-time, I train on a regular basis, and I am a wellness coach and a distributor for a prominent nutrition brand. A large part of what I do involves helping people correct their nutrition and learn more about the benefits of healthy eating so that they can lead a healthier lifestyle and feel great while they are at it. I have been involved in various projects that involved giving back to those in need. I have been involved with an initiative called Feed a Homeless Homie, where we made food for the homeless and distributed it at least one weekend a month, I also helped a friend of mine with a pads drive for less fortunate girls, I also give clothes to homeless shelters for women and children whenever I can and I worked with an NGO known as Keep That Gold Shining (KTG) where we tutored young kids in high schools in the townships. I am a philanthropist at heart and believe that even the smallest contribution goes a long way. As mentioned I am also an artist, mostly self-taught. I do painting on commission as well as pencil sketching. I do not have a specific style as yet but most of my work features women from different walks of life. I would like to collaborate with more artists in the future and have exhibitions. I try to read at least one book a month. My favorite writers have always been James Patterson and Dan Brown however I recently branched out to other genres besides suspense and thrillers. Some of my latest reads are: • Rich Dad, Poor Dad by Robert Kiyosaki • Atomic Habits by James Clear • The Alchemist by Paolo Coelho • Half of a yellow sun by Chimamanda Ngozi Adichie • No Longer At Ease by Chinua Achebe I can speak at least 6 of the 11 official languages, I am fairly tech-savvy. I am a quick learner, always willing to pick up a new skill. Life has thrown several curve balls at me and I never backed down. I strongly believe in working hard and not giving up on anything I do. My name means ‘Be Strong’, that is who I am!
I was born in Port Elizabeth (now Gqeberha), South Africa. I’m an outgoing person who is both introverted and extroverted depending on who I’m with. I enjoy meeting and interacting with new people because I believe this is how you learn and grow as a person. I’m forever looking for new adventures or challenges. I’m a go-getter, never afraid to fail because we learn more from our failures and build character from them. I believe one is never too old to learn something new things. “You can’t teach an old dog new tricks” doesn’t apply in my life. I enjoy the outdoors, especially hiking, which has exposed me to some of the most beautiful hiking trails in South Africa. I also love taking game drives and explore our nature, especially the animals in their natural habitats. I haven’t had the opportunity to travel beyond the borders of my country. Hopefully one day I’ll travel the world, meet different people and get to experience diverse cultures and cuisines. I had dreams of becoming a medical doctor, but due to financial difficulties, I settled for a National Diploma in Biomedical Technology. At least, I got to work in the medical environment with doctors and other medical personnel for about 5 years. I realised that working in a laboratory was not suitable for my personality because I love people, I enjoy interacting with different people. I enrolled for a Diploma in Marketing and that led me to the pharmaceutical industry where I combined both my medical background and the marketing qualification. I worked in Sales and Marketing departments. I also had the opportunity to turn my passion for fashion into a business adventure and started my online clothing store, which was a very exciting and challenging adventure. I learned a lot about importing and e-commerce. When motherhood happened, and I took a break to become a stay home mom. I got involved in fitness and nutrition business. I realised that the entrepreneurship bug has got me and needed to empower myself to avoid mistakes I made in my previous business adventures, that is when I decided to register for a BCom degree in entrepreneurship via Unisa, which what I’m currently busy with. I am also teaching English as a foreign language online on a freelance basis. I plan to also learn one or two foreign languages as I plan to travel the world in the not-so-distant future. I’m excited about the future and learning more in this university of life.
“The key to unlocking complexity, is simplicity itself” This is the lesson that I have learned time and time again, not just in business, but life as well. Hence my perspective, in that we can complicate life or take a pragmatic approach. I grew up in a single parent household, with my father and younger sister, uncommon in my community whereby most single parent would be one’s mother, but this has shaped my thinking…not everything is what it seems. Firmly believe that personal and moral growth is a direct consequence of uplifting communities and protecting the vulnerable. Recently, I was the MD of a rural firefighting programme and still remains one of my passions in terms of assisting underserviced communities. I’ve worked in television, mainly satellite broadcasting, the South African revenue service, back into broadcasting, then firefighting and now green economy initiatives including a component of green building construction and manufacturing. Personally, an avid motorcycle enthusiast as well as a proponent of animal welfare. As you will notice from my pictures, motorcycles and pets. Right now, we have 10 pets, 4 dogs and 6 cats. All are adopted and some rescued, save for the German Shepherd.
I am ambitious and driven. I thrive on challenges and constantly set goals for myself, so I have something to strive towards. Not only that, but I’m always looking for ways and opportunities to better myself and achieve greatness. I’m highly organized, always take notes and use a series of tools to help myself stay on top of deadlines. Furthermore, I keep a clean workspace and filing system, so I’d always be able to find what I need. Also, I find this increases efficiency and helps me stay on task. In addition, I love meeting new people and learning about their stories, it always gives me new perspectives. I can almost always find common ground with strangers, and I like making them feel at home in my presence. I find this skill is especially helpful when dealing with new clients or even strangers when meeting for the first time. I am result-oriented, constantly checking in with the results to determine how close or far I am, and what it will take to make it happen. Pressure inspires and acts as a great motivator. I pride myself on making sure people have the right information because it drives better results, and I feel a sense of responsibility to keep everyone on the same page when it comes to work-related matters. I would describe my personality as a little of everything. Likewise, I am creative, adventurous, driven, curious, enthusiastic, observant, positive, and self-aware. This is what makes me easy to work with and makes the people who surround me happy to be in my presence. When it comes to my work I am attentive, helpful, patient, respectful, supportive, and very flexible. This is what I believe makes me so easy to adapt to any situation thrown my way. Life is full of ups and downs. I know this is a cliché, but this phrase summarizes my whole existence. Sometimes my life is fun, happy, and almost enviable and at times my life is sad boring, and uninspiring. I have never tried to be perfect, but one thing is true — I AM WHO I AM.
I’m a proactive recent college graduate (International certificate in Cyber Defence) from the Institute of Advanced Cyber Defence in Sandton, South Africa. During the course of my academic career, I also managed to accrue nearly 10 years of work experience. I had the privilege of working for Absa Bank Limited as a Forex Teller and an International Banking Consultant, where I learned valuable professional skills in foreign exchange, global banking, and branch operations. While working at Absa bank, I was exposed to a culture that had a high demand of customer or client services. I learnt to be a much organised individual and now able to deal with projects at hand and also to work under enormous pressure. I was awarded Teller of the year for two consecutive years and had been an ”A” performer influencing my colleagues to do the same. The role of being second in charge at the Teller department empowered me to lead, supervise and initiate action. I empowered myself by studying and finishing a Certificate in Banking, after which I registered and obtained a Higher Diploma in Banking specialising in Treasury and International Banking. My passion for International Banking and Financial markets led me to register and obtain a certificate for Regulation and Ethics of the SA Financial Markets with the South African Institute of Financial Markets. In 2015 I wrote an article about ” My purpose and Journey” within Barclays Africa and won that competition for a trip to Robben Island to meet the then Barclays Africa CEO Maria Ramos and the late political icon Amhed Kathrada. My broad range of interests brings me into contact with the diversity of people and that talent South Africa and the world offers. I want to promote this talent and creative output especially of local people. I am a hard worker, good organizer, very good with numbers, energetic and responsible individual. I started my schooling with a desire and passion to make an impact to every situation encountered. Education has taught me that world of work does not need greater minds, but the determination and desire to what one does. In both my academic and professional life, I have been praised as a hard-working individual by my lectures and peers. Whether working on academic, extracurricular, or professional projects, I apply proven teamwork, best customer service and critical thinking skills. I’m a very spiritual person who is passionate about the well being of others. My love for God led me to dedicate each morning into writing and sharing daily prophetic words and worship songs to my entire network including friends in Europe , and also guiding some on their spiritual journeys.
Vuyisile, a South African, a social and environmental consultant, a trainer and a social facilitator. I have been interested in all ventures that connect me with people from an early age; as a student in primary, secondary, high school and universities. As I am growing old, I want to be involved in ventures that will enable me to plough/give back to others. I have been involved in several communities, governmental and non-governmental programmes for some years. These programmes vary in their focus, ranging from social, political, stakeholder engagement, environmental management, coastal management, animal welfare and religious activities. I played different roles in all these ventures from being a Coordinator, a Manager, a Researcher, a Facilitator, Trainer, a Director and many more. These activities involved lots of travelling both nationally, regionally and internationally. These travels exposed me to lots of different people, languages and cultures. Since then, travelling has become my passion.
My Bio will tell you about my past and present. The past is important but nothing is more important as the present ME! The Beautiful and strong ME! The ME that makes the people who know and love me happy to be in my presence, the present me is what matters. My values and morals and my way of thinking are what is important, the past was just the "making of", the preview one see's of movies and series, the past is an ancient scroll where most of my life is narrated by my parents, teachers, siblings and the other significant people who come and go from one's life, My present is the true picture of what I am and who I am so let me give you insight into who I am: I am a straight talker yet I am loving and a helpful person who is always willing to learn new things, I follow rules only when it makes sense and is fair. I was born to a mixed-race couple in the "old South Africa (during apartheid)" while the political climate was unstable and in its rebirth stage, my mixed-race background has made me culturally rich. ancestrally I come from a diverse lineage, I have a Scottish and Irish father, a mother with little french a little Indian (Afghan and Pakistani), I have a little of everything, which has made me the odd one out as I look different from the rest of my family, I do not fit in with the brown people, I do not fit in with the white people and there is nothing wrong with that I do not need to be labeled to feel like I belong, I am one of the reasons why our country is known as the rainbow nation a mix and mashed beautiful product of all that is good. my personality and likes have made me the odd one out and the weird one, luckily my husband is just as weird as I am, I always tell him my weird matches his weird, it makes us a perfect match, we were made for each other destined to be together almost as if it was written in the stars, a destiny fulfilled with a happy future in the ahead of us. happy and together forever and always, I still find it hard to believe that there is someone out there who not only gets me, who understands me, my way of thinking, and the way I view the world but most importantly who LOVE'S ME for ME! I consider myself spiritual and not religious although I was raised catholic and attended a convent where a lot of who I am today was made. The making of ME! The sisters of mercy and catholicism had the opposite of the intended effect on me I am not deeply rooted in the catholic faith, even though I had many lovable and amazing teachers and friends who made my school days worthwhile. religion does not make sense to me and I consider much of it to be untrue, designed and shaped to manipulate and to rule the masses or one could say those who prefer not to think for themselves who would rather be sheep and led to the slaughterhouse willingly. My philosophy is this: as long as I love myself and my neighbor I believe Im living the right way and try to instill those principles and values in my two sons. I believe that knowing and giving Love encompasses all the values needed to live a healthy life, Love naturally breeds, respect, forgiveness, and mindfulness. Love means living from the heart when one lives from the heart it naturally voids the ego, the ego destroys the manically malevolent whereas the heart creates and builds, Love is a tool with which one can build a life rich in emotional health, enlightenment, and mental stability. Love is my church, love is my essence and if ever I am in doubt I read up on the writings left to us by all the great masters, Jesus, Muhammed, Buddha the Dalai lama and so many more masters, some of whom are more modern and still living and basically all their writings convey the message of Love. So this me and there is more to me than what is written here, but what is written here is more than enough to get to know me better.
Born in Kinshasa, Democratic Republic of the Congo, but I am currently live in South Africa (Cape Town) about 7 years I am Married to Magalie since 2018, and we have a 2 years old girl. I am a honest, ambitious, friendly, reliable and motivated person. I’m a skilled individual who has excellent training as a Cisco Certified Network Associate (CCNA). As a result, I have good knowledge of routing, switching, network applications, protocols, services, and wireless skills. I am a self-motivated person and I try to exceed my superior’s expectations with high-quality work. Being a fast learner, I quickly pick up business knowledge related to my project. An experienced and customer service with a strong interest to increase customer satisfaction and at the same time making sure all the operations are being done properly. I believe my strengths are that I am a person who can work under a lot of stress and have excellent communication skills which enable me to handle a leadership position as wells work in a team. I care deeply about workplace professionalism. I regard myself to be a very open-minded person, ready for a new challenge when it comes to technology. People consider me to be a social, temperament person who does not hesitate in giving my opinion for what I think and believe in. I have always enjoyed meeting new people, and it comes naturally to me to maintain a lot of relationships. I love trying new things, creating new methods, and introducing new ideas. I love watching soccer, specially when Leo Messi plays, movies and playing games.
I am a 26-year-old woman, born and raised in Johannesburg where I have lived my entire life. One of my biggest aspirations is to travel across South Africa and eventually the world. Although I was bred a city girl, my heart lies at sea. Another one of my aspirations is to own a home along the South African coast, within walking distance to the beach. I have been known as a bookworm since childhood. I always preferred to have my nose in a book rather than watching cartoons, hence my passions are reading, writing, and editing. Taking my love for books into account, I decided to study English literature, linguistics, and journalism. I have a great love for animals, and I currently have four dogs and a cat. I also love being out in nature. I am always keen to go hiking, take a trip to the beach, or take the dogs for a walk in the park. Another one of my interests is fashion. I have my own sewing machine and often create clothing for myself. I believe we are all responsible for our actions, and we decide where we want to go in life. I think if you want to do something, and you believe you can do it, you can. All you have to do is put in the effort. Nothing comes easy, but if you put the work in you will achieve your goals and be anything you want to be. This is something I live by. I also think that building relationships and being able to work with others is extremely important. Succeeding in your endeavors often depends on how you work with and treat people, not just on what you can accomplish on your own. I have only started my journey, but I am looking forward to experiencing new things, building good relationships, and making the most out of every situation or opportunity.
Born on outskirts of Belgrade – Serbia in family of 4. Immigrated to South Africa in 1991 “running away” from civil war. Even though that I came to South Africa without papers, money, job or being able to speak English, I made this beautiful country my home. My career took me from being a waiter in the restaurant (my first job here) to Restaurant Manager, Sales Manager in Timeshare Company to MD and CEO of ZA Galvanizing. At the end of the August this year I left my last position of Regional Sales Manager of EXIM International. When it comes to business, I am dedicated, punctual, loyal and organized with the skill set that made me achieve any task in front of me with the high rate of success. Privately, I am nature and animal lover, a bit of the environmentalist and lifelong naturist. I am one of the funders and first Chairman of Western Cape Naturist Association – WCNA and South African National Naturist Association – SANNA. Passionate follower and supporter of South African Rugby and F1 Grand Prix.
My name is Jean-Mark Lufuluabo,born on 25 of November 1990 in mbuji-mayi,D.R.Congo.And I am the first born of a family of 8 children. I attended high school in the same city ,majoring in biology and chemistry.By the age of 20 I was a manager in a family business, combining it with college. Where I studied commercial and financial sciences in ISC(Institute Superieur de Commerce) this time in another city called Lubumbashi. I speak 5 languages ;English French,Swahili,Lindale and Tshiluba.I am also Skilled in HTML,CSS,JAVASCRIPT and J query. I moved to South Africa in 2015,loved the adventure so far.In South Africa I attended a fire training with Pulse Training Academy, then after worked as fire Marshall in Harbour dry dock at Cape Town’s port. I have worked also for Tessara (ex Grapetech) in Epping Cape Town , And currently working as delivery partner with Picup and UberEats. As a person ,I love sports, hiking ,reading . I would like to fly if I had the means to do so. Above all, I am open minded person, who seeks to improve each and everyday.
I have been involved in the music industry for the better part of my life. As a performer and creator, I have had the opportunity to entertain many people over the years. I have a great passion for music and the arts in general. As an avid reader, I take great pleasure in immersing myself in the prose of those who are highly skilled in the literary arts. This stood me in great stead when I embarked on a course in Journalism a million years ago. Although I never completed the course, certain skills have stuck with me to this day. My journalistic endeavour was eclipsed by my musical passion. A passion that has given me much joy and also lead to much heartache. Nonetheless, being a staunch collector of music, it wasn’t long before I utilised this collection, and branched out into spinning records on dance floors around the country. Having grown up in Cape Town, South Africa, in the ‘80s, I was embroiled in the struggle for freedom. Battling the apartheid regime. This struggle, which was so much a part of everyday life, gave me a sense of something bigger than myself. A sense of community and belonging to something that was more important than my own personal well-being. Generally speaking, I would like to believe that I am an artist at heart. When I say that I don't mean that I like to draw or paint or any of the other physical manifestations of art. What I mean is that I approach life as art. If that makes any sense. I am the proverbial Jack of all trades. Master of a few. I think my biggest asset is that I am always willing to learn. That is something that I intend to keep doing until the last breath escapes my body.
Born and raised in South-Africa by a single mother in humble surroundings. Doing Taekwondo for years and attained my International black belt with the following principles, this was apart of my childhood that guided me into my adult life: Showing courtesy to others no matter what level of society labelled them; training continuously whether I was up for it or not; showing integrity, even when no one was watching; perseverance when I wanted to give up; self control when it was difficult to compose myself and learning from my couch to have a indomitable Spirit. Finishing school it was expected of me to follow in the "Afrikaaner Man's" footsteps to have a job where you work many long hours a day, week in and week out, get your salary, sleep and repeat. My passion for music gave me the confidence to follow my heart and to head towards Cape Town for a short holiday, but I ended up staying here and studied for Audio Engineering, whilst completing my studies and gaining experience in the industry. COVID19 affected the industry drastically and I had decided to use my spare time productively by enrolling in courses such as Social Media marketing and Programming. I also started a small business where I rent out my sound equipment and host small gatherings and events. Helping friends with their business promotions and seeing how people enjoyed the events I have hosted, it made me realize that I have a passion to better others and their circumstances. Following my dreams against all odds lead me to where I am today and to appreciate every single moment by not wondering about the past or worrying about the future. Focusing on the task at hand and having it complete well within the deadline is what I strive to achieve and I love learning and gaining knowledge along the way to further myself in everything and anything I get the opportunity for. I am ready for new challenges and know that having a healthy work balance will help me to reach my full potential.
I would consider myself a mix of both introverted and extroverted. I love being around and working with people but I also enjoy my own company. I’m also very family orientated. Family is everything to me! My passions are a mix between working with/building fruitful relationships with people whether it be in the workplace or day to day life, I love helping people and bringing out the best of those around me. Outside of that I also love doing anything to do with being outdoors. I’m always up for an adventure such as hiking, camping or even just a walk along the beach. I’m also passionate about and absolutely love animals. I’ve done horse-riding practically my entire life and it’s so therapeutic for me, to just get out into the country and get my mind off everything going on. I was born in Johannesburg, but lived majority of my life in the beautiful mother city known as Cape Town. I’ve never got the chance to travel outside of South Africa, however it is something I have always wanted to do and I know I will accomplish in the future. In the meantime, there’s actually so many parts of my own country that I haven’t even experienced yet, so I’d love to start there. My work life has involved various industries, starting off with retail and moving on to the sales environment both internal and external. I could say I had a certain plan for my life and career, but that all changed when I unexpectedly fell pregnant with my son. I then went from being an independent, carefree person to spending the last few months staying at home with my child. Which has honestly been life changing and I wouldn’t change a thing! However it’s now time to get back into the working world and do everything in my power to give my son the life he deserves and one I wish I had growing up.
I am Alonzo Van Aarde, born on 9th July 2002.I was raised in Cape Town,South Africa,I am the oldest son out of 6 children, Recently (last year 2020) I have matriculated in my home town,Mitchell’s plain I never quite had a fixed job but I have had my fair share of holiday jobs in a shoe store it was called first stop shoes in a shopping complex close to home,In my free time i would work private jobs with my father and doing shop fitting and house renovations all over Cape Town,I loved helping my father out,It was also a way for me to have extra pocket money,I also worked at a Taylor blinds company,whereby the production of blinds called Taylor blinds in Montague gardens I took part in various programs whilst at school, Namely in leadership development skills with a NPO called M.O.V.E and another called J.A.M, where I was taught to run my own business,This was done during my schooling, I have obtained certificates for these courses,These two courses was done over a period of 12 months, I was also an RCL members as well as a Prefect at my school. I am also part of a group called M.O.C(mission of Christ),I where i furthered my leadership skills but in a more spiritual sense in doing so we take part in outreach programs and preach the gospel I speak fluently English and Afrikaans,I am currently studying Japanese,because I am intrigued by it I am computer literate,Microsoft enabled as well as Linux.I am also a musician,In my spare time,I teach people to play an instrument and also to read music, I also write my own music as well as produce music, I use this skill to help many young and upcoming artists I work with an Organization called My Child Is Your Child, Creating a platform where young people can showcase their talents and make something out of themselves,I live in a rough community where children are killing children and I’ve joined this organization to make a change in a community through various forms of art My hobbies are, playing different sporting activities,going to the gym,writing music and drawing portraits.
Born and raised in Cape Town, South Africa, I am Aa-isha Hassiem a 22-year-old who could be described as ambitious, hard-working, and a perfectionist. I enjoy being challenged with new tasks, as I believe discomfort allows one to grow and learn. I enjoy teamwork, but I am also capable of working on my own. I believe that communication is an important aspect of any relationship, especially professional ones, as it doesn’t leave any room for errors or misunderstandings. Therefore, I pride myself on being a skilled communicator. I am organized, goal-driven, and I find it very hard to set a task down once I have started. I may not have the most extroverted personality, but I do enjoy socializing with others in any setting. I recently graduated with a BA in English and Communication Science. While completing my degree, I worked as an editorial intern at Highbury Media, where I gained first-hand experience in editing, publishing, and social media management. I was also able to sharpen my writing skills, which came in handy as I went on to work as a freelance writer for ClubX Magazine for over a year. Even though I do not have years of experience behind me, I am, however, eager to learn. And a fresh mind is always a benefit. When it comes to my free time, I enjoy reading, writing, and painting. I am also currently learning Italian and intend on tackling many other foreign languages.
Born and bred in beautiful Cape Town, mom to a long-awaited, witty, (inherited from me of course!), amazing, lively little 5-year-old girl, 2 dogs and 2 cats, 'my rescue children'. Married to Tomy, a senior digital content producer hailing from Tennenbronn, Germany. He is as introvert as I am extrovert – the scale balances beautifully. In my spare time (which is limited!) I sketch, paint, and try my hand at baking, while completing a mini-thesis in psychology. University after high school was not an option. I am also a seasoned HR professional, with a passion for people and process, building and maintaining great relationships form the foundation of both who I am, and what I do. And it’s a solid foundation. Hailing from the Pharmaceutical industry, I entered the world of investments about 14 years ago, where after joining as Office Manager, I moved into HR and have been in the HR sphere since. My journey has taken me on many a bumpy road, however, being a glass-half-full type, seasoned by an interesting childhood, and a solid determination to rise above, I march smilingly on. I have a passion for order, automation and software which could aid in optimization, easing transitions and processes. I am resilient with great sense of humour, always welcoming a challenge. I have a firm belief that building and nurturing relationships are paramount to success. I love meeting people and building relationships come naturally to me. I believe it’s the level of connection that counts. I am passionate about my work, I love what I do, and I do it well. I believe that doing what you love is a privilege. Yet, I still long for something more philanthropic in life. To give back, be it ever so small. Being an eternal optimist and peppered with life’s-experiences, I have been shaped into the person I am today. Pragmatic, passionate, and humble. An enormous amount of grit coupled a with good dose of grace! I am not done growing yet, not by a long shot, there are too many interesting, inspiring people to meet along the way, and there is always something to learn and something to contribute in life. It’s the journey that counts and I enjoy every step.
I am outgoing, dedicated and love new challenges! I believe that a person should work on developing their skills and learning new things all the time. I love sports gaming and fishing during my “downtime”. I believe treating people with integrity and respect will always yield great relationships. I love spending as much time as I can with my family and loved ones. I believe working together as a whole we can achieve great things. I am very optimistic and very open minded when dealing with day-to-day life. I love my animals as they truly bring the best out of me if I have had a long challenging day. Working as a Manager in the Hospitality industry for nearly a decade I have learnt many valuable lessons and feel I have grown each year bringing great personality, enthusiasm and constructive ideas to the table. I have a positive outlook on life and I wish to share that positivity with you someday! Showing compassion for others in this industry and any industry I believe will always get positive results. I am, because we are. Bound together in ways that are invisible, humanity is all about being one. Caring unconditionally, and sharing with everyone around us. Combining a salient philosophy of caring and sharing, with the strength of unity and community. We can determine the course of humanity and our destiny, by challenging the digital status quo. “I am, because we are. Together.”
I am a positive, happy person who loves all aspects of my life. I love the beach, animals and children. I am a people’s person. I grew up in the Kruger Park and that is where my love for animals and people comes from. Love working with people from all over the world. I have three beautiful children and an amazing mom whom I adore. I received the most precious gift of all very recently when I was blessed by becoming a grandmother. Like most young people and since I can remember, I had a dream… I just wanted to be a teacher when I grow up. Like a lot of young people, I did not have the means to pursue my dream. At the age of sixteen, I started working in the Kruger Park tourist shop as a cashier during school holidays. Naturally, when I matriculated and because I could not attend a college or university to study what my heart desired, I started working for SANParks. I worked in different departments from the tourist shop to finally being promoted to year in advance bookings at SANParks head office. I will always “want to be a teacher in my heart but never will I be disappointed for the foundation I had. Working for SANParks gave me the opportunity, confidence and knowledge to work with tourists from all over the world. They had a huge hand in the way I see people and the quality of work I offer. I will always be thankful. I am a loyal, loving, understanding, empathetic and kind individual. I learned a lot about people over the years. People tend to confide in me and I am a very good listener. I can solve problems easily because people listen to me and usually follow my advice. It makes it a lot easier to solve problems in the work place concerning personnel and clients too. I have a sixth sense about people and it usually turns out to be spot on. The way in which I treat people, they will follow my orders without question. I learned a lot during my years working for different companies and working in different departments and environments. I know how to handle myself and every situation and challenge I am faced with. I am hard working and not afraid to learn new things. I am a quick learner and I always follow through on everything I do. Even if it is a new challenge I have to tackle and always give a hundred and one percent doing everything that has to be done. I am not afraid to walk the extra mile and to do everything to the best of my ability. I gained a lot of professional work experience. This includes... working as a reservations officer, receptionist, personal assistant, book keeper, financial administrator, school tutor and even running my own business for several years. I loved all the careers I pursued but my favorite by far was the work I have done with clients. It would be a honor and privilege to invest the experience I have gained and the skills I have mastered into your company and to share it with the world.
Marketing Consultant @ Colombo, Sri Lanka MBA (UK), Certified professional Marketer (Asia), Chartered Marketer, MCIM (UK) ,PGDipM (UK), MSLIM (SL) During my tenure in Audit firm, Financial Industry, Media Organization, Educational Institute, Retail Industry, Petroleum Industry, FMCG Company, Entrepreneur & Marketing Consultant , I gained wealth of knowledge & experience, all spiced with a well-honed instinct for positive marketing. With over twenty Four years of relevant experience I am adept at executing any tasks associated with the job. Marketing Consultant - (01/ 2021 – to date) Designed & implemented marketing strategies according to client’s objectives and budget, execute task and monitoring out comes. Influenced team members to establish most effective tools & methods, liaised with top Mgt & give strategic direction & findings. DGM – Marketing - (09/2019 – 12/ 2020) Lanka Sathosa Ltd (LSL) - Ministry of Trade Awarded & won SLIM - Nielsen People’s Awards for LSL, planned & implemented all marketing & advertising campaigns and increased imaged. Drives traffic to store & improved profitability by creating operational in-store action plans, designed & streamlined business strategies, turning around the company (LSL) by increasing foot fall level & basket value. Alliance with Pickme and Postal Dpt. tested and delivered groceries to customers’ doorstep , managed to design of LSL web site, developed & launched e-commerce platform & simplified website booking forms and also achieved highest sales of Rs.17.5Bn in first half 2020 at LSL history. General Manager - (08/2017 –09/ 2019) Infinity Foods (Pvt) Ltd - Market Trader (Pvt) Ltd Responsibility of the overall imported beverages and snacks foods portfolio and tested viability, including strategy direction and P&L. Leveraged new ideas to improved overall business, maintained of all KPI’s and in charge of the Mkt budget and reinforced the brand image . Brand Manager - (08/2015 –08/2017) Lanka Spice (Pvt) Ltd (LSL) - “Mc Currie” Delivered properly the marketing mix, simplified website of “Mc Currie” to increase the profitability, comprehensive strategic PR programs for the exploitation of LSL, channel marketing strategy, excellence in trade execution & secured top tier events for marketing & developed new slogan. Developed and presented the TV commercial to build image of the “Mc Currie” position as a premium brand in the minds of target market segment, turnaround of brand performance & maximized turnover of the year 2016. Head of Sales & Marketing - (03/2011 - 07/2015) The Golden Lane Shops - Maldives Exceeded Mrf.10.2M sales for month of July 2011 in “GL” history, Coached team members to improve their skills & achieved work quality. Responsible for rebranded “GL Style” into one of the strongest sports & casual ware brands in Maldives, has been able to achieved double digits’ growth, successfully handle commercials in Dhi T/V, MNBC, Raajje Radio and adverts on Haveeru newspapers to increased the awareness. Work as a part time Consultant / Trainer for The Hawks (Pvt) Ltd, (B2B Business) in Male, Maldives - (1/11/2012-11/2//2015) Brand Manager - (02/2008 – 03/2011) Sri Lanka Institute of Marketing (SLIM) Managed & maintained two brands, which were the Buckinghamshire new university MBA (BUCKS) & Certified Professional Marketer (CPM) status at the AMF and led colleagues and delegated teams to monitor sales. I was an active part of the team that launched "BUCKS MBA" program in Sri Lanka and monitor overall performance of the two brands. Published adverts, strategic alliances with advertising & media agencies, coordinate with head office in UK effectively build brand image in SL. Business Development. Executive. - (04/2005 – 02/ 2008) Wijeya Newspapers Ltd (WNL) An accomplished Mgt. executive for the launch of “IT Times” brand in SL. Identified innovative marketing campaigns, negotiated with major super markets to successful distribution of magazine of the in Island wide and delivered to Sri Lankan Airlines as well & increased the penetration level. Senior Marketing Executive. - (09/2003 – 04/ 2005) Leader Investment (Pvt) Ltd (Forex) Presented for real-time Forex trading advisory services to clients, ensuring they gain maximum return on investment & won customer confidence, reduced & resolved complained, ensured that all clients data was safely stored. build network with top line customers. I was an active part of the team in opening new branch office in Kandy City and led trained & motivated team to manage profitability. Chairman / Managing Director - (12/2001 – 09/2003) AMS Holdings (“SAP” Tea) Responsible for the launched “SAP” brand of tea and negotiated the longer payment terms with suppliers, reduced short expired return stock and saved money, ensured the optimal brand visibility of "SAP" tea. Improved overall penetration of “SAP” range of tea southern provincial area, suburbs of Colombo as well as some of identified super market in the country and maximized sales and streamlined the route plan. Established to worked as a Group Internal Audit Assistant at Sumathi Holdings & presented new findings to the Mgt.- (03/2000 -12/ 2001) During my career as an Audit Trainee at B.R.de Silva & Company, I have managed to visit varies types of companies - (04/1997 - 03/2000) Produced Student at St. Aloysius College – Galle, Sri Lanka (1979 – 1993)
L'Agriturismo Barbagust si trova a Sansicario in Val di Susa. Nell'antica baita del 1700, che la famiglia Bermond ha completamente ristrutturato, mantenendo intatto tutto il fascino rustico degli ambienti. Solo 9 camere, arredate in modo essenziale ma molto curate, per offrire agli ospiti il massimo dellaccoglienza. Il ristorante, ricavato in quella che un tempo era la stalla, offre un menù sempre eccellente, giocato sui sapori della tradizione locale e propone solo ricette curate con ingredienti di primissima qualità. Barba Gust, che nel dialetto di Cesana significa lo zio gusto, oltre ad essere una magica combinazione di accoglienza e prelibatezza, si affaccia sul panorama mozzafiato del monte Chaberton. The Agriturismo Barbagust is located in Sansicario in Val di Susa. In the ancient hut of 1700, which the Bermond family has completely renovated, keeping intact all the rustic charm of the rooms. Only 9 rooms, furnished in an essential way but well cared for, to offer guests the utmost hospitality. The restaurant, housed in what was once the stable, offers an always excellent menu, played on the flavors of the local tradition and offers only recipes prepared with ingredients of the highest quality. quality. Barba Gust, which in the Cesana dialect means uncle taste, as well as being a magical combination of hospitality and delicacy, overlooks the breathtaking view of Mount Chaberton.
I was born in Nelspruit, Mpumalanga, but raised in Jozini, Kwa-Zulu Natal and a Diver at heart. School Holidays was spent on the beach and in the ocean at Sodwana Bay. My Passion for acting started at a young age when I was approached by my arts teacher to play the lead as “Joseph” in that year’s school play, “Joseph and his technicolor dream coat”. In 2006, I moved to Saldanha bay Naval Base to conduct my basic training and upon completion, reported to Simon’s Town Naval Base Diving Centre. I worked at the Naval Diving Centre until mid- 2007, but reported for duty aboard SAS Spioenkop (Naval Warship) later that year and for the rest of my stay in the SA Navy. I resigned from the SA Navy at the end of 2009 to further pursue my childhood passion for Acting, after it had been re-ignited back in 2007, when a Production Company came to shoot the one part series, “Diver’s Down”, at the Naval Diving Base where I was stationed. Since then, I performed numerous small roles in Films and TV Shows with goals and aspirations to become a successful actor in the industry. Years later and struggling in the industry I started a Photography business in 2017 shooting headshots for actors in the industry and also specializing in Real Estate Photography. I also worked in the hospitality industry during this time working my way up to head of staff at a fine dining Italian Restaurant in the Bellville area of Cape Town. December 2018 I made the very hard decision to hang up my Actor’s hat and retire from the industry as I needed to make a change. So with a fire in my belly and a pursuit of a new career I embarked on an old passion within the boating world. I completed my Yacht Master Coastal and SAS Day Skipper certificate followed by a plane ticket to Nice, France. I spent a month walking countless amount of steps that would make “Discovery Vitality” proud on the docks of the various harbors handing out my cv in an attempt to book work as crew on board. With a few days worth of day work under the belt and finally booking an interview for a possible crew position, my visa expired and I needed to come home. Luckily I was being strongly considered for a position aboard but I needed to wait for the boat to come out of the drydock. With this I flew back to SA with a hopeful heart knowing that I would soon return to France. As things go, the opportunity was cancelled (Owner preferred a merger of the two available roles and he preferred a female). What to do now? Unemployed and with depleted finances of not being able to return I started looking for work and was unemployed until Sept the same year when I finally got an opportunity to begin work as a Junior Site Supervisor for a Construction Business (not ideal, but hey challenge accepted and gotta pay dem bills son!). I have since then worked for the same company, building weigh bridges, expanding warehouses, pouring concrete floors and laying paving. I have learned so much and have grown allot since then. Recently I approached and dusted off my photography equipment again and am in the process of starting this up as well. Being in the construction industry has sparked allot of ideas and have given me a new passion for real estate, especially as an Investor. People tend to describe me as ambitious, hardworking, punctual and goal-oriented. I have high attention to detail and work really well in both a team environment and on my own. I am pro-active, a problem solver and creative at heart. I won’t stop until the project or task is completed. More personally I enjoy the outdoors, love being fit and healthy and spending my off time with my most valuable assets; family and friends. Short term goals: – To learn and grow the new skills required to perform given tasks efficiently and with excellence. -To prove myself a valuable asset, as a hardworking, dependable and trustworthy individual to my fellow colleagues, managers and seniors. Long term goals: -To become one of the best in my department and be seen as the go to guy for a specific job or task. -To become manager and coach to younger generations looking to enter my industry. -To eventually run a team of managers, teaching them to effectively run their teams with excellence. I believe in serving others with excellence. The effort you put in will reap the results you desire. I also believe that being truthful, respectful and trustworthy are very important keys to success and I strive to live by these principles daily.
Chiara Cataldi, decoratrice pittorica, arreda le pareti col suo pennello con poesia e maestria. Chiara ha affinato la sua professionalità e creatività attraverso la passione e l'amore per il suo lavoro. Ogni muro o parete è un foglio bianco sul quale Chiara crea il mondo che il committente desidera ritrovarsi intorno. Fiori, animali, disegni geometrici, disegni astratti, le boscherecce che sono la sua passione. I colori sono delicati e armoniosi e sempre adatti al luogo e allìambiente. Anche i bagni e gli interni doccia possono essere oggetto del suo intervento con materiali naturali e impermeabili. La sua amata Genova con i suoi colori ha certamente ispirato la sua arte. Chiara Cataldi, wall interior decorator, furnishes walls with her brush with poetry and skill. Chiara has honed her professionalism and creativity through her passion and love for her work. Each wall is a blank sheet on which Chiara creates the world that the client wishes to find around him. Flowers, animals, geometric designs, abstract designs, the woods that are her passion. The colors are delicate and harmonious and always suitable for the place and the environment. Even the bathrooms and shower interiors can be the subject of her intervention with natural and waterproof materials. Her beloved Genoa with her colors has certainly inspired her art.
The Heritage Portal is a news and information platform for the South African Heritage Sector. It is a volunteer driven initiative that relies on content contributions from members of the heritage community. The Heritage Portal is South Africa's leading history and heritage website. Their goal is to get South Africans excited about the past. They publish fascinating articles and book reviews and share notices about what is happening throughout the heritage community. They host The Heritage Directory, a list of individuals, organisations and companies providing products and services to South Africa’s heritage sector. They are also building a database of South Africa's blue plaques.
I am passionate about my work. Because I love what I do, I have a steady source of motivation that drives me to do my best. In my last job, this passion led me to challenge myself daily and learn new skills that helped me to do better work. I am ambitious and driven. I thrive on challenges and constantly set goals for myself, so I have something to strive toward. I’m not comfortable settling, and I’m always looking for an opportunity to do better and achieve greatness. I am an excellent communicator. I pride myself on making sure people have the right information because it drives better results. Most business issues stem from poor communication, so I feel a responsibility to keep everyone on the same page. I am results-oriented, constantly checking in with the goal to determine how close or how far away we are and what it will take to make it happen. I find this pressure inspiring and a great motivator for the rest of the team. I am highly organized. I always take notes, and I use a series of tools to help myself stay on top of deadlines. I like to keep a clean workspace and create a logical filing method so I’m always able to find what I need. I find this increases efficiency and helps the rest of the team stay on track, too. I’m a people-person. I love meeting new people and learning about their lives and their backgrounds. I can almost always find common ground with strangers, and I like making people feel comfortable in my presence.
Da oltre 15 anni ci occupiamo di comunicazione integrata: facciamo buona comunicazione capace di rappresentare un reale valore aggiunto per aziende, brand, enti e prodotti. Offriamo nuove visioni e prospettive alternative, produciamo idee che prendono vita sui media, creiamo azioni e strategie in grado di colpire il target, di aumentare la visibilità e la soddisfazione dei nostri clienti. Siamo come comunichiamo: senza filtro, senza giri di parole e senza frasi fatte, pronti a rispondere ad esigenze specifiche mettendo sempre d’accordo creatività e mission.Stampa e affissione, spot radio e video, supporti multimediali e siti web: le competenze interne ed il network di professionisti che collaborano con Senza Filtro permettono la realizzazione di azioni comunicative articolate per ogni tipo di esigenza. La nostra Agenzia supporta i suoi clienti anche con specifiche attività di ufficio stampa, gestione social media strategy e consulenza strategica per creare visibilità. Le azioni e il piano di comunicazione sono studiati a partire dalle caratteristiche specifiche di ogni realtà con l’obiettivo di creare materiali stampa ad hoc per valorizzare i contenuti dell’evento sui diversi media sia web che tradizionali. L’agenzia è in grado di offrire inoltre attività di PR e promozione finalizzate a individuare ed a coinvolgere i target di interesse strategico.
Domenico Dolce was born in Polizzi Generosa (near Palermo, Sicily) on 13 September 1958. His family owned a small clothing business, where Domenico worked from childhood. Stefano Gabbana was born in Milan on 14 November 1962. He studied graphics but soon turned to fashion. After a brief period working as assistant designers, they founded the Dolce & Gabbana label, which had its first runway show as part of the New Talent group in Milan in 1985, upon the invitation of Italian fashion promoter Beppe Modenese. Dolce and Gabbana's First Collection In 1986 they produced their first collection, called "Real Women." In 1987 they launched their knitwear line and in 1989 their beachwear and lingerie lines. Beginning in 1988 they produced their ready-to-wear line in Domenico Dolce's family-owned atelier, located in Legnano, Milan. The first Dolce & Gabbana men's collection appeared in 1990. In 1994 they launched the D&G label, inspired by street style and a more youthful look. The clothes were produced and distributed by Ittierre. Slowly, the pair launched other product lines, including knitwear and accessories, and gained notoriety particularly for their sensual dresses and menswear, which won them the 1991 Woolmark Prize. In the early 1990s, pop star Madonna selected them as her costume designers for her “Girlie” world tour and wore one of their jewel-encrusted corsets to the Cannes Film Festival. Throughout the ‘90s, the duo were famed for their overtly feminine, colourful garments, which stood in stark contrast to the wave of minimalism that was sweeping across fashion at the time. For several seasons’ campaigns and runway shows, the pair have cast ordinary men and women, typically from their native Italy. They have designed for everyone from AC Milan to Motorola and have also co-authored a dozen or so books detailing their collections and legacy. In June 2013, Dolce and Gabbana were charged and convicted of tax evasion, however the duo successfully appealed to overturn their conviction and were pronounced innocent by the Italian Supreme Court of Justice in October 2014. “We have always been honest, and we are extremely proud of this recognition by the Italian Court of Justice. Viva l’Italia,” said the pair in a statement at the time. In late 2018, the duo came under media fire for when the brand posted a marketing campaign featuring an Italian model eating Italian food with chopsticks, that was deemed derogatory to Chinese culture. Following the outrage, Gabbana was ousted online for a racist feud between him and another Instagram user. With Chinese consumers making up a sizeable chunk of the luxury market, the brand lost a large part of its Asian-Pacific market due to boycotts. By November, the brand cancelled its Shanghai fashion show. the first quarter of 2019, social media engagement for the brand fell by 98 percent compared to the same time last year. In 2019, the brand also announced it would extend its style sizes to 14-18, as of its pre-fall 2019 collection. Following its international faux pas that same year, the brand staged it’s Alta Moda fashion show in the Temple of Concordia, a UNESCO World Heritage site turned into its own ancient Greece-inspired runway. Although their personal relationship ended in 2005, as The New Yorker puts it, “Gabbana is the eyes for Dolce’s hands,” and they have continued to work together on an enduring empire, crafted from scratch, by their love of their homeland and the scope of their romantic imagination.
Le orecchiette sono una pasta tipica della Puglia, regione del sud Italia. Il loro nome deriva dalla loro forma, che ricorda un piccolo orecchio. L'orecchietta ha la forma di una cupoletta, con il centro più sottile del bordo e con la superficie ruvida. Come altri tipi di pasta, le orecchiette sono fatte con semola di grano duro e acqua. Le uova sono usate raramente. Nella cucina casalinga tradizionale del sud Italia, la pasta viene arrotolata, quindi tagliata a cubetti. Ogni cubo viene pressato con un coltello, trascinandolo sul tagliere e facendolo arricciare (facendo un cavatello). La forma viene quindi invertita sopra il pollice. Le orecchiette si mangiano con broccoli, cime di rapa, cozze e funghi. Ogni famiglia pugliese ha la sua ricetta che si tramanda di madre in figlia. Secondo illustri studiosi dell'enogastronomia pugliese le orecchiette avrebbero avuto origine nel territorio di Sannicandro di Bari, durante la dominazione normanno-sveva, tra il XII e il XIII secolo. Nel cuore del centro storico di Bari c'è una via ribattezzata “la via delle orecchiette” o “via delle orecchiette”. La via in questione si chiama ufficialmente Strada Arco Basso, caratterizzata appunto da un piccolo tunnel che un tempo attraversato conduce alla più antica tradizione di Bari Vecchia, quella della produzione delle fantastiche e popolarissime orecchiette baresi. Le donne preparano le orecchiette chiacchierando e aiutandosi. Hanno un sapere antico che si tramandano di madre in figlia, di nonna in nipote. Ciascuna famiglia conserva i propri piccoli segreti per la lavorazione delle orecchiette che avviene davanti alla gente e sono una vera attrazione del centro storico di Bari, oltre a rappresentare uno spaccato originale della quotidianità pugliese. La buonissima pasta fresca (poi lasciata asciugare su banchi di legno) può essere acquistata anche dalle stesse signore; queste donne, infatti, per permettere ai turisti di portare a casa il gusto tipico delle orecchiette baresi, mettono la pasta fresca in semplici sacchetti di plastica così da permettere alle persone di tornare a casa con un gustoso “ricordo” pugliese. Orecchiette are a pasta typical of Apulia, a region of Southern Italy. Their name comes from their shape, which resembles a small ear. An orecchietta has the shape of a small dome, with its center thinner than its edge, and with a rough surface. Like other kinds of pasta, orecchiette are made with durum wheat and water. Eggs are rarely used. In traditional Southern Italian home cooking, the dough is rolled, then cut into cubes. Each cube is pressed with a knife, dragging it on the board and making it curl (making a cavatello). The shape is then inverted over the thumb. Orecchiette are eaten with broccoli, turnip tops, mussels and mushrooms. Each Apulian family has its own recipe that is handed down from mother to daughter. According to distinguished scholars of Apulian food and wine orecchiette would have originated in the territory of Sannicandro di Bari, during the Norman-Swabian domination, between the 12th and 13th centuries. In the heart of old town of Bari there is a street renamed “the street of orecchiette” or “street of orecchiette”. The street in question is officially called Strada Arco Basso, characterized precisely by a small tunnel that once crossed leads to the oldest tradition of Bari Vecchia, that of the production of the fantastic and very popular orecchiette from Bari. The women prepare the orecchiette by chatting and helping each other. They have an ancient knowledge that is handed down from mother to daughter, from grandmother to granddaughter. Each family keeps their own little secrets for the processing of orecchiette that takes place in front of the people and are a real attraction of the historic center of Bari, as well as representing an original cross-section of Apulian everyday life. The delicious fresh pasta (then left to dry on wooden counters) can also be purchased by the ladies themselves; these women, in fact, to allow tourists to take home the typical taste of orecchiette from Bari, put the fresh pasta in simple plastic bags so as to allow people to go home with a tasty Apulian "memory". The delicious fresh pasta (then left to dry on wooden counters) can also be purchased from the ladies themselves; these women, in fact, to allow tourists to take home the typical taste of orecchiette from Bari, put the fresh pasta in simple plastic bags so as to allow people to go home with a tasty Apulian “souvenir”.
I Bronzi furono ritrovati nel 1972, in eccezionale stato di conservazione, sul fondo del mar Ionio, nei pressi del comune di Riace Marina, da un appassionato subacqueo durante un'immersione a circa 200 m dalla costa ed alla profondità di 8 m. Presso la località Porto Forticchio di Riace Marina, furono ritrovate due statue in bronzo, apparentemente senza nessun reperto coevo nei dintorni. Il loro recupero fu eseguito con una imbarazzante leggerezza e con mezzi non appropriati, al punto che venne “dimenticato” sulla spiaggia un grosso pezzo di ceramica tardo antico, posto tra l’avambraccio destro e il torace del Bronzo A per impedire che il braccio stesso potesse danneggiarsi durante il trasporto.Dopo il recupero, le statue vennero avviate a un primo restauro, che fu realizzato a tra il 1975 e il 1980 a Firenze. Due furono gli obiettivi dell’intervento: pulizia e conservazione delle superfici esterne; tentativo di svuotamento della terra di fusione posta all’interno delle statue. La rimozione della terra di fusione fu portata avanti nel laboratorio di restauro posto nel Museo di Reggio negli anni 1992-1995, e finalmente conclusa nell’ultimo restauro tra gli anni 2010 e 2013, effettuato presso la sede del Consiglio Regionale della Calabria, a Palazzo Campanella.Le due statue, denominate “A” e “B”, e ribattezzate a Reggio come “il giovane” e “il vecchio”, sono alte rispettivamente 1,98 e 1,97 m, e il loro peso, originariamente di 400 kg, ora è diminuito a circa 160 kg, in virtù della rimozione della terra di fusione. La località di ritrovamento, posta presso un porto mai studiato scientificamente, ma che sembra essere attivo già dall’epoca greca, è altamente significativa. La sua funzione di porto è resa certa dalla presenza della Torre di Casamona, di epoca angioina, anche se datata erroneamente al XVI sec., la cui funzione era quella di proteggere l’approdo e fungere da luogo di esazione delle tasse. Il ritrovamento delle due statue nei pressi del porto avvalora le teorie che mettono in relazione la presenza a Riace dei due Bronzi con il loro trasporto da o verso Roma. Altri particolari, come la presenza della ceramica per proteggere l’integrità della Statua A, sembrano attestare che le due opere erano in viaggio per essere esposte in un altro luogo. Le due statue sono di bronzo, dallo spessore molto tenue, tranne alcuni particolari in argento, in calcite e in rame. Sono in argento i denti della Statua A. In rame sono stati realizzati i capezzoli, le labbra e le ciglia di entrambe le statue, oltre che le tracce di una cuffia sulla testa del Bronzo B. In calcite bianca è la sclera degli occhi, le cui iridi erano in pasta di vetro, mentre la caruncola lacrimale è di una pietra di colore rosa. Le due statue sono state certamente eseguite ad Argo, nel Peloponneso e raffigurano due opliti, anzi un oplita (Bronzo A) e un re guerriero (Bronzo B). Oggi i due bronzi si trovano al Museo Archeologico di Reggio Calabria, in ambiente protetto e meritano assolutamente una visita. The Bronzes were found in 1972, in an exceptional state of conservation, on the bottom of the Ionian Sea, near the town of Riace Marina, by a passionate diver during a dive about 200 m from the coast and at a depth of 8 m. In the locality of Porto Forticchio di Riace Marina, two bronze statues were found, apparently without any contemporary finds in the surroundings. Their recovery was carried out with an embarrassing lightness and with inappropriate means, to the point that a large piece of late antique ceramic was "forgotten" on the beach, placed between the right forearm and the chest of Bronze A to prevent the arm itself could be damaged during transport. After the recovery, the statues were sent for a first restoration, which was carried out between 1975 and 1980 in Florence. There were two objectives of the intervention: cleaning and conservation of the external surfaces; attempt to empty the fusion earth placed inside the statues. The removal of the fusion earth was carried out in the restoration laboratory located in the Reggio Museum in the years 1992-1995, and finally concluded in the last restoration between the years 2010 and 2013, carried out at the headquarters of the Regional Council of Calabria, in Palazzo Bell. The two statues, called "A" and "B", and renamed in Reggio as "the young" and "the old", are respectively 1.98 and 1.97 m high, and their weight, originally 400 kg, now it has decreased to about 160 kg, by virtue of the removal of the melt. The place of discovery, located near a port that has never been scientifically studied, but which seems to have been active since the Greek era, is highly significant. Its function as a port is confirmed by the presence of the Casamona Tower, dating back to the Angevin era, even if erroneously dated to the 16th century, whose function was to protect the landing place and act as a place for tax collection. The discovery of the two statues near the port confirms the theories that relate the presence of the two Bronzes in Riace with their transport to or from Rome. Other details, such as the presence of ceramics to protect the integrity of Statue A, seem to attest that the two works were on their way to be exhibited in another place. The two statues are of very thin bronze, except for some details in silver, calcite and copper. The teeth of Statue A are in silver. The nipples, lips and eyelashes of both statues were made in copper, as well as the traces of a cap on the head of Bronze B. In white calcite is the sclera of the eyes, the whose irises were in glass paste, while the lacrimal caruncle is of a pink colored stone. The two statues were certainly made in Argos, in the Peloponnese and depict two hoplites, indeed a hoplite (Bronze A) and a warrior king (Bronze B). Today the two bronzes are in the Archaeological Museum of Reggio Calabria, in a protected environment and are absolutely worth a visit.
The Museum of the Earth was designed by New York City architects Marion Weiss and Michael Manfredi. Planning for the Museum of the Earth began in 1994. Construction began in September 2001 and the Museum opened to the public in September 2003. The building received an Excellence in Design Award from the New York State Chapter of the American Institute of Architects in 2004. Learn directly from PRI’s science educators about the history of the Earth and its life. We offer numerous activities free with admission, such as tours, family-friendly activities during special events and holidays, and fossil identification. We offer related offsite programs, including interpretive walks in the State Parks and fossil collecting, in the summer months. Check out What’s Happening on the Museum of the Earth homepage to learn about upcoming events. Groups of ten of more who make reservations receive a reduced group admission rate. You may also wish reserve a hands-on presentation or a group tour. We serve groups of all ages and backgrounds, such as school groups, Scouts, college classes, tour groups, and many others. The Paleontological Research Institution is a national leader in Earth systems science education programming. We offer a diversity of programs and resources on Earth and environmental sciences, including climate change and energy, paleontology and Earth science, evolution and biodiversity, and conservation of natural environments.
A principios de la década de los setenta Alicia Pietri de Caldera, concibió la idea de crear un museo para los niños y jóvenes venezolanos que no se pareciera a los museos tradicionales. En el periodo 1969-1974 Doña Alicia, en su condición de Primera Dama de la República y Presidenta de la entonces Fundación Festival del Niño, puso en práctica el Programa Arte y Cultura para los Niños, con la intención de desarrollar sus capacidades mediante actividades participativas. El programa evidenció la necesidad de vincular al niño con el arte, la ciencia y la tecnología para despertar aptitudes y dar respuesta creadora a las inquietudes e interrogantes del hombre del futuro. Esta necesidad se transformó en el objetivo de la Fundación Privada Museo de los Niños. Finalmente, el museo fue inaugurado en 1982 en la ciudad de Caracas. El Museo de los Niños de Caracas es único. Un gran laboratorio para experimentar y explorar, en el cual las máximas fundamentales son “Prohibido no Tocar” y “Aprender Jugando”. Un sitio donde se permite: tocar, resolver, explorar, inventar, relacionar, crear, participar y responder. Una nueva alternativa para educar a través de la recreación, estimular el aprendizaje a través del descubrimiento, enseñarle al niño un camino al conocimiento que parte de las cosas simples que lo rodean y lo llevan a otras más complejas. Las áreas básicas del Museo son: Biología, Comunicación, Ecología y Física. Con el pasar de los años se han actualizado muchas de las exhibiciones, para presentarlas de manera más novedosa a los visitantes, tales como las que muestran Los Sentidos, el Corazón y la Alimentación, en el Área de Biología. En el área de Física, la exhibición de Electricidad se transformó completamente para mostrar cómo se produce, se transmite, se distribuye y se consume. En el área de Ecología, se actualizaron las exposiciones acerca de los Parques Nacionales, las Cadenas Alimentarias, Reconoce tus árboles, y la Huerta, así como el estudio de TV y la pared de símbolos en el Área de Comunicación. Además, se han construido nuevas exhibiciones tales como Terremotos y Volcanes, el motor abierto de un vehículo, ADN, la magia de los genes, los Sistemas del Cuerpo, Cuida tu cuerpo y evita la diabetes, la Capa de Ozono y el Calentamiento Global, Ensayo y error, los comienzos de la aeronáutica, NANO, una miniatura inimaginable, el Astronauta, el Satélite Simón Bolívar, la Carrera Espacial, Jugando a ser Amigo Guía y El Rincón de los Cuentos.
ITALY Magazine is produced by an international community of people who love Italy and Italian culture. We are dedicated to delivering content that celebrates beauty and authenticity in Italian travel, lifestyle, language and food to help our readers stay connected to ITALY in a meaningful way. Since 1999, ITALY Magazine has been the world’s most trusted source for everything authentically Italian. Fall in love with ITALY through our feature articles, catch up with the latest news, purchase authentic Italian products, learn the language, find your own Italian property, make your travel bookings, and join our forums to share your passion for ITALY with others. Mike FullerAs the new Publisher of Italy Magazine, Mike Fuller is re-visiting his publishing roots from 25 years ago. Mike was the former publisher of Student Travels Magazine between 1995-1999 and during that same period developed a number of custom publishing projects for the British Tourist Authority including Britain on a Budget as well as special supplements aimed at the 50+; the gay and lesbian; and, the honeymoon markets. A native of Montreal, Mike currently resides in Boston but travels extensively to Italy where he spends most of his time in his favorite city, Rome. Mike has been visiting Italy for over 35 years and traveled from north to south several times but his biggest regret so far is that he has yet to make it to Sicily.
The Perth Town Hall, situated on the corner of Hay and Barrack streets in Perth, Western Australia, is the only town hall built by convicts in Australia. Upon completion, it was the tallest structure in Perth. Designed by Richard Roach Jewell and James Manning in the Victorian Free Gothic style, the hall was built by convicts and free men between 1867 and 1870. Its decorations contain a number of convict motifs, including windows in the shape of the broad arrow, and decorations in the shape of a hangman's rope. The foundation stone for Perth Town Hall was laid on 24 May 1867 by Governor Hampton in a ceremony involving a lot of pomp and parade. However, there were torrential downpours. The ceremony went on anyway with an official procession from Government House and a mock battle performed by the Volunteer Regiments, Enrolled Forces of Pensioners, and the WA Country Regiment. In the 1929 centenary of Western Australia, one of the events in the city of Perth was the placing of a commemorative plaque in the northwest corner of the building by the Governor Sir William Campion. For many decades in the 20th century, shops were built into the sides of the ground floor, and the public lavatories accessible from Barrack Street were the only ones available for some distance. The shops included a pharmacy, bank, lunch bar and other shops. All these businesses and the attendant structures were removed prior to the renovation of the hall. At the time of its centenary in 1970, the ground floor was still full of commercial businesses. The Town Hall was restored in the late 1990s at the base in an award-winning restoration to repair the interior of the hall and the gothic arches at its base, which were "modernised" in the middle of the 20th century.
Fusing ancient and modernist influences, and built on a site sacred to the local Gadigal people for thousands of years, the sculptural elegance of the Sydney Opera House has made it one of the most recognisable buildings of the twentieth century, synonymous with inspiration and imagination. As Pritzker Prize judge Frank Gehry said when awarding architecture’s highest award to the Opera House’s architect in 2003: “[Jørn] Utzon made a building well ahead of its time, far ahead of available technology... a building that changed the image of an entire country.” Built to “help mould a better and more enlightened community,” in the words of New South Wales Premier Joseph Cahill in 1954, the Sydney Opera House has been home to many of the world’s greatest artists and performances, and a meeting place for matters of local and international significance since opening in 1973. Today it is Australia’s number one tourist destination, welcoming more than 8.2 million visitors a year and one of the world’s busiest performing arts centres, presenting more than 2000 shows 363 days a year for more than 1.5 million people, from the work of the seven flagship arts companies to which it is home to First Nations’ arts and culture, talks and ideas, theatre and dance and the superstars of classical and contemporary music. The breadth of those experiences reflects our visionary 1961 Act, which charges the Opera House not only with the promotion of artistic taste across all art forms, but also “scientific research into, and the encouragement of, new and improved forms of entertainment and methods of presentation.” But while the tale of the Opera House is one of breathtaking triumph, it is also one of personal cost. The building’s design was inspired - entirely unlike anything that had been seen before. Pressures piled upon its architect, Jørn Utzon, who left Australia midway through construction, never to return to see the building completed. Nevertheless, Utzon’s masterpiece would define his career, and redefine the image of Australia both to itself and the world. An exercise in nation building, as Joe Cahill underlined, it was an extraordinary collective act of dreaming in public; a work of art built for the performance of works of art and brought to life by people who believed in the power of imagination. Realising the dream took us all - visionaries and pragmatists, politicians and architects, engineers, artists and, most fundamentally, the people of Australia.
The Art Gallery of New South Wales acknowledges the traditional custodians of the country on which it is located, the Gadigal of the Eora nation, and recognises their continuing connection to land, waters and culture. From its magnificent site in Sydney, the Art Gallery of NSW is one of Australia’s flagship art museums and the state’s leading visual arts institution. Our mission is to serve the widest possible audience as a centre of excellence for the collection, preservation, documentation, interpretation and display of Australian and international art, and a forum of scholarship, art education and the exchange of ideas. The Art Gallery of New South Wales began without a collection and without a building on 24 April 1871 when a group of 30 art-loving citizens established a society to support artists and promote knowledge and enjoyment of art in the wider community. In 1874 they secured government support for their project and by 1880 they had their own dedicated building, the first of its kind in Australia. 150 years on from that foundation, after changes in name and location, the Art Gallery continues to play a vital role in the cultural life of the state and the nation. It is a cherished public art museum, not only by the artists and visitors who are at the core of its existence, but by all who have been enriched by the Gallery’s art collections, exhibitions and programs. Celebrating our 150th anniversary in 2021, as we undertake a significant expansion, the Art Gallery remains committed to making art a vital part of everyday life. Our transformation – the Sydney Modern Project – will create a new art museum experience across two buildings connected by a public art garden in one of the world’s most beautiful cultural precincts. The Art Gallery’s new building, designed by Pritzker Prize-winning architects, SANAA, brings together art, architecture and landscape in spectacular new ways with dynamic galleries and seamless connections between indoor and outdoor spaces. It will be a new prominent destination for Aboriginal and Torres Strait Islander art and culture. The expansion is scheduled for completion in 2022.
The National Gallery of Victoria, popularly known as the NGV, is an art museum in Melbourne, Victoria, Australia. Founded in 1861, it is Australia's oldest and most visited art museum. The NGV International building, designed by Sir Roy Grounds, opened in 1968, and was redeveloped by Mario Bellini before reopening in 2003. It houses the gallery's international art collection and is on the Victorian Heritage Register. The Ian Potter Centre: NGV Australia, designed by Lab Architecture Studio, opened in 2002 and houses the gallery's Australian art collection. The NGV's Australian art collection encompasses Indigenous (Australian Aboriginal) art and artefacts, Australian colonial art, Australian Impressionist art, 20th century, modern and contemporary art. The first curator of Australian Art was Brian Finemore, from 1960 until his death in 1975. The NGV's Asian art collection began in 1862, one year after the gallery's founding, when Frederick Dalgety donated two Chinese plates. The Asian collection has since grown to include significant works from across the continent.
The Old Melbourne Gaol is a former jail and current museum on Russell Street, in Melbourne, Victoria, Australia. It consists of a bluestone building and courtyard, and is located next to the old City Police Watch House and City Courts buildings, and opposite the Russell Street Police Headquarters. It was first constructed starting in 1839, and during its operation as a prison between 1845 and 1924, it held and executed some of Australia's most notorious criminals, including bushranger Ned Kelly and serial killer Frederick Bailey Deeming. In total, 133 people were executed by hanging. Though it was used briefly during World War II, it formally ceased operating as a prison in 1924; with parts of the jail being incorporated into the RMIT University, and the rest becoming a museum. The three-storey museum displays information and memorabilia of the prisoners and staff, including death masks of the executed criminals. At one time the museum displayed what was believed at the time to be Ned Kelly's skull, before it was stolen in 1978; as well as the pencil used by wrongly convicted Colin Campbell Ross to protest his innocence in writing, before being executed. When the Old Melbourne Gaol was built in the mid-1800s, it dominated the Melbourne skyline as a symbol of authority. Inside the Gaol, dangerous criminals were held alongside petty offenders, the homeless and the mentally ill. Old Melbourne Gaol enables visitors to immerse themselves in the stories of past inmates, explore the City Watch House or learn about justice in the Old Magistrates’ Court.
Carola Zambaldi è una viaggiatrice del mondo, appassionata da sempre di scoprire nuove culture e paesaggi naturali diversi. Ha sviluppato una tecnica con resine colorate molto resistenti con le quali crea oggetti vari in maniera del tutto scontata, mentre scontata non è. I colori sono brillanti e trasmettono la sua vivacità ed energia positiva.
I am 56 years old and love life ! and am engaged to a wonderful man and we have been together for 9 years. I have 1 son who lives in Houston, Texas with his lovely wife and my 2 beautiful grandchildren. I have 1 sister who is sadly disabled. She has Motor Neuron Disease and is paralysed from the neck down. She has had this debilitating illness since 1998. I care very deeply for her and continue to walk this hard, painful journey with her. I would love to one day open up a strung of Care Homes called Mandy in honour of her. Watching your disabled sister struggle every day has been heart breaking but through this I have learnt the art of caring, giving and kindness. To be able to help and be there for those less fortunate than you is a heartwarming experience and exceptionally rewarding. My passion is travelling – I absolutely LOVE IT ! My sport is Golf and because I have such an adventurous, extrovert personality I also love a lot of other things like Boating, Fishing, Cooking, Drinking wine and socialising. The list is so long because I am always willing to try new things and experience new places. I am an extrovert in personality and love bringing out the best in people. My profession at the moment is a Key accounts Manager for a Surgical Equipment company. I have been with them for 14 years. I have vast experience in Sales and Customer service and represent my company by calling on all Hospitals – Private and Provincial throughout the entire Eastern Cape. I work with doctor’s in theatre and am skilled in the sale of Medical Equipment for Trauma, Gynie, Urology, General Surgery, Cardiology, Neurology, Gastro-Enterology, Ultrasound etc. Prior to being a Surgical Rep I was a Medical Rep for 20 years calling on General Practioners, Pharmacists and Physicians selling Pharmaceutical Drugs. I also have experience in the setting up of Vaccine Clinics and GIT Units. My passion is service and looking after my customers. I love to make a difference in everything that I do and work hard. I love to make people smile ! I am a great organiser and get things done. I am very loyal in business and in my private life and am committed to whatever I sign up for. You will always be able to rely on me. I would say that I am a Spiritual person. I have a genuine passion for seeking out the truth of all things. and placing myself on a sacred path of self discovery. I learn every day and try to live my life with a curious, grateful heart. I believe we can all be kind if we want to be and we can all make a difference in someone’s life if we want to. I Want to make a difference in the world ! I know I can.
During the past 60 years, the Durban African Art Centre Association (African Art Centre) has provided a hundred of artists and crafters with opportunities for self-employment and the realization of their talents. Originally established as a programme of the South African Institute of Race Relations in 1959, the African Art Centre has, since 1984, operated as a non-profit organization. It was guided by the late Jo Thorpe, who virtually single-handed, put Durban on the map as an important centre of black artistic development. Since its inception, the African Art Centre has successfully facilitated and implemented relevant development and mentorship programmes and showcase opportunities for hundreds of artists and crafters from rural and urban KwaZulu-Natal. The Centre is recognized as one of the longest running South African organizations involved in the development and marketing of the works produced by disadvantaged artists and crafters. Through various marketing initiatives, every attempt is made to assist artists and crafters to tap into domestic, provincial, national and international markets. Our shop and gallery now situated in premises at The Phansi Museum at 500 Esther Roberts Road, Glenwood, Durban, allows us to professionally showcase and promote the works of artists and crafters on and ongoing basis.
My name is Luis Guillermo Castro Martin. I am a philosopher specialized in philosophy of mind and language. In particular, I am interested in the nature of consciousness, and the way in which we experience and interpret the world. I started my studies at the Central University of Venezuela in 2006, where I obtained a bachelor’s degree in philosophy (2011) and a master’s degree in logic and philosophy of science (2015). In 2012, the university offered me a position as a professor of philosophy and I taught several courses there until 2017, when I enrolled in a PhD program at the University of Genoa, Italy. I have also published several papers in philosophy journals and participated in various international events. In 2020, while writing my PhD thesis, I realized that I had been immersed in philosophy for too long and decided to use my experience to rejoin the real world. In my years studying philosophy, I have learned many things, but the most important is that the world is what we make of it, there is no ultimate truth, no final word. We create our reality. Knowledge has somehow separated us from others and nature, perhaps it can also reunite us. Although I was born in Venezuela, my family is a blending of different nationalities and traditions. I have lived and studied in different countries, which are all part of who I am and what I want to be. My actions define me, not my nationality or my origins. I do not believe in borders or limits; they are only in our minds. The sensation of not belonging can be liberating, once we realize that, by not belonging somewhere, we belong everywhere. I speak three languages (Spanish, English, and Italian) and I enjoy learning from other cultures, as well as transmitting the values of my own. I also enjoy music, sports and nature. I am the author of “Fragments of Mind” on Substack. A space for thinking outside the box, while discussing philosophical matters.
The Bartolomeu Dias museum complex was officially opened on 3 February 1989, however the Mossel Bay museum industry can be traced back to the 1960’s when the Mossel Bay museum was first opened. The museum later became known as the Post Tree museum complex before being renamed again in 1989. The Bartolomeu Dias Museum Complex is the second-biggest provincial museum affiliated to the Western Cape Department of Cultural Affairs and Sport in South Africa. It is located at Mossel Bay. OverviewThe Bartolomeu Dias Museum is a multidisciplinary government institution which is mandated to preserve and conserve the local cultural and natural heritage resources for education and enjoyment of both local and foreign visitors. It is also required to contribute to the economic growth of the area by attracting visitors from various parts of the world who end up spending their money in the local businesses. Since its inception, the Dias Museum has been a cornerstone of the tourism industry in Mossel Bay. Many people who travel via Garden Route from Cape Town to Port Elizabeth and vice versa come to Mossel Bay to see the museum. The Museum facilities are utilized by various local organizations and individuals for cultural events, meetings, workshops and conferences. The whole museum site is a provincial heritage site. The museum's scope is multidisciplinary in nature, as it covers both cultural and natural history of Mossel Bay. The site's botanical garden is vegetated by indigenous plants and trees, which were used as herbs by the early inhabitants of the area. In the site there is a grave of the Malay slave which is presently used as a place of worship by the local Muslim community. The museum is called a "complex" because it consists of three buildings, namely the Maritime Museum, Shell Museum, and the Granary. Within the museum site there are also two 19th-century edifices called Munro cottages.
Italian art and culture has influenced and shaped many of the things we enjoy today, over centuries, to name just a few, fashion, food, architecture, invention, legal systems even - if this isn't enough for you, what of the joy you experience when you hear the language spoken... Exploring Italian art, lifestyle and culture is tops on my #bucketlist My bio informs the "why" and the "how" I'll tick this item off my list... I have for too long, been as a ship anchored, safely in Port. This is not what this ship was made for - I yearn to set sail, to explore the world. The time is near, the winds of change favourable. I have a few projects I’m busy with presently, and I’m pregnant with promise and ambition. I am excited, committed, determined to tick off every item on my #BucketList, among the items - to #Managemybusiness #WorkFromWherever #exploreItaly, most of all, committed to move forward into the fullness of my raison d’être. Professionally trained as an attorney, practicing family, contract and insurance law, on a part-time basis, allowing me to pick and choose my clients and cases. I am also a business owner and manager of a SCUBA diving training and charter company, a qualified SCUBA diver instructor, coach and mentor to dive professional trainees. Personally, I am a 42-year-old woman, living and working in a beautiful corner of the world, at the edge of the Garden Route, in a little town called Mossel Bay, South Africa for 10 years. I’m married 9 years and I have a 17-year-old son. I also have two adult step-daughters and two young (step) grand-daughters. I am also a #dreamer and I dream big dreams. I am an extrovert, not shy to shine, unafraid to lead. I have entrepreneurial vision but pragmatism and circumstance have made for very practical decisions over the last two decades, leaving my dreams shelved, to gather only dust. I have it settled deep within my spirit, the desire to impact lives, in a beneficial way, and to do so, not just at home, but far and wide.
La Famiglia Ferdy nasce nel 1989, quando Ferdinando Quarteroni e la moglie Cinzia Balestra decidono di inziare la loro avventura nella neonata azienda familiare con l’acquisto dei primi 12 cavalli. Iniziano a far conoscere ai loro ospiti l’identità e la storia di Ferdy su una costa del fiume Brembo in Val Brembana, area raggiungibile solo attraverso un ponticello. Questo ponticello che porta ad un antico cancello, contraddistinguerà nel tempo (e tutt’oggi contraddistingue) l’unico accesso ad un luogo incantato nel cuore della natura. In questi anni Ferdy, soprannome di Ferdinando, può solo immaginare come potrà trasformare questo luogo in una meta pronta ad accogliere ed offrire servizi i suoi ospiti. Cinzia, nel frattempo, sta lavorando per far sì che quei loro sogni diventino realtà. Il progetto inziale si evolve con l’acquisto delle vacche di famiglia del papà di Ferdy, Rolando Nazareno, e qualche capo di capra. Le vacche saranno solo di razza Bruna Alpina Originale e le Capre solo Orobiche: animali autoctoni delle Orobie, che diventeranno una delle pietre miliari dell’azienda. Questi animali sono in grado di vivere per molti mesi all’anno libere sulle montagne cibandosi di solo pascolo e producendo latte dalle altissime proprietà organolettica e salutistiche. Agriturismo Ferdy negli anni è stato in grado di innovarsi e rinnovarsi senza mai perdere il contatto con le vere tradizioni locali e la sostenibilità di razze autoctone e del territorio circostante. È proprio questo concetto olistico che spinge l’azienda a vivere secondo gli stessi ritmi della natura, a valorizzare le ricchezze di un prato che diventa pascolo per gli animali, erbe spontanee officinali per il ‘Borgo del Benessere’ e che alimentano con antico sapere, i sapori del ristorante. Agriturismo Ferdy è innanzitutto rispetto e valorizzazione della natura. Cucina naturale e benessere, a contatto con la natura e immersi nelle tradizioni. Agriturismo Ferdy è una vacanza nella natura, una lezione di equitazione o la semplice riscoperta della cucina tradizionale di montagna. Ferdy Wild è la nostra linea di prodotti naturali: una selezione delle più genuine espressioni della natura che ci circonda. Scopri i prodotti Ferdy Wild nella nostra Boutique Mercatorum o sul nostro Shop online.
Una trattoria pizzeria piemontese, immersa nella langa che vi farà assaporare la tradizione e la qualità del cibo tipico di queste zone. Il locale semplicemente arredato ha alcuni tavoli sulla piazzetta del paese davanti alla chiesetta e con la vista verso le colline. La signora Piera in cucina prepara il tipico menù piemontese fatto di antipasti, plin e tagliatelle il pezzo forte è il coniglio che si scioglie in bocca. Appena sarete seduti arriverà il giovane nipote Bebo che con fare generoso e spigliato in italiano o in inglese vi accoglierà con una scelta di vini piemontesi e, in attesa dei piatti, con le "friciule" calde, pasta di pane fritta talmente leggere e gustose che salteranno in bocca senza che ve ne aggorgerete. Anche la pizza è ottima e digeribile con farciture anche di ingredienti locali che sehuono le stagioni come la toma di Roccaverano e i fiori di zucca in stagione. A Piedmontese trattoria and pizzeria, immersed in the Langhe that will make you savor the tradition and quality of the typical food of these areas. The simply furnished restaurant has some tables on the town square in front of the church and with a view towards the hills. Mrs. Piera in the kitchen prepares the typical Piedmontese menu made of appetizers, plin and tagliatelle the highlight is the rabbit that melts in your mouth. As soon as you are seated, the young grandson Bebo will arrive who, generously and confidently in Italian or English, will welcome you with a choice of Piedmontese wines and, waiting for the dishes, with hot "friciule", fried bread dough so light and tasty they will jump in your mouth without you knowing. Even the pizza is excellent and digestible with fillings also of local ingredients that follow the seasons such as the toma di Roccaverano and the courgette flowers in season.
Hans-Juergen Wiegand is a man who lives his work passions and family, with determination. A philanthropist, who has held important positions in the chemical and automotive world, in particular with Daimler AG (Mercedes-Benz). He loves to travel, attaining knowledge and experience from different cultures. These experiences have shaped him, with a particular acumen in recognizing the best in human beings. Hans thrives on helping young people, to realize their dreams, as he has realized his own. Hans is an inspirational leader, with the competence to restructure and transform organizations. He is very flexible with people, and stands like a rock when it comes to principles. Whatever happens, he will always stay positive.
Mandy Shrimpton is the quintessential people’s person. Mandy believes that success is measured by the quality of our human-relationships rather than the results we manifest through sheer will. Mandy firmly established herself as the heart of the non-profit organisation that she co-founded and ran with her adoring husband for 17 years. Mandy loves walking in nature with her family, hugging trees, and preserving the environment. She also enjoys being creative and is particularly fond of painting flowers. As a very happily married and devoted mother to four children, Mandy has cultivated a deep appreciation for the culinary arts and relishes the spare moments she gets to watch her favourite cooking shows. This initiative reflects how Mandy sees the world, helping to create positive synergy. Fostering unity and courteous community, building partner relationships and motivating affiliates. Born and bred in Africa, Mandy understands the concept of Ubuntu. I am, because we are. Together we can make the world a better place. Using her skills and experience to make a difference. Helping others see through the fog of new technologies, avoid common marketing mistakes and develop better business strategies. With a subtle blend of motherhood and effective project management, Mandy is the perfect professional partner, to show others the merits of this initiative. Shining a light on the path to prosperity, while not losing our footing in family values and humble humanity. Sharing is caring, while enriching ourselves spiritually and materially. We cannot give freely, if we don't have. "Sometimes the world makes more sense, through the eyes of a mother. Using protective instinct and family fortitude, to help one another." ~ Mandy Shrimpton
Potchefstroom is an academic city in the North West Province of South Africa. It hosts the Potchefstroom Campus of the North-West University. Potchefstroom is on the Mooi Rivier, roughly 120 km west-southwest of Johannesburg and 45 km east-northeast of Klerksdorp. The official history of Potchefstroom, written by Prof Gert van den Bergh, accepts the official founding date as 22 December 1838. This is due to a newspaper report that appeared in the ‘The Natal Advertiser’ in 1921 which said "Old Mr Barent Swart, of Klerksdorp, furnished me many years ago with. . . An exact date of its founding". His words were: "Oudedorp was proclaimed a dorp on December 22, 1838." By the time this was written, the town was relocated, and the first settlement was known as Oudedorp (old town). Although it has been severely contested, it is generally accepted that Potchefstroom is the oldest town founded by the Voortrekkers north of the Vaal River. Potchefstroom was named after its founder, Andries Potgieter, hence the syllable ‘Pot’ in the name. ‘Stroom’ came from the Mooi River, but about the origin of the ‘chef’ there has been much speculation. It is generally accepted that it was inserted because Potgieter was the leader, chief or ‘chef’ of the Voortrekkers. Another explanation is that people with the surname of Potgieter were nicknamed ‘Potscherf’, an alternative spelling of the name. Combined with ‘stroom’, this was difficult to pronounce and the name later became Potchefstroom instead of Potscherfstroom, which has been used to a certain extent in the early years. Today, Potchefstroom is a thriving city with close to 140 000 residents. It is the home of the Potchefstroom campus of the Northwest University. The Northwest University also has two other campuses, in Mahikeng and Vanderbijlpark. With more than 55 000 students, it is the second-largest university in the country. It's certainly a town worth the visit if you want to have the feeling of real Africa.
Kylie Flavell is one of the most popular influencers of the moment who, with more than 143,000 followers, brings to the world all the charm of Italy made of art, culture and above all gastronomy. Influencer, filmmaker, producer and cook in love with the Italian tradition, the beautiful Kylie has chosen the design of our kitchens to bring elegance, style and refinement to her video recipe format “From Italy with love”. This is an expected appointment on her social networks followed by numerous and passionate followers, lovers of good Italian cuisine. A column that we will not fail to share also on our Facebook and YouTube profiles. Her style is so unique and captivating, we invite you to follow and share her video recipes set in a splendid Tuscan farmhouse, immersed in the warmth of the most authentic Italian style. Kylie Flavell is someone who believes in kindness and beauty and the power of believing in yourself and your dreams. And the best way for her to share this with the world was by becoming firstly, a writer and magazine editor, and later, a filmmaker, TV presenter, YouTuber and passionate storyteller in all forms. On the way, she has done a range of other jobs, from a dishwasher in a tiny cramped kitchen of a restaurant to an assistant and translator in a couture atelier in Rome. She's lived lavishly and experienced magnificent scenes that one might think only happen in films... and had been a broke struggling artist, living in a flat in Rome with no windows and no electricity - which turned out to be equally cinematic. TV shows maker as the creator, host and one-woman production company that have aired all over the world, including shows on National Geographic Channel and Discovery in 70 countries. She's also won awards for work with brands, such as her web series Hooked Up, commissioned by Airbnb, which had her filming alone in a different country every episode, and reached over 10 million views. She presented the unique approach to filmmaking at the Cannes Film Festival and other international events, how she taught herself every aspect of production in order to bring audiences the quality of cinema and television, with the intimacy and authenticity of YouTube.
Cindy Vine Travels and Portugal, Cindy Vine is an author, mother of three kids, with lots of life experiences she uses as an inspiration source to write her books about. She is a teacher and uses her teaching qualifications to travel around the world teaching. Cindy Vine's novels are known for their sharp insight on interpersonal relationships. Cindy loves to travel and enjoy taking photos and videos to document her trip. That's so that when her memory starts to fade, she can remember what she's done and where she's been. So if you are a fellow traveller or an armchair traveller, you will be interested in following her adventures. Cindy decided to move to Portugal and just purchased a 2.5hec. farm in Central Portugal. Interesting to understand why she chose moving to Portugal and what future she's expecting to live, this was the dream of her life. She bought an old farm abandoned with a big garden also abandoned. We talked about why she chose moving to Portugal and what future. The farm is called Bela Pedra that means Pretty Stone. She started restoring it and taking care of the garden, planting trees and farming, all on her ow, learning day by day with passion and care and documenting her journey on her YouTube channel and blogs. She is admirable for the positive strength she has, she is an example of how anyone can reach their dreams.
Lungo la strada che porta alla Sacra di San Michele, alle pendici del monte Pirchiriano, sorge l’ex Convento di San Francesco, noto oggi come Certosa di San Francesco e gestito dal Gruppo Abele. La chiesa conventuale abbazia di San Francesco al Monte, consacrata nel 1521 e tutt’oggi officiata, sorge al centro dello splendido complesso. Essa si presenta esternamente con una semplice facciata in pietra a vista rifinita a intonaco nella parte sommitale e impreziosita dal portale ad arco a tutto sesto e dal finestrone. L’interno è a navata unica, sulla quale si innestano delle cappelle laterali poste sul lato sud. La struttura conserva ancora l’impianto primitivo, ad eccezione della prima campata, rialzata e munita di volta a cupola nella seconda metà del Settecento. Le cappelle laterali e la lunetta sovrastante l’ingresso presentano tracce dell’originaria decorazione ad affresco cinquecentesca. Nella prima cappella a ridosso della facciata restano, ai lati di una nicchia, le figure frammentarie di Santa Lucia e Santa Barbara, mentre nelle vele della volta sono raffigurate, all’interno di tondi, ritratti dei padri della chiesa. La seconda cappella reca invece, al di sopra dell’altare, una notevole Deposizione inserita entro una finta architettura con arco a tutto sesto, nella quale spicca, in primo piano, la figura della Maddalena abbigliata con un ricco abito color ocra. Ai lati della raffigurazione principale e sulla parete di sinistra sono ancora visibili le figure frammentarie di un santo vescovo e di un santo francescano.
Italia che Cambia è un’associazione di promozione sociale e una testata giornalistica registrata. Raccontiamo, mappiamo e mettiamo in rete chi produce un cambiamento positivo dal basso del nostro paese, in una direzione di maggiore sostenibilità ed equità economica, sociale, ambientale, culturale. Italia che cambia è un progetto che vuole raccontare, mappare e mettere in rete quel pezzo di paese che di fronte a un problema si attiva per cambiare concretamente le cose senza delegare o aspettare che qualcuno lo faccia al suo posto. Vuole inoltre offrire strumenti di facilitazione dei processi di trasformazione positiva in atto nel Paese con l’obiettivo di far emergere le potenzialità di coloro che “vogliono cambiare” fornendo l’esempio, il know-how e il supporto della rete di progetti già in atto. La visione e i valori che hanno dato vita al progetto Italia che Cambia sono racchiusi nei “Sette Sentieri” che sono quindi alla base della selezione delle realtà presenti nella mappa e delle notizie proposte ogni giorno. Sette sentieri di transizione verso una società più equa, giusta e sostenibile. I vari punti non li abbiamo scelti noi dal nulla: ci sono stati segnalati, raccontati, trasmessi dalle realtà che abbiamo incontrato lungo il cammino. Li abbiamo voluti scrivere, raggruppandoli e organizzandoli per rendere espliciti gli obiettivi e gli ideali che ci muovono e che stanno alla base del nostro progetto. Non sono dei punti di partenza ma di arrivo. Le realtà che raccontiamo, che abbiamo incontrato e che potete trovare sulla mappa, pur seguendo ciascuna il suo sentiero particolare, condividono con noi questo percorso e mirano verso la stessa meta. Inoltre grazie ad un lavoro che nel 2015 ha coinvolto oltre 100 ambasciatori e ambasciatrici, rappresentanti di altrettante associazioni, comitati, imprese, università, istituzioni, abbiamo scritto 17 documenti di visione/azione per cambiare l’Italia. Li abbiamo chiamati Visioni 2040 e vanno ad integrare, approfondendoli, gli elementi che emergono dai Sette Sentieri. Nel marzo 2018 è uscito il libro “E ora si cambia”, che raccoglie i documenti riassunti ed aggiornati, a cura di Andrea Degl’Innocenti e Daniel Tarozzi. Il nostro obiettivo, quindi, è duplice: da un lato far emergere questa italica moltitudine – che abbiamo potuto incontrare in anni d'incontri in giro per le venti regioni italiane – e dall’altro contribuire alla costruzione di un nuovo paradigma culturale che metta al centro la de-mercificazione della realtà, le relazioni umane, la facilitazione, i processi non giudicanti, la sostenibilità umana, ambientale, economica e sociale.
Die GLS Bank ist in Deutschland die Refernz für sozial und ökologisches Banking. Wer bei der GLS Bank Kunde ist, kann sich sicher sein, dass sein Geld dazu beiträgt die Zukunft zu gestalten, die wir uns alle wüsnchen. Investitionen gehen in eigens sehr strickt aufgelegte Fonds welche das 1.5°C Ziel bereits erfüllen. Keine Kinderarbeit, keine Waffen, kein Genforschung oder andere negativ Themen - sondern erneuerbare Energien, Soziales und Kultur, ökologische Landwirtschaft, Ernährung, nachhaltige Wirtschaft und weitere positiv beitragende Vorhaben werden ausschließlich unterstützt. Als Kunde bei der Bank trägt man dazu bei, dass ausschließlich diese positiven Projekte gefördert werden. Der strickte Zuspruch zu sozial und ökologischen Projekten wird bei allen Produkten, die ein Kunde von seiner Bank kennt (Baugredite, Firmenkredite, Altersovrsorge, Anlagen, Investitionen etc) unabweichlich eingehalten. Privatpersonen, Firmen und Vereine werden darüber hinaus aktiv unterstützt ihrn eigenen Impact zu verbessern. Die GLS Bank ist eine Universal-Bank, bei welcher man nahezu alle Finanzdienstleistungen in Anspruch nehmen kann - jedoch immer unter einer strickten sozial, ökologischen und nachhaltigen Perspektive. Die Bank ist überwiegend in Deutschland tätig. Es können alle Dienste online wahrgenommen werden und es gibt mehrere Filialen für den persönlichen Besuch. Desweiteren besticht die Bank durch Ihre Rechtsform, die Genossenschaft. Die mitgleiderbestimmte Gesellschaftsform ist darauf gegründet in Gemeinschaft einen gesellschaftlich positiven Beitrag zu leisten. Mit der GLS Bank gibt es keinen Bedarf mehr als Privatperson sowie Firma bei einer konventionellen Bank zu sein und indirekt Umweltvernichtende Projekte zu unterstützen. Die GLS Bank bietet den vollumassenden Banken-Service mit reinem und ehrlichem guten Gewissen. Klimaschutz kann so einfach sein: Werde jetzt Mitglied bei der GLS Bank. The GLS Bank is the reference for social and ecological banking in Germany. Anyone who is a customer of GLS Bank can be sure that their money will help shape the future that we all want. Investments are made in specially designed funds that already meet the 1.5 ° C target. No child labor, no weapons, no genetic research or other negative topics - only renewable energies, social affairs and culture, ecological agriculture, nutrition, sustainable economy and other positively contributing projects are exclusively supported. As a customer at the bank, you help ensure that only these positive projects are funded. The strict encouragement to social and ecological projects is inevitably complied with for all products that a customer knows from their bank (building loans, corporate loans, old-age provision, systems, investments, etc.). Private individuals, companies and associations are also actively supported to improve their own impact. The GLS Bank is a universal bank, where you can take advantage of almost all financial services - but always under a strict social, ecological and sustainable perspective. The bank operates predominantly in Germany. All services can be used online and there are several branches for personal visits. Furthermore, the bank impresses with its legal form, the cooperative. The member-determined form of society is based on making a socially positive contribution in community. With the GLS Bank, there is no longer any need to be a private person or company with a conventional bank and indirectly support environmentally damaging projects. GLS Bank offers the full banking service with a clear and honest good conscience. Climate protection can be so easy: become a member of GLS Bank now.
Carlo Acutis, a boy capable of smiling and joking, a positive presence. One of those people who, when there are with you, you become a better person. . Whoever saw him saw a piece of heaven for the other boys. He was born on May 3, 1991 in London, and died of fulminant leukemia on October 12, 2006 in Monza. Carlo was gifted. Very. Both from the intellectual point of view, his computer books: they were university texts, and from the spiritual one. Carlo is Blessed and is the patron of the internet and protector of all cybernauts. Now we have a valid intercessor in Carlo Acutis, a 15-year-old boy, a "fan" of the internet like his peers, but unlike many of them, convinced that it should become a "vehicle for evangelization and catechesis". On the web there is still (www.miracolieucaristici.org), the virtual exhibition designed and created by him at the age of 14, which is going around the world and which testifies how truly for Carlo the Eucharist was his "highway to sky". Yes, because Carlo continues to be a mystery: with his clear and sunny 15 years, with his will to live and his bursting joy, but above all with his faith that uncomfortable and challenges that of us adults. Carlo Acutis, un ragazzo capace di sorridere e scherzare, una presenza positiva. Una di quelle persone che, quando ci sono, tu stai meglio. Che ti aiutano a vivere, a livello umano e di fede. Chi lo vedeva vedeva un pezzetto di cielo per gli altri ragazzi.E' nato il 3 maggio 1991 a Londra, ed è mancato di leucemia fulminante il 12 ottobre 2006 a Monza. Carlo era dotato. Molto. Sia dal punto di vista intellettuale, i suoi libri di informatica: erano testi universitari, sia da quello spirituale. Carlo è Beato ed è come patrono di internet e protettore di tutti i cybernauti. Adesso abbiamo un valido intercessore in Carlo Acutis, un ragazzo di 15 anni, “patito” di internet come i suoi coetanei, ma a differenza di tanti di loro, convinto che debba diventare “veicolo di evangelizzazione e di catechesi”. Sul web è ancora presente (www.miracolieucaristici.org), la mostra virtuale progettata e realizzata da lui a 14 anni, che sta facendo il giro del mondo e che testimonia come davvero per Carlo l’Eucaristia è stata la sua “autostrada per il cielo”. Già, perché Carlo continua ad essere un mistero: con i suoi 15 anni limpidi e solari, con la sua voglia di vivere e la sua prorompente allegria, ma soprattutto con la sua fede che scomoda ed interpella quella di noi adulti.
Homo Faber Guide is an online platform dedicated to craftsmanship that allows you to discover artisans and their masterpieces; explore museums, visit galleries and shops selling unique objects; enjoy experiences in cities across Europe. Homo Faber Guide is a signature project developed by the Michelangelo Foundation for Creativity and Craftsmanship, an international non-profit organization based in Geneva, Switzerland, which was set up in 2016 thanks to the intuition of Franco Cologni and Johann Rupert. The Michelangelo Foundation’s mission is to celebrate and preserve master craftsmanship, and for this reason it has created a European map of the most significant representatives in this field, with the aim of connecting all its protagonists: artisans, designers, gallery owners, art curators, collectors and enthusiasts of high-quality handmade pieces. Homo Faber Guide has a section dedicated to the discovery of artisans, ateliers and manufacturers. Browse the profiles of master artisans and rising talents from Europe and beyond who exemplify excellence. Find out about them through interviews and images which reveal their individual stories, techniques and objects and have the chance to contact them directly. Learn the addresses of ateliers dedicated to different crafts and of esteemed manufacturers. There is also a space dedicate to showcase galleries, shops and museums which you can visit. Find the addresses in each city of galleries exhibiting contemporary craftsmanship and shops selling the masterpieces of the artisans featured in the guide. The museums shown in the guide have been handpicked for their links to craftsmanship and for the exquisite collections they have on display. The artisans featured in Homo Faber Guide have been selected in a meticulous assessment process based on the eleven criteria for excellence identified by Alberto Cavalli, Executive Director of the Michelangelo Foundation, in the volume The Master’s Touch, written with researchers Giuditta Comerci and Giovanna Marchello. The members of the Michelangelo Foundation’s network who have been invited to participate in selecting masters to be featured in the guide were provided with an evaluation tool based on the eleven criteria. In this way, they identify the most suitable masters to be included in the project.
Emanuele Tozzoli has been painting and creating since he was old enough to pick up a brush, learning the art from his father, a renowned painter and sculptor. Attracted by the most hidden parts of human nature, it descends in its depths in search of the original figures. Emanuele Tozzoli lives his art as a deep path of openness and knowledge, investigating the subtle nature of artistic composition. Tozzoli enjoys using different materials together. He is intrigued by the depth that is created by combining different mediums. All his works are mixed media, mainly using acrylics, oil pastels, spray paints, markers, pens, wall glazes and collages. He worked for several years as a decorator and restorer of wall paintings with the Turin art master Silvio Scarafiotti, this had a major impact on his work method and way of conceiving painting and art. With an instinctive and visceral workflow, it lets loose what comes from the unconscious, using a recurring symbology. Each work is the result of a primitive flow, where the painting becomes the materialization of a dreamlike and extravagant interior world.
Ho passato gran parte della mia infanzia a San Erasmo e porto dentro molti ricordi legati a quello che mi hanno raccontato i miei nonni, ma sopratutto ricordo la cucina di mia nonna che ho sempre rigorosamente preferito a quella di mia madre (pur essendo diventata una degna erede nel tempo!). Conosciuta come l’orto di Venezia è una delle isole più grandi e meno conosciute della laguna, ma ricca di sapere tramandato. Propongo un’esperienza unica e diversa con il cibo e la natura. Lo scopo è quello di avere una piacevole esperienza diretta gustando prodotti km0, inebriati da profumi dimenticati di piante ed erbe aromatiche. E’ una riscoperta delle originali connessioni tra uomo e natura, tanto più significativa nell’ottica di uno sviluppo integrato del rapporto tra uomo e territorio. Scoprire da dove vengono i prodotti alimentari, rapportarsi con la crescita delle piante, sperimentare direttamente il contatto con gli animali diventano pratiche di grande valore formativo, seppur vissute in modo semplice. Ecco come nasce” Experientia”, per divulgare la filosofia del saper mangiare bene. Una roulotte itinerante che vuol diventare un punto d'incontro per chi ama stare all’aria aperta, oppure per i giovani che hanno voglia di un buon hamburger! I spent most of my childhood in San Erasmo and I carry many memories related to what my grandparents told me, but above all I remember my grandmother's cuisine which I have always rigorously preferred to that of my mother (despite having become a worthy heir in time!). Known as the vegetable garden of Venice, it is one of the largest and least known islands in the lagoon, but rich in knowledge handed down. I propose a unique and different experience with food and nature. The aim is to have a pleasant direct experience tasting km0 products, inebriated by forgotten scents of plants and aromatic herbs. It is a rediscovery of the original connections between man and nature, all the more significant from the perspective of an integrated development of the relationship between man and territory. Finding out where food products come from, relating to plant growth, directly experiencing contact with animals become practices of great educational value, albeit lived in a simple way. This is how "Experientia" was born, to spread the philosophy of knowing how to eat well. A traveling caravan that wants to become a meeting point for those who love being outdoors, or for young people who want a good hamburger!
Adriano Olivetti (Ivrea, 11 aprile 1901 – Aigle, 27 febbraio 1960) è stato un imprenditore, ingegnere e politico italiano, figlio di Camillo Olivetti fondatore della Ing. C. Olivetti & C., la prima fabbrica italiana di macchine per scrivere. Uomo di grande e singolare rilievo nella storia italiana del secondo dopoguerra, si distinse per i suoi innovativi progetti industriali basati sul principio secondo cui il profitto aziendale deve essere reinvestito a beneficio della comunità. La Fondazione Adriano Olivetti nasce nel 1962 ad opera di alcuni familiari, amici e collaboratori del grande imprenditore prematuramente scomparso due anni prima, con l’intento di raccogliere e sviluppare l’impegno civile, sociale e politico che ha distinto l’operato di Adriano Olivetti nel corso della sua vita. La Fondazione, con sede dapprima a Ivrea e subito dopo a Roma, si propone "la promozione, l’incoraggiamento e l’organizzazione gli studi che sono diretti ad approfondire la conoscenza delle condizioni da cui dipende il progresso sociale". La Fondazione ha lo scopo di promuovere, sviluppare e coordinare le iniziative e le attività culturali, che siano dirette a realizzare il benessere, l’istruzione e l’educazione dei cittadini, attraverso il progressivo diffondersi, in armonia con i principi della Costituzione, di forme comunitarie, rispondenti alla configurazione urbanistica, produttiva, sociale, ambientale e culturale della collettività, secondo le idee di Adriano Olivetti. Coerentemente a questo mandato, la Fondazione svolge con un approccio interdisciplinare attività di ricerca e promozione culturale e scientifica in quattro principali aree d’intervento: Istituzioni e società; Economia e società; Comunità e società; Arte, architettura e urbanistica. In questi ambiti, la Fondazione promuove programmi di studio e sperimentazione in particolare indirizzati ad approfondire la conoscenza delle condizioni da cui dipende il progresso sociale, che caratterizzano la Fondazione come istituzione operativa sul territorio, in una politica culturale che predilige la collaborazione con altre istituzioni di analoga natura e con enti pubblici e privati, nazionali ed internazionali.
Dal 2006 c’è un posto a Torino che non è né una biblioteca né una libreria, ma in cui – dal lunedì al sabato e qualche volta anche di domenica – si parla di libri, con chi ne ha scritti e con chi li legge: è il Circolo dei Lettori, fondazione della Regione Piemonte che ha la sua sede in via Bogino 9, poco distante da piazza Carlo Alberto da una parte e via Po dall’altra. Aperto da mattina a sera, organizza presentazioni di libri con scrittori italiani e stranieri, reading, gruppi di lettura, laboratori per bambini e anche viaggi letterari: è un luogo unico in Italia per il numero di attività e per il tipo di spazi che mette a disposizione. Ha anche un bar, che si chiama Barney’s, dal nome di quel Barney. La Fondazione Circolo dei lettori, nata a Torino per volontà della Regione Piemonte, guidata dal presidente Giulio Biino e diretta da Elena Loewenthal, produce e diffonde cultura, tutti i giorni nelle sue tre sedi, di Torino, Novara e Rivoli, e con grandi rassegne annuali sul territorio e in rete con realtà di tutt’Italia. Agisce attraverso l’ideazione e l’organizzazione di incontri, reading, dibattiti, manifestazioni, concerti e rassegne culturali, mettendo al centro il libro per esplorare i linguaggi della contemporaneità e fissare così delle coordinate del mutevole presente. Promuovere la lettura è il primo obiettivo della Fondazione, messo in pratica con incontri quotidiani con scrittori e scrittrici nelle sue sedi, occasioni di dibattere intorno a romanzi e saggi di oggi e di ieri, e ancora nelle scuole, nelle carceri e negli ospedali del territorio, grazie ai progetti di responsabilità sociale. Offre quindi momenti di crescita personale, per tutte le età, colmando i bisogni culturali della comunità, regalando la possibilità di approfondire gli argomenti più vari, dalla filosofia alla storia, dalla musica al cinema. Perché i libri sono un punto di partenza per andare dappertutto, e per parlare di tutto, insieme, alleviando la solitudine e favorendo amicizie. Per questo la Fondazione si rivolge anche alle famiglie e agli insegnanti, con laboratori per i bambini e incontri per le classi, perché leggere è un’attività centrale nella formazione dei piccoli e dei giovani. Con l’obiettivo di un continuo rinnovamento della cultura, la Fondazione del Circolo dei lettori organizza grandi rassegne annuali, momenti di riflessione straordinaria, parentesi utili a prendersi il tempo di pensare e immaginare. Sono Scarabocchi. Il mio primo festival, seminari e laboratori per famiglie e bambini, Torino Spiritualità, dedicato ai grandi interrogativi dell’umanità, il Festival del Classico, per cercare nel passato buone pratiche per il presente. Dal 2018, la Fondazione Circolo dei lettori si occupa dei contenuti culturali e della comunicazione del Salone Internazionale del Libro di Torino, cinque giorni di sconfinati dialoghi intorno ai libri e alla lettura.
Daniele Cavallero è figlio d'arte. Da più generazioni la sua famiglia si occupa di legnami, mobili e di edifici storici, in una delle zone più belle d'Italia: il Monferrato, oggi patrimonio dell'UNESCO. La passione di Daniele è quella dei materiali, sopraffino conoscitore di essenze di legno, sa tutto sulle qualità, le lavorazioni e gli usi del legno nell'arredamento e nella ristrutturazione. E'abituato agli edifici storici, vista la zona dove opera. Per la sua capacità viene chiamato anche all'estero, soprattutto dove vengono richieste competenze e artigiani italiani. Daniele è esperto di bioedilizia e di malte e costruzioni con materiali naturali, calce e calce-canapa, collabora con vari architetti e studi di professionisti del settore. Grande appassionato di vini nobili piemontesi, non perde occasione per promuovere il suo amato territorio delle Langhe. Daniele Cavallero is the son of art. For several generations his family has been dealing with wood, furniture and historic buildings, in one of the most beautiful areas in Italy: Monferrato, today a UNESCO heritage site. Daniele's passion is that of materials, a superfine connoisseur of wood essences, he knows everything about the qualities, processes and uses of wood in furnishing and renovation. He is used to historic buildings, given the area where he works. For his ability he is also called abroad, above all where Italian skills and craftsmen are required. Daniele is an expert in green building and mortars and constructions with natural materials, lime and lime-hemp, he collaborates with various architects and professional firms in the sector. A great lover of Piedmontese noble wines, he never misses an opportunity to promote his beloved territory of Langhe in Piemont.
Eolie Shop was born from the passion of a group of young Sicilian entrepreneurs, in love with their land and the raw materials it offers. Their quality is given by the scents of the sea and the warmth of the sun that bathe and warm the lands of the pristine Aeolian Islands. The expert hands of the Aeolian artisans transform these excellent raw materials into products of unparalleled taste and supreme quality. The aim that these young entrepreneurs have set themselves is to make the Aeolian excellence known internationally, creating an indissoluble union between quality and accessibility. This is why they have devised a supply chain that allows them to minimize brokerage costs and at the same time allow large-scale distribution of Aeolian products at competitive prices, maintaining the quality of the products intact and guaranteeing their undisputed excellence. The consumer can only choose the products he prefers and enjoy them in good company. Eolie Shop Online for only typical products from the Eolian Islands. The Eolie Shop project is born From the love for the culinary excellence of the Aeolian islands territory and from the desire to make them finally accessible and appreciated to all. An online store that enhances the history, traditions and quality of the island’s producers who work every day to keep an age-old food and wine culture alive.
Silvio Scarafiotti, figlio d'arte, esegue, negli anni, eleganti opere pittoriche e decorative presso committenze di elevato prestigio in Italia ed Europa. Appassionato del suo lavoro, ha imparato da suo padre le antiche tecniche pittoriche e di restauro, mettendoci l'amore per il suo lavoro. Sempre alla ricerca dell'innovazione, si pone all'avanguardia con le più recenti tecniche pittoriche, pur con grande attenzione e conoscenza dei materiali naturali, della calce e di tutte le sue lavorazioni imparate fin da ragazzino. Con il suo staff, composto da validi professionisti, pone estrema attenzione alla pulizia degli ambienti lavorativi, all'ordine e alla precisione. Maestro di trompe-l'oeil, pittura su superfice piana che crea l'illusione di tridimensionalità nello spettatore, esegue stucchi, marmorini, spatolati. Amante del bello e dell'architettura storica si occupa d'interventi conservativi e integrativi su facciate e di pitture murali d'epoca, atti a svelare e salvaguardare la presenza di meravigliosi dipinti.
Ermanno Tedeschi is a refined gallery owner operating in Italy and abroad with galleries in Turin, Milan, Rome and Tel-Aviv. After his long international experience, he continues his activity in the art world in different ways and with new, different tools. His passion and professional skill is to sew tailor-made projects for public and private spaces, organize specific artistic activities for collectors and promote meetings in the studios of the artists that he has always followed in recent years. His professional advice in the purchase and sale of works of art is given with leaner and more flexible tools. He deeply believes in the cultural aspect that he considers closely connected with the art market.
Maria Carolina Zambelli è un architetto esperta in bioarchitettura, bioedilizia, energie rinnovabili. Vive e lavora a Venezia in uno dei più bei palazzi storici della città. È attiva nel restauro e ristrutturazione di castelli ed edifici storici, collabora attivamente con la Soprintendenza, conosce e riconosce i materiali antichi e le loro lavorazioni. Si prende cura dei suoi committenti con conoscenza, passione e cuore.
Marco Camisani Calzolari has been involved with the Digital industry since 1994, namely, as University Contract Professor in Digital Communication & Transformation and Fake News/Propaganda, in addition to being a prominent Keynote Speaker and Writer on the subject. Originally born in Milan, Marco, a well-known media personality, now lives in London and has become a British citizen. Marco is also a Digital Advisor for important multinationals such as Henkel, Roche, Atlantia, Danieli and so forth. As a Digital book writer, he has authored several publications on Digital Strategy and he is a regular contributor to many magazines inherent to digital-related topics, as well as various national TV and Radio channels where he is a long-established name, always hosted not only for his distinct competence but also great popularity with the public.
Amid the green woods of the Aspromonte National Park, Domenico created the Perrone farm in 1968. The history of the Perrone family was born among the olive trees In the heart of Calabria, our olive trees extend over terraces along the steep slopes facing north-east, at an altitude between 500 and 800 meters above sea level. These particular conditions create a barrier against pests and moulds and allow a harmonious and healthy growth of the plants. The olive trees belong to the indigenous cultivars Sinopolese and Ottobratica and produce small and high quality fruits. The cultivation techniques centered on respect for nature, special attention to the degree of ripeness in the olive harvest and the scrupulous selection of cold-extracted oils make it possible to obtain a genuine product with high and valuable organoleptic characteristics. Since then and with the same passion as always, following the rhythms of nature and the seasons, precious oils, flours, biscuits and other products based on extra virgin olive oil are produced. The history of the Perrone family was born among the olive trees. Oleificio Perrone, superior category olive oil, obtained directly from olives and solely by mechanical means.
Daniela Foresto is a photographer lively and sunny, you understand at a glance that she cannot stop thinking about her work for a moment, perhaps because she came to photography through a particular path and it is as if she wanted to take advantage of every moment of precious time. As she herself says, she has always had a camera around her neck, since she was a girl and even while doing another profession. She is a portrait photographer from Turin, has her own personal gallery, a poses room and a laboratory of artistic prints. Mainly she works in black and white, she is deeply in love with the history of people, to portray and document it with photographic portraits where I look for the essence or the subtle thread of affections that binds people. For her, photographing is feeling.
Flo and Flo Firenze realizza camicie su misura uomo, donna e ragazzi fin dal 1959. Nata 60 anni fa in prossimità della salita che porta a Fiesole, Flo and Flo è erede di quella tradizione che ha legato il nome di Firenze alle lavorazioni artigianali di alta qualità. Nel laboratorio in via Cairoli, le lavorazioni delle camicie avvengono anche oggi in maniera del tutto artigianale, in base ai canoni non scritti, ma tramandati di generazione in generazione. Vengono prese le misure secondo regole sartoriali, per conformarsi alla personalità di chi la indossa. Il taglio è eseguito manualmente in laboratorio, pezzo per pezzo. Le cuciture sono realizzate con la massima accuratezza e alcune parti vengono eseguite su richiesta del cliente a mano come, per esempio, le cifre. Da oltre vent'anni Flo and Flo Firenze confezionano camicie su misura per uomo e donna utilizzando materiali e tecniche di lavorazione che conferiscono ai nostri prodotti pregio e durevolezza. Il loro approccio artigianale alla produzione permette di prestare massima attenzione ai dettagli e alla qualità. Queste scelte produttive richiedono un tempo di lavorazione maggiore rispetto ad altri approcci più industriali ma, in compenso, ottengono una qualità dei prodotti superiore. Un ampio catalogo di oltre 1.100 dei migliori tessuti, gli permette di soddisfare tutte le richieste dei clienti, anche di quelli più esigenti, in termini di qualità, tipo di tessuto, disegno o colore. Sono Premium Ambasciator di Thomas Mason brand appartenente ad Albini Group, leader in Italia per la vendita di tessuti per camicie. Le creazioni sartoriali di abbigliamento per donna di Flo and Flo Firenze sono frutto di una costante ricerca creativa per dar vita a capi che vanno dall'eleganza classica per eventi più formali, all'eleganza "sbarazzina" per un uso quotidiano da abbinare a stili più frizzanti. Flo and Flo Firenze confezionano i loro capi in numero limitato per ciascun modello evitando così che capi invenduti e scarti derivanti dalla produzione finiscano nel circuito dei rifiuti. Inoltre la durevolezza delle loro camicie e la possibilità di ricambiare colli e polsi, soggetti a maggiore usura, contribuiscono a ridurre l'impatto dei prodotti sull'ambiente.
Christian Greco, 44 anni, direttore del Museo Egizio di Torino, nominato cinque anni fa a un’età da record per l’Italia, travolge con un impasto di passione, curiosità e talento. Che tuttavia sarebbero impressioni passeggere senza due qualità sempre più desuete, da lui fieramente rivendicate: spirito di sacrificio. E l’ostinatezza di dedicarsi a un sogno: «Ho sempre voluto fare l’egittologo. L’ho desiderato sin da quando avevo 12 anni. I miei genitori mi portarono in Egitto, e lì, davanti all’emozione incredibile della Valle dei Re, guardai mia madre e le dissi: da grande farò l’egittologo». Così è stato. È stato docente universitario del corso "archeologia funeraria egizia e archeologia della Nubia e del Sudan" all'università di Leida. Dal 2014 è membro del Comitato tecnico-scientifico per i Beni archeologici del MIBACT ed è direttore della Fondazione Museo egizio di Torino. Al Museo Egizio di Torino è stato a capo del progetto di rinnovamento dell'allestimento e del percorso espositivo, terminato nel 2015. Negli anni successivi ha curato la realizzazione di una serie di mostre temporanee: “Il Nilo a Pompei” (2016),[6] “Missione Egitto 1903 – 1920. L'avventura archeologica M.A.I. raccontata” (2017),[7] “Anche le statue muoiono. Conflitto e patrimonio tra antico e contemporaneo” (2018),[8] “Archeologia invisibile” (2019),[9] “Aida, figlia di due mondi” (2022).[10] Ha continuato a promuovere e realizzare integrazioni, variazioni e aggiunte alle gallerie permanenti, tra cui le Sale Storiche (2019) e la Sala della Vita (2021), promuovendo l'idea di un museo in continua evoluzione in grado di comunicare ai suoi pubblici i risultati progressivi della ricerca sugli oggetti della collezione[11]. Dal 2018 è il responsabile dell'unità di Torino nell'ambito del progetto internazionale “Crossing Boundaries - Understanding Complex Scribal Practices in Ancient Egypt”, in collaborazione con le Università di Basilea e di Liegi. Dal 2018 al 2022 è stato il responsabile del coordinamento del consorzio musei europei (composto da: Museo egizio di Torino, di cui è capofila; British Museum, Museo del Louvre, Ägyptisches Museum und Papyrussammlung e Rijksmuseum van Oudheden) nell'ambito del progetto "Transforming the Egyptian Museum of Cairo", finanziato dalla Comunità Europea. Greco collabora regolarmente come docente con diversi istituti universitari sia italiani che stranieri, tra cui l'Università degli Studi di Torino, l'Università degli Studi di Pisa, lo IUSS di Pavia, l'Università Cattolica del Sacro Cuore, la Scuola IMT Alti Studi di Lucca e la NYUAD. Dal 2014 ricopre la carica di Presidente del Comitato Scientifico del Collegio Ghislieri di Pavia ed è membro dal 2015 del Consiglio di Amministrazione del Museo archeologico nazionale di Napoli. Dal 2018 è membro del Comitato Scientifico del Grande museo egizio a Giza, del Comitato Scientifico della Fondazione Scuola dei Beni e delle Attività Culturali di Roma e del Collegio Docenti del Dottorato in “Archeologia e culture del Mediterraneo antico. Ricerca storica, conservazione, fruizione del patrimonio” della Scuola Superiore Meridionale di Napoli, istituita presso l'Università degli Studi di Napoli Federico II. Colpevole di risultati straordinari, competenza, creatività e forse anche dei modi gentili, Christian Greco è stato nominato dalla giunta della Camera di commercio comunale Torinese dell’Anno 2023. Al direttore del Museo Egizio vengono riconosciute competenze, capacità, intuito, passione, spirito innovativo: tutte condizioni che hanno permesso alla struttura da lui gestita da 9 anni – sin dal 2014 – di crescere e attrarre nuovi turisti.
Quella del bottonificio Fratelli Bonfanti è una lunga storia lastricata di preziosi bottoni e di raffinate fibbie, che ha avuto inizio nel primo dopoguerra a Torino. Era il 1948 quando Walter Bonfanti fonda la sua azienda coinvolgendo nell’ impresa tutti i suoi fratelli ed avvalendosi di una volenterosa ed eccellente manodopera locale. Nel giro di alcuni anni i bottoni Bonfanti si guadagnano il giusto riconoscimento delle migliori sartorie e case di moda italiane del tempo. La Fratelli Bonfanti, forte dei propri risultati, conquista nuovi mercati esteri portando il “Made in Italy” oltre i confini nazionali facendo si che circa il 75% del fatturato sia realizzato grazie all’esportazione. Francia, Germania, Spagna, Portogallo, Inghilterra, Svezia, Svizzera, Russia, USA, Cina, Giappone, Brasile ed altri paesi diventano il nuovo mercato della Fratelli Bonfanti. Dalla Madreperla al Corno per arrivare sino ai metalli pregiati ed alle resine chimiche ogni singolo bottone viene realizzato con la stessa cura, la stessa passione e la tradizione di un tempo. Sempre in linea con i dettami delle tendenze moda e con le esigenze dei clienti. La terza generazione della famiglia è costituita da Chiara e Serena Bonfanti, figlie di Mario, che dotate della stessa passione di famiglia per l’innovazione hanno immaginato e realizzato, in collaborazione con l’artista torinese Paolo Gillone in arte Jins, una nuova collezione di bottoni. Questa è la storia della famiglia Bonfanti giunta con orgoglio alla terza generazione, “con la folle illusione e la modesta certezza di essere riusciti a costruire qualcosa”, come racconta Mario Bonfanti.
In 2005, Paolo and Giovanna Bassetti decided carefully to restore a few houses in Copşa Mare. These are part of a sustainable project that will, through conservation and tourism development, help protect this part of Europe. The collaboration and enthusiasm of the local people has been fundamental in understanding and valuing their cultural heritage. Giovanna and Paolo Bassetti destroyed two Land Rovers in their year-long search for just the right property. But after visiting around 30 villages, in 2005 they finally found what they were looking for in this peaceful hamlet, which is dominated by a 14th-century fortified church and stands at the edge of a vast forest on the Tarnava Plateau.Copsa Mare Guesthouses today offer a perfect heaven for relaxation and discovery in the heart of Transylvania. All houses have been restored according to the traditional architecture, decorated with local furniture and provided with the comfort of modern lifestyle. Copsa Mare is an unique unspoilt Saxon village situated near Biertan, UNESCO Heritage Site.
From Chris Bangle’s Big Benches, now a symbol of the Alta Langa, comes the BIG BENCH COMMUNITY PROJECT (BBCP) initiative, to support local enterprise, tourism and craftsmanship in the towns that host these out-of-scale installations. BBCP is a no profit initiative promoted by the american designer and his wife Catherine, Clavesana citizens since 2009, to unite the creativity of the Chris Bangle Associates S.r.l. design team with the craftsmen of this area of Piemonte. BBCP activities – strictly no profit – include both technical support for those who wish to construct offi-cial Big Benches, and collaboration with prominent local craftsmen to create products inspired by them, that may constitute a small contribution to the local economy and tourism, in the spirit of positivity that the Big Benches bring to this area. The change in perspective due to the size of the bench makes one feel like a child, able to be amazed by the beauty of the landscape seen through new eyes. The bench in less then a year became a local attraction for visitors to the area. Chris Bangle: «It is a great lesson in the use of contextual innovation. We are so obsessed by discovering new things that we often deny ourselves the interesting feeling of experiencing well known things but in a different context».
Senini is the leading Italian company in the production of blocks, floors and curbs. The company invests in research to help improve the quality of life and to build an "eco-environment": houses, squares, streets and gardens where respect and care for the environment predominates, where attention to the well-being of people and the care of beauty are Heritage of all. Environments not only beautiful but also "healthy". Maximum transparency and maximum reliability: All Senini production uses only natural raw materials. Enriched with a new line of products for the bio-building sector senini Tecnohemp produces the block in hemp and Lime. A choice in step with the times, consistent with the strategy of the company for many years engaged in the production of innovative materials, eco-sustainable and low environmental impact. The houses of the future will increasingly be built with natural materials: a growing trend that contributes to preserving the environment and ensuring a better quality of life for all.
Valentina Confuorto canta e conta storie, ma ha uno spirito organizzativo non da poco. Ha collaborato alla realizzazione di eventi per svariati Teatri e Associazioni Musicali, a Napoli, Padova, in Italia e all'estero in Francia, Irlanda e Germania. Oltre ad aver vinto numerosi concorsi letterari, si è dedicata alla realizzazione di opere multimediali legate alla musica, arrivando finalista in concorsi nazionali e internazionali, ha collaborato attivamente per il Carnevale di Venezia. Per Tartini2020 ha scritto la commedia in due atti “Le dissonanze. Tartini, musica e bollori”, per il Carnevale di Venezia ha scritto e diretto nel 2018 lo spettacolo “El ziogo dele perle de vero”, l’anno dopo ha redatto testi e musiche per “Da Venezia alla Luna – La magica storia di Alvise Cicoria”, con regia di Alessandro Bressanello. Diploma in flauto dolce col massimo dei voti sotto la guida di Sergio Balestracci, laurea in Musicologia cum laude presso l’Università di Padova, nel 2013 master in Manager degli eventi a Bologna.
Slow Food is an organization that promotes local food and traditional cooking. It was founded by Carlo Petrini in Italy in 1986 and has since spread worldwide to prevent the disappearance of local food cultures and traditions, counteract the rise of fast life and combat people’s dwindling interest in the food they eat, where it comes from and how our food choices affect the world around us. Since its beginnings at Boccon di Vino a Typical Italian Trattoria, Slow Food has grown into a global movement involving millions of people in over 160 countries, working to ensure everyone has access to good, clean and fair food. Slow Food believes food is tied to many other aspects of life, including culture, politics, agriculture and the environment. Through our food choices, we can collectively influence how food is cultivated, produced and distributed, and change the world as a result.
Ben Pentreath’s architectural and interior design studio has established a powerful reputation across a variety of disciplines. From master-planning and urban development, to private houses and playful interiors, our small and close-knit team works to create the best – whatever the scale, size, scope and budget of a project. Above all, we love designing places that work beautifully for the long term, and feel right for place. Our architectural and masterplanning practice works on projects at every scale – from large new urban developments to individual private houses. Whatever the size of project, we apply the same principles to all our work: an understanding of scale and proportion, intelligent care and attention to detail, and the creation of buildings that feel timeless and appropriate to place. Above all, we take real pleasure in every stage of the design process.
L’Italia possiede il patrimonio naturalistico, botanico, paesaggistico e artistico fra i più ricchi del mondo, in virtù della sua morfologia articolata, che le regala climi, microclimi, terreni e ambienti diversi, della sua storia e e cultura. Fin dall’antichità, il Bel Paese è stato meta di viaggiatori stranieri, dai pellegrini che nel Medioevo si recavano a Roma per ottenere l'indulgenza, ai commercianti e banchieri, agli scrittori, ai pittori e agli architetti che fin dal Rinascimento vi si recavano per affari e studio. Nel Sette-Ottocento un soggiorno nel Bel Paese diventò una tappa obbligatoria del lungo viaggio, il cosiddetto Grand Tour, che i giovani delle ricche famiglie europee e in seguito americane, dovevano compiere per completare la propria educazione: e molti di loro rimasero incantati dai nostri giardini e paesaggi, che descrissero nei loro scritti o raffigurarono nei loro dipinti. L’Italia ha infatti ancora molto da offrire ai viaggiatori curiosi di tutto il mondo, siano essi botanici, naturalisti, ornitologi, paesaggisti, architetti, vivaisti, giardinieri per professione o per passione: una scelta vastissima di parchi e giardini storici e contemporanei, orti botanici e roseti, paesaggi mutevoli, fioriture nascoste, boschi antichi e alberi secolari. E, ancora, passeggiate in luoghi poco conosciuti, spiagge, torrenti e forre d’acqua dolce, riserve e oasi naturalistiche, vigneti e oliveti; coltivazioni locali ritrovate e prodotti tipici, frutto di sapienze antiche, musei botanici e agricoli, collezioni botaniche, e last but not least, il fior fiore dei vivai italiani, grandi e piccoli, uniti dalla medesima passione e curiosità per la ricerca botanica e la sperimentazione colturale. Italian Botanical Heritage vuole essere proprio questo: un luogo di incontro per noi tutti appassionati di piante, giardini, natura.
Sant’Erasmo è un’isola della laguna di Venezia, a mezz’ora di vaporetto dalle Fondamenta Nuove. È grande come la metà della città, è attraversata da canali, e dal Cinquecento è un unico grandissimo orto. Sui terreni argillosi, ben drenati e con una salinità molto alta, crescono verdure saporite, specialmente i carciofi, tanto che la varietà coltivata sulla laguna ha preso il nome proprio da questa isola. Tenero, carnoso, spinoso e di forma allungata, il carciofo di Sant’Erasmo ha le brattee color violetto cupo. Un tempo negli orti della laguna lo concimavano con le scoasse (la spazzatura, in veneziano) oppure con conchiglie e gusci dei granchi, che servivano per correggere l’acidità dei terreni. Il Carciofo Violetto di Sant'Erasmo è un prodotto agricolo incluso tra i presidii di Slow Food e tra i prodotti agroalimentari tradizionali italiani, come richiesto dalla Regione Veneto. Gli articiochi, così si chiamano i carciofi a Venezia, sono stati introdotti nella cucina veneziana dalla comunità ebraica. Sono consumati prevalentemente crudi e le castraure sono una vera delizia disponibile solo per pochi giorni: 10, 15, non di più. Le ricette a base di carciofo sono tantissime: fritti in pastella, crudi con un filo di olio d’oliva, oppure col garbo, cioè cotti col soffritto di aglio o cipolla a fuoco molto lento e a tegame coperto, con l’aggiunta finale di aceto o limone. E ancora alla grega, tagliati a spicchi, rosolati e serviti freddi con limone, oppure maritati con le schie (i gamberetti di laguna), gli aliciotti e le sardine. Nelle osterie sono tra i cicheti di ordinanza, lessi e conditi con aglio, prezzemolo, pepe e olio.
French photographer born in 1976, Thomas Jorion lives in Paris and travels the world to achieve his singular and timeless landscapes. Self-taught, he creates his photographs in natural light using an analog large format 4×5” camera. He captures places in ruins or abandoned, and allows us to rediscover and to imagine their past glory in a bygone era. In 2013, La Martinière editions published “Silencio”, a work that combines several of his series: Silencio, The other America, Konbini, The Quest of the soviets… From 2013 to 2016, Thomas Jorion has been focusing his photographic exploration on the former French colonies; these new series lead to a second book published by La Martinière “Vestiges of the empire” and presented on the occasion of his participation in Paris Photo. Since Thomas Jorion has taken over and developed the series “Veduta” on the Italian Palaces and Villas. This series will be presented for the first time in Paris in February 2019.
The Teatro la Fenice, is one of "the most famous and renowned landmarks in the history of Italian theatre", and in the history of opera as a whole. Especially in the 19th century, The Fenice Opera House was founded in 1792, and it was inaugurated on the 16th of May, in the day of Ascension Festivity (Fèsta de la Sènsa) in which was celebrate the Marriage of Venice with the sea. The Opera House, since its birth, tells us the history of Venice. La Fenice became the site of many famous operatic premieres at which the works of several of the four major bel canto era composers – Rossini, Bellini, Donizetti, Verdi – were performed. Its name reflects its role in permitting an opera company to "rise from the ashes" despite losing the use of three theatres to fire, the first in 1774 after the city's leading house was destroyed and rebuilt but not opened until 1792; the second fire came in 1836, but rebuilding was completed within a year. However, the third fire was the result of arson. It destroyed the house in 1996 leaving only the exterior walls, but it was rebuilt and re-opened in November 2004. In order to celebrate this event the tradition of the Venice New Year's Concert started. La Fenice is the Theatre of Venice. La Fenice has resuscitated twice from the ashes. La Fenice is Venice and reflects its history and embodies its myth. Water and light, fire and air are the elements that indissolubly constitute his Majesty. La Fenice is consecrated to Apollo and in the Theatre’s blue sky the Hours dance in the middle of a grove, where the audience sits in the stalls. San Marco’s Lion, also illuminated by Apollo on the Royal Box, is Venice itself, unique and uncontested beauty in its sea of enchantment.
Benedetta Cibrario scrittrice italiana nata a Firenze, ha vissuto in diverse città italiane, prima di arrivare, con la famiglia, in Piemonte. Si è laureata in Storia e Critica del Cinema con Gianni Rondolino, con una tesi su Michael Powell e Emeric Pressburger. Sposata, con quattro figli, per esigenze familiari e professionali ha iniziato a dividersi ripetutamente tra l’Italia e l’Inghilterra. Gli anni delle trasferte all’estero sono stati determinanti per Benedetta Cibrario, che ha iniziato a raccogliere materiale per un romanzo incentrato sul tema del rapporto tra individuo e storia, mettendo a fuoco non soltanto temi che torneranno nei romanzi seguenti ma anche sperimentando tecniche di scrittura più o meno esplicitamente suggerite dagli anni di studi cinematografici. Esordisce nel 2007 con un romanzo pubblicato da Feltrinelli, Rossovermiglio, che l’anno seguente si aggiudica il Premio Campiello e viene pubblicato in diversi paesi europei. Nel 2009, invece, esce Sotto i cieli noncuranti (Feltrinelli), premiato con il Premio Rapallo Carige 2010. Negli anni successivi seguono il romanzo breve Lo scarnuso (Feltrinelli, 2011) e Il rumore del mondo (Mondadori, 2018). Benedetta Cibrario, autrice impareggiabile nel raccontare epoche e personaggi, ha scritto il suo più recente grande romanzo, "Sotto cieli noncuranti", in cui la forza di una giovane donna e di un'epoca gloriosa e affacciata positivamente sul futuro trovano il loro equilibrio. Un libro pieno di storia, di bellissimi personaggi a tutto tondo e di una gioventù impegnata a cambiare il mondo. Come ci ha detto l'autrice, un romanzo che è "una macchina del tempo che azzera le distanze". In questo romanzo (“storico”, come si diceva) in cui non mancano precisi riferimenti ad avvenimenti, luoghi e personalità che abbiamo studiato sui libri di scuola, quello che colpisce è il bisogno dell’Autrice di rendere verosimili non solo nei modi, usi e costumi tutti gli innumerevoli personaggi del libro, ma il volerlo fare in maniera certosina anche nella scelta dei nomi, talvolta a lei suggeriti da lapidi, o da giornali e cronache del tempo, e dunque appartenuti a persone realmente esistite, che tuttavia Benedetta Cibrario trasforma in altro da sé, come fa con la protagonista, Anne Bacon: personalmente, trovo che questo omaggio a dimenticate persone di un lontano passato, il volerle riportare alla vita sia pure solo nella finzione narrativa, sia un gesto di commovente finezza. "Per ogni parola perduta", è il suo ultimo romanzo pubblicato nel 2022. Una straordinaria storia personale di oggi incentrata sul restauro di una mongolfiera, un evento storico molto ben documentato tra Francia, Italia e mercati dell'arte. È così completo, così ben arrotondato, così profondo ma leggero che non riesci proprio a smettere di leggerlo. L’Autrice è ben consapevole che le circa 750 pagine del romanzo impongono al lettore, anche al più veloce e disciplinato, una tempistica severa, ma ha voluto ugualmente correre il rischio di risultare anomala pubblicando un libro “lungo”: la verità è che al Lettore, alla fine, rimane la voglia di sapere ancora, e ancora, e ancora che cosa succederà e credo sia anche questa una virtù, non certo scontata, del libro. Infine, non manca la morale della favola, alla quale il Lettore arriva spontaneamente, per logica deduzione, senza forzature di tipo alcuno: “Dove c’è emancipazione femminile, c’è anche l’emancipazione di un Paese”. Benedetta Cibrario, Italian writer born in Florence, lived in various Italian cities before arriving in Piedmont with her family. She graduated in Cinema History and Criticism with Gianni Rondolino, with a thesis on Michael Powell and Emeric Pressburger. She is married, with four children, managing family and work she has begun to divide herself repeatedly between Italy and England. The years of travel abroad were crucial for Benedetta Cibrario, who began to collect material for a novel focused on the theme of the relationship between the individual and history, not only focusing on themes that will return in the following novels but also experimenting with writing techniques more or less explicitly suggested by the years of film studies. She made her debut in 2007 with a novel published by Feltrinelli, Rossovermiglio, which the following year won the Campiello Prize and was published in various European countries. In 2009, however, Under the nonchalant skies (Feltrinelli) was released, awarded the Rapallo Carige Prize 2010. In the following years, the short novel Lo scarnuso (Feltrinelli, 2011) and Il rumore del mondo (Mondadori, 2018) followed. Benedetta Cibrario, incomparable author in recounting eras and characters, wrote her most recent great novel, "Under careless skies", in which the strength of a young woman and a glorious era looking positively on the future find their balance. A book full of history, beautiful all-round characters and a youth committed to changing the world. As the author told us, a novel that is "a time machine that resets distances". In this novel ("historical", as we said) in which there is no lack of precise references to events, places and personalities that we have studied in school books, what is striking is the author's need to make it plausible not only in the ways, uses and customs of all the innumerable characters in the book, but the desire to do it painstakingly also in the choice of names, sometimes suggested to her by tombstones, or by newspapers and chronicles of the time, and therefore belonged to real people, who nevertheless Benedetta Cibrario transforms in another of itself, as it does with the protagonist, Anne Bacon: personally, I find that this homage to forgotten people from a distant past, the desire to bring them back to life, even if only in narrative fiction, is a gesture of moving finesse. "Per ogni parola perduta", is her last published novel in 2022. An amazing personal nowadays story intratuaned around the restoration of a hot air balloon, an historical event very well documented between France, Italy and the art markets. It's so complete, so well rounded, so deep yet light that you just can't stop reading it. The author is well aware that the approximately 750 pages of the novel impose strict deadlines on the reader, even the fastest and most disciplined one, but she still wanted to run the risk of appearing anomalous by publishing a "long" book: the truth is that at the In the end, the reader is left with the desire to know again, and again, and again what will happen and I think this is also a virtue, certainly not taken for granted, of the book. Finally, there is the moral of the story, to which the reader arrives spontaneously, by logical deduction, without forcing of any kind: "Where there is female emancipation, there is also the emancipation of a country".
Antonio Stradivari è il liutaio più conosciuto al mondo, italiano, menzionato anche con il nominativo in lingua latina Antonius Stradivarius. È stato un costruttore di strumenti a corde di straordinaria fattura come violini, sin dall'inizio aveva modificato i modelli del suo maestro, intervenendo sulle bombature, la forma, le "f" e gli spessori. Probabilmente, fu proprio lui a compiere i primi studi sulla modifica dell'inclinazione del manico. Fino ad allora il manico era semplicemente appoggiato alle fasce e fissato con tre chiodi (metodo barocco), ma questi strumenti si potevano apprezzare solo in piccoli ambienti. Con l'avvento della musica moderna, che veniva eseguita nei teatri, fu deciso di dar maggiore tensione alle corde per avere più potenza di suono. Da qui la necessità di inclinare maggiormente il manico all'indietro e di eseguire l'"incastro", cioè incastrare e incollare all'interno dello zocchetto una parte del manico in modo che potesse resistere alla tensione creata. Fu poi necessario allungare la catena ed anche la tastiera in modo da poter accedere alle posizioni più alte e sostituendo quest'ultima con un legno più resistente: l'ebano. Era nato il violino moderno! Nacquero così i Grandi Stradivari, le sue migliori opere furono costruite tra il 1698 ed il 1725. Raggiunse l'apice tra il 1725 ed il 1730. Dopo il 1730 molti strumenti portano la scritta nell'etichetta "Sub disciplina Stradivarii", probabilmente perché costruiti dai suoi figli. Oltre a violini, viole e violoncelli, Stradivari creò anch arpe, chitarre, liuti e tiorbe; si stima in tutto oltre 1100 strumenti musicali.iole, violoncelli, chitarre, arpe; in quest'ambito è universalmente riconosciuto come uno dei migliori.
Alberto Angela è un giovane paleontologo, divulgatore scientifico, conduttore televisivo, giornalista e scrittore italiano, figlio di Piero Angela lo scienziato che per primo ha usato il mezzo televisivo per portare la Scienza nelle case di tutti con acuta intelligenza. Alberto, che è nato e cresciuto a Parigi, ha seguito le orme del padre. Specializzandosi in paleontologia, branca delle scienze naturali che studia gli esseri viventi vissuti nel passato geologico e i loro ambienti di vita sulla Terra. Anche lui si è dedicato, fin da giovane, alla divulgazione scientifica in televisione. Alberto Angela ci accompagna in un viaggio alla scoperta delle "Meraviglie" italiane, quelle che ci rendono una vera e propria "penisola dei tesori". Un itinerario fra arte e bellezze naturali nei siti riconosciuti dall'Unesco come patrimonio dell'umanità. Da parecchi anni attraverso il suo programma Ulisse con maestria, conoscenza scientifica e con l'uso d'immagini che dipingono quadri reali porta alle famiglie temi scientifici e artistici importanti e anche difficili. Alberto Angela is a young paleontologist, scientific popularizer, television host, journalist and Italian writer, son of Piero Angela, the scientist who was the first to use the television medium to bring science into everyone's homes with acute intelligence. Alberto, who was born and raised in Paris, followed in his father's footsteps. Specializing in paleontology, a branch of natural science that studies living beings who lived in the geological past and their living environments on Earth. From an early age, he too has dedicated himself to scientific dissemination on television. Alberto Angela takes us on a journey to discover the Italian "Wonders", the ones that make us a real "treasure peninsula". An itinerary between art and natural beauty in the sites recognized by Unesco as a world heritage site. For several years, through his program, Ulysses has brought important and even difficult scientific and artistic themes to families with mastery, scientific knowledge and the use of images that paint real pictures.
Lo squero di San Trovaso sorge lungo il rio omonimo e risale a prima del Seicento. Squero è il tipico cantiere veneziano dove si creano, costruiscono e riparano le imbarcazioni di dimensioni contenute come gondole, pupparini, sandoli, sciopòni e altre barche tipiche della tradizione lagunare veneziana. Il termine squero deriva dalla parola "squara" che indica una squadra di persone che cooperano per costruire le imbarcazioni. È uno dei pochissimi squeri ancora in funzione a Venezia. L'edificio che lo ospita ha la forma tipica delle case di montagna, circostanza eccezionale per Venezia. Il motivo è duplice: da una parte tanto i carpentieri quanto il legname da costruzione provenivano dal Cadore, dall'altra l'inclinazione del piazzale antestante e la tettoia che in parte lo ricopre erano utili in caso di pioggia, oltre che come deposito per gli strumenti di lavoro.
Daverio was born in Mulhouse, Alsace in 1949 from an Italian father, and an Alsatian mother. He is the fourth of six children. Daverio attended the European School in Varese, and then studied economics and commerce at the Bocconi University in Milan Despite completing his cycle of studies, Daverio refrained from writing his final dissertation. As he said, "I was enrolled at Bocconi in 1968–1969, but I don't hold a degree. In those years you would go to university to learn, not to graduate". In 1975 he opened Galleria Philippe Daverio in Via Monte Napoleone in Milan, where he mostly focused on the avant-garde movements of the first half of the 20th century. In 1986, he opened the Philippe Daverio Gallery in New York City. In 1989 he opened a second gallery of contemporary art in Milan, Italy. The gallery eventually went bankrupt and closed in 1997. As a gallerist and publisher, Daverio has organized many exhibitions, including Andy Warhol's Last Supper in Milan. Through his program Passepartout, he explains any kind of art in such a marvelous and down to earth way but cultural deep, that one enjoys to understand everything and get into the subject.
Dante Alighieri è stato un poeta, scrittore e politico italiano, considerato il padre della lingua italiana; la sua fama è dovuta eminentemente alla paternità della Comedìa, divenuta celebre come Divina Commedia e universalmente considerata la più grande opera scritta in lingua italiana e uno dei maggiori capolavori della letteratura mondiale. Espressione della cultura medievale, filtrata attraverso la lirica del Dolce stil novo, la Commedia è anche veicolo allegorico della salvezza umana, che si concreta nel toccare i drammi dei dannati, le pene purgatoriali e le glorie celesti, permettendo a Dante di offrire al lettore uno spaccato di morale ed etica. Importante linguista, teorico politico e filosofo, Dante spaziò all'interno dello scibile umano, segnando profondamente la letteratura italiana dei secoli successivi e la stessa cultura occidentale, tanto da essere soprannominato il "Sommo Poeta" o, per antonomasia, il "Poeta". Dante, le cui spoglie si trovano presso la tomba a Ravenna costruita nel 1780 da Camillo Morigia, è diventato uno dei simboli dell'Italia nel mondo, grazie al nome del principale ente della diffusione della lingua italiana, la Società Dante Alighieri, mentre gli studi critici e filologici sono mantenuti vivi dalla Società dantesca. A partire dal XX secolo e nei primi anni del XXI, Dante è entrato a far parte della cultura di massa, mentre la sua opera e la sua figura hanno ispirato il mondo dei fumetti, dei manga, dei videogiochi e della letteratura.
The National Museum of Science and Technology (once Technics) "Leonardo da Vinci" was created on 15th February 1953. Today it is a Private law Foundation, whose institutional associates are Ministries, Public Bodies and Milan’s Universities. Next to its Chairmanship and Administration, the Museum is operationally developed by the Directorate-General. The Museum’s employees and collaborators design, develop and directly deliver day-to-day activities and extensive projects. Alongside with these internal resources there are also institutions, firms, professionals, researchers and experts, volunteers that complete the network through which the Museum achieves its mission. The Museum has achieved major significance today in important areas: an international level of excellence in the protection, conservation, and enhancement of technical-scientific collections and in museological and museographic renewal; the undisputed national leader, and one of Europe’s major leaders, in museum education for STEM fields (Science, Technology, Engineering, Mathematics) through methodological research and a very broad, high-quality offer of education and training; a major contributor in the building of collaborative projects and active dialogue with the world’s principal museums, with research institutions of Italy and abroad, and with the Italian business system; a world reference for the interpretation and the narration of the work of Leonardo da Vinci, the engineer. The Museum's macro-objectives are: rediscovery of the result of its dedication to Leonardo da Vinci as a symbol of the union of humanistic and scientific cultures, and as a starting point for building a vision based on the meeting of branches of knowledge and their interconnections; to transmit to present generations (by interpreting and enhancing accessibility) and to future generations (by protecting assets) one of the most relevant aspects of our identity, in a perspective including both the local and global, namely, the evolution of science, technology, and industrial production, as the underlying basis of contemporary society, through safeguarding and critical interpretation of material and immaterial testimonies of history; to actively involve citizens in the construction of a scientific citizenship; to raise awareness among stakeholders on important issues; to educate new generations in STEM fields (Science, Technology, Engineering, Mathematics) making use of innovative methodologies; to develop public engagement programs to foster a direct relationship between citizens and the scientific community.
Federico Spinola ha più di 30 anni di esperienza nella supervisione d'investimenti attraverso l’Europa, l’America Latina e l’Asia. Dopo una carriera iniziata lavorando per la Martini & Rossi, nel 1986 si trasferì in Argentina per amministrare aziende agricole. Tornato a Ginevra nel 1993, fondò la Parly Company SA, una società di consulenza d'investimenti internazionali. Sua preoccupazione primaria è vedere la città di Genova mantenere un ruolo attivo nell’economia e nei valori sociali del nuovo secolo. Attivo in diverse organizzazioni non-profit internazionali, ha partecipato alla creazione dell’Alliance for Rabies Control, (lotta contro la rabbia). Ha costituito il Marwar Trust, una organizzazione dedita al controllo della popolazione canina e al controllo della rabbia nella città di Jodhpur, Rajasthan, India del Nord; è stato cofondatore del World Animal Forum (WAF), l’annuale riunione annuale dei Direttori Generali delle 8 più importanti associazioni di protezione di animali nel mondo. È stato membro dei consigli di associazioni musicali come il Mozarteum Argentino, il Mozarteum de Jujuy, la De Sono Associazione per la Musica, l’Unione Musicale di Torino e attualmente è nel consiglio Milano Musica.
Il Filatoio Rosso di Caraglio, il più antico setificio rimasto in Europa, tra i pochi in Italia a essere stato recuperato con finalità museali, diventa oggi un insostituibile testimone di questo recente passato (il secondo dopoguerra ne segnò definitivamente la fine) di cui non si è persa memoria. Edificato tra il 1676-'78 per volere di Giovanni Gerolamo Galleani, fu fabbrica di filati di seta fino alla metà degli anni '30 del '900 e convertito successivamente in caserma tra il '39 e il '43. Nei decenni che seguirono fu adibito a molteplici destinazioni d'uso, senza però che fossero affiancate opere di manutenzione. Il degrado era ormai tale da far temere che il suo destino fosse inesorabilmente segnato, tuttavia ci fu un'importante svolta: negli anni '90 il Consiglio d'Europa definì il Filatoio "il più insigne monumento storico-culturale di archeologia industriale in Piemonte". Prese progressivamente piede la consapevolezza che il Filatoio fosse un bene prezioso, pertanto andava preservato. Nacque nel 1999 un Comitato, oggi Fondazione, per la tutela e, nello stesso anno il Comune di Caraglio fu in condizione di acquisirlo. Con contributi europei e regionali fu restaurato e adibito a museo.
Loredana Chieffo is a beautiful woman, cosmopolitan, international, a lover of travel and the seas of the world. She began at the age of twenty as a model in the 80s in the Milan of Haute Couture, soon climbing the top of the most important fashion houses from Yves Saint Laurent to Armani, until she became one of the famous models of Victoria's Secrets. Her constant business travel introduces her to the international jet-set. Leaving the catwalks and thanks to her experience and insight, she becomes a professional contact for large families for the sale of luxury villas working for international real estate agencies, especially in the Grenadines. Loredana Chieffo is a great sportswoman, passionate about life and nature, she develops her passion for the sea through Kite-Surf. From her beloved Milan to her, she reaches the most beautiful beaches in the world as soon as possible with coaches and friends to always experiment with new equipment and new challenges of the winds. Her sensitivity and intuitiveness, make her capable of managing difficult and complicated situations among which, she knows how to move with grace and decision to always reach goals of good and peace. She is very appreciated in working environments both from man and woman.
L’Ufficio diocesano per l’arte sacra e i beni culturali ha come principale finalità di coadiuvare in forma stabile l’Ordinario diocesano e gli enti ecclesiastici posti sotto la sua giurisdizione in tutto ciò che riguarda la conoscenza, la tutela e la valorizzazione, l’adeguamento liturgico e l’incremento dei beni culturali ecclesiastici e dell’arte sacra, offrendo la propria collaborazione anche agli Istituti di vita consacrata e alle Società di vita apostolica operanti sul territorio della diocesi. L’Ufficio, in particolare, mantiene i contatti e collabora con le Soprintendenze competenti per territorio nelle materie, nelle forme e secondo le procedure previste dalla Intesa firmata il 26 gennaio 2005 tra il Ministro per i Beni e le Attività Culturali ed il Presidente della Conferenza Episcopale Italiana relativa alla tutela dei beni culturali di interesse religioso appartenenti ad enti ed istituzioni ecclesiastichePotremmo dire che l’Ufficio è il braccio operativo del Vescovo nel servizio di tutela, conservazione e gestione del patrimonio artistico ecclesiale.Le competenze dell’Ufficio si estendono a tutte le materie e le iniziative nelle quali si esprime la conoscenza, la tutela, la valorizzazione, l’adeguamento liturgico e l’incremento dell’arte sacra e dei beni culturali ecclesiastici. Tali competenze riguardano anche gli archivi storici, le biblioteche, i musei e le collezioni esistenti nella diocesi.Per le questioni attinenti alla liturgia, all’edilizia di culto, alla catechesi, al turismo, ai problemi giuridici e ad altre eventuali che risultano connesse con la cura dell’arte sacra e dei beni culturali, l’Ufficio procede in collaborazione con i competenti Uffici e organismi di Curia
Alessandra Bruno, pittrice acquerellista e artista poliedrica, abita e lavora in Porta Venezia, nella zona Liberty di Milano. Quello di Alessandra Bruno è un cammino empatico fra arte e vita sul filo della trasparenza luminosa. Lungo questo equilibrismo appare un misterioso "Paesaggio sonoro", dove lo studio naturalistico di una partitura musicale restituisce emozioni di suono e colore. Luce, quindi, che oscilla fra le note, soffia nel vetro, annega nel mare, rinasce in un seme. La nota acquerellista, diplomata in Inghilterra all'Accademia di Belle Arti, dal 2003 collabora regolarmente con l'Istituto Europeo di Design di Milano come docente di colore per i corsi Modalab. Oltre ad aver esposto in Italia e in Francia, collabora a progetti di insegnamento pittorico e recupero interiore in italiano, inglese francese. Inoltre, realizza acquerelli su commissione per privati e enti pubblici. La sua attività, intrapresa e vissuta con la naturalezza e la serenità di chi sa che è quello che deve fare, è anche filosofia di vita. L’acquerello è appunto una tecnica che si offre sia ad una visione tradizionale, sia ad un utilizzo informale e modernissimo. Dunque strumento perfetto per la ricerca di Alessandra sulla luce che diventa materia. Per lo zen delle cose. Per la bellezza della bellezza. Alessandra Bruno, watercolor painter and multifaceted artist, lives and works in Porta Venezia, the Liberty area of Milan. Alessandra Bruno's is an empathic journey between art and life on the thread of luminous transparency. Along this balancing act a mysterious "Soundscape" appears, where the naturalistic study of a musical score returns emotions of sound and color. Light, therefore, which oscillates between the notes, blows into the glass, drowns in the sea, is reborn in a seed. The well-known watercolorist, graduated in England from the Academy of Fine Arts, has been collaborating regularly with the European Institute of Design in Milan since 2003 as a teacher of color for Modalab courses. In addition to having exhibited in Italy and France, she collaborates in painting teaching and interior recovery projects in Italian, English and French. In addition, she creates watercolors on commission for private and public bodies. Her activity, undertaken and lived with the naturalness and serenity of one who knows that is what he has to do, is also a philosophy of life. Watercolor is precisely a technique that offers itself both to a traditional vision and to an informal and very modern use. Therefore the perfect tool for Alessandra's research on light that becomes matter. For the zen of things. For the beauty of beauty.
Il Palazzo Ducale Sangiovanni è un edificio storico, ubicato nell'antica città di Alessano in provincia di Lecce. Viene erroneamente indicato come “Palazzo Gonzaga”, ma la sua costruzione risale alla fine del Quattrocento, al tempo in cui Alessano era sotto la signoria dei Del Balzo. Il Palazzo, dopo i Del Balzo, ha ospitato i De Capua, i Gonzaga, i Brayda, i Guarini, gli Ayerbo d’Aragona. Ultimo proprietario è stato Antonio Zunica, al quale era stato portato in dote dalla moglie Luisa Riario-Sforza, nipote ex-uxore di Giuseppe Maria Ayerbo d’Aragona, ultimo feudatario di Alessano, morto di colera a Napoli nel 1837. Ai primi anni del 900, il Palazzo fù comprato da Carlo Sangiovanni, Enrico Sangiovanni ne è oggi il proprietario. Oggi il palazzo e' in perfette condizioni, molto ben tenuto dai proprietari, con un bellissimo giardino. Comod come logistica in centro al paese ma nel silenzio del suo giardino protetto dalle mura, si presta alla perfetta organizzazione di ogni evento speciale e ad una ospitalità lussuosa e rilassante.
Luigi de Vecchi is currently the Chairman of Continental Europe for Corporate and Investment Banking in Citi. He has been a Managing Director of Credit Suisse since 2004. Prior to joining Citi, he was Co- Head of Global Investment Banking at Credit Suisse and a Managing Director at Goldman Sachs and Kleinwort Benson. Professor of Finance and member of the Advisory Board of the LUISS University in Rome and Board Member of Calarts in LA. He is also a member of the Board of Director of Save the Children Italy. Luigi is a mentor and gives his wide experience also in helping Associations that have a social impact. He is the father of three and a enjoys nature, friends company and sailing.
The Piera, Pietro and Giovanni Ferrero Foundation was set up in 1983 as the “Ferrero Social Initiative”; since 1991, it has been recognised by the Ministry of the Interior as a Foundation and falls into the category of socially useful non-profit organisations (ONLUS). Presided over by Maria Franca Ferrero, the Foundation embodies the idea of Pietro's son Cavaliere del Lavoro Michele Ferrero who, in 1946, worked together with his brother Giovanni to found the confectionery company that has become a multinational corporation. The “family” style of the Ferrero company is still a fundamental characteristic easily seen in its production operations. This approach includes a sense of social responsibility at both a global level and in individual employment relations, despite the considerable size that the company has reached. From the very beginning, this sense of "family" has been a widespread sentiment amongst the workers who, with their dedication and in a climate of mutual trust, have contributed to the success of the Ferrero brand. In over sixty years, several generations of people have worked for Ferrero, which can boast experience of long-term employment like few other companies. Alongside Michele Ferrero were people who contributed towards the growth of the company, generously giving material and intellectual resources and demonstrating a support and a team spirit that went well beyond formal working relationships. Michele was keen to ensure these people that when they reached pension age, they would have the opportunity to remain active, valuable and astute regarding their own lives and those of others, in an environmental and emotional framework of security and solidarity. In 1972, the Ferrero family handed out the first company long-service awards to all employees who had worked for the company for 25 consecutive years - the first 25 years of the Ferrero story. They were the first “Ferrero Seniors”, a community of individuals who now find their most useful, gratifying and fulfilling purpose in the Piera, Pietro and Giovanni Ferrero Foundation. The idea of the Foundation and the sense of its work can be found in its motto, Work Create Donate, which is also featured on the Foundation's logo. The three verbs identify three facets of individuals who are fully integrated in social life: people who work with dignity, talent and responsibility to build new situations, not as ends in themselves, but aiming to increase the overall well-being of the community. This responsible participation in communal life can be achieved through willingly and freely gifting skills, experience, time and projects. The Foundation itself is a gift through which the Ferrero Family has given shape to the respect and gratitude it holds for those who have contributed to the growth of the company and shared its values. The Foundation does not validate the past alone:it is also a moral investment in the future of individuals, based on the conviction that they need to remain active and creative in unprecedented and gratifying ways, even at an advanced age. It belies an image of withdrawal and marginalisation associated with old age that still prevails in industrialised societies today. The gift of the Foundation extends outside the Ferrero Seniors Community through its cultural efforts that run parallel and complementary to its social project.
We have to return to the ‘40s to discover the roots of this success. These were the years when Piera and Pietro, Michele’s parents, transformed a pastry shop into a factory. The Ferrero’ Family was the first Italian manufacturer after World War II to open production sites and offices abroad in the confectionary sector, turning the Company into a truly international Group. These first and decisive steps forward were thanks to the products “invented” by Pietro Ferrero and his son Michele, who was then very young. The product was Nutella made of chocolate and hazelnuts, invented because of the lack of chocolate during the war. Another key to success was the effective sales network organized by Giovanni, Pietro’s brother, who died in 1949. Following the success of the company in Italy, Michele Ferrero decided to start producing also abroad. In 1956 a large plant in Germany was inaugurated and a short time later a plant in France. It was the prelude to a rapid expansion of Ferrero in Europe, with the establishment of commercial offices and production centers all over the world.
Il castello di Salabue sorge nell'omonimo abitato, attualmente frazione del comune di Ponzano Monferrato. Nato come installazione militare e dimora dei feudatari di Salabue, è stato trasformato nel Seicento in dimora nobiliare ed è divenuto residenza di importanti famiglie ed illustri personaggi della storia e della cultura monferratese. Feudo dei marchesi di Monferrato passò in seguito ai Natta di Casale, poi ai Cozzi e ai Bezzi. Poco resta dell'originario castello di Salabue che è stato trasformato, tra la fine dell'Ottocento e l'inizio del Novecento, in residenza signorile di campagna. Il castello è arroccato in cima a una collina e incorniciato da boschi e vigneti e dalle vallate circostanti, è ora proprietà dei conti Davico di Quittengo. I dintorni sono mete interessanti per gite enogastronomiche. (1) The Salabue Castle is positioned in the homonymous inhabited area, currently part of the municipality of Ponzano Monferrato. Born as a military installation and residence of the feudal lords of Salabue, it was transformed into a noble residence in the seventeenth century and became the residence of important families and illustrious personalities of Monferrato's history and culture. Feud of the Marquises of Monferrato, it later passed to the Natta di Casale, then to the Cozzi and Bezzi families. Little remains of the original Salabue castle which was transformed between the end of the nineteenth and the beginning of the twentieth century into an elegant country residence. The castle is perched on top of a hill and framed by woods and vineyards and the surrounding valleys, it is now owned by the Davico di Quittengo counts. The surroundings are interesting destinations for food and wine tours. (1)
Architetto Elena Matteuzzi, mi occupo prevalentemente di RESTAURO ARCHITETTONICO, MIGLIORAMENTO SISMICO DEL COSTRUITO STORICO e STUDIO/DIVULGAZIONE DELL'ARCHITETTURA STORICA. Gestisco Il Capochiave, un blog di restauro e architettura tradizionale. Ho conseguito un master di II livello in miglioramento sismico del costruisco storico presso l'Università di Ferrara e vinto la prima edizione del premio di restauro "CO.RE." nella sezione delle ricerche post-laurea. Ho pubblicato un libro sugli intonaci decorati del centro storico di Siena e ne ho un secondo in preparazione sull'analisi di vulnerabilità sismica e restauro strutturale di una chiesa rurale del XVI secolo a Città di Castello (Perugia). Collaboro con due riviste: Lavorincasa.it sul mondo della casa e Teknoring.com, il portale delle professioni tecniche. Ho svolto attività di docenza in corsi di aggiornamento professionale. Offro servizi professionali di alto livello a privati, aziende e studi professionali: CONSULENZE SPECIALISTICHE PER AZIENDE, ARCHITETTI E INGEGNERI – Esecuzione di fotopiani e modelli 3D a partire da semplici fotografie. – Rilievo critico comprendente lo studio e datazione delle varie fasi costruttive, il riconoscimento di materiali e tecniche costruttive, l’individuazione delle influenze stilistiche, l’esecuzione di ricostruzioni ipotetiche, eccetera. – Rilievo e analisi dei dissesti e del quadro fessurativo. – Rilievo e analisi del degrado secondo la Norma UNI 11182 (ex Normal). – Valutazione della qualità muraria con l’Indice di Qualità Muraria (IQM) e stima delle sue caratteristiche meccaniche (resistenza a compressione, resistenza a taglio e modulo di elasticità). – Analisi stratigrafica degli elevati. – Datazione di edifici con metodi “stilistici” (mensiocronologia, cioè misurando le dimensioni dei mattoni o dei conci di pietra di una muratura; cronotipologia, cioè sulla base dell’aspetto di elementi costruttivi come portali, archi, scale, architravi, balaustre, capitelli, eccetera). – Ricostruzione ipotetica di facciate e intonaci decorati. – Esecuzione di ricerche storiche anche d’archivio. RESTAURARE CON STILE Ogni edificio storico ha caratteristiche uniche e irripetibili dovute a secoli di modifiche e stratificazioni. Tutti possono avere una casa nuova ma un vecchio muro ha impiegato moltissimo tempo per acquisire un aspetto “vissuto” e possederlo è una cosa per pochi. Ma come ristrutturare una vecchia casa conservando il suo fascino? Basta Restaurare con stile! Una consulenza altamente qualificata che prevede un accurato colloquio iniziale per valutare i tuoi desideri, il sopralluogo sul posto con il rilievo completo, lo studio di alcune soluzioni progettuali e consigli specifici sui materiali, dettagli e lavorazioni. La soluzione ideale per una casa dalle prestazioni avanzate e molte vicende da tramandare! SOS AFFRESCHI In molte zone d’Italia la tradizione delle facciate affrescate è tuttora molto viva e sentita. Gli antichi intonaci decorati valorizzano e donano un fascino unico e irripetibile a qualsiasi edificio: vanno dunque trovati, tramandati e salvati. Abiti in un palazzo con la facciata, il cortile o gli interni affrescati ma bisognosi di restauro e manutenzione? Stai ristrutturando casa ma sospetti che sotto gli intonaci più recenti si nascondano le tracce di antiche decorazioni? SOS Affreschi è il servizio per te! SISMA CHECK-UP L’Italia è un paese sismico e gli ultimi terremoti di Norcia, Amatrice e Ischia lo hanno dimostrato ampiamente. Non possiamo prevedere i terremoti ma la prevenzione risulta fondamentale. Proprio per questo Sisma check-up è la soluzione ideale! Un’analisi veloce e non invasiva della tua casa per individuare: – Eventuali problemi urgenti come crepe o cedimenti – I punti più vulnerabili in caso di terremoto – Alcuni consigli operativi.
Hermès International S.A., or simply Hermès, is a French high fashion luxury goods manufacturer established in 1837 by Thierry Hermès. He created some of the finest wrought harnesses and bridles for the carriage trade, so that later specializes in leather, lifestyle accessories, home furnishings, perfumery, jewelry, watches and ready-to-wear. Its logo, since the 1950s, is of a Duc carriage with horse. Hermès has become an icon all over the world with so many wondrous stories and such an illustrious past, Hermes conjures up a story to it that many other fashion houses can’t even begin to compete alongside. The fact that the stunning bags they create remain so prized is a testament to the fashion house’s design brilliance and luxurious quality.
Ressource est issue d'une longue tradition de fabrication de peinture puisque la marque ... de la Société Provençale du Blanc Fixe Ocres, et Couleurs, créée en 1946 pour exploiter les carrières d'ocres de Roussillon (1984). Ressource peut ainsi se prévaloir d'une très ancienne maîtrise de la couleur et de la peinture. The roots of the company explain its great expertise in mineral pigments as well as its sensitivity to environmental issues, long before modern regulations were implemented. Ressource has been a sustainable company since the 90s. We are a family-run company, which produces and sells its products mainly for the domestic market and as such, we feel highly committed to the environment. Our awareness in this regard has a direct impact on our vision and our development which involves making responsible choices and acting responsibly for the well-being of our staff and customers and ultimately taking care of the planet today for future generatio
Gucci is an Italian luxury brand of fashion and leather goods. Gucci was founded by Guccio Gucci in Florence, in 1921. He started with hand made bags and belts made with beautiful soft Italian style and handcrafted leather. Gucci climbed to 41st position in the magazine's annual 2009 "Top Global 100 Brands" chart created by Interbrand. Gucci is also the highest-selling Italian brand. Gucci operates about 278 directly operated stores worldwide as of September 2009, and it wholesales its products through franchisees and upscale department stores. In the Forbes World's Most Valuable Brands list, Gucci is ranked the 38th most valuable brand. As of January 2015, the creative director is Alessandro Michele.
The Association Vivant believes that the role of Nobility should not be considered exhausted and that today, in the overall crisis of values that involves contemporary society, it can play a specific role that is not easily replaceable, ideally reconnecting to the great industriousness of the past ruling classes. To this end, the Association intends to carry out a double-action, aimed towards the interior of the aristocratic world to re-aggregate it in common values and towards the outside, with the aim of making known the positive role of the Nobility. Fabrizio Antonelli d'Oulx is the president and actively supports many initiatives with passion and a lot of work.
Sara Ferrara Carello spent most of her childhood in Turin. Very young, she married Massimo Carello and moved to London's Chelsea. She is mother of three successful boys and has always been very active with important charities and patronages. She especially sustains woman all around the world leaving in countries dealing with wars. Also made a difference in the prevention of breast cancer in the UK guiding to introduce a law to receive free tests. As a very successful Italian woman both in the UK and in Italy, she received the honour of becoming Ufficiale Ordine al Merito della Repubblica Italiana.
Santino and his brother Giuliano are sons of art, their father a master of lime and construction work in the surroundings of Rome. Today their company Sa.Gi. performs renovations in the center of Rome and in the surrounding countryside on historic buildings. The care and passion of their interventions and the installers they use, denote a rare precision and attention in achieving the design results. The results are long-lasting and aesthetically of the highest quality.
Reviglio was born in Turin. He was also educated in Turin. His undergraduate thesis was about improving efficiency in state-owned companies. Reviglio worked as a professor of public finance at the University of Turin. He was a member of the Socialist Party and served as the minister of finance and of balance for many years with different prime ministers. After working at the University of Turin for two more years he left his job in 1983 and became the president of the Italian energy firm Ente Nazionale Idrocarburi, which is commonly known as ENI. He was appointed to the post in order to reorganize and improve the firm. He achieved goals in large degree. He dedicated his life and his skills to the common good of his country and of Europe. He worked also for the MF and as a senior advisor at Lehmann Brothers. After leaving office and politics, he is the emeritus professor at the University of Turin, grandfather and finally enjoying his country house.
At the fourteenth-century castle with crenelated males stands the splendid hunting lodge, which repeatedly hosted Vittorio Emanuele II and, in June 1940, Vittorio Emanuele III. Marquis Giuseppe Alessandro Thaon di Revel and Saint’Andrè, founder in 1814 of the Carabinieri Corps, rests in the small burial ground of the church. A few tens of meters from the castle of Ternavasso stands the eighteenth-century hunting lodge that was home to the Roero Blancardi and Thaon families. It is surrounded by a large park with an artificial lake existing since the seventeenth century. The villa has an elegant facade and an imposing entrance hall decorated with the alliance weapons of the Blancards and the Saint Andrés.
Benedetto Camerana, architect, landscape painter, Ph.D. in History of Architecture and Urbanism, after his studies he continued his theoretical research working on the integration between architecture and landscape, in the direction of a clear-cut “green architecture” environmental, both as Director of the magazines “Eden. The design research is directed to technical and formal innovation through the constant implementation of a concrete environmental commitment, with the experimental use of innovative technologies and natural energy-saving systems, and the integration of them and the natural element in the project.
Moglie, madre, nonna, Paola Thaon di Revel ama i fiori e la natura. L'eredità è il suo background. È cresciuta in una famiglia dove la disciplina militare era un dato di fatto, così come la voglia di divertirsi. Sei sorelle e un fratello, in una grande villa chiamata “Cimena”, dove molti sono venuti in visita: da Umberto I, agli americani colti, ai vicini Bruni Tedeschi sulla stessa collina. Una vita dedicata al marito, Franco Reviglio e ai tre figli con tanti spostamenti e viaggi, in tutto il mondo. Oggi, i sette nipoti e la casa di campagna, regalano giornate intensamente soddisfacenti. Wife, mother, grandmother, Paola Thaon di Revel loves flowers and nature. Heritage is her background. She grew up in a family where military discipline was a given, as well as the desire to have fun. Six sisters and one brother, in a large villa called “Cimena”, and everyone came to visit: from Umberto I, to educated Americans, to the Bruni Tedeschi neighbours on the same hill. A life dedicated to her husband, Franco Reviglio and the three children with many moves and travels, all over the world. Today, the seven grandchildren and country house, make for intensely satisfying days.
Each forcola I create is like a journey. I start by studying the walnut wood trunk, as though I were in a foreign land which will slowly become friendlier. I outline the “forcola” with care respecting the grains of the wood, and then embark on the task, sweating and taking delight in the hard work. Every now and then I observe it as a traveler would when he gazes back to see how far he has come and stops for a moment to contemplate the scenery. I work slowly at times, and at others with a sense of urge, vigor and tenderness until I begin to see the curves and the lines I wanted emerging from the wood. Completing a forcola is a bit like crossing a finish line. I savor the moment as it will stay forever. Something has been created. And I must wait a little longer before embarking on another journey.
L'azienda agricola Gianfranco Boeri Vini, presente da ben tre generazioni, come agricoltori e produttori di vino, ha sede a Costigliole d'Asti, nel cuore delle verdi colline del Monferrato. Attingendo alla propria esperienza nel settore, si è specializzata nella produzione di numerosi vini di qualità. Con l'attenta cura che accompagna l'intero processo produttivo, dalla vite alla tavola del consumatore, garantiamo un prodotto buono, genuino e di qualità. L'azienda propone un'ampia gamma di vini per soddisfare le esigenze di tutta la clientela. La storia di Gianfranco Boeri Vini comincia negli ultimi anni dell’800, quando Boeris Edoardo fondò una cascina sul Bricco dei Quaglia, in frazione Bionzo di Costigliole d’Asti, il nucleo originario della loro azienda. L'azienda, all'epoca, era agricola nel senso stretto del termine: si coltivavano campi di grano, granoturco, vigneti e si manteneva una piccola stalla di bestiame. I prodotti del territorio, ottenuti con sistemi di lavorazione tradizionali, erano pochi e destinati quasi esclusivamente all'autoconsumo. Nel 1937, l'unico figlio maschio di Edoardo, Pierino Boeri (la -s del cognome fu fatta togliere per alcuni errori burocratici) sposò Rosso Orsola. Continuarono a lavorare la terra come il loro predecessore, mantenendo la natura mista dell'azienda. In questo periodo l'innovazione tecnologica si affacciò al mondo agricolo: negli anni '40 acquistarono il primo trattore, un Landini Testacalda. Negli anni '50 del Novecento, l'azienda divenne di proprietà di Boeri Edoardo, figlio di Pierino. Con lui l'azienda, pur mantenendo l'antica vocazione, divenne via via più simile a quella che conosciamo noi oggi: venne drasticamente ridotto il numero di capi di bestiame e di campi coltivati, a favore di una netta specializzazione verso la coltivazione di mele (vendute ai mercati generali di Genova) e la produzione del vino. Il vino divenne un prodotto per il commercio: le prime consegne ai clienti di Torino sono datate 1972. Negli anni '80, l'azienda passò ai figli di Edoardo ed infine, nel 1994, con Boeri Gianfranco, tutta la produzione fu convertita: i frutteti, i prati ed i campi divennero vigneti. Vennero acquistate nuove macchine e adottate nuove tecnologie per confezionare un vino genuino, rispettoso della tradizione e dell'ambiente. Nel 1999 nacque uno dei prodotti di punta dell'azienda. Fin dall'inizio ed ancora oggi, Gianfranco Boeri Vini lavorano per portare sempre sulle tavole dei loro clienti un prodotto di eccellenza, che parli della loro storia, della loro terra. La loro produzione oggi comprende gran parte dei migliori vini del Monferrato Astigiano, Barbera, Dolcetto, Grignolino, Bonarda, Moscato d'Asti, Chardonnay, Cortese e spumante. "Our wine is the reflection of our values. When you pour some of it into a glass, stop to observe the purple waterfall that slips into the shining crystal, feel the scent that emanates, raise the glass and, moving it under the light, appreciate its ruby highlights. Bring the wine to your lips and savor. The sun, the earth, the wind between the vine leaves, the bunches, the ancient tradition, the hills ... THE WINE, that since 1896 our family produces".
Ilaria Boeri becomes architect with a Master's Degree Thesis in Architecture, for the Sustainable Project at the Polytechnic of Turin, for a proposal of natural ancient paths on the layout of the medieval roads still existing on the territory of Costigliole d’Asti. Passionate about her territory, she specializes in Bio architecture, collaborates with various entities and develops a deep experience and knowledge in the field and of natural construction sites. Her passion is the Langhe and its historical buildings with special sensitivity to the Unesco landscape and its natural and oenological resources.
Sul colle Gianicolo, più nota a tutti come il Fontanone, la fontana dell’acqua Paola si trova al termine dell’acquedotto attivato da Paolo V Borghese (da cui prende il nome) per fornire approvvigionamento idrico al rione Trastevere che fino ad allora aveva dovuto accontentarsi quasi soltanto dei pozzi e dell’acqua del fiume. In effetti l’acquedotto Paolo era l’originario acquedotto di Traiano ripristinato nel Rinascimento. L’acqua veniva portata dal Lago di Bracciano e nell’antichità era servita a mettere in movimento i mulini di Roma. Un braccio dell’acquedotto venne distaccato per portare acqua al Vaticano e alle fontane dei giardini e a quelle di Piazza San Pietro. La bella fontana fu costruita da Flaminio Ponzio in collaborazione con Giovanni Fontana tra il 1610 e il 1612. La facciata monumentale del Fontanone, animata da angeli, mostri e draghi, è costituita da cinque archi e sei colonne in granito, delle quali quattro provengono dalla facciata dell’antica basilica di San Pietro. Altri marmi furono presi dal tempio di Minerva nel foro di Nerva. Il suo vastissimo bacino è opera di Carlo Fontana. Il piazzale che offre una visuale meravigliosa della fontana e uno splendido scorcio su Roma non esisteva ai tempi di Paolo V, quando la fontana era sull’orlo scosceso del Gianicolo. Fu Alessandro VIII Ottoboni ad aumentare la portata dell’acquedotto creando il piazzale mediante lavori di terrazzamento. Nell’orto retrostante ebbe sede dall’epoca di Alessandro VII il “Giardino dei Semplici” od Orto Botanico che nel 1820 venne trasferito nel giardino di Palazzo Salviati ai piedi del Gianicolo per ordine di Pio VII.
Antarctica, the southernmost continent and site of the South Pole, is a virtually uninhabited, ice-covered landmass. Most cruises to the continent visit the Antarctic Peninsula, which stretches toward South America. It’s known for the Lemaire Channel and Paradise Harbor, striking, iceberg-flanked passageways, and Port Lockroy, a former British research station turned museum. The peninsula’s isolated terrain also shelters rich wildlife, including many penguins.Antarctica is a de facto condominium, governed by parties to the Antarctic Treaty System that have consulting status. Twelve countries signed the Antarctic Treaty in 1959, and thirty-eight have signed it since then. The treaty prohibits military activities and mineral mining, prohibits nuclear explosions and nuclear waste disposal, supports scientific research, and protects the continent's ecozone. Ongoing experiments are conducted by more than 4,000 scientists from many nations.
Chiara Donà dalle Rose, lawyer and member of the board of the University of Architecture of Venice, a woman of high profile and great commitment, cultural, social, and human. Chiara, for many simply "Countess", is a lawyer, member of the board of the IAUV University of Architecture in Venice, founder of Bias, Biennale Contemporary art of the religions of humanity. She is a culture consultant to the Municipality of Castelvetrano. Chiara has many interests, unable to list them all, among others, she works in close synergy with the United Nations High Commissioner for Refugees and, on the Sinai Peninsula, is a humanitarian head of a project to create a hospital for Wish, World International Sicilian Heritage. Chiara is a strong-willed woman who does everything with seriousness and competence. And all with the enthusiasm, sensitivity, generosity and feminine sweetness. She is a champion for Venice safeguard.
Da sempre, la storia della famiglia Eger si intreccia con quella dei tessuti. A Mussolente, in provincia di Vicenza e a ridosso della provincia di Treviso, oltre un secondo fa fonda le sue radici l’azienda della famiglia Eger, grazie al bisnonno Francesco che, dal cuore dell’Europa, trova nel comune vicentino il luogo adatto per lo sviluppo della sua attività. La produzione di tessuti viene avviata da subito con metodi all’avanguardia per l’epoca: i telai sfruttavano la forza dell’acqua, al posto dei vecchi modelli a mano. Questo approccio innovativo è stata una vera e propria rivoluzione per quei tempi. E’ nel 1927, grazie al nipote Emilio, che l’attività intraprende la strada di vendita diretta di tessuti pregiati e di alta qualità, attività che tutt’oggi è costituisce il cuore dell’impresa, e che i figli mantengono viva profondendo entusiasmo, dedizione e profonda conoscenza della materia. Il personale, affidabile, attento e competente di Casa Eger vi accoglierà e vi accompagnerà a conoscere gli ambienti di questo fantastico luogo ricco di colori, geometrie, stoffe pregiate e tessuti raffinati. Lasciatevi incantare dalla vostra selezione di stoffe di altissima qualità, sapranno consigliarvi con gusto e professionalità per le vostre necessità di arredamento della casa, dai tendaggi per vestire le finestre e donare atmosfera agli ambienti domestici, le lenzuola pregiate per un fresco riposo, o le tovaglie ricamate a mano per arricchire le tavole. I tessuti di Casa Eger sapranno emozionarvi: realizzazioni artistiche di qualità e soluzioni personalizzate e di prestigio per trasformare ogni ambiente dotandolo di eleganza e creatività. Le soluzioni di arredamento proposte sono adatte non solo per le abitazioni private, ma anche di alberghi, ristoranti e residence.
Established in 1992, the World Heritage Centre is the focal point and coordinator within UNESCO for all matters related to World Heritage. Ensuring the day-to-day management of the Convention, the Centre organizes the annual sessions of the World Heritage Committee and its Bureau, provides advice to States Parties in the preparation of site nominations, organizes international assistance from the World Heritage Fund upon request, and coordinates both the reporting on the condition of sites and the emergency action undertaken when a site is threatened. The Centre also organizes technical seminars and workshops, updates the World Heritage List and database, develops teaching materials to raise awareness among young people of the need for heritage preservation, and keeps the public informed of World Heritage issues.
The Royal Palace of Caserta is a former royal residence in Caserta, southern Italy, constructed by the House of Bourbon-Two Sicilies as their main residence as kings of Naples. It is one of the largest palaces erected in Europe during the 18th century. In 1997, the palace was designated a UNESCO World Heritage Site; its nomination described it as "the swan song of the spectacular art of the Baroque, from which it adopted all the features needed to create the illusions of multidirectional space". In terms of volume, the Royal Palace of Caserta is one of the largest royal residences in the world with over 1 million m³ and covering an area of 47,000 m². The construction of the palace was begun in 1752 for Charles VII of Naples (Charles III of Spain), who worked closely with his architect, Luigi Vanvitelli. The palace has 5 floors, 1,200 rooms, including two dozen state apartments, a large library, and a theatre modelled after the Teatro San Carlo of Naples. The garden, a typical example of baroque extension of formal vistas, stretches for 120 ha, partly on hilly terrain. It is also inspired by the park of Versailles.
The city of Petra, the capital of the Nabataean Arabs, is one of the most famous archaeological sites in the world. Petra the world wonder is undoubtedly Jordan's most valuable treasure and greatest tourist attraction, and it is visited by tourists from all over the world. It is not known precisely when Petra was built, but the city began to prosper as the capital of the Nabataean Empire from the 1st century BC, which grew rich through trade in frankincense, myrrh, and spices. Petra was later annexed to the Roman Empire and continued to thrive until a large earthquake in 363 AD destroyed much of the city in the 4th century AD. The earthquake combined with changes in trade routes, eventually led to the downfall of the city which was ultimately abandoned. In 1812 a Swiss explorer named Johannes Burckhardt set out to ‘rediscover’ Petra; he dressed up as an Arab and convinced his Bedouin guide to take him to the lost city, After this, Petra became increasingly known in the West as a fascinating and beautiful ancient city, and it began attracting visitors and continues to do so today. Petra is also known as the rose-red city, a name it gets from the wonderful colour of the rock from which many of the city’s structures were carved.
L'azienda ND - Tecnologia del Restauro si occupa di progettazione, coordinamento tecnico-scientifico e interventi specialistici per l'edilizia e per il recupero integrativo e conservativo del patrimonio storico monumentale-architettonico. Tecnologia del Restauro si propone nel mercato di: recupero conservativo del patrimonio storico, restauro, edilizia, tenendo sempre in considerazione la massima tutela dell'ambiente naturale, dell'ambiente di vita familiare, dell'ambiente di lavoro. I prodotti e le soluzioni sviluppate sono destinati non solo a chi deve restaurare, ripristinare o consolidare edifici (o parti ed elementi di essi, come colonne, tetti e volte) ed opere d'arte, ma anche a chi, costruendo ex novo qualcosa, ha intenzione di garantire la massima durabilità nel tempo di quello che sta realizzando. L'elevata preparazione e specializzazione dell'intero team, è frutto di studi avanzati in tecnologia dei materiali di scuola americana, uniti ad un'esperienza ventennale in ricerca applicata, finalizzata alla conservazione del patrimonio storico-monumentale e civile
Nevio Del Monico, professore di Tecnologia del Restauro, il tecnico dei materiali per il restauro e consulente dei Musei Vaticani voluto dal commissario Sgarbi, ha messo mano e restaurato con tecnica e maestria innumerevoli beni. Appassionato da una vita, è diventato punto di riferimento per tanti giovani del settore. Preoccupato della situazione del nostro Paese, non perde occasione per far sentire la sua voce: "Il patrimonio storico più importante al mondo è gravemente e pressochè irreversibilmente compromesso dall'uso irresponsabile di sabbiature varie e soprattutto da improprie applicazioni di etilsilicati. Le pietre vengono modificate nella composizione petrografica, implodono, polverizzano, scagliano. Ignoranza e speculazione hanno preso il posto della scienza e conoscenza."
Back in 1846, Antonio Rummo launches the family business of milling wheat and making pasta where the grain is good and the waters are pure: Benevento. Our three horses (Bruto, Bello, and Baiardo) pull the wheat from Puglia and Campania to our mill. You can still see them today on every package of pasta. The Italian President awards Cosimo Rummo the Leonardo Award of Excellence “Made in Italy” in honor of the firm’s innovation and product quality. Our pasta is healthy, gluten-free, eco-friendly, legume pasta and other that you can find in many shops through the country and on the website.
Portofino is an Italian fishing village and holiday resort famous for its picturesque harbor and historical association with celebrity and artistic visitors. It is a comune located in the Metropolitan City of Genoa on the Italian Riviera. The town is clustered around its small harbor and is known for the pastel-colored houses, exclusive boutiques and restaurants with fish specialties overlook the cobbled Piazzetta overlooking the harbor, where megayachts are docked. A path connects the Piazzetta to Castello Brown, a sixteenth-century fortress with an adjoining museum in which art exhibitions are set up and offers views of the town and the Ligurian Sea.
Trieste is a beautiful city and a seaport in northeastern Italy. It is situated towards the end of a narrow strip of Italian territory lying between the Adriatic Sea and Slovenia, which lies approximately 10–15 km (6.2–9.3 mi) south and east of the city. Croatia is some 30 km (19 mi) to the south. Trieste is located at the head of the Gulf of Trieste and throughout history, it has been influenced by its location at the crossroads of Latin, Slavic, and Germanic cultures. Trieste was one of the oldest parts of the Habsburg Monarchy, belonging to it from 1382 until 1918. In the 19th century, the monarchy was one of the Great Powers of Europe and Trieste was its most important seaport. As a prosperous seaport in the Mediterranean region, Trieste became the fourth largest city of the Austro-Hungarian Empire. In the fin de siècle period at the end of the 19th century, it emerged as an important hub for literature and music. Trieste underwent an economic revival during the 1930s, and Trieste was an important spot in the struggle between the Eastern and Western blocs after the Second World War.
Capri, an island in Italy’s Bay of Naples, is famed for its rugged landscape, upscale hotels and shopping, from designer fashions to limoncello and handmade leather sandals. One of its best-known natural sites is the Blue Grotto, a dark cavern where the sea glows electric blue, the result of sunlight passing through an underwater cave. In summer, Capri's dramatic, cove-studded coastline draws many yachts. The island of Capri is famous for a reason. All those celebrities on yachts anchored in the Marina Grande really do know something you don’t. Capri is an island that has it all; jaw-dropping natural beauty, a see and be seen scene, amazing cuisine, world-class shopping and water in colors you have to see to believe. These are our top 12 reasons to put Capri on your bucket list.
Le Case del Principe are located on the beautiful and enchanting island of Pantelleria, in the heart of the Mediterranean Sea, between Sicily and North Africa. Our houses were built in the ’70s by Prince Paolo Sallier de La Tour and his wife Costanza, who created this little oasis of peace and relaxation in the place they loved. We have seven “dammusi”, as the stone-built houses typical of Pantelleria are called, each far enough from one other to ensure its own privacy and silence. Ariane runs the hospitality. She loves flowers and nature, silence and colours, and the emotions aroused by the sea. She loves Pantelleria with its dense and vivid colors, the deep blue of the sky which seems almost possible to touch where it merges with the sea, the bright green of the vegetation in all seasons, all the scents of the island, the intense colours of the flowers sprouting from the black volcanic rocks, and the harsh summer light. A landscape that has always been part of her world, and it is the refuge of her soul.
Pompeii was an ancient Roman city located in the modern comune of Pompei near Naples in the Campania region of Italy. Pompeii, along with Herculaneum and many villas in the surrounding area, was buried under 4 to 6 m (13 to 20 ft) of volcanic ash and pumice in the eruption of Mount Vesuvius in AD 79. Largely preserved under the ash, the excavated city offers a unique snapshot of Roman life, frozen at the moment it was buried and providing an extraordinarily detailed insight into the everyday life of its inhabitants. It was a wealthy town, enjoying many fine public buildings and luxurious private houses with lavish decorations, furnishings and works of art which were the main attractions for the early excavators. Organic remains, including wooden objects and human bodies, were entombed in the ash and decayed leaving voids that archaeologists found could be used as moulds to make plaster casts of unique and often gruesome figures in their final moments of life. The numerous graffiti carved on the walls and inside rooms provide a wealth of examples of the largely lost Vulgar Latin spoken colloquially at the time, contrasting with the formal language of the classical writers. Pompeii is a UNESCO World Heritage Site status and is one of the most popular tourist attractions in Italy, with approximately 2.5 million visitors annually.
VeniceGreen pensa, racconta e realizza storie di verde, storie di giardini e spazi che invochino bellezza, benessere e armonia nella natura. Quella sensazione che si prova in un ambiente green è ciò che contraddistingue la sensibilità per il verde, la connessione con la Natura. La nostra attitudine è di seguire e proporre quella sensazione. Il nostro è un green mood che decliniamo e plasmiamo sulle esigenze di chi, con noi, vuol costruire la sua “emozione verde”. VeniceGreen è una realtà oggi, che unisce tre aziende storiche del panorama veneziano (GreenService, StudioGiardino e Idrogarden e Idroponico) offrendo risposta a 360° in tema di cura, progettazione del verde e realizzazione di “idee e spazi verdi”, interni ed esterni.
At Sacred Nature, we specialise in high-quality, intimate tours where we delve into the most remarkable medicinal plant sanctuaries on earth. From tropical rainforests, high and wild mountains, to the poetic and rich landscapes of Provence, you will have an authentic experience connecting with mystical cultures who maintain a deep connection with nature and spirit alike and who still possess ancient wisdom that so many have forgotten. More than a tour, what we offer are sacred journeys, where you will not only discover the healing power of medicinal herbs, ancient healing practices, and different cultural traditions but rediscover your own sacred nature. We are sure you will live a transformative and authentic adventure where you will deepen your connection with nature and with yourself. Sacred Nature was founded by Alicia and Guillaume. Both sharing a deep passion for travel, nature and natural ways of living, they discovered the healing world of plants. Enthused and amazed by how powerful Nature’s ability to heal is, they decided to quit the rat race and make their passions their daily reality.
The Vatican Museums (Italian: Musei Vaticani; Latin: Musea Vaticana) are Christian art museums located within the city boundaries of the Vatican City. They display works from the immense collection amassed by popes throughout the centuries, including several of the most renowned Roman sculptures and most important masterpieces of Renaissance art in the world. The museums contain roughly 70,000 works, of which 20,000 are on display, and currently employ 640 people who work in 40 different administrative, scholarly, and restoration departments. Pope Julius II founded the museums in the early 16th century. The Sistine Chapel, with its ceiling decorated by Michelangelo and the Stanze di Raffaello decorated by Raphael, are on the visitor route through the Vatican Museums. In 2017, they were visited by six million people, which combined makes them the 4th most visited art museum in the world. They are one of the largest museums in the world. There are 54 galleries, or sale, in total, with the Sistine Chapel, notably, being the very last sala within the Museum.
Lo studio santagiuliaDesign dell' Arch. Carlo Nonnis progetta e realizza arredi per interni su commissione. Attraverso contaminazioni tra vecchio e nuovo, offre la possibilità a chi lo desideri, di rendere unico ed originale un elemento d'arredo in proprio possesso. Il mobile vecchio o malandato, da disegno superato o più semplicemente inadatto all'ambiente circostante, viene elaborato nella forma, colore ed impiego abituale. Il processo di trasformazione a volte radicale, mira alla creazione di un oggetto nuovo ed inaspettato, verso forme insolite e volumi insospettabili.
Raffaello Sanzio ( Urbino, 28 March 1483 - Rome, 6 April 1520 ) was a painter and architect Italian, among the most famous of the Renaissance. Considered one of the greatest artists of all time, his work marked an essential path for all subsequent painters and was of vital importance for the development of the artistic language of the centuries to come, giving life to a school that made art "in its own way" and that goes by the name of mannerism . A fundamental model for all the academies until the first half of the nineteenth century, its influence can also be seen in 20th century painters such as Salvador Dalí. His major paintings are in the Uffizi Museum in Florence.
Il Castello di Limatola, che sovrasta l’antico borgo medioevale, si trova a guardia della valle solcata dal fiume Volturno, tra il massiccio del Taburno, il monte Maggiore ed i monti Tifatini. Sorge su una collina che sovrasta il Borgo, in posizione strategica. Venne edificato dai Normanni sui resti di un’antica torre longobarda. Al 1277 risalgono gli interventi promossi da Carlo I d’Angiò, da riconoscersi negli ambienti a volte ogivali contigui alla parte più antica della struttura corrispondente al mastio di forma rettangolare. Ai Conti Della Ratta, feudatari di Limatola dal 1420, sono ascrivibili gli interventi sulla cinta muraria più esterna e di ristrutturazione ed ampliamenti attuati in alcuni ambienti sulle scale e sulle logge, di gusto rinascimentale. Grazie al progetto di riqualificazione terminato nel 2010, portato avanti con grande profusione di impegno ed energie, dalla famiglia Sgueglia, attuale proprietaria dell’antica fortezza , il Castello di Limatola, rappresenta oggi un prestigioso punto di interesse storico, artistico e culturale. Da oggi la proposta del Castello di Limatola si arricchisce: chi pernotta in una delle suites potrà usufruire della nostra SPA. Nel periodo natalizio dall'8 novembre all'8 dicembre il mercatino di Natale vede più di 250mila visitatori aggirarsi nelle meravigliose sale e nei giardini.
For over a thousand years, the Castello di Masino has dominated the vast Canavese plain from a height in front of the suggestive morainic barrier of the Serra di Ivrea, an intact and infinite landscape. This strategic position cost the manor frequent disputes, but the noble family of the Valperga, which tradition has descended from Arduino, known in legend as the first king of Italy, kept it from the beginning, documented as early as 1070. Over the centuries the illustrious family converted the castle into an aristocratic residence, then into an elegant holiday residence. All around, a monumental romantic park with one of the largest labyrinths in Italy, a majestic tree-lined avenue, large clearings, and scenic corners that in spring are flooded with exceptional blooms. Going to visit Masino gives each time a different experience: from visiting the Castle, according to different formulas, to a day outdoors to experience the Park or, again, one of the many events organized along the course of the year, perhaps enjoying of the panoramic cafeteria. Also in the company of children, who can have fun with the treasure hunt or visit the Carriage Museum, the Torre dei Venti.
La Perla di Torino links its name to the Piedmont sweet tradition, celebrating quality chocolate in one of the most beloved historical expressions in the MOLE building city: chocolate truffles. With the first 3 creations La Perla Nera, La Perla Bianca and the dark chocolate truffle Extreme, today iconic products, the founder of the artisanal laboratory Sergio Arzilli wanted to celebrate Torino, its adoptive city. He started a path oriented in valorizing traditional chocolate truffle and inventive creations, that in over 25 years of activity conquered the attention – and the palate – of Italian and international gourmands. Sergio Arzilli’s history is a story of success born from a glitch: being diagnosed gluten intolerant, at 38 years old realizes that he cannot continue to work as a pastry chef in the family patisserie. With the intention of not leaving this background experience, he decided to deepen the chocolate world, transforming his curiosity in a continuous exploration itinerary. His passion for good chocolate, transmitted to his daughter Valentina that today, next to him, leads the company, can be translated in high standard of excellence in La Perla di Torino’s laboratory. Each chocolate truffle and each recipe are prepared, today as before, with high quality ingredients and with process that respect the raw materials, to glorify perfumes and flavours.
Nella Scuola di Cucina più glamour di Torino organizziamo corsi di cucina amatoriale adatti a tutti gli appassionati che desiderino approcciarsi a questo mondo, partendo dalle basi, per momenti conviviali di apprendimento e divertimento. La programmazione dei corsi, in continuo aggiornamento, permette di scegliere tra diversi argomenti, tutti coinvolgenti e svolti da docenti qualificati. Dai corsi per bambini, ai corsi di team building per professionisti. I corsi di cucina cofinanziati dalla Città Metropolitana di Torino, invece, danno la possibilità di partecipare a percorsi più duraturi, il cui costo è coperto al 70% dall’ente, e solo per la restante parte a carico dell’iscritto.
Dalai Lama is a title given by the Tibetan people for the foremost spiritual leader of the Gelug or "Yellow Hat" school of Tibetan Buddhism, the newest of the classical schools of Tibetan Buddhism. The 14th and current Dalai Lama is Tenzin Gyatso, who lives as a refugee in India. Bodhisattvas are realized beings, inspired by the wish to attain complete enlightenment, who have vowed to be reborn in the world to help all living beings.
In Italy, panettone comes with an often varied history, but one that invariably states that its birthplace was Milan. The word "panettone" derives from the Italian word "panetto", a small loaf cake. The augmentative Italian suffix "-one" changes the meaning to "large cake". The origins of this cake appear to be ancient, dating back to the Roman Empire, when ancient Romans sweetened a type of leavened cake with honey. In the early 20th century, two enterprising Milanese bakers began to produce panettone in large quantities in the rest of Italy. In 1919, Angelo Motta started producing his eponymous brand of cakes. It was also Motta who revolutionized the traditional panettone by giving it its tall domed shape by making the dough rise three times, for almost 20 hours, before cooking, giving it its now-familiar light texture. The recipe was adapted shortly after by another baker, Gioacchino Alemagna, around 1925, who also gave his name to a popular brand that still exists today. Specially baked for Christmas, you'll find many different types everywhere in Italy.
ARTedilia works in every aspect of restoration with passion and professionalism. The personnel of the firm is divided into specif c teams depending on their skills. The working group for the architectural area is primarily employed in wooden building such as floors, roof, covering and false ceiling, restoration of walling or mixed elevation structures; foundation consolidation utilizing foundation underpinning, curbs and micro piles; furthermore, this team is specialized in plaster or marble finishing always according to the latest techniques developed in the sector thanks to a constant updating and experience. The artistic restoration team is specialized in the recovery of frescos and painting and also in the recovery of wood and stone elements. One of the requirements for obtaining excellent results is the constant training and learning in which all the employees are involved. All the company’s employees take part in a periodical meeting about construction. ARTedilia has developed another activity in addition to high-level restoration work. This activity concern the luxury constructions of hotels, Spa, private house, residences both national and international.
Adriano Olivetti (1901 – 1960) è stato un imprenditore, ingegnere e politico italiano, figlio di Camillo Olivetti fondatore della prima fabbrica italiana di macchine per scrivere. Uomo di grande e singolare rilievo nella storia italiana del secondo dopoguerra, si distinse per i suoi innovativi progetti industriali basati sul principio secondo cui il profitto aziendale deve essere reinvestito a beneficio della comunità. Adriano Olivetti riuscì a creare nel secondo dopoguerra italiano un'esperienza di fabbrica nuova e unica al mondo in un periodo storico in cui si fronteggiavano due grandi potenze: capitalismo e comunismo. Olivetti credeva che fosse possibile creare un equilibrio tra solidarietà sociale e profitto, tanto che l'organizzazione del lavoro comprendeva un'idea di felicità collettiva che generava efficienza. Gli operai vivevano in condizioni migliori rispetto alle altre grandi fabbriche italiane: ricevevano salari più alti, vi erano asili e abitazioni vicino alla fabbrica che rispettavano la bellezza dell'ambiente, i dipendenti godevano di convenzioni. Per tutelare e promuovere la figura di Adriano Olivetti e il suo pensiero gli eredi hanno costituito nel 1962 la Fondazione Adriano Olivetti con sede a Roma e a Ivrea. "Adriano Olivetti" è un marchio registrato, depositato nel 2018 dalla Fondazione Adriano Olivetti. Adriano Olivetti (1901 - 1960) was an Italian entrepreneur, engineer and politician, son of Camillo Olivetti, founder of the first Italian typewriter factory. A man of great and singular importance in post-World War II Italian history, he distinguished himself for his innovative industrial projects based on the principle that corporate profits must be reinvested for the benefit of the community. Adriano Olivetti succeeded in creating a new and unique factory experience in the world after the Second World War in a historical period in which two great powers were facing each other: capitalism and communism. Olivetti believed that it was possible to create a balance between social solidarity and profit, so much so that the organization of work included an idea of collective happiness that generated efficiency. The workers lived in better conditions than the other large Italian factories: they received higher wages, there were kindergartens and houses near the factory that respected the beauty of the environment, the employees enjoyed agreements. To protect and promote the figure of Adriano Olivetti and his thoughts, the heirs set up the Adriano Olivetti Foundation in 1962 with offices in Rome and Ivrea. "Adriano Olivetti" is a registered trademark, filed in 2018 by the Adriano Olivetti Foundation.
Carolina Mazzolari is a Milanese artist known for her multidisciplinary practice involving textile manipulation, painting, photography, video and performance. I visited the studio she shares with her husband Conrad Shawcross in Clapton, London and left feeling both uplifted and inspired by her practice. While her range of mediums in extensive, Mazzolari is formally trained as a textile artist, graduating from the Chelsea College of Art in 2003; with a focus on dyeing techniques and screen printing. As her primary medium, Mazzolari’s textiles are identifiable by their extraordinary level of craftsmanship and detail - often addressing the emotionally charged concepts of grief, love and struggle. She is inspired by psychoanalysis, intuition, cognition, human behavior, and emotional development. Often addressing deep human emotions such as loss, grief, love, and struggle, her works exude an overwhelming power, making memory and the unconscious physical and tangible.
Once owned by the Pesaro family, this large Gothic palazzo in Campo San Beneto, was transformed by Mariano Fortuny into his own atelier of photography, stage-design, textile-design, and painting. The building retains the rooms and structures created by Fortuny, together with tapestries and collections. The working environment of Mariano Fortuny is represented through precious wall-hangings, paintings, and the famous lamps – all objects that testify to the artist’s inspiration and still give a count of his eclectic work and of his presence on the intellectual and artistic scene at the turn of the 19th century. The collections within the museum comprise an extensive number of pieces and materials which reflect the various fields investigated in the artist’s work organized under certain specific headings: painting, light, photography, textiles and grand garments.
The family-run F.lli Buonannata farm grows, works and ships Sicilian citrus fruits to Italy and, on request, also abroad. In this part of Sicily, in the province of Syracuse, the smell of lemons and oranges pervades the entire farm making these unique jewels their strong point for the flavor. The passion for agriculture and dedication to a work handed down from generation to generation makes the agricultural work in the F.lli Buonannata farm the true leitmotif of every single part committed to the cultivation of the vast fields belonging to the farmers family working in the province of Syracuse. A loving effort conducted under the warm sun of Sicily is what carries out this business reality, rising in the fertile valley of the Anapo and turning out to be a goodness production center. The recognized value for lemons and oranges of the family-run Fratelli Buonannata Farm is confirmed by the possibility of making numerous recipes inspired by the authenticity of these products in accordance with the principles of seasonality, sustainability, and quality.
Apicoltura Pappalaro da tre generazioni, dal 1925, in Sicilia, precisamente a Floridia, tra agrumeti di arance e limoni, produce un miele naturale profumatissimo senza aggiunta di zucchero. Nel tempo le tecniche lavorative si sono rafforzate e migliorate L’Azienda si trova nella Sicilia sud-orientale, precisamente a Floridia in provincia di Siracusa, tra gli agrumeti di arance e limoni.
The Falkland Islands consist of two main islands and several hundred smaller islands in the South Atlantic Ocean, off the east coast of southern South America. They are a United Kingdom Overseas Territory, but nearby Argentina claims jurisdiction under the name Islas Malvinas. Most visitors to the islands come between October and March (Southern Hemisphere summer) to enjoy the spectacular wildlife and quaint rural lifestyle. The windswept and almost-treeless territory is made up of two main islands, East Falkland and West Falkland, as well as hundreds of smaller islands and islet. The most popular reason to visit is for the scenic beauty and the flora and fauna. Conservation is high on the islands' agenda. Bird and marine species are the most prevalent fauna and include five species of penguin, four species of seal, albatross, petrels, the Falkland flightless steamer duck (logger duck), other duck species, geese, hawks and falcons. The striated caracara (johnny rook) is a rare bird of prey found only on the Falkland Islands and some islands off Cape Horn. Porpoises and dolphins are often sighted, with the occasional sighting of whales.
Casa Badellino, a hotel with a traditional restaurant, is situated in the old heart of Bra, a small town at the foot of the Langa and Roero hills in Piedmont, in northwest Italy. Whether you come for tourism or for business, it’s an ideal setting for a pleasant stay. Casa Badellino awaits you with all the charm of a place that has conserved the architectural style of the local tradition, where time has stood still and the pleasures of the Italian way of life survive intact. A converted townhouse with a traditional courtyard balcony, Casa Badellino welcomes you with all mod cons and exclusive services in the warm and cozy atmosphere Giacomo and Marilena have managed to preserve in the heart of a Slow City, par excellence.
From the study of the ancient techniques of building, formulation, and production of specific materials for historical, archaeological, monumental restoration and sustainable construction. Calchèra San Giorgio Research and Formulation Center studies and produces specialist materials for restoration, structural consolidation, and renewal of buildings of historical interest. Our focus is developed according to project requirements, historic building techniques and local traditional materials that characterize the physical quality of the structure and its associated culture. We produce mortars, plasters, leveling mortars, coatings, paints, and finishing: breathable, biocompatible and sustainable, free from substances harmful to health and the environment.
Il Bar Pasticceria Converso prende il via nel lontano 1838, grazie ad una licenza di esercizio di confetteria, ottenuta dal capostipite della famiglia Converso. Ma è agli albori del secolo che Felice Converso, il nipote del fondatore, apre nella centralissima via Vittorio Emanuele, la liquoreria, nonché Bar Pasticceria Gelateria di Bra, di cui ancora porta il nome. Successivamente divenuto luogo di ritrovo degli anni novanta di proprietà della famiglia Boglione, oggi il Bar si effigia di un riconoscimento di tutto rispetto, infatti, grazie ai suoi illustri trascorsi storici e grazie all’unicità dei suoi interni, è diventato membro dei "Locali storici d'Italia", associazione patrocinata dal Ministero per i Beni e le Attività Culturali. Tutt’ora vengono riproposte le classiche specialità come: le caramelle genziana e menta, la pasticceria mignon dolce e salata, la pralineria, i braidesi di cioccolato al rhum, i gianduiotti, i gelati, i marron glace, i panettoni al moscato senza canditi, ma con un impasto arricchito da uvetta macerata nel moscato ed altre sorprese di fantasia dolciaria.
The Teatro Massimo Bellini is an opera house in Catania, Sicily, southern Italy. Named after the local-born composer Vincenzo Bellini, it was inaugurated on 31 May 1890 with a performance of the composer's masterwork, Norma. The creation of what was to finally become the Teatro Massimo Bellini took almost two hundred years, beginning with discussions following the disastrous 1693 earthquake which completely destroyed Catania. The construction of a public theatre was discussed, and a foundation stone was finally laid in 1812. Throughout its history, the opera house has performed almost all of Bellini's work. From its beginnings, a wide variety of operas have been performed by some highly renowned singers. In 1951, to mark the 150th anniversary of the birth of Bellini, Maria Callas sang Norma, repeating her success in 1952 and 1953. In recent years, there has been an infusion of about $2 million, leading to the celebration of the Bellini bicentennial during the 2001 season and to a major renovation of the house.
The Cassa di Risparmio di Torino Foundation, or Fondazione CRT is a private, non-profit legal entity, endowed with full statutory and management autonomy. He has always held an important social function of redistribution of wealth, both in the form of charity in the strict sense, and also alongside public initiatives. The Foundation exclusively pursues aims of social utility and promotion of economic development, directing its activity and allocating resources in the fields of scientific research, education, art, conservation and enhancement of cultural assets and activities and environmental assets, health care and assistance to weak social categories. The Foundation’s operational area is mainly composed of Piedmont and Valle d’Aosta. Fondazione CRT è un ente privato non profit nato nel 1991 e da 30 anni è un “motore” di sviluppo e crescita del Piemonte e della Valle d’Aosta. Grazie a progetti e risorse proprie, è impegnata costantemente nella valorizzazione dei beni artistici e culturali, nella ricerca scientifica e la formazione dei giovani, l’imprenditoria sociale e l’assistenza, la salvaguardia dell’ambiente e delle persone.
Susan Kleinberg is a New York-based artist. Her latest video installation piece, HELIX, derived from her work with the scientific team of the Louvre in April 2018, premiered in at the Museo Internazionale delle marionette Antonio Pasqualino in Palermo, Italy on June 2018, coinciding with Manifesta 2018 in Palermo. Susan works for a better world. She spoke with a wide range of people, primarily the least visible in our society, about what would make for a better world. The still photographs, which I took afterwards, were linked to the audio on a DVD. The densely colored DVD runs on plasma screens mounted on the walls. Hanging from the ceiling were painted Chinese fans with the photographs of the participants embedded into them. Visitors fanned themselves in the warm Turkish breeze, as they watched and listened.
The complex of Santa Maria Novella, one of the most beautiful and famous art treasures in Florence, by its nature is either a religious and a museum site. It has currently a new form that seeks to harmonize both the functions. Basilica of Santa Maria Novella was founded by the monks of Dominican Order in the first half of the thirteenth century, becoming one of the most important points of religious and artistic interest in Italy. The celebrity of Santa Maria Novella during the Middle Ages and Renaissance period attracted important artists such as Giotto, Brunelleschi, Masaccio, Michelangelo, Ghirlandaio, Botticelli and Vasari (just name a few), who realized beautiful artworks inside the complex. This particular artistic and religious fortune bound forever the place to its artwork.
During her childhood in Rome, Osanna and her sister Turchese would play with pieces of art created for their mother by Lucio Fontana, Mario Ceroli and Arnaldo Pomodoro. It could be said that the pieces she creates today are inspired by those wonderful memories, or, maybe, are a result of her own femininity….or maybe both. In recent years, Osanna's attention has focused increasingly on objects and furnishings. Artisanally made, every creation is modeled by hand from wax which is then fused in art foundry. Creations conceived as sculptures, metals blended to create flashes of antique gold: An aesthetic of exclusivity, research on forms and desire to explore shapes are integral parts that inform Osanna Visconti di Modrone designs.
Sculptor and entrepreneur Piero Morseletto was born in Vicenza on December 23rd 1887. He studied first at the Accademia Olimpica in Vicenza and then at Milan’s Accademia Brera, where he was awarded two Gold Medals as best pupil. Later he was to be awarded the Gold Medal as a Master Craftsman and exhibited at the Venice Biennale, the Milan Triennale and other important events. Soon he combined his skills as a sculptor with those of an entrepreneur, founding Bottega Morseletto, specialized in realization of ornate workmanship with Vicenza Stone. There, craftsmen worked on this stone over the decades, building up a set of technical and productive skills that enabled them to perform any sculpture- or architecture-related task. These years featured restoration of the highest level of such architectural monuments as the Palladian Basilica and the Loggia del Capitaniato in Vicenza (by Andrea Palladio), the Municipal Theatres of Bologna, Carpi, Lugo, Ravenna and Faenza, Palazzo Bevilacqua in Verona (by Michele Sanmicheli) and many others.
The Ferragamo family founded the museum in May 1995 to acquaint an international audience with the artistic qualities of Salvatore Ferragamo and the role he played in the history of footwear and international fashion. Like most corporate museums, Museo Salvatore Ferragamo and its archives stem from the vision of an entrepreneur, in this case it was Salvatore Ferragamo’s widow, Wanda, who headed the company since the founder’s death in 1960, and her six children. In particular, the eldest of their children, Fiamma, who managed the company’s core footwear and leather goods business after her father’s death, stood at this project’s helm on behalf of her family and brought it to life, shaping its strategy with the assistance of historians and archivists. The idea for the museum initially came about when an exhibition was organised at Palazzo Strozzi on the history of Salvatore Ferragamo. The exhibition went on tour and was hosted by some of the world’s most prestigious museums, such as the Victoria and Albert in London, the Los Angeles County Museum of Art, the Sogetsu Kai Foundation in Tokyo, and the Museo de Bellas Artes in Mexico. The temporary exhibition gradually became permanent. Since mid-1990s, the museum has organised several exhibitions to portray the history of the founder and to show the opening and interest of a company through different artistic languages, ranging from design to fashion, as means to communication for the dissemination of a style of living and dressing. In recognition of the museum’s cultural importance and that of its many initiatives over the years, in 1999, Salvatore Ferragamo received the Guggenheim Impresa e Cultura Award, given annually to companies that best invest in culture to constructive ends. From 2006, in order to make the life of the museum as dynamic as the life of the company, it was decided to modify its exhibition structure and to select every year a different research theme that, starting from the experience of Salvatore Ferragamo, the history of his life, his creations, the customers he served and his values, gives the opportunity to discover the world of Ferragamo in an indirect way combined with other cultural expressions such as Art, Architecture, Design, economic and social History and Philosophy. Each time the museum looks different, with different set-up and different contents. Museo Salvatore Ferragamo is also a founding member of Museimpresa, the Italian association of museums and business archives promoted by Assolombarda and Confindustria, established with the purpose of disclosing the historical knowledge of the Italian companies that set the basis of Made in Italy. In November 2015, the museum became the first green corporate museum in Italy. The project set up by Museimpresa and Confindustria with the aim at creating the world's first network of sustainable corporate museums that quantify their CO2 emissions, led Museo Salvatore Ferragamo to achieve the international certification ISO 14064 dealing with the quantification and reporting of the greenhouse gas emissions. Since November 2016, the museum has officially joined ICOM (International Council of Museums), the most important and prestigious international organization of museums and museum professionals. Composed by over 35,000 members and by a forum that brings together experts from 136 countries and territories, it represents the museum community as a whole.
Sebbene il nome "Albertina" si riferisca a Carlo Alberto di Savoia, al quale si deve la decisiva "rifondazione" dell'Accademia nel 1833, le sue origini sono ben più lontane, tanto che l'Accademia di Torino può essere considerata una delle più antiche d'Italia. Negli ultimi anni l'Accademia Albertina si è ulteriormente trasformata e rinnovata, promuovendo numerose iniziative educative e culturali che hanno portato al: riordino e la riapertura al pubblico della Pinacoteca, il restauro dell'edificio e la razionalizzazione degli spazi interni (tuttora in corso), l'intensa attività di mostre, convegni, seminari ed eventi, la massiccia introduzione dell' informatica in Accademia e l'istituzione del nuovo corso sperimentale di Conservazione e Restauro a partire dall'anno scolastico 1997-98. Dal 2019 Paola Gribaudo, la prima donna a diventarne la direttrice, sta lavorando con grande forza e innovazione per farla diventare un irrinunciabile centro di cultura per la città e la nazione. Although the name "Albertina" refers to Carlo Alberto di Savoia, to whom we owe the decisive "re-foundation" of the Academy in 1833, its origins are much more remote, so much so that the Turin Academy can be considered one of the oldest in Italy. In recent years the Accademia Albertina has further transformed and renewed itself, promoting numerous educational and cultural initiatives. In this case, the reorganization and reopening to the public of the Pinacoteca, the restoration of the building and the rationalization of the internal spaces (still in progress), the intense activity of exhibitions, conferences, seminars and events, the massive introduction of the computer science in the Academy and the institution of the new experimental course of Conservation and Restoration starting from the school year 1997-98. Since 2019 Paola Gribaudo, the first woman to become its director, is working with great strength and innovation driving it to become an indispensable center of culture for the city and the nation.
Paola Gribaudo, a graduate in Literature and Philosophy in Turin, is the first woman to become Director over the Turin Academy of Arts. Daughter of the famous artist Ezio Gribaudo, who was President of the Academy from 2005 to 2007, and now Honorary President, she inherited from her father the passion for art, the deep interest in culture and international creativity, the will to transmit the sense of research and a language in constant evolution. Collaborator of the publishing houses Skira, Gli Ori, De Agostini, Electa, Rizzoli Internationale, Silvana Editoriale and Thames & Hudson, Paola Gribaudo received in 2011 the honor of "Chevalier de l'Ordre des Arts et des Lettres" by the French Minister of Culture Frédéric Mitterand. From her father, who has always followed closely, Paola Gribaudo inherited the passion for her work, perfecting it in continuous travel around the world, weaving strong relationships with artists and intellectuals. These include Botero, Rauschenberg, Nobel laureates Garcia Marquez and Iosif Brodskij. She is expanding the strength of The Accademia Albertina organizing international shows and exhibitions.
Nel Vecchio Mulino il passato e il presente si vogliono incontrare, trovando in Pietro e Ludovico la volontà e il piacere di raccontare e far rivivere in chiave moderna un'arte fondamentale per la vita dell’uomo. Il vecchio mulino conta due macine attualmente operative per cui possiamo parlare de – i mulini- destinati alla macinazione di cereali differenti. Le nostre pietre infatti, l’una naturale l’altra assemblaggio di quarzite, hanno superfici di lavoro differenti: l’una rigata (generalmente detta da grano) l’altra bocciardata (generalmente detta da mais o da “meliga”). Il mulino inteso come impianto nasce elettrico: un motore aziona la trasmissione e questa ingrana le macine, governate dall’abilità del mugnaio che con un volante distanzia le pietre determinando così la consistenza della farina. Produciamo farine di mais, di grano saraceno, di castagne, di frumento, di segale, di riso.
Paola Abraini regina e custode de su Filindeu, i fili di Dio, la pasta che nessuno sa imitare. Paola, 65 anni, nuorese, ha imparato a fare su Filindeu dalla suocera all’età di 16 anni. Da allora ha insegnato questa nobile arte alle figlie e ai parenti e attualmente sono solo dieci le persone al mondo capaci di fare questo tipo di pasta. Lei è ormai famosa grazie alla Bbc, alla Cnn, e ai tanti chef come Jamie Oliver e altre importanti celebrità che vanno a trovarla per imparare a fare questa specialità. Nessuno di loro però è mai riuscito a creare su Filindeu come fa lei. Signora Paola lo vende ad alcuni ristoranti di Nuoro e dintorni. Paola Abraini queen and custodian de su Filindeu, the threads of God, the pasta that nobody knows how to imitate. Paola, 65, from Nuoro, learned to do on Filindeu by her mother-in-law at the age of 16. Since then she has taught this noble art to her daughters and relatives and currently there are only ten people in the world capable of making this type of pasta. She is now famous thanks to the BBC, the CNN, and the many chefs like Jamie Oliver and other important celebrities who visit her to learn how to do this specialty. However, none of them has ever managed to create on Filindeu as she does. Signora Paola sells it to some restaurants in Nuoro and surroundings.
L'azienda Fratelli Feltracco è rinomata e conosciuta nella realizzazione e nel restauro di terrazzi e pastelloni alla veneziana, in particolare di cotto e calce, nella creazione di mosaici con riproduzione storica degli stessi e nella stesura di pavimenti con qualsiasi tipologia di marmo e pietre di nostra lavorazione, in particolare operiamo nell’ambito italiano ed europeo in Ville e Palazzi Storico-Culturali-Monumentali e Sacrali. Fratelli Feltracco realizzano su commessa oggettistica per interior design come tavoli, sedie e piani cucina. Utilizzano prodotti naturali e lavorano con le più svariate e prestigiose terre naturali presenti al mondo. Fratelli Feltracco opera con prodotti risalenti all’epoca rinascimentale e con sistemi all’avanguardia, come la nostra esclusiva levigatura completamente a secco ed immediata aspirazione delle polveri dei pavimenti. La loro missione è la salvaguardia dei pavimenti storici, valorizzando le nuove pavimentazioni usando gli stessi materiali antichi e di un tempo, materiali completamente naturali, biocompatibili ed estremamente bioriclabili. Per loro è basilare innanzitutto capire in che epoca il terrazzo è stato costruito, individuare i materiali con cui è composto ed intervenire in modo da non stravolgere le sue caratteristiche storiche. Il loro valori sono il riutilizzo di materiali naturali e il non utilizzo di prodotti nocivi o dannosi, rispettosi quindi dell’uomo e dell’ambiente. Per Fratelli Feltracco è di fondamentale importanza rispettare la tradizione e la storia nella ricostruzione degli stessi. Durante il restauro del terrazzo alla veneziana, vengono utilizzati gli stessi materiali naturali di un tempo per ricostruire fedelmente ogni particolare con il giusto valore cromatico e la giusta valenza granulometrica. Fratelli Feltracco sia nel nuovo che nel restauro del terrazzo storico utilizza una levigatura a secco, aspirando contemporaneamente, in quanto, grazie a questo procedimento si migliorano i risultati cromatici e si ottimizzano le tempistiche di lavorazione, ottenendo in tal modo la perfetta ricostruzione dell’originale storico.
Grazia Lombardi, nata a Torino nel 1971, vive e lavora nella sua città natale. Dopo il diploma al “Primo Liceo Artistico” di Torino, ha frequentato il corso di Decorazione presso l’Accademia di Belle Arti di Torino con il Prof. Nicola Maria Martino. Successivamente si specializza a Ravenna in tecniche di mosaico antico. Dal 2014 conduce un seminario workshop annuale di mosaico, presso il Centro Conservazione e Restauro La Venaria Reale. Ha collaborato con la Craviolatti Mosaici di Torino in qualità di mosaicista e con Diego Maria Gugliermetto per i rivestimenti di elementi di interior design. Grazia Lombardi ha preso coscienza di essere un artigiano, perché ha imparato a piegare le sue abilità tecniche alle esigenze dei luoghi e al continuo confronto col committente. Di conseguenza, quasi senza soluzione di continuità, si è scoperta artista, poiché ha iniziato spontaneamente a porre il lavoro in relazione sempre attiva con tempo e spazio, legando il suo prodotto alla quotidianità del destinatario. Per lei, in quanto operatrice artistica, l’estetica deve entrare nei meccanismi vitali, conquistare l’ordinarietà dell’esistenza di tutti, farsi simbolo dei riti di fondazione, di scoperta, di trasformazione. Per quanto riguarda le sue esperienze con la pittura, Grazia Lombardi ricorda sempre una frase della sua amica Maren Ollmann, artista fotografa, a proposito di un pavimento dipinto: “Ogni volta che lo guardo, mi emoziono” è questo e quello che lei vuole.
Merletto vuol dire Burano, case colorate e donne che in attesa dei mariti pescatori creavano e creano, con ago e filo, piccole meraviglie. E il famoso “punto Burano” non è altro che, in piccolo, il nodo usato per costruire le reti da pesca. Nel negozio “Dalla Lidia”, l’unico che si può vantare del titolo di “storico”, si possono incontrare Paola Toselli, titolare con il figlio Davide Bressanello dell’attività, e Regina Costantini mentre realizzano merletti. Lavoro certosino tra storie, leggende di un’isola delle meraviglie. Lace means Burano, colorful houses and women who, while waiting for their fishermen's husbands, created and created small wonders with thread and needle. And the famous "punto Burano" is nothing but, in small, the node used to build fishing nets. In the "Dalla Lidia" shop, the only one that can boast of the title of "historian", you can meet Paola Toselli, owner of her business with her son Davide Bressanello, and Regina Costantini while making lace. Carthusian work among stories, legends of an island of wonders.
Villa dal Verme e' considerata dagli studiosi la madre delle ville venete. Eretta verso la fine del '300 venne poi modificata nel suo aspetto castellare dall'inserimento nelle due facciate principali di due splendide trifore ad archi acuti trilobati secondo lo stile veneziano, a testimonianza della resa di vicenza nel 1404 alla serenissima repubblica. La villa fu costruita dalla ricca famiglia dei Dal Verme originaria di Verona e stabilitasi poi a Milano, Piacenza, Bobbio e Voghera. A pianta quadrata, rivolge il prospetto principale a sud, verso il canale Liona, sul quale affaccia un portico a due grandi archi a sesto ribassato di diversa ampiezza decentrati sulla sinistra. Al piano nobile si aprono simmetricamente una trifora in pietra tenera dei Berici ad archetti trilobati, affiancata da due monofore trilobate in cotto. Il fronte settentrionale è simmetrico e si apre verso la campagna, al piano terra, con un portale ad arco a tutto sesto in laterizi, mentre al piano nobile ripete lo stesso schema di aperture della facciata opposta con la trifora e le due monofore. È probabile che la primitiva villa sia sorta su resti di un edificio preesistente con funzione difensiva, trasformato poi in fondaco, base anche per scambi commerciali con Venezia, che avvenivano via acqua.
L'origine del prestigioso marchio Borsari nasce nella città di Verona, splendida città adagiata sulle rive dell'Adige e patria indiscussa del Pandoro. Nel lontano 1903, il mastro pasticcere Tiziano Golfetti ad aprire, dedicandolo alla Porta Borsari, il suo primo laboratorio artigiano. Dalle sue mani esperte nacquero numerose specialità dolciarie, tra cui in primis il tipico Pandoro morbido e profumato, ma anche Panettoni e Colombe con prelibate farciture alla crema e al cioccolato al profumo di vaniglia che, mastro Golfetti, memore delle mitiche "bursae", inseriva in astucci dipinti. Fedeli alla tradizione artigianale, che rese eccellente quei primi prodotti, i Muzzi, attuali proprietari dell'azienda Borsari, continuano a produrre mille specialità farcite, con la stessa cura dell'antica gloriosa pasticceria.
Only once we fully understand where we come from and truly appreciate our heritage, can we imagine a fabulous future filled with the richness of our past. Carolina Reviglio della Veneria has been renovating houses ever since, first for friends then, through the years, it becomes a job. She experienced for 6 years in an architect's studio, then started on her own with Italian artisans. She specializes in lime and natural materials and works with high-quality craftsmen. The gift of knowing how to live the interior spaces makes her an attentive and professional interior designer. She cultivates the acquired good taste, with passionate and punctual research. As her interior design skills and agency grew, she found herself gravitating towards the past. She really enjoyed breathing new life into older buildings, churches and abbeys. For Carolina there is greater satisfaction in saving a structure than creating something new. The next step was to create an entity that could turn on key projects. Right from a ruin, if necessary, to the final touches of the interior. A full service brand called CRdV. The first three years were hard, but the growing pains gave way to a mature and prosperous player in the restoration industry.
Since the Etruscan era, Pietra di Rapolano is the travertine stone extracted near Siena, in Tuscany. Its chromatic characteristics make it unique, very different from any other travertine, and capable of giving your project a modern look with classic elegance. Given the richness of its nuances, the Tuscan travertine lends itself to creating various environments; it is a material whose technical characteristics make it suitable for every use. Its volume, details, and expressions are worked to perfection.
La "Fornace Polirone" prosegue l’attività plurisecolare della ‘Fornace Morselli’ di Mantova. Dal 1982 Alberto Cappelli e Roberto Pasqualini insieme alle sorelle Morselli, Nadia e Norma, riprendono l’attività in una vecchia fornace a Borgoforte in provincia di Mantova. Utilizzando i vecchi stampi in legno di noce si ricominciano a produrre svariate tipologie di manufatti (mattoni, cornici, pavimenti, vasi, ecct.) Nel tempo si è affinata la specializzazione nella fabbricazione di pavimenti su specifica o campione. Ai primi anni ’90 risalgono le commesse importanti che hanno fatto conoscere alle Soprintendenze e ai Tecnici più attenti i prodotti artigianali della Fornace, realizzando la pavimentazione al piano nobile di Palazzo Sanvitale di Parma, Chiesa dell’Incoronata a Sabbioneta, Villa Saraceno del Palladio ad Agugliaro –VI-.etc.. La continua ricerca e la passione fanno siche lavori e forniture sempre più impegnative ci venissero commissionate, quali la fornitura di oltre 1.000 mq per i palchi del Teatro alla Scala, la Chiesa di S. Cristoforo-Milano e il Castello Estense di Ferrara.oltre a numerose chiese. Nel corso del 2006 la Fornace Polirone ha pavimentato il Castello di Mirandola (3.000 mq), la Torre Medievale di Masana-Carpeneto Piacentino-, il Castello di Waimar in Germania e il Castello di Vaduz nel Liechtenstein ed un intervento importante nella Camera degli sposi del Mantegna nel castello S. Giorgio-MN. Questi traguardi prestigiosi gli inorgogliscono e gli spingono a mantenere sempre ad alto livello la qualità dei nostri manufatti. Fornace Polirone is continuig the centuries-old tradition of " Fornace Morselli" in Mantua. From 1982, Alberto Cappelli and Roberto Pasqualini, along with sisters Morselli (Nadia and Norma), restarted the activity in an old kiln in Borgoforte, near Mantua. Using the old walnut molds they restarted to produce various types of artifacts (bricks, frames, floors, vases, etc.) Over time, it has improved the specialization in floors manufacturing, on specification or on sample. In the early 90's, we received the major orders which made Fornace Polirone handicrafts known to the Authorities and to the most careful Architects. In fact, we realized the flooring of the main floor in Palazzo Sanvitale ( Parma), Chiesa dell'Incoronata in Sabbioneta, Palladio's Villa Saracena, etc. The continuous passion and research in our handicrafts resulted in works and supplies even more demanding, such as the supply of more than 1,000 sq.m. for the boxes in Teatro alla Scala (Milan), the Church of San Cristoforo (Milan) and Castello Estense in Ferrara, as well as many other churches. During 2006, Fornace Polirone floored Castello di Mirandola ( 3,000 sq.m.), Torre Medievale in Masana, near Carpaneto Piacentino, Castello di Weimar in Germany and Castello di Vaduz in Liechtenstein, as well as an important intervention on Mantegna's Camera degli Sposi in Castello di San Giorgio (Mantua). These prestigious achievements make them proud and encourage them to maintain high-level quality of our products.
Simona Lauro, restauratrice di opere d’arte su tela e su tavola, opere d’arte contemporanea e manufatti policromi. Entra nel mondo della conservazione nel 1990 lavorando presso prestigiosi laboratori milanesi, nel 1998 si trasferisce a Novara dove apre il suo studio e vive attualmente. Lavora regolarmente per le Diocesi del Piemonte, su dipinti, pale d’altare e manufatti lignei e collabora da diversi anni con diverse Case D’asta e collezionisti privati in particolare su opere d’arte moderna e contemporanea. Ultimamente ha iniziato una collaborazione con il Museo d’arte Moderna e contemporanea di Trento e Rovereto, prendendosi cura di alcune opere della collezione VAF STIFTUNG.
Tiramisu is a traditional sweet and food product spread throughout the Italian territory, whose origins are debated and are attributed above all to Veneto and Friuli-Venezia Giulia. It is a spoon dessert made from ladyfingers (or other crumbly biscuits) soaked in coffee and covered with a cream, composed of mascarpone, eggs, and sugar, which in some variations is flavored with liqueur. Tiramisu is among the most loved desserts by Italians, the most requested by foreigners in Italy and has an unchallenged reputation in the world. The Accademia ofTiramisù is a cultural and food and wine association, inspired by the principles of historical, cultural and gastronomic information. Its aim is to disseminate the true geographic origins and the authentic ingredients for the traditional recipe.
Reale Restauri, azienda specializzata nel restauro di lampadari di piccole medie e grandi dimensioni, dai lampadari muranesi rezzonici ai lampadari Maria Teresa a quelli in bronzo dorato e non, einsomma tutto quello che fa luce da noi trova il punto qualifificato per riprendere lo splendore originale senza perdere il fascino del tempo passato, il tutto trattato con passione e profesionalità unica nel suo genere, da noi si sono appoggiati enti statali grand'hotel prestigiosi. Uno staff esperto e professionale, guidato dal “capomastro” Francesco è a vostra completa disposizione per visionare e studiare quale soluzione sia la più adeguata alle numerose problematiche possibili, consci del fatto che un restauro improvvisato, eseguito da mani inesperte, può causare danni irreversibili sia per la sicurezza dell’apparecchio che per la conservazione estetica e materiale dell’opera. La nostra missione è di preservare al meglio non solo il valore funzionale dell’opera, ma anche il suo valore storico, artistico e testimoniale. Restaurare un lampadario antico è un arte, come ridonare luce a vecchi ricordi, per non fare scomparire la poesia di un’epoca, ma anzi, per ridonare poesia a un presente che sembra l’abbia persa.
Dalla City all’azienda di famiglia nel grossetano. Due mondi forse agli antipodi, sicuramente molto distanti tra loro, ma non per Guido Pallini, 33 anni, che dopo aver lasciato il suo lavoro come banchiere d’investimento a Londra, ha preso la decisione di tornare alle sue radici nella fattoria di famiglia, un’attività di allevamento di bufale per la produzione di latte. Pallini ha sempre coltivato la visione di trasformare questa azienda agricola in rapido declino in un’azienda di produzione di formaggio. Integrare altre attività nel loro funzionamento hanno contribuito a rendere l’azienda più sostenibile. Oggi La Maremmana è una fabbrica di formaggio a pasta filata di formaggio di bufala prodotto esclusivamente con il latte del proprio bestiame. Dalla mozzarella di bufala alla burrata fino alla ricotta fresca, il sogno di Pallini di salvare l’azienda di famiglia è diventato realtà.
Michelangelo di Lodovico Buonarroti Simoni (6 March 1475 – 18 February 1564), known best as simply Michelangelo, was an Italian sculptor, painter, architect, and poet of the High Renaissance born in the Republic of Florence, who exerted an unparalleled influence on the development of Western art. Considered by many the greatest artist of his lifetime, and by some the greatest artist of all time, his artistic versatility was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his rival, the fellow Florentine and client of the Medici, Leonardo da Vinci. A number of Michelangelo's works of painting, sculpture and architecture rank among the most famous in existence. He sculpted two of his best-known works, the Pietà and David, before the age of thirty. Despite holding a low opinion of painting, he also created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. Michelangelo was the first Western artist whose biography was published while he was alive. In his lifetime, Michelangelo was often called Il Divino.
Rosenfeld sponge processing Ltd. has been in the business for more than 100 years. In Trieste, the opening of Rosenfeld Ltd. was possible because of the hard work of David Rosenfeld in 1896. The city was under the rule of the Austro-Hungarian Franz Joseph I. To date it is the oldest Sponge Processing Company in Europe. The family, which for four generations continues to run the company, has made the processing of sea sponge a point of excellence: the family knows the secrets, the particularities and the waters where there are the best specimens. Rosenfeld Ltd sponges come from the waters of the Mediterranean and the Atlantic sea. They are s processed in the sponge processing plant in Trieste and exported worldwide. The purification and washing treatment, necessary to remove the impurities and organic calcareous substances from the sponge. It is done using traditional methods. The final inspections ensure the correct PH balance of the product. The shaping is the last part of the process, strictly done by hand to improve the shape and appearance of the sponge. Rosenfeld sponges are especially requested in the field of cosmetics and wellness by both Italian and foreign clients: Pharmaceutical companies, manufacturers of cosmetic lines and distributors of children's items, market their products under their own "private label" or using the Rosenfeld brand. Also the ceramic industry, footwear and paint industry make huge requests. Rosenfeld Ltd. support and finance research for sponge culture in the Adriatic Sea and in the seas of the Bahamas in collaboration with the University of Trieste and the Cape Eleuthera Institute in the Bahamas.
Leonardo di ser Piero da Vinci, more commonly Leonardo da Vinci, was an Italian polymath of the Renaissance whose areas of interest included invention, drawing, painting, sculpture, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, paleontology, and cartography. He is widely considered one of the greatest painters of all time, despite perhaps only 15 of his paintings have survived. The Mona Lisa is the most famous of his works and the most popular portrait ever made. The Last Supper is the most reproduced religious painting of all time and his Vitruvian Man drawing is regarded as a cultural icon as well. Leonardo's paintings and preparatory drawings, together with his notebooks, which contain sketches, scientific diagrams, and his thoughts on the nature of painting, compose a contribution to later generations of artists rivaled only by that of his contemporary Michelangelo. Although he had no formal academic training, many historians and scholars regard Leonardo as the prime exemplar of the 'Universal Genius' or 'Renaissance Man', an individual of "unquenchable curiosity" and "feverishly inventive imagination", and he is widely considered one of the most diversely talented individuals ever to have lived.
Siamo ad Alessano, un piccolo borgo nel cuore del basso Salento nel quale la quiete resiste al trascorrere di un tempo immerso nelle tradizioni e nella storia. L'atmosfera di distacco e riservatezza che avvolge i paesi dell'entroterra viene rafforzata dal contrasto con la confusione estiva che investe Santa Maria di Leuca, Otranto e Gallipoli, mete di turismo di massa a pochi km di distanza. Lì il caos, qui un'oasi di pace. Palazzo Ducale si trova nella piazza antica del paese, piazza Castello. Ed eccomi qui, Romana e Salentina . Tanti anni fa ho iniziato a ricevere gli amici degli amici, italiani e stranieri. Il sole, la terra rossa, i tramonti mozzafiato, un mare da sogno, le masserie,l'ottima cucina e l'ospitalità erano spesso gli unici scopi del viaggio. Poi il rispetto delle tradizioni, l'arte, la cultura, la disponibilità degli abitanti, l'artigianato, la storia, il barocco. Le voci corrono e gli amici arrivano. Nella consapevolezza di essere ricevuti in una dimora storica privata, mentre il passato viene rispettato e le tradizioni raccontate, la vita presente viene condivisa, respirando aria di casa. Questo è il mio modo di accogliere gli ospiti, come se fossero degli amici, aspettandoli con un sorriso e rendendoli partecipi di un passato che in armonia si è unito ad un quotidiano al passo coi tempi. Susanna Mariani Sangiovanni
Jane’s focus on direct action comes from her training as an environmental scientist (MA, Oxford University, M. Phil. Imperial College London) and international experience as a consultant on sustainable development. She founded We are Here Venice to protect and preserve Venice and it's lagoon and especially to stop the big ships by coming inside Venice. Research investigations have covered climate change and wetland ecology plus methodological issues like indicators and valuation approaches and the integration of different branches of knowledge and/or levels of uncertainty to overcome complexity and characterize urgent issues. She is also very much into the cultural life and events in Venice always for a wake-up call in protecting Venice.
We operate both as a think tank and activist platform, strengthening connections between the best available information and stakeholders. We collaborate with universities, businesses, cultural institutions, and public authorities to deliver projects and recommendations based on rigorous research to bring about real changes according to social, economic, physical and ecological indicators. The city and the lagoon are considered inseparable elements of a single system, highlighting the importance of negotiations between the natural environment and human intervention. Venice’s singular circumstances offer huge potential as a laboratory for exploring innovative approaches to community resiliency. Our initiatives range from self-contained projects and exhibitions often with the aim of raising awareness, to other more substantial ongoing campaigns, research and Ph.D. programs.
Lentini's high-quality Restaurants have their roots the day Alfonso Lentini descended from the train that took him to Turin from his home in Calabria, in 1953 at the age of 14. He was welcomed by aunt Gina, who taught him the spirit of sacrifice and the first foundation to become a future fruit merchant. From that moment on, the story of the Lentini family began in the world of agro-food which brought Nicola, the first-born son, to follow his father's footsteps. First, as a fruit merchant and subsequently, as an entrepreneur in the food business. Since Nicola opened his first restaurant in Turin, he discovered a certainty: the quality and origin of our raw materials are fundamental for an excellent final result. For this reason, he personally follows each and every one of the producers of the ingredients that I use. Only Italian, genuine, traceable and high-quality products. Lentini's restaurants, starting from Germany, are now opening around the world. We can also find high-quality frozen Lentini's pizza.
The Verace Pizza Napoletana Association (AVPN) was founded in 1984, under the patronage of the Chamber of Commerce, Industry, and Crafts of Naples. The old Neapolitan pizza masters, decided to set up an association, with so much disciplinary and implementing regulation, for the defense and enhancement of pizza, produced and processed according to the ancient Neapolitan traditions and customs. In 1984, Antonio Pace the son of Vincenzo Pace who has been working at the bakery since he was 10, decided to write precise rules for preparing and processing "veracious" pizzas, using, for the codification of the rules and regulations, the help and experience of the old Neapolitan pizza masters. Much work has led to the recognition of pizza as a UNESCO World Heritage Site in 2017.
Pizza is a savory dish of Italian origin, consisting of a usually round, flattened base of leavened wheat-based dough topped with tomatoes, cheese, and various other ingredients (anchovies, olives, meat, etc.) baked at a high temperature, traditionally in a wood-fired oven. The term pizza was first recorded in the 10th century in a Latin manuscript from the Southern Italian town of Gaeta in Lazio, on the border with Campania. The modern pizza was invented in Naples, and the dish and its variants have since become popular in many countries. It has become one of the most popular foods in the world and a common fast food item in Europe and North America, available at pizzerias (restaurants specializing in pizza), restaurants offering Mediterranean cuisine, and via pizza delivery. Many companies sell ready-baked frozen pizzas to be reheated in an ordinary home oven. The Associazione Verace Pizza Napoletana (lit. True Neapolitan Pizza Association) is a non-profit organization founded in 1984 with headquarters in Naples that aims to promote traditional Neapolitan pizza. In 2009, upon Italy's request, Neapolitan pizza was registered with the European Union as a Traditional Speciality Guaranteed dish, and in 2017 the art of its making was included on UNESCO's list of intangible cultural heritage
La Scala is an opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the Nuovo Regio Ducale Teatro alla Scala (New Royal-Ducal Theatre alla Scala). The premiere performance was Antonio Salieri's Europa. Most of Italy's greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala. The theatre is regarded as one of the leading opera and ballet theatres in the world and is home to the La Scala Theatre Chorus, La Scala Theatre Ballet and La Scala Theatre Orchestra. The theatre also has an associate school, known as the La Scala Theatre Academy (Italian: Accademia Teatro alla Scala), which offers professional training for music, dance, stage craft, and stage management. La Scala's season opens on 7 December, Saint Ambrose's Day, the feast day of Milan's patron saint. All performances must end before midnight, and long operas start earlier in the evening when necessary. Amazing original dresses worn by soprano Maria Callas in various ehxibitions, are held at Teatro La Scala.
Alex Polizzi is an English television personality, hotelier, and businesswoman. Since 2008, she has appeared on the British television series The Hotel Inspector on Channel 5. In 2014, Alex launched a new Channel 5 series, Alex Polizzi's Secret Italy, where she visits either lesser-known places within Italy or well-known towns and cities and, using local connections, shows areas that tourists would not ordinarily experience. From 2018, she invited, the resAlex Polizzitaurateur Oliver Peyton, to join her in a new Channel 5 series Peyton And Polizzi’s Restaurant Rescue. Her contagious smile carries you through her videos into a beautiful unknown experience oh heritage and handcrafts skills. She discovers heritage to be saved for the future generations.
La Gondola is perhaps the most famous boat in the world, certainly the most photographed. Its unique silhouette has become the symbol of Venice over the centuries. Carlo Donatelli Passi, a Venetian who grew up among his streets and fields, became an engineer at the Polytechnic in Milan, an officer in the Navy during the Second World War, and he has always passionate about sailing boats and precision naval mechanics. After many years of research and after having built a gondola on a perfect scale 1: 100, he publishes La Gondola: a unique, detailed and historical book, very documented and even fun. It's certainly a book to read before going to visit Venice, and certainly an amazing gift that you may find on the web.
Il Palazzo Ducale Castello di Gallese, è una ristrutturazione dell’originale rocca medievale, come è facile intuire dalla pianta quadrangolare e dalle torri ancora visibili. L’edificio spicca alla vista e si trova sul lato est del borgo storico di Gallese. Forse già in epoca romana in questo luogo erano presenti delle fortificazioni, perché è l’unica zona priva di difese naturali. Nel tempo, la fortificazione cresce fino a diventare un castello medievale. Nel Rinascimento Papa Alessandro VI commissiona la ristrutturazione del castello. Durante il loro governo, gli Altemps trasformano il castello in palazzo, su progetto del Vignola. Di proprietà privata, dei duchi Hardouin di Gallese, discendenti di Maria Hardouin, moglie dello scrittore Gabriele D’Annunzio, oggi il Castello è vivo e attivo ed ospita anche iniziative culturali. (1) The Palazzo Ducale Castello di Gallese is a restructuring of the original medieval fortress, as can be easily guessed from the quadrangular plan and the towers still visible. The building stands out from view and is located on the east side of the historic village of Gallese. Perhaps already in Roman times there were fortifications in this place, because it is the only area without natural defenses. Over time, the fortification grew to become a medieval castle. In the Renaissance Pope Alexander VI commissioned the renovation of the castle. During their rule, the Altemps transformed the castle into a palace, designed by Vignola. Privately owned by the Hardouin dukes of Gallese, descendants of Maria Hardouin, wife of the writer Gabriele D’Annunzio, today the Castle is alive and active and also hosts cultural initiatives. (1)
The Buglioni studio is a space of various professionals, highly technological, in the center of Turin. An innovative study that brings together different and interesting professionals with a very powerful free wifi connection, open to the city. Cristina Buglioni di Monale, a young high-profile civil lawyer, brought together two colleagues in the office, a criminal lawyer and a labor lawyer, an accountant, a computer enthusiast, and an interior designer. Harmony reigns and is contagious, as well as non-traditional but forward-looking communication.
L'edificio, iniziato nel 1675 con impianto barocco, fu convento dei padri Filippini. Acquisito dallo Stato nel 1855 e risistemato con facciata eclettica da Alessandro Mazzucchetti, ospitò ministeri e uffici pubblici. Nel 1929 divenne Casa Littoria, sede provinciale del partito fascista. Fu in seguito intitolato a Felice Cordero di Pamparato, comandante partigiano con il nome di "Campana", impiccato nel 1944. Sede universitaria dal dopoguerra, ha visto nascere il movimento studentesco nel 1967. Restaurato da Pietro Derossi nel 1997 con Adriano Spada.
Gli amici di Venezia onlus è un’associazione di volontariato nata a Venezia il 24 luglio 2007. Il fondatore è Giorgio Girelli che, con la moglie Brunella Cortesi e nove amici, decise di raccogliere fondi per progetti mirati a favore dei bambini del Terzo mondo e per lo sviluppo e la crescita effettiva di alcune comunità locali tra le più povere al mondo. Gli ambiti d'intervento sono: salute, istruzione e sviluppo agricolo. L’associazione e i suoi soci, circa 150, prestano la loro attività gratuitamente e il 100% delle somme raccolte viene utilizzata per i progetti programmati. L’obiettivo generale è promuovere lo sviluppo delle comunità dove l’estrema povertà, la mancanza di acqua e di cibo, le malattie endemiche e le difficoltà di accesso all’istruzione rappresentano una drammatica costante quotidiana. Circa il 40% degli stati africani si collocano agli ultimi posti delle classifiche di ricchezza nazionale e l’elenco delle 50 nazioni meno sviluppate del mondo, stilata dall’ONU, vede ben 23 posizioni occupate dall’Africa. Inoltre la cattiva distribuzione delle risorse idriche, lo scarso progresso nelle tecniche di coltivazione e i cambiamenti climatici rallentano lo sviluppo dell’agricoltura, lasciando immutata la condizione della povertà africana. La loro associazione si propone di migliorare le condizioni di vita mediante l’accesso alle fonti d’acqua potabile, la realizzazione di piccoli presidi medici e di strutture scolastiche, cercando di operare nel rispetto delle tradizioni, delle religioni e dell’ambiente. Gli Amici di Venezia onlus è un’associazione privata, autonoma e apartitica. Fin dall’inizio si è dedicata a progetti importanti e ambiziosi, grazie al sostegno di soci generosi e sensibili. Gli amici di Venezia onlus si autofinanzia attraverso: tesseramento dei soci, donazioni, eventi periodici come cene, brunch, incontri conviviali, lotterie e aste, mercatini di prodotti artigianali etiopi e tanzaniani, vendita di marmellate prodotte dai soci, miele e caffè. Tutti gli associati collaborano gratuitamente alle attività di raccolta dei fondi e alle spese dei viaggi, circa quattro all’anno, che sono interamente a carico del singolo socio, non gravando così sull’associazione. Per il coordinamento dei nostri progetti in loco ci appoggiamo al VIS, “Volontariato Internazionale per lo Sviluppo”, un’organizzazione non governativa che ha sede ad Addis Abeba.
Duccio Mannucci & Partners is a dynamic press and marketing office, based in Florence, specialized in communication strategies, communication plans, press office, and public relations. Their clients are both profit and non-profit organizations to whom they provide pieces of advice for events, marketing, sponsorship, and fundraising. They organize and promote projects of high social value, particularly for children and adolescents with psychological distress. They are particularly interested in the protection and development of the territory and historical-artistic heritage of Florence and Tuscany.
Villa Dosi Delfini, capolavoro del Barocco Pontremolese, è visitabile con un calendario di aperture straordinarie nel corso dell'anno, oppure su prenotazione per visite private e di gruppo. Questa straordinaria dimora storica, in cui si intrecciano arte, architettura, paesaggio e curiosità storiche è inoltre disponibile per eventi, banchetti e matrimoni. La Villa barocca è stata realizzata tra la fine del XVII secolo e l'inizio del XVIII. Nel 1988, la Villa ottiene il riconoscimento di "interesse storico ed artistico particolare" ed è oggi sottoposta a vincolo da parte della Soprintendenza Archeologica Belle Arti e Paesaggio per le province di Lucca e Massa Carrara. Villa Dosi Delfini, a masterpiece of the Pontremolese Baroque, can be visited with a calendar of extraordinary openings during the year, or by appointment for private and group visits. This extraordinary historic home, where art, architecture, landscape and historical curiosities are intertwined, is also available for events, banquets and weddings. The Baroque Villa was built between the end of the 17th century and the beginning of the 18th. In 1988, the Villa obtained the recognition of "particular historical and artistic interest" and is now subject to restrictions by the Archaeological Superintendence for Fine Arts and Landscape for the provinces of Lucca and Massa Carrara.
Villa della Torre Allegrini, è una delle ville di maggiore interesse del Cinquecento veneto. La pianta, imperniata su un cortile con peristilio, si rifà alle antiche case romane. Dal 2008 il complesso, divenuto di proprietà Allegrini, Azienda agricola produttrice di vino, tra le più famose al mondo e punto d'eccellenza dell' Amarone, è sede di rappresentanza aziendale e ospita eventi mondani e culturali. Villa della Torre Allegrini, is one of the most interesting villas of the sixteenth century in Veneto. The plant, hinged on a courtyard with peristyle, refers to the ancient Roman houses. Since 2008, the complex, which has become the property of Allegrini, a wine producing farm, one of the most famous in the world and a point of excellence for Amarone, is a corporate representation and hosts social and cultural events.
Il Castello di Bevilacqua fu costruito nel 1336 da Guglielmo Bevilacqua e fu concepito come fortezza per difendersi dalle Signorie confinanti. Durante il periodo della Repubblica Veneziana, il castello perse il suo scopo difensivo in seguito ai danneggiamenti subiti in precedenza. Si susseguirono ulteriori danneggiamenti in seguito all'incendio causato dall'esercito austriaco nel 1848. In seguito ai minuziosi restauri ora il Castello Relais è al servizio della comunità, aperto al pubblico per la visita tutti i giorni della settimana dalle ore 9.30 alle ore 18.30. Un posto magico che ospita eventi e soggiorni particolarmente suggestivi.
Il Registro Italiano delle Dimore Storiche di Eccellenza si occupa della tutela, della valorizzazione e della promozione del patrimonio storico attraverso la certificazione di qualità delle migliori dimore storiche d’Italia per turismo ed eventi. Ogni giorno decine di castelli, ville di pregio e antiche dimore vengono valutati, catalogati e classificati dal Registro Italiano delle Dimore Storiche di Eccellenza per verificare che siano in possesso di tutti i requisiti necessari per ricoprire il delicato ruolo di ambasciatori della cultura dell’ospitalità italiana di alto livello. The Italian Register of Historic Houses of Excellence deals with the protection, enhancement, and promotion of the historical heritage through the quality certification of the best historic homes in Italy for tourism and events. Every day dozens of castles, prestigious villas, and ancient dwellings are evaluated, cataloged and classified by the Italian Register of Historic Houses of Excellence to verify that they meet all the requirements necessary to fill the delicate role of ambassadors of Italian hospitality culture high level.
Angelica Sella coltiva fin da ragazzina un forte interesse per la cultura come espressione dell’essere umano nel suo contesto storico e sociale. Dopo una laurea in filosofia e alcune esperienze lavorative in Italia e all’estero, tornata nella sua amata Biella, si dedica con passione alla valorizzazione del patrimonio storico della Fondazione Sella e ne assume il ruolo di presidente. Ente morale fondato nel 1980 dalla sua famiglia e costruito nei decenni successivi da suo padre Lodovico, la Fondazione ha raccolto negli anni un considerevole archivio di memorie di famiglie, enti e imprese, costituito perlopiù da documenti cartacei e fotografici. Al grande lavoro di catalogazione dedicato ai materiali archivistici si è da sempre affiancato l’obiettivo di divulgarne i contenuti. Questo obiettivo sta ora prendendo, attraverso l’accurata opera di Angelica e del suo affiatato team, una forma più attiva e programmatica, una forma effettiva di heritage telling a beneficio del territorio e della comunità. La visione di fondo è che il futuro ha radici antiche: fare storia non significa solo guardare a ciò che è stato ma ragionare sulle dinamiche della vita sociale, economica, culturale e proprio le fasi di mutamento più intenso hanno maggior bisogno del senso di identità e della consapevolezza che una chiara prospettiva storica può dare.
Consulente Tributario, Luca prende a cuore ciascun cliente come se si trattasse di se setsso. Esperto in analisi di bilanci, lavora per società e per privati. Fornisce consulenza ed opera, con la propria capacità tecnica, nei settori tributario, fiscale, amministrativo ed aziendale. Il suo sorriso e la sua serietà professionale, vi faranno sentire sicuri.
L’azienda agricola 5F è una piccola realtà che fa dell’elevata qualità dei suoi prodotti le prerogative fondamentali ed i cui principi basilari sono un rapporto di fiducia, tutela e massimo rispetto per il consumatore. La sede dell’azienda si trova nell’entroterra imperiese, patria indiscussa dell’oliva TAGGIASCA. La particolare combinazione di altitudine, terreno e clima tipici della zona, infatti, favoriscono il naturale ciclo produttivo di questa pregiatissima tipologia di ulivo e creano condizioni tali da impedire l’attacco della mosca olearia. I prodotti dell’azienda agricola cinque effe, contraddistinti dal marchio Gerini, sono disponibili in quantità limitata, hanno un rapporto qualità/prezzo decisamente conveniente, inoltre non si trovano nei negozi ma vengono consegnati direttamente a domicilio. Preferiamo infatti conoscere personalmente i nostri clienti in modo da poter soddisfare ogni loro esigenza. Abbiamo vinto il Menzione Regina Oleum nel 2019.
Mi chiamo Emanuele Pace, sono il Direttore dell’Osservatorio Polifunzionale del Chianti gestito dall’Università di Firenze e sono anche padre di tre bellissimi figli. Ho un sogno: vedere i miei figli realizzati in una vita di successo. Ho anche un desiderio: offrire una simile opportunità a tutti i giovani. Oltre a tutte le attività proposte, abbiamo avviato il progetto Spacelab per mettere i ragazzi in contatto con gli astronauti, seguiranno i loro stessi esperimenti e impareranno tantissimo. Puoi contribuire se pensi che il futuro possa essere migliore!
Carola Vallarino Gancia, a successful businesswoman, after over 20 years experience in Public Relations and Special Events and Incentive Travels organization, thanks to her personal friendship with the owners of the most beautiful Italian historical houses, Carola's latest creation is Welcome to the Castle is an exclusive selection of some of the best castles, palaces, and historical buildings located in the most important Italian cities and countryside. These locations offer the opportunity to visitors to immerse themselves in the Italian culture: Art, History, Architecture, Landscapes, Territories, Food and Wine. She is also working with the biggest auction house in Italy. Carolina Valalrino Gancia, un imprenditrice di successo con oltre 20 anni di esperienza nell'organizzazione di Relazioni Pubbliche e Eventi Speciali e Incentive Travels, grazie alla sua personale amicizia con i proprietari delle più belle case storiche italiane, l'ultima creatura di Carola è Welcome to the Castle, una selezione esclusiva di alcuni dei migliori castelli, palazzi e edifici storici situati nelle più importanti città e campagne italiane. Questi luoghi offrono l'opportunità ai visitatori di immergersi nella cultura italiana: arte, storia, architettura, paesaggi, territori, cibo e vino. Inoltre lavora con la più grossa casa d'aste italiana.
Ettore Spada lavora da sempre con suo padre Adriano Spada, conosciutissimo maestro di restauro architettonico. Ettore è una persona affidabile nei cantieri e nell'organizzazione di qualunque lavoro, una persona su cui si può sempre contare, affidabile per qualsiasi compito gli venga richiesto, l'approvvigionamento di materiali e il trasporto. Ha maturato anche un'esperienza e una professionalità nel primo soccorso. Andrebbe fin sulla luna per aiutare o risolvere un problema, se necessario.
A civil lawyer of great professional intuition, she comes from an important Piemontese family and divides her time between the Turin and Chieri associated study. Cristina is experienced in corporate law, providing legal services and consulting to companies, compliance programs about administrative and criminal liability, privacy, health and security at work. In the office of Via Amerigo Vespucci, an employment law attorney, a criminal law attorney and an accountant, they are part of her team. She spends one day a week pro bono at the Consumers Association to support those who cannot afford a lawyer. Avvocato civilista di grande intuizione professionale, proviene da un’antica famiglia piemontese e divide il suo tempo tra lo studio associato di Torino e Chieri. Grande esperienza in diritto societario, fornitura di servizi legali e consulenza alle aziende, programmi di conformità in materia di responsabilità amministrativa e penale, privacy, salute e sicurezza sul lavoro. Nell'ufficio di Via Amerigo Vespucci, un avvocato penalista e un commercialista, fanno parte della sua squadra. Dedica un giorno alla settimana pro bono all'Associazione Consumatori per sostenere chi non può permettersi un avvocato. (1)
Buongiorno! Mi chiamo Elena Matteuzzi e gestisco IL CAPOCHIAVE, il blog degli amanti dell’architettura tradizionale. Sono un architetto e mi occupo di divulgazione delle tecniche costruttive pre-moderne, restauro architettonico e miglioramento sismico degli edifici storici. Ho scritto un libro sugli intonaci decorati del centro storico di Siena e conseguito un master in restauro e consolidamento del costruito storico con una tesi sul restauro strutturale di una pieve cinquecentesca a Città di Castello (Perugia), che nel 2018 ha vinto la prima edizione del premio di restauro CO.RE. (sezione "ricerche post laurea). Ho aperto questo sito per aiutarti a scoprire un mondo affascinante e offrirti servizi professionali di alto livello: CONSULENZE SPECIALISTICHE PER AZIENDE, ARCHITETTI E INGEGNERI – Esecuzione di fotopiani e modelli 3D a partire da semplici fotografie. – Rilievo critico comprendente lo studio e datazione delle varie fasi costruttive, il riconoscimento di materiali e tecniche costruttive, l’individuazione delle influenze stilistiche, l’esecuzione di ricostruzioni ipotetiche, eccetera. – Rilievo e analisi dei dissesti e del quadro fessurativo. – Rilievo e analisi del degrado secondo la Norma UNI 11182 (ex Normal). – Valutazione della qualità muraria con l’Indice di Qualità Muraria (IQM) e stima delle sue caratteristiche meccaniche (resistenza a compressione, resistenza a taglio e modulo di elasticità). – Analisi stratigrafica degli elevati. – Datazione di edifici con metodi “stilistici” (mensiocronologia, cioè misurando le dimensioni dei mattoni o dei conci di pietra di una muratura; cronotipologia, cioè sulla base dell’aspetto di elementi costruttivi come portali, archi, scale, architravi, balaustre, capitelli, eccetera). – Ricostruzione ipotetica di facciate e intonaci decorati. – Esecuzione di ricerche storiche anche d’archivio. RESTAURARE CON STILE Ogni edificio storico ha caratteristiche uniche e irripetibili dovute a secoli di modifiche e stratificazioni. Tutti possono avere una casa nuova ma un vecchio muro ha impiegato moltissimo tempo per acquisire un aspetto “vissuto” e possederlo è una cosa per pochi. Ma come ristrutturare una vecchia casa conservando il suo fascino? Basta Restaurare con stile! Una consulenza altamente qualificata che prevede un accurato colloquio iniziale per valutare i tuoi desideri, il sopralluogo sul posto con il rilievo completo, lo studio di alcune soluzioni progettuali e consigli specifici sui materiali, dettagli e lavorazioni. La soluzione ideale per una casa dalle prestazioni avanzate e molte vicende da tramandare! SOS AFFRESCHI In molte zone d’Italia la tradizione delle facciate affrescate è tuttora molto viva e sentita. Gli antichi intonaci decorati valorizzano e donano un fascino unico e irripetibile a qualsiasi edificio: vanno dunque trovati, tramandati e salvati. Abiti in un palazzo con la facciata, il cortile o gli interni affrescati ma bisognosi di restauro e manutenzione? Stai ristrutturando casa ma sospetti che sotto gli intonaci più recenti si nascondano le tracce di antiche decorazioni? SOS Affreschi è il servizio per te! SISMA CHECK-UP L’Italia è un paese sismico e gli ultimi terremoti di Norcia, Amatrice e Ischia lo hanno dimostrato ampiamente. Non possiamo prevedere i terremoti ma la prevenzione risulta fondamentale. Proprio per questo Sisma check-up è la soluzione ideale! Un’analisi veloce e non invasiva della tua casa per individuare: – Eventuali problemi urgenti come crepe o cedimenti – I punti più vulnerabili in caso di terremoto – Alcuni consigli operativi.
L’Osteria della Gardetta è stata aperta nel 1935 in una tipica casa nel centro della borgata di Chialvetta grazie alla famiglia Comba. Dal 1978 è gestita da Rolando ed è diventata in breve un punto d’incontro degli amanti della montagna e di quelli della buona cucina. Il Rifugio – Osteria della Gardetta si trova nel centro di una delle più tipiche e ben conservate borgate alpine, dove si trova il museo “La Misoun d’en bot” e che è punto di partenza per molte escursioni sia in estate che in inverno. "La Misoun d’en bot" (in occitano significa "La casa di una volta") all’interno del museo è ricostruita con particolare cura e in sezioni ben strutturate la testimonianza della vita nella casa di un tempo, raccontata dagli oggetti raccolti dalla paziente passione di Rolando nelle borgate abbandonate del vallone di Unerzio. Gli oggetti ritrovati sono circa 1500, disposti in un antico fienile a due piani. Vale la pena una visita, così come il cibo.
Emma Castè, restauratrice preziosa attenta all'opera su cui mette le mani esperte, è anche una donna impegnata nel tessuto sociale artistico. Promotrice di eventi artistici e mostre, ha l'esperienza nel mondo dell'arte per creare confronti e dibattiti sulla situazione del Restauro in Italia. Ha restaurato palazzi e chiese antiche con particolare attenzione alla formazione e ai materiali utilizzati, una mosca bianca del settore e forse anche per questo apprezzata a livello nazionale e internazionale.
La Orsolon Restauri dal 1985 si occupa di restauri di dipinti murali, di dipinti su tele e tavole, di monumenti, di stucchi, di materiali moderni e contemporanei. La sete di sapere e l’esperienza hanno fatto crescere le competenze dello studio di restauro portandolo a realizzare progetti e proposte di intervento su beni complessi adottando, in alcuni casi, soluzioni innovative e sperimentali contribuendo alla diffusione di nuove metodologie di intervento. Da più di 25 anni la ditta è attiva nei vari settori del restauro al servizio di Soprintendenze, Enti Ecclesiastici, Enti Pubblici, Musei e privati. La Orsolon Restauri collabora con numerosi professionisti in vari settori della diagnostica e della conservazione, dal restauro dei lampadari antichi ai metalli, dal restauro del legno policromo al mobile.
Inaugurato nel 2008, da 17 anni il Salone dell’Arte e del Restauro di Firenze sì è consolidato quale principale evento fieristico, sia a livello nazionale che internazionale, per tutti gli operatori del settore della conservazione, restauro e valorizzazione del Patrimonio Culturale artistico Mondiale. Una intera Kermesse dedicata a tutti gli operatori che, quotidianamente, operano in un contesto in continua mutazione e che rappresenta uno degli asset produttivi strategici del Made in Italy. Un settore che coinvolge ambiti di ricerca, formazione, aggiornamento, operatività, innovazione, tecniche e tecnologie al servizio della conservazione, del restauro e della valorizzazione culturale anche connessa alle dinamiche del turismo culturale e ambientale. Nel corso degli anni, durante i tre giorni dedicati alla kermesse, il Salone ha visto la partecipazione di oltre 750 espositori, di cui 83 provenienti da Paesi di tutto il mondo, con oltre 1150 conferenze, tavole rotonde, seminari e incontri che hanno visto la partecipazione di 2770 relatori intervenuti ed una media di 65 BtoB fra operatori di settore. Il Salone dell’Arte e del Restauro di Firenze presiede ed è coordinatore permanente del Network Europeo Herifairs, la Rete Europea delle Fiere del Patrimonio la prima e unica piattaforma operativa per lo scambio e lo sviluppo di sinergie tra le più prestigiose fiere di conservazione, restauro e valorizzazione del patrimonio culturale in Europa, con una cooperazione aperta con altre fiere ed eventi internazionali nel mondo. Dal 2018 inoltre organizza l’International Conference Florence Heri-Tech, in collaborazione con l’Università degli Studi di Firenze. Un Convegno internazionale con pubblicazione, indicizzazione e diffusione degli atti sulle ricerche legate alle tecnologie applicate al restauro e ai beni culturali, materiali e immateriali.
Residenza Sabauda per la Caccia e le Feste edificata a partire dal 1729 su progetto di Filippo Juvarra, la Palazzina di Caccia di Stupinigi è uno dei gioielli monumentali di Torino, a 10 km da Piazza Castello, in perfetta direttrice. Costruita sui terreni della prima donazione di Emanuele Filiberto all'Ordine dei Santi Maurizio e Lazzaro (1573), è oggi proprietà della Fondazione Ordine Mauriziano, un ente governativo dedicato alla sua conservazione e valorizzazione. Riaperta al pubblico dopo importanti lavori di restauro, la Palazzina di Caccia -fra i complessi settecenteschi più straordinari in Europa- ha piena dignità museale con i suoi arredi originali, i dipinti,i capolavori di ebanistica e il disegno del territorio.
Angela Delsanto è un artista del cibo. La sua passione e la sua ricerca trovano le radici nel mare del Golfo dei Poeti dal quale assorbe i profumi e l'attenzione al più semplice dei suoi prodotti: le acciughe. Lungo il percorso della tradizione della pesca a mano, fino alla ricerca degli aromi e dell'oilio extra vergine dei pendii che guardano il mare, Angela concepisce un biscottino unico e specialissimo che combina le preziose materie prime. Il risultato è un eccellenza ormai conclamata, vi invitiamo a provarla!
Le radici della famiglia Bevilacqua nel mondo della tessitura affondano nel 1499. In quest’anno, infatti, Giovanni Mansueti ha dipinto San Marco trascinato nella sinagoga, segnalando in un cartiglio i nomi dei committenti: tra questi appare un certo “Giacomo Bevilacqua Tessitore”. La Tessitura è stata poi fondata da Luigi Bevilacqua nel 1875, che ha recuperato telai e macchinari anticamente usati dalla Scuola della Seta della Serenissima. L’azienda continua quindi un’antica arte di Venezia, decaduta nel Settecento e rinata nell’Ottocento, combinando tecniche e disegni storici con un tocco di modernità. Vengono prodotti broccati, il velluto soprarizzo, il lampasso chhanno uso nell'arredamento e nell'alta moda.
La Sabauda, situata oltre il Po, a due passi dalla iconica chiesa Gran Madre di Dio, è stata rilevata nel 2013 da Rosa Giorgio, estimatrice della pasticceria mignon. Mantiene l'arredo in legno e specchi di epoca primi novecento. Dietro le quinte opera l’esperto, nonostante la giovane età, pasticciere, il ligure Giorgio Vincentelli. Accanto a paste fresche, paste secche e salatini, realizzati in certosino minuscolo formato, troverete torte tradizionali quali la Sacher e la Tarte au Citron guarnita da un’elegante meringa. Con la bella stagione stanno per fare il loro esordio torte gelato e semifreddi, mignon anche le paste di mandorla, ripiene di ciliegia e amarena oppure profumate alla fragola o al cocco e i petit four. E all’ora di colazione l’invitante viennoiserie (brioche, croissant normali e integrali, pain au chocolat) permette di iniziare bene la giornata.
La GA Giuntini è una ferramenta che esiste dal primo Dopoguerra, quando un giovane Archimede Giuntini intraprese l’attività con i mezzi del tempo: mentre la moglie Giorgia (anch’ella di cognome Giuntini) si occupava della vendita al banco, Archimede si spostava in bicicletta e raggiungeva i falegnami di Quarrata, Montale e Prato per portar loro la ferramenta. Così nacque la “GA” Giuntini, il cui marchio ancora oggi custodisce le iniziali del suo fondatore. Negli anni dell’Italia che cresceva, la GA Giuntini ferramenta conquistò la fiducia di artigiani e falegnami delle province dove il mobile stava diventando una vocazione - Pistoia, Firenze, ma soprattutto Prato - specializzandosi come ferramenta professionale per il mobile, a servizio di quel “bello e ben fatto” che il mercato richiedeva. Con l’avvento degli anni 2000, sotto la guida del figlio Marco, la GA Giuntini decise di assumere un volto nuovo, decisamente più moderno: la “bottega” fu trasformata in negozio d’avanguardia, un intero showroom fu dedicato alle maniglie (conquistando l’aspetto di quello che qualcuno avrebbe definito “una gioielleria”), e fu inaugurata una nuova e coraggiosa strada che da lì avrebbe affiancato la storica ferramenta: la distribuzione di porte. Grazie a un magazzino interamente dedicato al prodotto porta, la GA Giuntini è stata in grado di rifornire la maggior parte dei rivenditori e degli showroom toscani, garantendo sempre il valore aggiunto delle flessibilità, fondamentale per i tempi che stavano cambiando. La disponibilità del prodotto in magazzino è stata potenziata dal servizio della lavorazione artigianale, permettendo ai clienti di fare quello che è loro più congeniale: contattare la GA Giuntini e avere pronte le porte proprio come servono a loro. Questa infatti è la mission dell’impresa: essere una risposta concreta per la propria clientela, proporre prodotti adatti alle esigenze del mercato e offrire un servizio comodo ed efficiente sempre nel rispetto della qualità, punto fermo da sempre. Il collante di tutto ciò sono, come agli esordi, una fiducia ottimista nell’evoluzione d'impresa e una stretta vicinanza con la propria clientela, fatta di persone.
Daniele e Roberto Cavallero, sono figli d'arte da due generazioni: si occupano di edifici con immensa attenzione all'ambiente in una zona di rara bellezza al confine tra Monferrato e Langhe da poco divenuta Patrimonio UNESCO. Offrono un insieme di servizi, innovativi e tradizionali, che propongono con Progetti Abitativi Lab. Il risparmio energetico, unito al comfort abitativo e rispetto dell'ambiente con l'uso di materiali naturali, riciclabili e sostenibili, sono per loro l'essenza del loro lavoro. Progettano interni e ambienti e con arredamenti di raffinata bellezza e con eccellenza artigiana oltre all' innovazione tecnologica come la domotica, la progettazione olfattiva, il wellness. Lavorano con passione e dedizione straordinari. Amore, eleganza, nostalgia, futuro: questo è ciò che si prova a vivere in una casa progettata e arredata da Daniele e Roberto. Commistione di tecniche moderne e innovative con principi e scelte d’esecuzione tramandati dalla tradizione artigianale che distingue il nostro Made in Italy da sempre. .
Johannesburg, South Africa's biggest city and capital of Gauteng province, began as a 19th-century gold-mining settlement. Its sprawling Soweto township was once home to Nelson Mandela and Desmond Tutu. Other Soweto museums that recount the struggle to end segregation include the somber Apartheid Museum and Constitution Hill, a former prison complex. Commonly known as Jo’burg or Jozi, this rapidly changing city is the vibrant heart of South Africa. After almost 20 years of decline and decay, Johannesburg is now looking optimistically towards the future. Its center is smartening up and new loft apartments and office developments are being constructed at a rapid pace. The hipster-friendly neighborhood of Maboneng is considered one of the most successful urban renewal projects in the world. However, the wealth divide remains stark, and crime and poverty haven't been eliminated.
Oslo, the capital of Norway, sits on the country’s southern coast at the head of the Oslofjord. It’s known for its green spaces and museums. Many of these are on the Bygdøy Peninsula, including the waterside Norwegian Maritime Museum and the Viking Ship Museum, with Viking ships from the 9th century. The Holmenkollbakken is a ski-jumping hill with panoramic views of the fjord. It also has a ski museum.
Moscow, on the Moskva River in western Russia, is the nation’s cosmopolitan capital. In its historic core is the Kremlin, a complex that’s home to the president and tsarist treasures in the Armoury. Outside its walls is Red Square, Russia's symbolic center. It's home to Lenin’s Mausoleum, the State Historical Museum's comprehensive collection, and St. Basil’s Cathedral, known for its colorful, onion-shaped domes. The largest city in the country and Europe, and one of the largest cities in the world. Moscow refers to global cities having a great influence on the world because of its high economic level and population. It is the main transport hub of Russia, its political, economic, cultural, and scientific center.
New Delhi is an urban district of Delhi which serves as the capital of India and seat of all three branches of the Government of India. The foundation stone of the city was laid by Emperor George V during the Delhi Durbar of 1911. It was designed by British architects, Sir Edwin Lutyens, and Sir Herbert Baker. The straight and diagonal pattern of the broad tree-lined avenues in New Delhi, with extensive green spaces and wide vistas, contrasts sharply with the crowded, narrow, and winding streets characteristic of Old Delhi. The main east-west axis of New Delhi is Central Vista Park, which is flanked by government buildings, museums, and research centers in a parklike setting.
Cape Town is the oldest city in South Africa, colloquially named the Mother City. Cape Town is a port city on South Africa’s southwest coast, on a peninsula beneath the imposing Table Mountain. Slowly rotating cable cars climb to the mountain’s flat top, from which there are sweeping views of the city, the busy harbor, and boats heading for Robben Island, the notorious prison that once held Nelson Mandela, which is now a living museum. A coming-together of cultures, cuisines, and landscapes, there's nowhere quite like Cape Town, a singularly beautiful city crowned by the magnificent Table Mountain National Park.
Tel Aviv, an amazing city on Israel’s Mediterranean coast, is marked by stark 1930s Bauhaus buildings, thousands of which are clustered in the White City architectural area, and became designated a UNESCO world heritage site. The city was founded in 1909 by the Jewish residents as a modern housing estate on the outskirts of the ancient port city of Jaffa, then part of the Jerusalem province of Ottoman Syria. Museums include Beit Hatfutsot, whose multimedia exhibits illustrate the history of Jewish communities worldwide. The Eretz Israel Museum covers the country’s archaeology, folklore, and crafts, and features an on-site excavation of 12th-century-B.C. ruins.
Anchorage, Alaska’s largest city, is in the south-central part of the state on the Cook Inlet. It's known for its cultural sites, including the Alaska Native Heritage Center, which displays traditional crafts, stages dances, and presents replicas of dwellings from the area’s indigenous groups. The city is also a gateway to nearby wilderness areas and mountains including the Chugach, Kenai, and Talkeetna. Anchorage is the place where young spirits and adventurous souls come to play. Alaska activities including famous wildlife, spectacular mountain vistas, fascinating cultures and icy blue glaciers all await your discovery. Metropolitan luxuries mix with unrivaled natural wonders to make Anchorage an unforgettable destination.
Perth, capital of Western Australia, sits where the Swan River meets the southwest coast. Sandy beaches line its suburbs, and the huge, riverside Kings Park and Botanic Garden on Mount Eliza offer sweeping views of the city. The Perth Cultural Centre houses the state ballet and opera companies and occupies its own central precinct, including a theatre, library and the Art Gallery of Western Australia. Nature and urban life exist in harmony in Perth, on Australia's west coast. Here, where the locals soak up more sunny days than in any other Australian capital city, you can visit nearby Rottnest Island, walk-in leafy Kings Park and tour Swan Valley vineyards. For local culture, wander the nearby city of Fremantle's winding portside streets and Perth city center's museum and gallery precinct.
Honolulu, on the island of Oahu’s south shore, is capital of Hawaii and gateway to the U.S. island chain. The Waikiki neighborhood is its center for dining, nightlife, and shopping, famed for its iconic crescent beach backed by palms and high-rise hotels, with volcanic Diamond Head crater looming in the distance. Sites relating to the World War II attack on Pearl Harbor include the USS Arizona Memorial. In this cosmopolitan capital city, you’ll find everything from historic landmarks to fine dining to world-class shopping. Home to the majority of Oahu’s population, Honolulu stretches across the southeastern shores of the island, from Pearl Harbor to Makapuu Point, encompassing world-famous Waikiki Beach along the way.
Miami, officially the City of Miami, is the cultural, economic and financial center of South Florida, the seat of Miami-Dade County, the most populous county in Florida. Miami is one of the world’s – most popular vacation spots. The Miami area does indeed offer multiple enticements for everyone: the trendy nightlife of South Beach, bejeweled by the eye candy of the Art Deco district. The bustle of Calle Ocho and the highly caffeinated energy of Little Havana. The plush hotels of Miami Beach and the historic hideaways of Coral Gables. Seemingly endless shopping opportunities in modern, sprawling malls and the quiet, personal attention offered by the family-owned shops of Coconut Grove and many other corners of the region. The lures of deep-sea fishing and golf and tennis. Miami's major league football, basketball, hockey, and baseball. Boat shows and auto racing. Art festivals and outdoor food and wine extravaganzas. An international airport and the world’s busiest cruise port.
Lima is the capital and the largest city of Peru. It is located in the valleys of the Chillón, Rímac and Lurín rivers, in the central coastal part of the country, overlooking the Pacific Ocean. Together with the seaport of Callao, it forms a contiguous urban area known as the Lima Metropolitan Area. With a population of more than 9 million, Lima is the most populous metropolitan area of Peru and the third-largest city in the Americas, behind São Paulo and Mexico City. Lima was founded by Spanish conquistador Francisco Pizarro on January 18, 1535, as Ciudad de los Reyes. It became the capital and most important city in the Spanish Viceroyalty of Peru. Lima is home to one of the oldest institutions of higher learning in the New World. The National University of San Marcos, founded on May 12, 1551, during the Spanish colonial regime, is the oldest continuously functioning university in the Americas.
Singapore, an island city-state off southern Malaysia, is a global financial center with a tropical climate and multicultural population. Its colonial core centers on the Padang, a cricket field since the 1830s and now flanked by grand buildings such as City Hall, with its 18 Corinthian columns. In Singapore's Chinatown stands the red-and-gold Buddha Tooth Relic Temple, said to house one of Buddha's teeth. Singapore is much more than the sum of its numerous attractions. It’s constantly evolving, reinventing, and reimagining itself, with people who are passionate about creating new possibilities. It’s where foodies, explorers, collectors, action seekers, culture shapers, and socialisers meet―and new experiences are created every day.
Auckland, based around 2 large harbors, is a major city in the north of New Zealand’s North Island. In the center, the iconic Sky Tower has views of Viaduct Harbour, which is full of superyachts and lined with bars and cafes. Auckland Domain, the city’s oldest park, is based around an extinct volcano and home to the formal Wintergardens. Near Downtown, Mission Bay Beach has a seaside promenade. Rated as the third most liveable city in the world, Auckland is an exhilarating mix of natural wonders and urban adventures. The urban environment where everyone lives within half an hour of beautiful beaches, hiking trails and a dozen enchanting holiday islands. Add a sunny climate, a background rhythm of Polynesian culture and a passion for outstanding food, wine and shopping, and you’re beginning to get the picture of Auckland,
Los Angeles is a sprawling Southern California city and the center of the nation’s film and television industry. Near its iconic Hollywood sign, studios such as Paramount Pictures, Universal and Warner Brothers offer behind-the-scenes tours. On Hollywood Boulevard, TCL Chinese Theatre displays celebrities’ hand- and footprints, the Walk of Fame honors thousands of luminaries and vendors sell maps to stars’ homes. Officially the City of Los Angeles and often known colloquially by its initials L.A. is the most populous city in California and the second most populous city in the United States.
Tra le tante bellissime città italiane, Torino merita sicuramente un posto particolare per le sue bellezze artistiche e architettoniche e per l’importantissima e centenaria storia che si respira nelle sue grandi piazze, nelle strade del centro, nelle sue chiese e i suoi numerosi musei. Torino è una città dalle mille sfaccettature: antica capitale del regno sabaudo dall’aspetto regale, culla del Risorgimento e teatro di grandi eventi storici per l’Italia, città industriale che ha saputo poi reinventarsi, polo di innovazione e città di sperimentazione artistica e culturale. Il bellissimo edificio progettato da Antonelli è senza dubbio il simbolo di Torino per eccellenza. La Mole, che spicca nel panorama della città sabauda, ospita inoltre al suo interno il Museo Nazionale del Cinema, uno dei più visitati di Torino e unico esempio di museo dedicato alla settimana arte in Italia. l Museo delle Antichità Egizie di Torino, che ha sede nell’edificio seicentesco di Palazzo dell’Accademia delle Scienze, è il più importante museo egizio del mondo dopo quello de Il Cairo. Esposti ci sono circa 6.500 reperti tra statue, sarcofaghi e corredi funerari, mummie, papiri, amuleti, gioielli. Un immenso tesoro tutto da vedere per scoprire la storia e i misteri di questa antica civiltà. Riaperte nel settembre 2018 dopo il lungo restauro, la Cappella della Sindone di Torino è sicuramente una delle cose da vedere assolutamente nel capoluogo piemontese. Il capolavoro barocco di Guarino Guarini, dichiarato patrimonio mondiale UNESCO dal 1997, è un gioiello tutto da vedere con il suo prezioso marmo nero venato di grigio, gli stupendi archi e pilastri, i giochi di luce, le statue, la fitta trama di segni allusi, i capitelli bronzei con i simboli della Passione… I Musei Reali di Torino sono una della attrazioni più importanti del capoluogo piemontese. Su una superficie di oltre 3.000 metri si snoda un percorso, anzi un vero e proprio tuffo, nella storia di Torino, dell’Italia e del mondo. Al loro interno ospitano: l’Armeria Reale, Biblioteca Reale, Palazzo Reale, Galleria Sabauda, Museo Archeologico, Giardini Reali e la Sala Chiablese. Il Santuario della Consolata, anche conosciuto con il nome di Chiesa di Santa Maria della Consolazione, è sicuramente uno degli edifici religiosi da vedere nel capoluogo piemontese. La prima costruzione risale all’epoca paleocristiana. La chiesa è stata poi ampliata e modificata nel corso dei secoli fino al XVIII secolo, quando Filippo Juvarra apportò numerosi cambiamenti per adattarla allo stile barocco dell’epoca. Cuore della città in passato come oggi, Piazza Castello è la seconda piazza più grande di Torino, la prima è Piazza Vittorio. Circondata su tre dei suoi quattro lati dai famosi e caratteristici portici torinesi, sulla piazza di affacciano alcune delle attrazioni più importanti del capoluogo piemontese: Palazzo Reale, che si trova al centro della piazza, il Teatro Regio, tra i più importanti teatri lirici d’Italia, Palazzo Madama, che fu sede del Senato Subalpino, la Real Chiesa di San Lorenzo, dove fu ospitata per un periodo la Sacra Sindone appena giunta a Torino. Insomma un concentrato di storia e bellezza unico. Se siete a Torino per qualche giorno non potete non fare tappa in uno dei caffè storici della città, gli antichi locali ottocenteschi dove poter assaporare le delizie tipiche del capoluogo piemontese. Potrete gustare al loro interno, tra specchi antichi, boiserie, tappezzerie di raso, eleganti candelieri e piatti di porcellana, alcune delle specialità torinesi e fare un piccolo viaggio nel tempo.
Montréal is the largest city in Canada's Québec province. It’s set on an island in the Saint Lawrence River and named after Mt. Royal, the triple-peaked hill at its heart. Its boroughs, many of which were once independent cities, include neighborhoods ranging from cobblestoned, French colonial Vieux-Montréal – with the Gothic Revival Notre-Dame Basilica at its centre – to bohemian Plateau.
Edinburgh is the capital city of Scotland and one of its 32 council areas. Historically part of the county of Midlothian (interchangeably Edinburghshire before 1921), it is located in Lothian on the southern shore of the Firth of Forth. Edinburgh is Scotland's second-most populous city and the seventh-most populous city in the United Kingdom. Recognised as the capital of Scotland since at least the 15th century, Edinburgh is the seat of the Scottish Government, the Scottish Parliament and the highest courts in Scotland. The city's Palace of Holyroodhouse is the official residence of the monarch in Scotland. The city has long been a centre of education, particularly in the fields of medicine, Scots law, literature, philosophy, the sciences and engineering. It is the second-largest financial centre in the United Kingdom, and the city's historical and cultural attractions have made it the UK's second-most visited tourist destination, attracting 4.9 million visits, including 2.4 million from overseas in 2018. The city is the annual venue of the General Assembly of the Church of Scotland. It is home to national cultural institutions such as the National Museum of Scotland, the National Library of Scotland and the Scottish National Gallery. The University of Edinburgh, founded in 1582 and now one of three in the city, is placed 16th in the QS World University Rankings for 2022. The city is also known for the Edinburgh International Festival and the Fringe, the latter being the world's largest annual international arts festival. Historic sites in Edinburgh include Edinburgh Castle, the Palace of Holyroodhouse, the churches of St. Giles, Greyfriars and the Canongate, and the extensive Georgian New Town built in the 18th/19th centuries. Edinburgh's Old Town and New Town together are listed as a UNESCO World Heritage Site, which has been managed by Edinburgh World Heritage since 1999.
Washington, DC, the U.S. capital, is a compact city on the Potomac River, bordering the states of Maryland and Virginia. It’s defined by imposing neoclassical monuments and buildings – including the iconic ones that house the federal government’s 3 branches: the Capitol, White House, and Supreme Court. It's also home to iconic museums and performing-arts venues such as the Kennedy Center. Monuments and memorials, eclectic neighborhoods, true local flavor Washington, DC is a place unlike any other. It’s your home away from home with free museums and America’s front yard.
Melbourne is the coastal capital of the southeastern Australian state of Victoria. Melbourne is the most populous city of the Australian state of Victoria, and the second most populous city in Australia and Oceania. At the city's centre is the modern Federation Square development, with plazas, bars, and restaurants by the Yarra River. In the Southbank area, the Melbourne Arts Precinct is the site of Arts Centre Melbourne – a performing arts complex – and the National Gallery of Victoria, with Australian and indigenous art.
Seattle is a seaport city on the West Coast of the United States. It is the seat of King County, Washington, a city on Puget Sound in the Pacific Northwest, is surrounded by water, mountains and evergreen forests, and contains thousands of acres of parkland. Washington State’s largest city, it’s home to a large tech industry, with Microsoft and Amazon headquartered in its metropolitan area. The futuristic Space Needle, a 1962 World’s Fair legacy, is its most iconic landmark.
Boston is one of the oldest cities in the United States, founded on the Shawmut Peninsula in 1630 by Puritan settlers from England. It was the scene of several key events of the American Revolution. Today is the capital and most populous municipality of the Commonwealth of Massachusetts in the United States. The Boston area's many colleges and universities, one among all the famous MIT, make it an international center of higher education, including law, medicine, engineering, and business, and the city is considered to be a world leader in innovation and entrepreneurship.
Dublin, capital of the Republic of Ireland, is on Ireland’s east coast at the mouth of the River Liffey. Its historic buildings include Dublin Castle, dating to the 13th century, and imposing St Patrick’s Cathedral, founded in 1191. City parks include landscaped St Stephen’s Green and huge Phoenix Park, containing Dublin Zoo. The National Museum of Ireland explores Irish heritage and culture. Dublin's streets are a busy fusion of both past and present – a 1,000-year-old mix that has inspired writers, visitors and political firebrands alike. From the city’s Viking roots by the banks of the river Liffey to its atmospheric medieval churches along gracious Georgian streets, walk these streets and you'll be taking a journey through history.
San Francisco, in northern California, is a hilltop town located at the tip of a peninsula surrounded by the Pacific Ocean and the San Francisco Bay. In addition to the perennial fog, it is also famous for the Golden Gate Bridge, trams and Victorian houses with a thousand colors. The Transamerica Pyramid, in the financial district, is the most famous skyscraper in the city. Frisco is home to a little bit of everything. Whether you're a first time visitor or a long-time local, San Francisco's Golden Gates welcome all
Nottingham is a city in central England’s Midlands region. It’s known for its role in the Robin Hood legend and for the hilltop Nottingham Castle Museum and Art Gallery, rebuilt many times since the medieval era. In the Lace Market area, once the center of the world’s lace industry, the Galleries of Justice Museum has crime-related exhibits. Wollaton Hall is an ornate Elizabethan mansion with gardens and a deer park.
New York City comprises 5 boroughs sitting where the Hudson River meets the Atlantic Ocean. At its core is Manhattan, a densely populated borough that’s among the world’s major commercial, financial and cultural centers. Its iconic sites include skyscrapers such as the Empire State Building and sprawling Central Park. Broadway theater is staged in neon-lit Times Square.
Guglielmo Marconi, Premio Nobel per la Fisica nel 1909, effettuò la prima trasmissione radiotelegrafica effettuata il 1903 con un trasmettitore a scintilla. Marconi individuò nella zona di Coltano tra Pisa e Livorno il luogo adatto per costruire la prima stazione radio italiana a onde lunghe. Coloro che arrivando da Livorno e da Pisa entrano nel territorio di Coltano, si trovano davanti a dimensioni senza spazio e senza tempo con l’impressione di giungere in un altro pianeta, un piccolo borgo ricco di storia e circondato da un ambiente dove l’uomo non ha completamente vinto sulla natura. Le origini di Coltano Marconi si perdono nel tempo. Solamente con l’arrivo dei Granduchi Medicei iniziò quel percorso che in molti decenni portò al miglioramento del territorio, soprattutto con la costruzione della Villa Medicea. Oggi necessita di essere valorizzato aiutando la Proloco di Coltano che ha fatto e fa già tantissimo. (1) Guglielmo Marconi, Nobel Prize in Physics in 1909, made the first radiotelegraphic transmission carried out in 1903 with a spark transmitter. Marconi identified the right place in the Coltano area between Pisa and Livorno to build the first Italian longwave radio station. Those who arrive from Livorno and Pisa enter the territory of Coltano, find themselves in front of dimensions without space and time with the impression of reaching another planet, a small village rich in history and surrounded by an environment where man has not completely won over nature. The origins of Coltano Marconi are lost in time. Only with the arrival of the Medici Grand Dukes did the path begin which in many decades led to the improvement of the territory, especially with the construction of the Medici Villa. Today it needs to be enhanced by helping the Proloco di Coltano that has done and already does a lot.
Shoreham-by-Sea is a seaside town and port in West Sussex, England. The town is bordered to its north by the South Downs, to its west by the Adur Valley and to its south by the River Adur and Shoreham Beach on the English Channel.
Matera è una città tra le più antiche del mondo il cui territorio custodisce testimonianze di insediamenti umani a partire dal paleolitico e senza interruzioni fino ai nostri giorni. Rappresenta una pagina straordinaria scritta dall’uomo attraverso i millenni di questa lunghissima storia.Nel 1993 l’UNESCO dichiara i Sassi di Matera Patrimonio Mondiale dell’Umanità I Sassi di Matera sono il 6° sito in Italia in ordine cronologico, il primo nel meridione. In occasione di questa iscrizione, per la prima volta l’UNESCO utilizza nei criteri e nelle motivazioni il concetto di Paesaggio Culturale, che in seguito verrà utilizzato per motivare l’iscrizione di altri siti nel mondo. Matera è stata designata Capitale Europea della Cultura per il 2019. Matera è al centro di un incredibile paesaggio rupestre che conserva un grande patrimonio di cultura e tradizioni, ed è sede di eventi espositivi di grande prestigio nazionale ed internazionale. L’architettura irripetibile dei Sassi di Matera racconta la capacità dell’uomo di adattarsi perfettamente all’ambiente e al contesto naturale, utilizzando con maestria semplici caratteristiche come la temperatura costante degli ambienti scavati, la calcarenite stessa del banco roccioso per la costruzione delle abitazioni fuori terra e l’utilizzo dei pendii per il controllo delle acque e dei fenomeni meteorici. La struttura architettonica è costituita da due sistemi, quello immediamente visibile realizzato con le stratificazioni successive di abitazioni, corti, ballotoi, palazzi, chiese, strade orti e giardini, e quello interno e invisibile a prima vista costituito da cisterne, neviere, grotte cunicoli e sistemi di controllo delle acque, sistemi essenziali per la vita e la ricchezza della comunità. Originariamente i Sassi di Matera erano un ambiente rupestre molto simile a quello dove si trova il Parco di fronte sull’altro lato del canyon scavato dalla Gravina di Matera. Il versante dei Sassi, quello occidentale è caratterizzato in basso da pareti ripide che si affacciano sul torrente. In alto il versante presenta una serie di terrazzamenti, colline e pianori più adatti all’insediamento umano, luoghi che nel corso dei millenni sono stati trasformati da villaggi rupestri in una vera e propria città. I primi insediamenti umani nel territorio di Matera risalgono al paleolitico e si svilupparono utilizzando le grotte naturali che in gran numero definiscono il paesaggio rupestre di Matera. Nel corso del tempo alle grotte naturali si sono aggiunte quelle scavate dall’uomo che ha trovato nella friabile roccia tufacea una eccezzionale possibilità di insediamento al riparo dagli agenti naturali. I complessi rupestri hanno costituito la prima forma del nucleo urbano con ambienti ancora oggi presenti inglobati dentro edifici e fabbricati costruiti fuori terra dal medioevo in poi. I Sassi di Matera sorgono su uno dei versanti di un canyon scavato nel tempo dal torrente Gravina. Sull’altro versante si estende il Parco Archeologico Storico Naturale delle Chiese Rupestri del Materano anche conosciuto come Parco della Murgia Materana, il cui paesaggio rappresenta il contesto originario dei luoghi, sviluppatosi nel tempo con gli insediamenti urbani soltanto sul versante dei Sassi. Il Parco custodisce gli insediamenti più antichi del territorio. Tra questi la Grotta dei Pipistrelli i cui ritrovamenti paleolitici sono conservati presso il Museo Nazionale Domenico Ridola a Matera, i villaggi neolitici di Murgecchia, Murgia Timone e Trasanello a nord e i villaggi rupestri della Selva, il villaggio Saraceno a Sud. Visitare i Sassi di Matera Oggi i Sassi di Matera offrono al visitatore un grande paesaggio culturale, motivo per il quale l’UNESCO li ha inseriti nella lista del Patrimonio Mondiale.Dal punto di vista architettonico presentano una serie incredibile di elementi che si sono stratificati nel tempo, dai complessi rupestri scavati dall’uomo, alle chiese rupestri, aree di sepoltura, che si alternano continuamente con fabbricati di tutte le diverse ere: medioevo, rinascimento, barocco fino all’epoca moderna. Il visitatore troverà in continuità grotte, ipogei, palazzotti, chiese, vicinati, scalinate, ballatoi, giardini e orti tutti incastonati l’uno nell’altro a formare un luogo unico e magico. Passeggiando lungo l’asse principale che collega i due rioni Sassi via Bruno Buozzi, via Madonna delle Virtù e via D’Addozio è possibile attraversare questo paesaggio e ammirare nello stesso tempo quello del versante opposto del Parco della Murgia Materana. E’ possibile salire e scendere dai numerosissimi vicoli che si alternano tra gli edifici e trovarsi in angoli sempre diversi e sorprendenti. Matera è la città dei Sassi, il nucleo urbano originario, sviluppatosi a partire dalle grotte naturali scavate nella roccia e successivamente modellate in strutture sempre più complesse all’interno di due grandi anfiteatri naturali che sono il Sasso Caveoso e il Sasso Barisano.
Genoa, Genova in Italian, is the capital of the Italian region of Liguria and the sixth-largest city in Italy. It is known for its important role in maritime trade over many centuries. In the historic center is the Cathedral of San Lorenzo, in Romanesque style, with a black and white striped façade and frescoed interiors. Narrow streets lead to monumental squares like the Piazza de Ferrari, with its characteristic bronze fountain and the Carlo Felice opera house. It has the biggest ancient city centre, still remained as it was through the centuries. Famous all over the world for its handmade focaccia. On the Gulf of Genoa in the Ligurian Sea, Genoa has historically been one of the most important ports on the Mediterranean: it is currently the busiest in Italy and in the Mediterranean Sea and twelfth-busiest in the European Union. Genoa was the capital of one of the most powerful maritime republics for over seven centuries, from the 11th century to 1797. Particularly from the 12th century to the 15th century, the city played a leading role in the commercial trade in Europe, becoming one of the largest naval powers of the continent and considered among the wealthiest cities in the world. It was also nicknamed la Superba ("the proud one") by Petrarch due to its glories on the seas and impressive landmarks. The city has hosted massive shipyards and steelworks since the 19th century, and its solid financial sector dates back to the Middle Ages. The Bank of Saint George, founded in 1407, is the oldest known state deposit bank in the world and has played an important role in the city's prosperity since the middle of the 15th century. The historical center, also known as old town, of Genoa is one of the largest and most-densely populated in Europe. Part of it was also inscribed on the World Heritage List (UNESCO) in 2006 as Genoa: Le Strade Nuove and the system of the Palazzi dei Rolli. Genoa's historical city centre is also known for its narrow lanes and streets that the locals call "caruggi". Genoa is also home to the University of Genoa, which has a history going back to the 15th century, when it was known as Genuense Athenaeum. The city's rich cultural history in art, music and cuisine allowed it to become the 2004 European Capital of Culture. It is the birthplace of Guglielmo Embriaco, Christopher Columbus, Andrea Doria, Niccolò Paganini, Giuseppe Mazzini, Renzo Piano and Grimaldo Canella, founder of the House of Grimaldi, among others. Genoa, which forms the southern corner of the Milan-Turin-Genoa industrial triangle of Northwest Italy, is one of the country's major economic centers. A number of leading Italian companies are based in the city, including Fincantieri, Selex ES, Ansaldo Energia, Ansaldo STS, Edoardo Raffinerie Garrone, Piaggio Aerospace, Mediterranean Shipping Company and Costa Cruises.
The City of Brussels is the largest municipality and historical center of the Brussels-Capital Region, and the de jure capital of Belgium. Besides the strict center, it also covers the immediate northern outskirts where it borders municipalities in Flanders, famous for its antique fabrics and painters. Today, although the seat of the European Parliament is in Strasbourg, most of the activities of the parliamentary committees take place in Brussels, while the general secretariat of the institution is in Luxembourg. The Edinburgh summit in 1992 and the Amsterdam Treaty in 1999 sanctioned this state of affairs.
Roberto Salomone è un professionista originario di Cuneo che ha mantenuto quei profondi valori Piemontesi che hanno l'intelligenza di guardare al futuro e adattarsi, con elasticità, al mondo in continuo cambiamento. Appassionato della Valle Maira, sito Unesco, da cui la sua famiglia trae le sue origini, usa le sue capacità imprenditoriali per creare sviluppo e lavoro per gli uomini d'affari e le giovani generazioni, con uno sguardo rivolto verso la vicina Costa Azzurra e oltre le Alpi. Il suo studio di Dottore Commercialista si trova in pieno centro città, dove da anni col socio dott. Agnese segue i clienti non solo in Piemonte ma anche in tutt'Italia e all'estero. La cura e l'attenzione che pone nel suo lavoro, fa sentire il cliente sicuro e la sua professionalità e conoscenza del settore e delle dinamiche italiane, lo rendono capace di districarsi con certezza e profonda onestà nel dedalo di leggi in continua modifica e aggiornamento, tipiche dello Stato di diritto Italiano. Roberto Salomone is a professional originally from Cuneo who has maintained those deep Piedmontese values that have the intelligence to look to the future and adapt, with elasticity, to the constantly changing world. Passionate about the Maira Valley, Unesco site, from which his family draws its origins, uses his entrepreneurial skills to create development and work for businessmen and the younger generations, with a look towards the nearby French Riviera and beyond the Alps. His firm of Chartered Accountant is located in the city center, where for years with his partner dr. Agnese follows their customers not only in Piedmont but also throughout Italy and abroad. The care and attention he places in his work, makes the customer feel safe and his professionalism and knowledge of the sector and of Italian dynamics, make him able to extricate himself with certainty and deep honesty in the maze of laws that are constantly changing and updated, typical of the Italian rule of law. (1)
Windsor Castle is a royal residence at Windsor in the English county of Berkshire. It is notable for its long association with the English and later British royal family and for its architecture. The original castle was built in the 11th century after the Norman invasion of England by William the Conqueror. The oldest and largest occupied castle in the world.
London has been a major settlement for two millennia. Londinium was founded by the Romans. The City of London, London's ancient core, colloquially known as the Square Mile, retains boundaries that follow closely their medieval limits. The City of Westminster is also an Inner London borough holding city status. Greater London is governed by the Mayor of London and the London Assembly. London is often considered as the world's leading global city and has been termed as the world's most powerful, most desirable, most influential, most visited, most expensive, innovative, sustainable, most investment-friendly, most popular for work, and the most vegetarian-friendly city in the world. London exerts a considerable impact upon the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism and transportation. London ranks 26 out of 300 major cities for economic performance. It is one of the largest financial centers.
Three generations of the Bonomi family have worked hard and with the foresight to realize what are now the Azienda Agricola and the Agriturismo San Faustino, two pearls set between the Pizzo Badile and the Concarena, in the beautiful Valcamonica. It took luck, a lot of work and study, but only thanks to this and the tenacity of a family that has never left their land, today the San Faustino Farm is a modern company, based on respect for tradition and of the rhythms and cycles of nature.
Roma caput mundi, a city of a thousand faces. Rome is the political capital of Italy, but also the center of Christianity and houses within its territory the city-state of the Vatican. The seat of the papacy, its structure today is the result of numerous urban and architectural interventions that have been stratified over the millennia. in Rome imperial is surely the best known. The splendor of antiquity revives throughout the capital: from the Colosseum to the Imperial Fora, the Domus Aurea, the Pantheon and the Circus Maximus. The capital is also a lively city that offers its visitors a multitude of cultural events and museums.
Elegant, precious, inimitable, fun, romantic: this is Venice, the gem of the Venetian and Italian tourism scene, where churches, palaces, ancient bridges, monuments, and squares tell the artistic and cultural vivacity that has marked and still marks the history of this city. The heart of Venice is the splendid Piazza San Marco, the most elegant living room in Europe, surrounded by works of unquestionable value: the imposing bell tower and the Basilica with its five portals and the decorations of marble and mosaics that anticipate the splendor and the wealth of interiors. Also the museums, the Biennale of Architecture, the gondolas and the ancient caffè Florian, everything is worth a visit. Even those who have never set foot there know the places that make the city of Venice famous all over the world: Piazza San Marco, the Rialto bridge, the Grand Canal. But Venice is also something else. There are entire areas of the historic city to be explored, far from the places obliged by tradition, where every corner hides wonders. Going off the beaten track, you will be lucky enough to look at the city from a less conventional, more intimate, authentic and original point of view. The best way to get to know the hidden soul of Venice, in fact, is to get lost in the streets and fields, explore the city slowly, preferably aboard a traditional boat or on foot, and look at it with the eyes of those who live there, maybe entering one of the many artisan shops to discover the stories of the authentic Made in Venice, such as gondolas, glass, pearls, lace, typical sweets and fabrics. But not only that: Venice is part of a real archipelago of islands, each with a unique beauty, even the lesser known, such as Torcello, Sant'Erasmo, Mazzorbo, Lazzaretto Nuovo, Certosa, Vignole, Pellestrina, and many others. You can go to the discovery of these small islands with quiet walks in the villages, visit unusual museums and take archaeological itineraries that tell of the origins of the Serenissima and its ancient history, or take short bike excursions ideal also for families with children. For example, in the Lido of Venice and Pellestrina, in addition to the beaches, there are also splendid protected natural areas that extend for tens of hectares, between the sea and the lagoon, a true paradise for birdwatchers and days outdoors. The Venice of the mainland - Mestre and Forte Marghera - can reserve beautiful discoveries, such as the woods and green parks that can be visited with urban trekking itineraries, cycle paths and bridleways. Even a visit to one of the ancient forts defending the city is an experience not to be missed to discover an unprecedented Venice, along a widespread route between the mainland and the islands of the lagoon, of extraordinary archaeological, architectural and naturalistic interest. Anche chi non vi ha mai messo piede, conosce i luoghi che rendono celebre la città di Venezia in tutto il mondo: Piazza San Marco, il ponte di Rialto, il Canal Grande. Ma Venezia è anche altro. Ci sono intere zone della città storica tutte da esplorare, lontano dai luoghi obbligati dalla tradizione, dove ogni angolo nasconde meraviglie. Uscendo dai sentieri più battuti, avrete la fortuna di guardare la città da un punto di vista meno convenzionale, più intimo, autentico e originale. Il miglior modo per conoscere l'anima nascosta di Venezia, infatti, è perdersi in calli e campi, esplorare la città con lentezza, meglio se a bordo di un'imbarcazione tradizionale o a piedi, e guardarla con gli occhi di chi ci vive, magari entrando in una delle tante botteghe artigiane per scoprire le storie dell'autentico Made in Venice, come gondole, vetri, perle, merletti, dolci tipici e tessuti. Ma non solo: Venezia è parte di un vero e proprio arcipelago di isole, ciascuna dalla bellezza unica, anche le meno conosciute, come Torcello, Sant'Erasmo, Mazzorbo, Lazzaretto Nuovo, Certosa, Vignole, Pellestrina, e tantissime altre. Potrete andare alla scoperta di queste piccole isole con tranquille passeggiate nei borghi, visitare musei insoliti e percorrere itinerari archeologici che raccontano delle origini della Serenissima e della sua antica storia, oppure fare brevi escursioni in bicicletta ideali anche per le famiglie con bambini. Per esempio, al Lido di Venezia e a Pellestrina, oltre alle spiagge, ci sono anche splendide aree naturali protette che si estendono per decine di ettari, tra mare e laguna, un vero paradiso per gli amanti del birdwatching e delle giornate all'aria aperta. La Venezia di terraferma - Mestre e Forte Marghera - può riservare bellissime scoperte, come i boschi e i parchi verdi visitabili con itinerari di trekking urbano, vie ciclabili e ippovie. Anche la visita di uno degli antichi forti a difesa della città è un'esperienza da non perdere per scoprire una Venezia inedita, lungo un percorso diffuso tra la terraferma e le isole della laguna, di straordinario interesse archeologico, architettonico e naturalistico.
La Fondazione Musei Civici è un soggetto privato che gestisce un patrimonio pubblico, che fa capo al Consiglio di Amministrazione, e che autofinanzia tutte le proprie attività. Ha un unico socio fondatore, il Comune di Venezia. MUVE è un network di musei autonomi con una regia centrale. Oltre alle tradizionali attività museali (ricovero, conservazione, studio, valorizzazione) comprende un ampio insieme di attività e servizi culturali: ricerca, formazione, divulgazione, didattica, produzione di eventi temporanei, in un dialogo incessante con il territorio e con i suoi frequentatori. La Fondazione Musei Civici di Venezia favorisce l’aggregazione di soci partecipanti, pubblici e privati, che condividano e sostengano le sue finalità. Istituisce e consolida relazioni con altri sistemi museali, nazionali e internazionali, e altre istituzioni culturali, scientifiche, educative, e sviluppa partnership su progetti specifici con soggetti privati. Obiettivi comuni sono l’implementazione della visibilità e della reputazione internazionali e lo sviluppo di relazioni locali virtuose e innovative, da perseguire con un’offerta di alto profilo associata alla massima accessibilità. La Fondazione Musei Civici di Venezia (MUVE) riunisce undici musei: Palazzo Ducale, Museo Correr, Torre dell’Orologio, Ca’ Rezzonico Museo del Settecento Veneziano, Palazzo Mocenigo – Centro Studi di Storia del Tessuto e del Costume, Casa di Carlo Goldoni, Ca’ Pesaro – Galleria Internazionale d’Arte Moderna, Palazzo Fortuny, Museo del Vetro di Murano, Museo del Merletto di Burano e Museo di Storia Naturale. Un immenso patrimonio culturale, con oltre 700.000 opere d’arte, cinque biblioteche specialistiche, un archivio fotografico e un attrezzato deposito nel Vega Stock a Marghera. Un sistema museale ricco, articolato, complesso che MUVE gestisce, tutela e valorizza dalla sua nascita nel 2008. Arricchito recentemente da altre due importanti partnership che prendono corpo oltre lo storico nucleo lagunare della città, con il Centro Culturale Candiani e Forte Marghera a Mestre. The Fondazione Musei Civici is a private entity reporting to a Board of Directors that manages a public heritage and which self-finances all its activities. It has only one founding member, the City of Venice. MUVE is a network of autonomous museums with a central direction. In addition to traditional museum activities (recovery, conservation, study, promotion), it includes a wide range of cultural activities and services: research, training, dissemination, teaching, production of temporary events, in a ceaseless dialogue with the territory and its visitors. The Fondazione Musei Civici di Venezia encourages the integration of public and private participating members that share and support its aims. It establishes and consolidates relationships with other national and international museums, and other cultural, scientific and educational institutions, and develops partnerships for specific projects with private subjects. Shared objectives are the implementation of international visibility and reputation and the development of virtuous and innovative local relationships, to be pursued with a high profile offer associated with maximum accessibility. The Fondazione Musei Civici di Venezia (MUVE) is responsible for eleven museums: the Doge’s Palace; the Museo Correr; the Torre dell’Orologio; Ca’ Rezzonico – Museum of the eighteenth-century Venice; Palazzo Mocenigo – Centre for the History of Textiles and Costume; the Casa di Carlo Goldoni; Ca’ Pesaro – International Gallery of Modern Art; Palazzo Fortuny; the Museo del Vetro di Murano (Murano glass museum); the Museo del Merletto di Burano (Burano lace museum); the Natural History Museum of Venice. It boasts an immense cultural heritage, with over 700,000 works of art, five specialist libraries, a photographic archive and a well-equipped warehouse in the Vega Stock in Marghera. This rich and complex museum system has been managed, protected and promoted by MUVE since its foundation in 2008. It has been recently enriched by two other important partnerships developing outside the historic centre of the city: with the Centro Culturale Candiani and Forte Marghera in Mestre.
Been there, done that... doing it all over again! Herby, a product of South Africa, vintage '63, Internaut since '82. Roaming the world since the age of 23 to date. Jack of all trades, master of none. Techie, pilot, nomad. Can travel~live~work, anywhere. Global village citizen, living without boundaries, my primary passions are aviation, the sea and Ubuntu Synergy. I am, because we are. Together. We create unity, foster community, motivate affiliates to generate residual revenue, and facilitate networking events. It's time to LIVE your life! My mission is to help people from all walks of life, gain financial independence, while caring for the world around us. I believe charity begins at the cash register. Just say no to donations. Learn how to earn. Make sure you have a meal, an income, clothes, a home and good health. Constantly bombing your mind with books and exercise, are two battles that win the war of longevity. I want to grow old. There is no planet B. I'm a big fan of renewable resources and ethical commerce. Gardens, farming, trees and bees, and anything that carries fleas. Helping our paw-legged friends in shelters, finding furever homes much faster. Same for birds, horses, donkeys, circus prisoners and liberating zoos. Noble causes that need proactive participants. Anyone can help: Scholars, students, employment seekers, those just over broke. Single and stay-at-home parents. Business owners, administrators and managers of any ilk. Retrenched and retired folks who still have much to give. Everyone can become successful super affiliates. Generating residual income is easy, and I will be your guide. With 40+ years in technology, aviation and extensive travel, this digital nomad has a wealth of experience to share. Helping others navigate the fear of failure and proven pathway to success. Point-and-click easy here >> https://herbyolschewski.com/action/worksheet/
Sabina Corsini, discendente da una delle più antiche principesche e influenti famiglie fiorentine, sostiene e promuovecon passione e professionalità il Patrimonio Culturale e artistico nel quale è cresciuta e Italiano nel mondo. Con grazia e determinazione, Sabina Corsini si occupa della gestione del patrimonio di famiglia e degli eventi nazionali e internazionali ospitati nei Giardini Corsini, nel Castello di Marsiliana e altri. Dalle cacce a Pitti Uomo ai concerti del Festival Internazionale della Gioventù, è molto attiva anche per la cultura e il sostegno delle arti fiorentine. Sabina Corsini, descendant of one of the most ancient princely and influential Fiorentine families, supports and promotes with passion and professionalism the cultural and artistic heritage in which she grew up and Italian in the world. With grace and determination, Sabina Corsini takes care of the management of the family heritage and of the national and international events hosted in the Corsini Gardens, in the Castle of Marsiliana and others. From the hunts at Pitti Uomo to the concerts of the International Youth Festival, she is also very active for the culture and support of the Florentine arts.
Taking our past into the future! Carolina enjoyed a carefree childhood in the Piedmont countryside. With many cousins and friends, the passion for culture was instilled from an early age. Surrounded by beauty and art in the family mansion Cimena, expertly curated by her grandmother namesake, Carolina. On the paternal side of the family, her Venetian grandmother was equally influential. The unique character and rich culture of Venice, epitomizes Carolina. While travelling often, she feels most at home, in the isles of Venice. Schooled in Italy and the United States, lived in provinces throughout the length of Italy, Carolina considers herself truly Italian, with an international vision. “My country is rich in heritage, but poor in the pocket to keep it so. It saddens me to see so many buildings in a state of disrepair.” She has honed the skills of renovation and interiors of historic buildings, since 1987. Learning by trial and error, spurned on by failure and ultimate success, Carolina has grown and prospered. Now is the time to give back. Helping artisans of all disciplines to find work and ply their trade with pride. Matching projects to professionals and vice versa. As Heritage Doyenne, Carolina’s primary contribution to this unique initiative, is to encourage the participation of Heritage Ambassadors. This cause is yet another open avenue, to take our past into the future. By intertwining culture and heritage, to create more synergy. “Only once we fully understand where we come from… and truly appreciate our heritage… can we imagine a fabulous future filled with the richness of our past. Life is ours to design!” ~ Carolina Reviglio
Marielle Stella è un artista estremamente talentuosa e poliedrica. Nata e cresciuta in Francia ha un profondo legame famigliare anche con la meravigliosa terra di Sicilia. Ha vissuto in Italia e all'estero facendo esperienza nel settore della moda e nel settore artistico. Il calore e i colori della sua terra d'origine traspaiono nelle sue opere e nel suo sorriso contagioso, così come la sua esperienza internazionale traspare nell'universalità delle sue opere. Stella ha lavorato su opere come lo zainetto e il "U Mungibeddu" (come viene chiamato il vulcano siciliano dell'Etna), dove ha usato la forma per posizionare i tasselli scelti in base alla sua esperienza artistica pittorica e nel campo della moda. Stella usa materiali eco sostenibili così come gli smalti di vari colori preparati appositamente senza sostanze tossiche e dannose in considerazione della malattia che da anni accompagna la designer italo-francese (MCS sensibilità chimica multipla) e che le impone di vivere in un ambiente senza sostanze chimiche.Nell'opera in questione utilizza tasselli fosforescenti che ne permettono la visibilità di giorno e di notte. Marielle Stella is an extremely talented and multifaceted artist. She was born and raised in France and has a profound family-bond with the wonderful land of Sicily. She has lived in Italy and abroad gaining experience in the fashion sector and in the artistic sector. The warmth and color of her homeland shine through in her works and in her contagious smile. Her international experiences give her a wide understanding of life that expands from her works. Stella has worked on works such as the backpack and the "U Mungibeddu" (as the Sicilian volcano of Etna is called), where she used the shape to position the pieces chosen according to her pictorial and fashion artistic experience . Stella uses eco-sustainable materials as well as glazes of various colors specially prepared without toxic and harmful substances in consideration of the disease that has accompanied the Italian-French designer for years (MCS multiple chemical sensitivity) and which requires her to live in an environment without chemicals .In the work in question he uses phosphorescent inserts that allow visibility by day and by night.
To be dressed by Alberta Florence is to take a stroll in Rome between the Via Veneto and the Piazza del Popolo in the perfume of a late afternoon in June, losing oneself in an art gallery, a cinema set, a bookshop, or in a poem. Wearing the clothes of the Atelier means realizing the dream of owning a unique object; Alberta Florence is a breath of classical originality in a world that changes, but that never compromises on style. The Atelier, established in 2014, finds its inspiration in the Italy of the 1950s and 60s, a period infused with ferment and magic, and in the soft lines and brilliant colors of the Tuscan landscape. A Bel Paese where nature's verdant profusion of olive groves, woods and luxuriant gardens became the framework for a cultural renaissance in which intense friendships gave birth to artistic movements. Novels such as The Garden of the Finzi Contini and the writings of Natalia Ginzburg and Truman Capote are further seminal influences on the ethos of Alberta Florence, which also derives creative impulse from beautiful and courageous women, the likes of Peggy Guggenheim and Paola Bucarelli, and from legendary painters with powerful personalities such as De Chirico and Guttuso. References to the cinema of the dreamlike visionary Federico Fellini are ever present. The way in which the clothes are cut represents the synthesis of the philosophy and style of Giulia Mondolfi, the heart and soul of the Atelier. Alberta Florence does not follow fashion, but is rather classically contemporary, the constant references to a past elegance always reinterpreted with a modern twist. What emerges is clothing of extreme formal simplicity which is at the same time distinctive, timeless. Giulia adores collecting fabrics which she considers real works of art in their own right, and which she sources mainly in Florence, but also during her travels to Rome, Bologna, Milan and Paris. It is indeed the fabric itself that gives form to her clothes, the prints, colors and patterns of the materials providing her inspiration. Each piece of the collection is unique because it is created from a limited quantity of fabric, and is expertly tailored by hand in Florence. The result is a perfect coming together of fashion, design and skilled craftsmanship. The Atelier Alberta Florence believes strongly in sustainable development, and for this reason has entrusted part of its production to a social cooperative which provides work for disadvantaged young people.
Edinburgh Castle is one of the oldest fortified places in Europe. With a long rich history as a royal residence, military garrison, prison and fortress, it is alive with many exciting tales. When you climb Castle Hill, you will walk in the footsteps of soldiers, kings and queens – and even the odd pirate or two. Though parts of it remain in military use, the castle is now a world-famous visitor attraction. It’s also an iconic part of the Old and New Towns of Edinburgh World Heritage Site. Edinburgh Castle has played a pivotal role in Scottish history, both as a royal residence – King Malcolm Canmore and Queen Margaret first made their home here in the 11th century – and as a military stronghold. The castle last saw military action in 1745; from then until the 1920s it served as the British army’s main base in Scotland. Today it is one of Scotland’s most atmospheric and popular tourist attractions.
Bora Bora is a small South Pacific island north-west of Tahiti in French Polynesia. Bora Bora is located on a dormant volcano island, set on one of the most beautiful and crystal-clear lagoons in the world, coloured in a million shades of blue. Known for gorgeous luxury resorts and numerous adventurous activities, it is one of the northwestern islands that make up The Islands of Tahiti. The vast motu of Bora Bora’s white-sand beaches lined with coconut trees encircle the emerald lagoon that’s populated with myriad fish and multicoloured corals. The tallest point is the breathtaking Mount Otemanu at Bora Bora’s centre. It’s easy to understand why this little 15 square mile island is revered as one of the most intimate and idyllic vacation destinations. Every 50 minutes, flights to Bora Bora from Papeete and Moorea are available through Air Tahiti for those looking to island-hop.
The Egyptian Museum in Cairo is situated on the northeast of the centrally located Tahrir Square. It is one of the largest museums in the world, and the first national museum in the Middle East. It is actually the fifth building to house Egyptian antiquities, and has had a long and illustrious history until today. The idea of a museum for Egyptian antiquities in Egypt goes back to Muhammad Ali Pasha, who was viceroy of Egypt from 1805 to 1848. Attempting to put an end to the export of antiquities, he issued a decree on the 15th of August 1835, which resulted in the first Egyptian museum for antiquities in Cairo. Housed in a building near El-Ezbekia Garden, the display was designed by Hakikan Effendi, and the collection was managed by Youssef Diaa Effendi. At the same time, Sheikh Rifa'a al-Tahtawi, who was responsible for the excavation and conservation of Egyptian monuments, also ordered that no further excavations be undertaken without his permission. He announced that the export of artefacts from Egypt was strictly forbidden, and that all finds were to be transported to the El-Ezbekia Museum. In 1851, under the reign of Abbas I, the entire collection was transferred from El-Ezbekia to one of the halls within the Citadel of Salah El-Din (Saladin), where it was accessible only to private visitors. However, in 1854, most of the objects were offered to Austria’s heir to the throne, Archduke Maximilian, who had shown great interest in them during his visit to Egypt. They now represent a major part of the Egyptian collection in the Kunsthistorisches Museum in Vienna. The Egyptian Museum of Antiquities contains many important pieces of ancient Egyptian history. It houses the world's largest collection of Pharaonic antiquities. The Egyptian government established the museum built in 1835 near the Ezbekieh Garden and later moved to the Cairo Citadel. In 1855, Archduke Maximilian of Austria was given all of the artifacts by the Egyptian government; these are now in the Kunsthistorisches Museum, Vienna. A new museum was established at Boulaq in 1858 in a former warehouse, following the foundation of the new Antiquities Department under the direction of Auguste Mariette. The building lay on the bank of the Nile River, and in 1878 it suffered significant damage due to the flooding of the Nile River. In 1891, the collections were moved to a former royal palace, in the Giza district of Cairo. They remained there until 1902 when they were moved, for the last time, to the current museum in Tahrir Square, built by the Italian company of Giuseppe Garozzo and Francesco Zaffrani to a design by the French architect, Marcel Dourgnon. In 2004, the museum appointed Wafaa El Saddik as the first female director general. During the Egyptian Revolution of 2011, the museum was broken into, and two mummies were destroyed. Several artifacts were also shown to have been damaged and around 50 objects were lost. Since then, 25 objects have been found. Those that were restored were put on display in September 2013 in an exhibition entitled Damaged and Restored. Among the displayed artifacts are two statues of King Tutankhamun made of cedar wood and covered with gold, a statue of King Akhenaten, ushabti statues that belonged to the Nubian kings, a mummy of a child and a small polychrome glass vase.
En lo alto de la montaña, grandes e impresionantes bloques de piedra unidos entre sí sin amalgama alguna conforman uno de los centros religiosos, políticos y culturales más importantes del imperio incaico: Machu Picchu. Descubierta en 1911 por Hiram Bingham, la Ciudad Inca está dividida en dos grandes sectores: el agrícola, con una vasta red de andenes o terrazas artificiales, y el urbano, con bellas construcciones como el Templo del Sol. Sus andenes de un verde intenso y la imponente cordillera que la rodean conforman un hermoso paisaje que supera cualquier expectativa. Machu Picchu es hoy Patrimonio de la Humanidad y orgullo del Perú. Ubicada en el corazón de los Andes peruanos, la sagrada ciudadela inca construida alrededor de 1450 y descubierta en 1911, esconde aún enigmas y misterios sobre su real propósito continuando ocultos hasta el día de hoy y que despiertan el interés tanto de visitantes como arqueólogos de todo el mundo. Debido a su estratégica ubicación en la cima de una alta montaña, existen diversas teorías sobre lo que pudo significar para los incas. Unas sostienen que fue construido como un gran mausoleo para el inca Pachacútec, mientras que otras afirman que fue un importante centro administrativo y agrícola cuyas zonas de cultivo sirvieron para el sustento de sus habitantes. Sin embargo, también se considera que fue utilizado como un necesario nexo entre los Andes y la Amazonía peruana o como una residencia de descanso para el gobernador inca. Lo cierto es que Machu Picchu conforma uno de los más grandes símbolos detrás de lo que fue la impresionante arquitectura e ingeniería del Imperio Inca. Si bien su origen aún es objeto de estudio, el valor y trascendencia que representó en su época, así como su imponente diseño, le han valido para ser considerada una de las siete maravillas del mundo moderno.
The Galápagos Islands, or Islas Galápagos in Spanish, are an archipelago of volcanic islands located in the Republic of Ecuador. They are distributed on either side of the equator in the Pacific Ocean, surrounding the centre of the Western Hemisphere. Located 906 km (563 mi) west of continental Ecuador, the islands are known for their large number of endemic species that were studied by Charles Darwin during the second voyage of HMS Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by means of natural selection. The Galápagos Islands and their surrounding waters form the Galápagos Province of Ecuador, the Galápagos National Park, and the Galápagos Marine Reserve. The principal language on the islands is Spanish. The islands have a population of slightly over 25,000. The first recorded visit to the islands happened by chance in 1535, when Fray Tomás de Berlanga, the Bishop of Panamá, was surprised with this undiscovered land during a voyage to Peru to arbitrate in a dispute between Francisco Pizarro and Diego de Almagro. De Berlanga eventually returned to the Spanish Empire and described the conditions of the islands and the animals that inhabited them. The group of islands was shown and named "Insulae de los Galopegos" (Islands of the Tortoises) in Abraham Ortelius's atlas, published in 1570. The first crude map of the islands was made in 1684 by the buccaneer Ambrose Cowley, who named the individual islands after some of his fellow pirates or after British royalty and noblemen. These names were used in the authoritative navigation charts of the islands prepared during the Beagle survey under captain Robert FitzRoy, and in Darwin's popular book The Voyage of the Beagle. The newly independent Republic of Ecuador took the islands from Spanish ownership in 1832, and subsequently gave them official Spanish names. The older names remained in use in English-language publications, including Herman Melville's The Encantadas of 1854. Administratively, Galápagos constitutes one of the provinces of Ecuador, made up of three cantons that bear the names of its most populated islands, namely: San Cristóbal, Santa Cruz and Isabela.
Officina Profumo-Farmaceutica di Santa Maria Novella sets its roots back to 1221. Founded as a Dominican friars conventum, it is considered today the oldest pharmacy in the world, which carries its activities in the very places where they all began. Its apothecary art legacy crosses eight centuries and is deeply intertwined with Florence history, personalities and social tissue, in a continuously-renewed alchemy of tales and wonders. Today’s Officina is famous all over the world for its perfumes, candles, and “traditional preparations”. It all began 800 years ago, when the Dominican friars were granted the use of Santa Maria Inter Vineas ("Holy Mary Among the Vines”): it was a small church just outside the city walls, where they cultivated a botanical garden of herbs and plants to craft medicines, ointments and balms. In 1334, the Dominican friars of Santa Maria Novella rose to greatness for healing the rich merchant Dardano Acciaioli: coming from one of the most powerful families of Florence, as a sign of gratitude, he donated them the magnificent San Niccolò-devoted chapel that still today sits at the very heart of our boutique-museum in Via della Scala 16 in Florence. Some time later, in 1533, once again the Officina played a leading role in Europe’s history of perfume-making. 1533 was the year in which the young Caterina de’ Medici chooses Renato Bianco, raised by Santa Maria Novella’s Dominican friars, to accompany her as personal perfumer at the Court of France, where she was about to marry Henry II of Valois. Legend has it that in that very occasion "Acqua della Regina" was born: a fragrance to recall Florence’s elegance and grace. Today’s “Acqua della Regina” (The Water of the Queen) is our homage to that gift: a citrusy discovery, a bewitching essence, that intrigues us since the dawn of times. In 1542 the Pharmacy doors officially opened to the greater public, and in 1612 it was formally recognised with the name of “Officina Profumo-Farmaceutica” by the Granduca di Toscana (the Grand Duke of Tuscany), who also granted it the title of Fonderia di Sua Altezza Reale (Foundry of His Royal Highness). The Officina Profumo-Farmaceutica was later to be run by notable Dominican personalities such as Angiolo Marchissi, a great medicine and alchemy scholar, and Cosimo Bucelli, the aromatist who began to pair medicinal properties with pleasurable ones. In the 19th century, the Officina’s pharmacy spaces became a municipal property, managed by layman Cesare Augusto Stefani. Officina’s fame by then seems to reach the five corners of the world: its products gain international acclaim, and are prized by royal houses, notable artists and personalities. It was a period of audacious growth and innovation: alongside the traditional preparations, cosmetic and personal care items such as balms, ointments, soaps and perfumes become extremely popular. In the 20th Century, the Officina relaunched and turned its Florentine traditional shop in Via della Scala 16 into a major museum, a prominent touristic and cultural destination. Lastly, in September 2020, Officina Profumo-Farmaceutica di Santa Maria Novella is acquired by Italmobiliare, the investment holding that enhances important Made in Italy brands.
The Great Temple of Abu Simbel, in Nubia near Egypt’s southern border, is among the most awe-inspiring monuments of Egypt. It was cut into the living rock by King Ramesses II (the Great) of the Nineteenth Dynasty, around 1264 BC. The temple is most well known for the four imposing seated colossal statues that dominate its façade. One of these collapsed because of an ancient earthquake, and its fragments can still be seen on the ground. Colossal standing statues of the king line the main hall, leading to the sanctuary where four deities are sat: Amun‑Ra, Ra‑Horakhty, Ptah, and a deified version of Ramesses II. The temple was built with such precision that on two days a year, the 22nd of February and 22nd of October, the sun’s rays enter the temple, cross the main hall, and illuminate the innermost statues. These dates are thought to correspond to the coronation and birthday of Ramesses II. Another rock-cut temple to the north, known as the Small Temple, is dedicated to the goddess Hathor and Ramesses II’s Great Royal Wife, Queen Nefertari. On the façade of the Small Temple, her colossi are the same size as those of her husband, a very rare example of such display. The two temples were moved from their original location in 1968 after the Aswan High Dam was built, which threatened to submerge them. The relocation was completed thanks to an international effort led by UNESCO, and the temple was admitted into the list of World Heritage Sites in 1979.
Siamo un laboratorio di falegnameria che nasce nel 1966, anno in cui Giorgio Girelli rileva l’antica falegnameria “Artigianelli” e da allora operiamo nel centro storico di Venezia. Progettiamo e realizziamo arredamento su misura, oggetti di design, prototipi, serramenti – finestre, porte da interno ed esterno, portoncini blindati, scuri. Ci dedichiamo inoltre al restauro unendo anche in questo caso la conoscenza delle metodologie di lavoro antiche con le possibilità offerte dai moderni materiali e le tecnologie a essi connesse. Siamo in grado di offrire al cliente un efficiente servizio di manutenzione e di assistenza post vendita. A una consolidata esperienza artigianale uniamo moderne tecnologie e apparecchiature all’avanguardia per coniugare al meglio le conoscenze acquisite grazie a una lunga esperienza con le possibilità offerte dalle macchine a controllo numerico. Lavoriamo il legno e una vasta gamma di materiali (vetro, plexiglass, metalli di differente natura, etc.), per realizzare al meglio lavorazioni complesse ed elaborate. La nostra collocazione nel centro storico veneziano ci consente di operare al meglio nella particolare realtà veneziana grazie ad ampi spazi di lavorazione, deposito ed esposizione. Vantiamo numerose realizzazioni in Italia e all’estero per clienti privati e pubblici. Proponiamo sempre un prodotto di alta qualità, grazie anche alla collaborazione con altre figure professionali per offrire un servizio completo. We are a woodworking workshop founded in Venice when Giorgio Girelli took over the old "Artigianelli" carpentry, and since then we have been working in the historic centre of Venice. We design and manufacture bespoke furniture, design objects, prototypes, window frames, windows, interior and exterior doors, armoured doors, dark windows. Likewise, we also dedicate ourselves to the restoration by combining also, in this case, the knowledge of ancient work methods with the possibilities offered by modern materials.
Inspirazioninfiera was started from two friends bloggers who love creativity in all its forms.They tell each other the stories of all those who live by their passions, whatever they may be.
La ricerca stilistica e l’ispirazione concettuale di Guido Toschi Marazzani Visconti, spazia dalle tende da guerra delle Campagne Romane, agli accampamenti medioevali per giostre e tornei, dai lussuosi padiglioni sette/ottocenteschi fino a spingersi alle suggestioni esotiche delle tende berbere del nord Africa. Creare tende e padiglioni dal fascino antico, esotico, a volte fiabesco, nasce dall’esigenza di conciliare la nostra passione per tempi e luoghi lontani con la concreta necessità di realizzare coperture belle da vedere ma anche solide e resistenti per creare nuovi luoghi di vita all’aperto. Nel corso degli anni abbiamo ideato numerosi modelli dalle forme e dalle dimensioni più varie, ma solo quelli che hanno dimostrato le migliori performance di affidabilità e durata sono entrati a far parte della nostra collezione permanente e brevettata. Ogni dimora possiede un fascino e un’identità propri. Il fine delle nostre creazioni è quello di integrarsi armoniosamente allo stile di ogni casa e giardino, esaltandone la bellezza e svelandone nuove possibilità abitative. Questo ci porta a creare coperture sempre nuove e personalizzate nelle forme, dimensioni e decori, seguendo i desideri e le esigenze di ogni nostro cliente. Tutte però ideate e realizzate nel segno della bellezza e della funzionalità. Non solo tende e padiglioni. Il nostro amore per l’esterno ci porta a progettare e realizzare terrazzi e giardini, treillage in legno e ferro, comodi cuscini, roulon e materassini in tessuto idrorepellente, resistenti all’umidità e alla pioggia in tutti i colori presenti in collezione e passamanerie multicolori. Guido Toschi’s Design reveals a passion for the Historic and the Exotic. His work being inspired by the Lists of medieval Jousting Events, other by the Luxury Pavilions of the 17th and 18th centuries, still more by the traditional tents of North Africa’s Berber People. Designing Tents and Pavilions in an ancient, exotic, sometimes fairy-tale style, stems from our need to combine our passion for distant times and places with the need to create beutiful but useful products. Over the years we have designed numerous models with the most varied shapes and sizes, but only those that have shown the best performance in terms of reliability and durability have become part of our permanent and patented collection. Every house has its own charm and identity. The purpose of our work is to harmoniously integrate with the style of each house and garden, enhancing their beauty and revealing new housing possibilities. This leads us to create new models all the time, customized in shape, size and decoration. Following the needs and desires of any customers. All however designed and built under the sign of beauty and functionality. Not only Tents and Pavilions. Our love for the outdoors leads us to design and create furnishing and accessories for terraces and gardens, treillage in wood and iron, comfortable cushions, roulons and mattresses covered in waterproof fabric, resistant to moisture and rain, customizable with stencil decorations and trimmings.
Europa Nostra is the leading citizens’ movement to protect and celebrate Europe’s cultural and natural heritage. They are the voice of all who believe that cultural heritage is vital for their economy, their society, their culture, their environment, their well-being and for the future of Europe. As Europeans – people who have lived here for generations as well as people who have newly arrived – They have to take full responsibility for transmitting this heritage in good shape to future generations. Europa Nostra acts as advocates of heritage towards policy-makers at all levels of governance, campaign to save threatened heritage sites through the 7 Most Endangered programme, and promotes excellence through the European Heritage Awards / Europa Nostra Awards.
The GP Interior Design collection born from the passion and experience of Gabriele Pici, an artist-craftsman from Lecce, in Salento. Since 2000 he started working with Lecce stone in a historic local workshop. The home decor catalogue of this master of handcraft, is a showcase of unique sculptures that combine art and manual work. The artistic craftsmanship of Gabriele Pici brings to life an original interpretation of lamps, wall lights and other creations that enhances the light effects, creating a warm cocooning ambience, ideal for both classic and modern interiors’ design. "Lecce stone is versatile and easily malleable allowing me to create unique and sinuous shapes… starting from a block of stone and an idea… every sculpture is a challenge between tightness and fragility, between the stone’s static nature and its dynamic potential… in order to give new life and humanity to a material already carved by nature, the source of my inspiration. My hands become one with the block of stone I model using exclusively rasps, chisels, hammer and other traditional tools". Every creation is entirely hand-made thereby unique and by refusing the use of curving stone machines we aim at preserving authenticity and history of traditional crafts. Interiors are enriched with ivory-coloured stone masterpieces, inspired by olive trees or rocks carved by the sea and the wind; another exceptional decoration you can find in some of their creations is offered by nature itself thanks to the presence in the stone of fossils from marine fauna such as seashells, that they preserve and present as part of the GP Interior Design collection.
The Doge's Palace is one of the main historical buildings and museums of the Ligurian capital, formerly the seat of the ancient republic. It hosts important art exhibitions, debates and conventions on the main floor (organized in the frescoed rooms of the Maggior and Minor Consiglio) and, in the courtyards and arcades, shops and refreshment points. The building is managed by the foundation "Genova Palazzo Ducale Foundation for Culture" which has divided the spaces into multiple functions.
DE GUSTIBUS nasce agli inizi del novecento nella borgata marinara di Siculiana Marina in provincia di Agrigento. Gerlando Piro, patriarca di una delle più antiche famiglie del borgo, lavora il pesce azzurro sotto salamoia usando fusti di castagno. Oggi, i prodotti dell'azienda DE GUSTIBUS , rappresentano nel panorama gastronomico ed alimentare nazionale, l'essenza della tradizione siciliana, fatta di equilibrio tra i sapori tipici del mare e della campagna intorno alla Valle dei Templi.
Palazzo Strozzi a Firenze è uno dei più bei palazzi rinascimentali italiani. Di mole imponente (furono distrutti ben 15 edifici per fargli posto), si trova fra le omonime via Strozzi e piazza Strozzi, e via Tornabuoni, con tre grandiosi portali identici, su altrettanti lati. Vero e proprio capolavoro dell'architettura civile fiorentina del Rinascimento, fu iniziato per volere di Filippo Strozzi, un ricco mercante appartenente a una delle famiglie più facoltose di Firenze, per tradizione ostile alla fazione dei Medici.
Raro is an atelier where bags are designed and developed with traditional artisan techniques, we uphold the rebirth of a centenary heritage as the framework of a modern classic. A romantic soul that directly draws from the past to look at it with renewed eyes: a fresh take on tradition that aims to keep high quality and ancient techniques, combined with minimalist and modern designs, with thoughtful details conceived for everyday life.
The base-concept of Handmade is Cool ...by Il Neonato di Graziella is to transmit, even to the little ones, the love and the warmth of the Made in Italy style, completely handmade, revisited, however, in all original and trendy. Each t-shirt comes from a unique and distinctive theme given by the experience of the ten-year collections, each print comes from an embroidery or an application made with crochet, strictly unique, original and hand made!
Franco Dal Bello, an artisan restorer expert in mortars and lime decorations. He works with the same passion as the first day when he started as a young boy. His wide experience in old buildings helps him solving any difficult situation on facades and in humidity situations using only natural materials.
Giovanni Consolo è un restauratore di mobili antichi, esperto di antiquariato, con la missione di rendere l’arte del restauro semplice per tutti e d’ispirare centinaia di persone a imparare a riconoscere e restaurare con successo i propri mobili antichi. Negli ultimi anni Giovanni grazie alla condivisione d'informazioni didattiche, ha aiutato centinaia di hobbisti a ridare vita ai propri mobili di famiglia e ha fondato “Restauro che Passione“, la più grande piattaforma di formazione digitale sul restauro del mobile antico in lingua Italiana. Se sei alla ricerca di un maestro artigiano che ti aiuti ad eseguire le giuste azioni, con una corretta cronologia, per effettuare il restauro di un mobile antico di “alta qualità” e che ti dica esattamente come fare, allora Giovanni è la persona da seguire. Giovanni è partito svolgendo mansioni umili (“faceva il garzone di bottega e puliva le aree di lavoro”) fino a costruire il suo successo mattone dopo mattone, unicamente con le proprie mani. Zero aiuti, zero colpi di fortuna (anzi, molti fallimenti e notti insonni di mezzo) e nemmeno un atomo di vita lasciato al caso. Pura azione, strategia e tantissime ore di lavoro. Giovanni non accetta scuse, ed è convinto che chiunque ce la può fare, perché non importa da dove parte, ma solo ed unicamente dove vuole arrivare. Giovanni insegna solo cose pratiche. Da lui ti puoi aspettare unicamente metodi, tecniche e ricette che puoi applicare immediatamente per avere risultati fin da subito nel restauro del tuo mobile antico. Spesso ci sono teorici del settore che millantano conoscenze ed esperienze mirabolanti: li vedi di frequente sul web ad esporre concetti teorici di difficile comprensione: non trasmettono né contenuti di valore, né tecniche applicabili in laboratorio per chi sta iniziando. Giovanni invece si batte per la pratica ed insegna ogni singola cosa passo passo, in modo che le azioni derivate dalla tua formazione possano essere replicate anche nei tuoi progetti di restauro futuri. Da molti anni Giovanni si dedica a condividere ogni cosa che ha imparato nel suo lungo viaggio di conoscenza nel campo del restauro. È attivo su tutti i social con video, dirette live e contenuti esclusivi ogni giorno, ed è felice d'insegnare le tecniche che ha applicato per anni nella sua bottega ed è convinto, grazie alla sua esperienza, di poter essere il formatore giusto per tutte le persone alla ricerca di un maestro che li guidi per realizzare grandi o piccoli progetti di restauro.
As a designer of experience, Federica Piccoli focuses on the inter-connection between land, culture, food and wellbeing. Starting from the personality of the producer/locations, the sensory and emotional experiences are focused on recovering personal rhythm and perception of time and space, and on finding the starting point to fully live blissful moments. "The seven senses of wine", "Tasting ∞ Meditation", and "Esperienze immersive di degustazioni erranti" are examples of designed paths. Wine, chocolate, food and well-being is her passion. She is very active in the land of wine in Italy, from Piedmont Monferrato and Barolo down to Puglia Primitivo passing through Chianti and Montalcino in Tuscany. Federica Piccoli lived abroad for many years, these experiences made her appreciate more and more the importance of appreciating little moments of joy through high quality food and wine that she found in her homeland: Italy. She created a format for wine tasting through the cellars where the wine is produced that one must do at lest once in a lifetime.
The thread of the history of Toppino Camini is the pursuit of excellence, which we pursue daily with care and perseverance. Always against the current, Toppino anticipates the times to offer its customers tailored solutions, in compliance with the highest quality standards. In 1930 the family laboratory specializes in the construction of grained products.
Sibilla della Gherardesca, sister of Gaddo and Manfredi, a strong, dynamic woman, with no hair on her tongue, proud and Tuscan. One of the Gherardesca in all respects. She raised Pitti images and is president of Fai. She loves to relax in his home, the Castle of Castagneto Carducci, a pleasant place resting just above the historic village. But she does not renounce to fight against the ugliness of which the territory boasts, because she serves respect and good taste, values now lost. Florentine by birth, since she was a child she is divided between the city of Medici and the Maremma that the whole family carries in her heart.
Durga natural colors and paints represent a historic line in the field of green building in Italy. In fact, since 1995 they are known in the field of restoration and sustainable construction. Durga products today make up a catalog of about 50 items, all biodegradable, including paints, thinners, paints and wall colors, detergents and household products.
At Il Grifo e la Fenice, run in Italy, this is what we love in the objects we deal with: their uniqueness, the care with which they were designed and made by the various Mastri who have taken care of every detail up to elevating them, in some cases, to real works of art. , gilding, bronzes, marbles, inlays, slabs, chisels, precious finishes, secrets sometimes difficult to reveal, often unimaginable levels to reach: many skilled hands have gone along shaping the material to make it vibrant and aesthetic in all its parts.
Piazzaarcobaleno.com is a showcase for handmade products, objects and craftsmanship. Our community is made up of small artisans, lovers of creativity and able to offer true quality.
Two individuals, Chiara Ferraris, and Giorgio Gros, two professionals join in Gioara to develop an ambitious and innovative project. Our mission is to combine noble materials, work them with specialized and innovative techniques, create custom and design products, make use of 100% Italian professionals, be competitive and follow the customer in every choice.
Palazzo Spinelli Istituto per l'Arte ed il Restauro, nasce da una necessità e dall'ingegno. A seguito dell’esperienza maturata durante i tragici giorni dell’Alluvione di Firenze del 1966, due amici d’infanzia, Francesco Amodei e Sauro Martini, decidono di dare vita ad un Istituto dedicato all’arte e al restauro. E’ il 26 settembre 1976. Attraverso la quotidiana attività di formazione, restauro e ricerca, l’Istituto, che si trova nel cuore pulsante della Firenze storica, viene riconosciuto quale” centro di eccellenza” nel settore della conservazione e del restauro sia a livello nazionale che internazionale. Nel corso degli anni, migliaia di studenti di ogni parte del mondo si sono formati nei laboratori e atelier delle varie sedi dell’Istituto. In questo lasso di tempo l’Istituto ha aperto diverse “scuole-laboratorio” oltre frontiera, tra cui ricordiamo quelle di Praga, Istanbul, Casablanca, Cipro, Atene, Monte Athos, Tirana, Questa intensa attività ha contribuito al consolidamento in ogni angolo del pianeta dell’immagine forte di Firenze come “capitale mondiale dell’arte e del restauro”.Nel 1998 nasce "Palazzo Spinelli per l'Arte ed il Restauro Associazione no-profit". Negli anni successivi fino ad oggi, l'Istituto si sviluppa in un marchio internazionale. Questi anni sono caratterizzati da un’intensa attività progettuale focalizzata alla implementazione di reti, alle cooperazioni fra Istituti, alla ricerca e sviluppo a livello nazionale e internazionale, anche con il contributo di programmi di finanziamento europei, che ha prodotto, a oggi, una rete internazionale di oltre 450 Istituzioni partner ed oltre 40 progetti attivi nel settore. Il dottor Emanuele Amodei oggi gestisce la grande eredità dell'Istituto internazionale con la stessa dedizione e passione di suo padre, con l’obiettivo in parte già raggiunto, di incrementare le attività di internazionalizzazione e di sviluppare nuove iniziative nella valorizzazione del patrimonio culturale mondiale, mantenendo saldi i valori della tradizione ma aprendo a nuove iniziative in linea con le attuali esigenze del mercato del lavoro.
Kermes is a publishing project dedicated to the themes of restoration, conservation, and protection of cultural heritage. It is aimed at all interested scientific, professional and economic sectors: scientists and researchers, teachers and students of universities, academies and training institutes, restorers, artisans, entrepreneurs, but also public administrators, museum officials, gallery owners and other figures related to the market of works of art.
The Federighi 1926 spa has its roots in the textile and household linen sector since 1938. The entry into the company of the two sisters, Mariangela and Claudia Federighi, in the early 2000s, marks the beginning of the Blanc Mariclò project; Mariangela and Claudia finished university studies enter the family business and winning the initial resistance create a project in which they blend their stories, passions and intuitions, creating a line of shabby chic furniture of great personality and success.
The company Creaciones Fejomi S.L. was set up in 1980 by brothers Miguel and Fernando Prado Hervás, a family business that has become consolidated over the years.At the outset, the company was engaged in manufacturing English style furniture for sale on the Spanish market. The company Creaciones Fejomi S.L. was set up in 1980 by brothers Miguel and Fernando Prado Hervás, a family business that has become consolidated over the years.
Roberto Giovannini scopre la sua grande passione per la lavorazione del legno nel quartiere artigiano di San Frediano a Firenze: tecnica, manualità ed esperienza che iniziano a prendere forma nella prestigiosa Bottega d’Arte Bartolozzi e Maioli. Nel 1958 apre il suo laboratorio che in poco tempo diventa un riferimento sia per i clienti sia per chi desidera imparare l’arte. Nasce così la scuola per formare i giovani intagliatori per far progredire le nuove idee e preservare l’antica tradizione della lavorazione ad intaglio. Creazioni uniche in legno massello.
The National Automobile Museum was set up in 1932, on the left bank of the River Po, based on the idea of two pioneers of Italian motoring, Cesare Goria Gatti and Roberto Biscaretti di Ruffia, the first President of the Turin Automobile Club and one of the founders of Fiat. However, it was Carlo Biscaretti di Ruffia, Roberto’s son, after whom the National Automobile Museum was named in 1960, who conceived and put together the initial collection: the “steam vehicle”, designed by Virginio Bordino in 1854, the first Benz model, dated 1893, the first Peugeot model to circulate in Italy, the Pecori, which was the first three-wheeled car built in our country, just to mention a few of the most valuable exhibits. The MAUTO perfectly represents the excellence of the City of Turin, a place of conservation and memory, prestigious and unique in its kind. The National Automobile Museum boasts a collection of over 200 models of the highest quality and historical value, from various countries including Italy. We tell the story of the motor car, its transformation from a means of transport to an object of worship, from its origins right up to the contemporary evolution of creative thought.
In 1958 the Museum was opened to the public at Palazzo Chiablese, where part of the extraordinary collection of magic lanterns, objects and machinery of the Prolo collection was exhibited. In the Nineties he gained the choice to enhance the collections, creating a Foundation and above all giving the Museum a new location. The choice finally fell on the Mole and today, thanks also to its location in a building with such a strong visual and scenographic impact, the National Cinema Museum is an unmissable stop for anyone visiting Turin.
The Foundation, named after Mario Merz, was founded as a contemporary art center in 2005, with the aim of hosting exhibitions, events, educational activities and carrying out research and the study of art. The headquarters were originally the central of the Officine Lancia, a fascinating example of industrial architecture in Turin in the 1930s, which rises along the axis of the so-called "Spina centrale", a development urbanistic director on which numerous public art works have been carried out.
La Fondazione Sandretto Re Rebaudengo è un'istituzione senza scopo di lucro nata a Torino nel 1995 che sostiene l'arte contemporanea e in particolare la produzione dei giovani artisti. La Fondazione ha due sedi: Palazzo Re Rebaudengo a Guarene d’Alba, residenza settecentesca tra le colline del Roero, e il Centro torinese, un’architettura museale costruita ex novo in un quartiere che testimonia il passato industriale della città e le sue trasformazioni.
The Egyptian Museum of Turin, Museo Egizio Torino, is the oldest museum in the world, entirely dedicated to the Nilotic civilization and is considered, by value and quantity of the finds, the most important in the world after that of Cairo. Many internationally renowned scholars, beginning with the deciphering of Egyptian hieroglyphics, Jean-François Champollion, who arrived in Turin in 1824, have since devoted themselves to the study of his collections. When it was founded (1824), the Museo Egizio Torino was housed in the building called the Collegio dei Nobili, built to a design by Michelangelo Garove from 1679 on. It was used to exhibit the first antiquities in the Drovetti collection, purchased by King Carlo Felice. Following alterations by Giuseppe Maria Talucchi and Alessandro Mazzucchetti, the building was enlarged and adapted to its new use in the second half of the 19th century. Already in 1832, however, the Museum was opened to the public. Between 1903 and 1937, the archaeological excavations conducted in Egypt by Ernesto Schiaparelli and then by Giulio Farina brought some 30,000 artefacts to Turin. The Museum underwent a first reorganization of the rooms in 1908, and a second, more important one, in 1924, with the official visit by the king. Starting from the 1980s, partly as a result of increasing numbers of visitors, it became necessary to plan a new itinerary for visitors that led to the installation of new exhibition spaces. In particular, the reclamation and masonry underpinning of the Schiaparelli Wing created extensive underground spaces devoted to the archaeological activities at Assiut, Qau el-Kebir and Gebelein. On the ground floor, a large room was recovered to house antiquities from the Predynastic Period and Old Kingdom.
The Galleria Sabauda is an Italian art gallery located in Turin and is one of the most important collections of pictorial art in Italy. Hosted since 2014 in the Manica Nuova dl Palazzo Reale, within the complex of the Royal Museums of Turin, it has over 700 paintings ranging from the thirteenth to the twentieth century. The history of the art gallery dates back to 1497 when the Savoy gathered together the ancient works acquired by the family into an inventory. The first real catalog dates back to 1631 and is carefully preserved in a special case.
La Galleria Civica d'Arte Moderna e Contemporanea di Torino si trova in via Magenta 31 a Torino, in Italia. Fu fondata attorno al 1891-95. Ospita le collezioni artistiche permanenti dell'Ottocento e del Novecento. Uno sguardo all’arte moderna italiana e alle tendenze internazionali dell’arte contemporanea compresa una tra le più importanti raccolte di video d’artista.
Il Planetario di Torino, Museo dell'Astronomia e dello Spazio ha sede a Pino Torinese, sulla collina di Torino. Sorge accanto all'Osservatorio astronomico, antica istituzione scientifica torinese. Museo e planetario per viaggiare nell'universo e scoprire l'evoluzione dell'astronomia, dalle prime scoperte alle imprese spaziali.
Il J-Museum, noto per esteso come Juventus Museum, è un museo storico-sportivo multimediale bilingue dedicato alla società calcistica italiana per azioni Juventus Football Club, con sede nell'area nord-occidentale della città di Torino. E' un museo all’avanguardia e tecnologico che si rivolge sia ai tifosi bianconeri, che possono riassaporare le gioie che la tradizione vincente della Juventus ha offerto loro, sia a un pubblico più ampio, che attraverso la storia della società potrà rivivere quella del Paese.
Designed by the architect Amedeo di Castellamonte at the behest of Duke Carlo Emanuele II who wanted to make it his hunting lodge and built in a very short time, from 1658 to 1679, the Reggia di Venaria is certainly one of the largest and most beautiful Savoy residences. Imposing, sumptuous, his project was resumed for the construction of the palace par excellence, that of Versailles. The Reggia di Venaria has been part of the UNESCO World Heritage Site since 1997. The complex, of which the palace is part, consists of approximately 80,000 m2 of walkable land, including the park and the historic village of Venaria. The village was later joined by other houses and palaces of ordinary citizens who wanted to live in the surroundings of the Royal Palace, until Venaria Reale became an independent municipality in the province of Turin. The palace gardens were lost due to Napoleon's French who transformed them into a parade ground. Only later were the restoration works of the surrounding natural setting resumed. Since 2007, after eight years of restorations, the splendid gardens of the palace complex of Venaria represent the flagship of this magnificent construction with the spaces of the English Gardens, that of Flowers and Roses, and the area of the groves. At the beginning of the eighteenth century Filippo Juvarra worked on the complex and in particular on the construction of the Grand Gallery and at the same time of the Church of Sant’Uberto, set between the palaces so as not to allow the construction of the dome. The last works, which concerned the stables, the riding school, the staircase of the Diana Palace and the Sant’Uberto gallery were carried out between the second half of the eighteenth century and the beginning of the nineteenth century. Progettata dall’architetto Amedeo di Castellamonte per volontà del duca Carlo Emanuele II che voleva farne la sua residenza di caccia e costruita in pochissimo tempo, dal 1658 al 1679, la Reggia di Venaria è sicuramente una delle maggiori e più belle residenze sabaude. Imponente, fastosa, il suo progetto fu ripreso per la costruzione della reggia per antonomasia, quella di Versailles. La Reggia di Venaria fa parte dal 1997 del patrimonio dell’umanità dell’UNESCO. Il complesso, di cui fa parte la reggia, è costituito da circa 80.000 m2 di terreno calpestabile, include il parco ed il borgo storico di Venaria. Al borgo si unirono successivamente altre case e palazzi di semplici cittadini che vollero abitare nei dintorni della Reggia, fino a che Venaria Reale divenne comune autonomo della provincia di Torino. I giardini della reggia furono persi a causa dei francesi di Napoleone che li trasformarono in piazza d’armi. Solo in seguito furono ripresi i lavori di risanamento dell’ambientazione naturale circostante. Dal 2007, dopo otto anni di restauri, gli splendidi giardini del complesso della reggia di Venaria rappresentano il fiore all’occhiello di questa magnifica costruzione con gli spazi dei Giardini all’Inglese, quello dei Fiori e delle Rose, e l’area dei boschetti. Agli inizi del Settecento Filippo Juvarra lavorò al complesso e in particolare alla costruzione della Gran Galleria e parallelamente della Chiesa di Sant’Uberto, incastonata tra i palazzi tanto da non permetterne la costruzione della cupola. Gli ultimi lavori, che riguardavano le scuderie, il maneggio, la scala della Reggia di Diana e la galleria di Sant’Uberto furono realizzati tra la seconda metà del Settecento e l’inizio dell’Ottocento.
Museo d'Arte Orientale è uno dei più recenti musei di Torino. Ubicato in pieno centro, ha sede nello storico Palazzo Mazzonis e ospita una delle raccolte artistiche asiatiche più interessanti d'Italia. L'Oriente in tutta la sua bellezza artistica: una collezione che racconta alcune tra le più affascinanti culture asiatiche.
The MAU – Museum of Urban Art of Turin is the first project in the phase of concrete realization, in Italy, with the aim of creating a permanent outdoor artistic settlement located inside a large metropolitan center, with the addition the added value of being an initiative started not from above but from the base, thanks to the consent and the fundamental contribution of the inhabitants. The original nucleus of the MAU is located in the Borgo Vecchio Campidoglio, a working class district of the late 19th century, located between the Switzerland, Appio Claudio and Tassoni courses, and via Fabrizi and Cibrario, not far from the city center. A portion of urban space miraculously saved from the eviscerations operated by the Regulatory Plan of 1959, which has kept its lattice structure almost intact consisting of low houses with large internal courtyards with green areas, divided by narrow streets, all to favor the relationship of commonality between the inhabitants and a type of settlement, in a semi-central area of Turin, such as to make it a “town within the city”. Beginning in 1991, a work of revaluation of the social, urban and architectural peculiarities of the Borgo began. At a certain point, in the spring of 1995, it is considered to extend the sphere of intervention to art, involving citizens in the choices, given the initial availability of some of them, then continued over time until the current results. The Urban Redevelopment Committee invites some cultural operators in the city to provide their opinion, the Faculty of Architecture with Prof. Carla Bartolozzi, the Accademia Albertina, the artist and master of art Giacomo Soffiantino, and also the author of the present, at the time a member of the Board of Museums and Exhibitions of the City of Turin and artistic co-director of the Gallery of Modern Art, already engaged for years on the front of the relationship between art and territory. On 1 April 2014, the MAU was included in the recognized realities as part of a framework resolution on public art in Turin. Starting from the “Day of the MAU” in November 2007, our Association has strongly intensified its activities in the area by forging closer collaboration with the craft, commercial, artistic and cultural activities present. Numerous events have been organized or in which we have actively collaborated... We mention the various editions of the Grape Festival, We Camp, Campidoglio never stops, Rocciamelone Arts & Crafts by night, MAU & Co., Remembering Gianni. Street Art to Art (charity auction in memory of the artisan of the Borgo Gianni Garino), Il Borgo adopts the AISM. Borgo Campidoglio for multiple sclerosis, Campidoglio On Ice, Fuori Schema 2013/2014. More and more requests for guided tours of groups and institutions, in addition to those traditionally organized for some years with the Turin Piedmont Museum Subscription, and now also extended to the Antiaereo Refuge in Piazza Risorgimento, in collaboration with the Diffuse Museum of the Resistance.
The MIAAO International Museum of Applied Arts Today is an institution belonging to the Turin museum circuit. It is the only Italian museum dedicated to contemporary applied arts and to the enhancement of manual labor. The Museum was born in the centenary of the International Exhibition of Modern Decorative Arts in Turin in 1902. The gallery on the first floor houses permanent collections: sculptures, ceramics, tapestries, jewelry, design objects, mechanical and light installations, photographs and paintings.
A come Ambiente è il primo museo europeo interamente dedicato alle tematiche ambientali, pensato per offrire a bambini, scuole e famiglie la possibilità di informarsi e riflettere in modo multimediale e creativo su temi attuali come l'energia, il riciclo dei materiali, l'acqua e i trasporti.
The museum Museo Civico Pietro Micca is dedicated to the siege of Turin in 1706 and to the historical figure of Pietro Micca. The building is connected to the underlying contrace tunnel system. The museum displays relics, photographs, films and models illustrating the city's defense systems and the military events of the siege of Turin in 1706, as well as the historical events that occurred before and during the Spanish succession war (1700-1713). From the exhibition rooms you can access the system of galleries of contromina of about 400 meters, which develop at 6 and 14 meters below the city floor.
From 1913 to today. A long story ours, handed down from father to son, made of experience, study, research, artistic sensitivity, passion for beauty. The reproduction of the classic piece of furniture has always been our intent to build every single piece, destined to last over time and capable of the most free combinations, in compliance with the artisan tradition of Brianza. The work done with the use of solid wood, the manual carving made by skilled artisans, the spring padding, the careful choice of fabrics are the unmistakable signs of each. exemplary.
Palazzo Madama and Casaforte degli Acaja is an architectural and historical complex located in the central Piazza Castello in Turin. It is a UNESCO World Heritage Site, as part of the Sabaude Residences serial site. A visit to Palazzo Madama is an evocative journey through time: from the foundations of the Roman age to the medieval towers, up to the baroque triumph of the Juvarra staircase.
Thanks to its strategic position near the Via Gallica, the hill of Rivoli has been inhabited by humans at least since Roman times. A fortified building, the “Castrum Riuollum,” is first mentioned in 1159. The earliest illustration, dating to 1609, shows a central tower surrounded by constructions of varying sizes, while along the foothills a garden softens the complex’s military appearance. The property of the Bishops of Turin, the Castello became part of the Savoy dominion in 1247 and remained so until 1883, the year in which it was sold to the City of Rivoli. In 1350 it was selected as the setting for the marriage of Bianca of Savoy to Galeazzo Visconti. When Emanuele Filiberto chose Turin as the new capital of the Duchy, he settled in Rivoli with his court; his heir, Carlo Emanuele, was born at the Castello on January 12, 1559, under the care and guidance of Nostradamus, who had been invited to follow the pregnancy of the Duchess Margherita of Valois. The new duke, Carlo Emanuele I, entrusted the Castellamonte architects Francesco Paciotto and Domenico Ponsello – father and son – to transform the medieval manor into a leisure residence, as illustrated on the two boards of the Theatrum Sabaudiae (Savoy Theatre), a celebration through images of the city, the fortresses, the residences and all the beauties of the Duchy. Here we see for the first time the Manica Lunga, a building designed to house the picture gallery of Carlo Emanuele I, joined to the castle by four tall towers, and the church dedicated to San Carlo Borromeo, which was never actually built. The work was completed in 1670. By this time the Castello had already hosted important events, such as the birthday celebrations of Christine of France, the second Madama Reale, held on February 10, 1645. The only hall that has survived from that period, after the French troops of Marshall Catinat burned down and destroyed most of the building in 1690 and 1693, is the room of Amedeo VIII on the second floor. Seeing the building burn from Turin, the young duke Vittorio Amedeo II promised himself that he would rebuild and make even more beautiful the residence that has always been so connected to the history of his family and which he greatly loved. In fact, it was from Rivoli that he announced his rise to the throne in 1730. In August 1979, restoration work on the Castello alone began, and would last until 1984, when it opened its doors as the Museum of Contemporary Art. This work took into account its entire past, respecting its architecture, but with modern additions like the elevator, the suspended staircase, the platform on the late 1700s vault, and the panoramic area on the third floor. From 1984 to 1986, Andrea Bruno began working on the Manica Lunga, but unfortunately a lack of funds closed down the site, which reopened only in 1996. It was in February 2000 that the building, first born to host Carlo Emanuele I’s picture gallery, refound its age-old splendor. The structure was maintained with the inclusion of the vault’s overturned hull-shaped steel cover and the steel and glass stairs joining the 17th-century structure. The large windows light up the rooms of the cafeteria, which has also become a treasure trove of works from the collection, and of other Museum services. Even the contemporaneity of the small parallel section that hosts the one-Michelin star restaurant Combal.Zero dialogues with the past, as do all elements of the Castello di Rivoli.
Palazzo Pitti è stata la residenza del Granducato di Toscana, già abitata dai Medici, dagli Asburgo-Lorena e, dopo l'Unità d'Italia, dai Savoia.Al suo interno è ospitato un complesso museale composto da gallerie e musei di diversa natura: la Galleria Palatina (la galleria d'arte conserva capolavori di Raffaello, Tiziano, ecc.) sistemata secondo il criterio della quadreria settecentesca, gli Appartamenti Reali, l'Appartamento della Duchessa d'Aosta e il Quartiere del Principe di Napoli (ordinariamente non visitabili dai turisti), la Galleria d'arte moderna (con le opere dei macchiaioli) e altri musei specializzati.
The Boboli Gardens is a historical park in the city of Florence. Born as the grand-ducal garden of Palazzo Pitti, it is also connected to the Forte di Belvedere, a military outpost for the safety of the sovereign and his family. The garden, which welcomes over 800,000 visitors every year, is one of the most important examples of Italian garden in the world and is a veritable open-air museum, for the architectural-landscape setting and for the collection of sculptures, which ranging from Roman antiquities to the twentieth century. The Boboli Gardens is one of the most famous gardens on the peninsula.
The museum of the Uffizi Gallery, constitutes for quantity and quality of the works collected one of the most important museums in the world. It contains the most important existing collection of Raffaello and Botticelli, as well as fundamental groups of works by Giotto, Tiziano, Veronese, Tintoretto, Pontormo, Bronzino, Caravaggio, Dürer, Rubens and others. Inside are housed some of the greatest masterpieces of humanity: Cimabue, Leonardo da Vinci, Michelangelo, Raphael, Mantegna, Titian, Parmigianino, Dürer, Rubens, Rembrandt, Canaletto and Sandro Botticelli.
Nel 2009, a cento anni dalla morte di Cesare Lombroso, fondatore dell’antropologia criminale, si è riallestito il “suo” museo, unico al mondo. Le collezioni comprendono preparati anatomici, disegni, fotografie, corpi di reato, scritti e produzioni artigianali e artistiche, anche di pregio, realizzate da internati nei manicomi e da carcerati. Il nuovo allestimento vuole fornire al visitatore gli strumenti concettuali per comprendere come e perché questo personaggio così controverso formulò la teoria dell’atavismo criminale e quali furono gli errori di metodo scientifico che lo portarono a fondare una scienza poi risultata errata.
The National Museum of the Italian Risorgimento is the largest exhibition space in Italian history, the oldest and most important museum dedicated to the Italian Risorgimento. The museum, which was completely re-opened and reopened in 2011, dates back to 1878, when Turin, following the transfer of the capital, wanted to underline its contribution to the process of national unification. The National Museum of the Italian Risorgimento has been profoundly renewed, and today offers visitors outstanding displays and services in Palazzo Carignano where the collections are housed. Lighting and room colours, the choice of which is always based on the themes in question, and the use of multimedia aids guarantee visitors a unique experience. The period of the Risorgimento is now recounted from a European viewpoint as well as through the eyes of Turin, Piedmont and Italy. The rooms have been enriched with films created with images from the most important European collections and can be viewed on large screens, while extensive interactive displays help visitors to examine the themes presented in the films in greater depth.
L'architettura industriale delle OGR Officine Grandi Riparazioni, oggi posizionata nel cuore di Torino - in corso Castelfidardo, a pochi metri da Porta Susa e a 50 minuti da Milano con l'alta velocità- ospiterà, in continua rotazione, mostre, spettacoli, concerti - dalla musica classica a quella elettronica - eventi di teatro, danza e arti performative, laboratori, start up, imprese innovative - dai Big Data al gaming - unendo le idee e i valori della creatività con gli strumenti e i linguaggi delle nuove tecnologie digitali.
The Royal Palace of Turin is the first and most important of the Savoy residences in Piedmont, theater of the Savoy kingdom for at least three centuries. Official residence of the Savoy until 1865, formerly Palazzo del Vescovo, it was transformed by Ascanio Vitozzi (1584) for Carlo Emanuele I and subsequently enlarged and renovated with an uninterrupted series of interventions in which the major architects and artists working in Turin took part in the 18th century and nineteenth century.
Inaugurated in 2002 on the top floor of the Lingotto complex, the pinacoteca collects a selection of works from the private collection of Gianni and Marella Agnelli. The collection is housed in the "casket", a steel body with a surface of 450 square meters raised to 34 meters from the test track on the roof of the plant. The structure is the work of the architect Renzo Piano. The architectural style represents a starship of crystals that symbolically recalls the futurist style of the original factory. In addition to the permanent collection, the museum periodically hosts temporary exhibitions of modern art.
Superga, Soperga in Piedmont, is one of the highest hills (672 m asl) of Torino, which rises east of the city center, on which the basilica of the same name is built .The Basilica is dedicated to the Madonna delle Grazie, whose wooden statue is kept in the Chapel of the Vow. You can also reach it with the Sassi-Superga cog railway, about 3 km long, using the original wagons of 1884.
Villa della Regina, part of Turin muesums Complex, was commissioned by Cardinal Maurizio di Savoia, built according to a project by Ascanio Vitozzi at the beginning of the 17th century. It was restructured according to a project bVilla della Reginay Juvarra that in the first half of the eighteenth century paid particular attention to the villa in relation to the gardens. Reopened to the public after a careful restoration, it rediscovers the ancient splendor, scenographic backdrop of the city, in the center of the Italian gardens with pavilions, water games and agricultural areas that are once again productive. On the hills behind the villa, a famous vineyards produces red sapcial wine.
The rich exhibition Armeria Reale occupies three rooms connected to the hall of the Palazzo Reale halls: the Sala della Rotonda, so-called because the link between Palazzo Reale and Palazzo Madama, the magnificent Beaumont Gallery and the Medagliere, specially designed, were inserted here. from Pelagio Palagi to collect coins, medals and seals belonging to the Royal House.
At I mosaici di Lastrucci all mosaics are entirely produced in the according to the original techniques dating back to the 16th century, which highlight the natural colour of every stone. The tools used are of ancient origin; progress and technology have not been able to create suitable substitutes for them, because the original tools were crafted for recreating a sense of beauty that modern technology is unable to reproduce. All mosaics are entirely produced by the Masters Iacopo and Bruno Lastrucci.
Architect Alberto Brandinali of Studio Bipiuesse believes that pace is a precious good. In any context, we operate and at any scale, from the single environment to the building and in all the sectors that see us involved: private homes, residential buildings, social welfare facilities, private villas, public places. The aim of our work is to realize effective projects that are able to organize and transform the space in harmony with the needs of those who will use it and will live it. We believe that the project should have a lasting impact on people and the environment.
For 700 years, the Frescobaldi family has combined tradition, experience and innovation with creativity and the pursuit of excellence. The family has always looked to develop and celebrate the diversity of Tuscany’s terroir. Being proud owners of some of the greatest vineyards in this region they have always sought to maintain the identity and autonomy of each property. Frescobaldi represents the true diversity of Tuscany and its six estates, are all located in the most suitable areas for the production of fine wines. Donna Bona Frescobaldi is the continuation of all this with charm, intelligence and care for the traditions and art.
CAM Carlo Arborio Mella Arts Consulting, founded in 2013, operates in the world of the arts with particular reference to cultured music and fine arts. Its activities, including Florence, Milan and Turin, range from the training sector to the 2.0 communication sector, to the enhancement and development of the Italian musical heritage together with the enucleation of new musical paths linked to cultural heritage.
Advancing Women Artists closed its doors on June 30, 2021. Although the organization is no longer operative, the website will remain accessible as a digital archive and a resource for those interested in research, restoration and exhibition of art by women in Florence. By giving a voice to historic women artists, AWA Advancing Woman Artists rescues and reclaims the ‘hidden half’ of Florence’s art. Women world-wide band together to support art and conservation. Myriad paintings and sculptures by ground-breaking women artists have been overlooked for centuries, and many works are currently in need of restoration.
Man, his needs and his well-being are at the centre of design for Architect Nadia Battaglio. Designing spaces means pre-seeing the future by investigating the possible ways to exploit them and live them: feel the air, the light and the scents that come from the windows, the heat that will emanate in a fireplace, the colours and fabrics that will animate the walls....means having an overview. The architecture of a house is similar to a dress, it must be tailor-made for the person who will live it.
Architects Studio 10 is our will to do normally human projects, the result of uncommon reflections on common feelings. Our goal is to convey the understanding that a better project can lead to a better life through a design able to calm the mind and cause pleasure, while maintaining the ability to increase the value of the investment. The partnership between Roberto Baccioni and Simona Bianchi began with the design of museum displays and with the renovation of luxury homes.Currently, among other clients, they are restoring palaces in Italy for Gucci Brand and family.
The exhibition Artigianato e Palazzo artisan workshops and their commissions, now in its 25th edition to be held at the Corsini Garden in Florence, was founded in 1995, from an idea by Neri Torrigiani and promoted by the princess Giorgiana Corsini, mainly to re-evaluate the figure of the artisan and his work to the present day, considering it a high expression of quality and technique, linked to the client, but insisting on the idea of a "modern" handicraft, without forgetting the fundamental element of tradition. And speaking of "artifact" (from the Latin "manu facere": doing with the hands), the exhibitors of ARTIGIANATO E PALAZZO have always been called aloud to show live the various processing techniques in which they excel. Along the exhibition itinerary, the visitor is led to discover how the craftsman manually creates the product by making it live in small workshops reconstructed in the Garden and in the Limonaie. La mostra Le botteghe artigiane Artigianato e Palazzo e le loro committenti, giunta alla sua 25° edizione al Giardino Corsini di Firenze, nasce nel 1995, da un'idea di Neri Torrigiani e promossa dalla principessa Giorgiana Corsini, principalmente per rivalutare la figura dell'artigiano e il suo lavoro fino ai giorni nostri, considerandolo un'alta espressione di qualità e tecnica, legata al cliente, ma insistendo sull'idea di un artigianato "moderno", senza dimenticare l'elemento fondamentale della tradizione. E a proposito di "manufatto" (dal latino "manu facere": fare con le mani), gli espositori di ARTIGIANATO E PALAZZO sono sempre stati chiamati ad alta voce per mostrare dal vivo le varie tecniche di lavorazione in cui eccellono. Lungo il percorso espositivo, il visitatore è portato a scoprire come l'artigiano crea manualmente il prodotto facendolo vivere in piccole botteghe ricostruite nell'Orto e nelle Limonaie.
Elisabetta Marongiu is an Architect specializing in conservation and restoration of heritage at the Turin Polytechnic, she divides her work between Turin and Basel. Born as a restoration technician, she develops her professional skills on-the-job site by acquiring skills in managing and scheduling work. Passionate about painting, music and photography, she loves art in all its forms. "To achieve great things, we must not only act but also dream; not only to design but also to believe“ Anatole France.
Dopo il conseguimento della maturità classica frequenta la facoltà di architettura, orientando la sua formazione all'approfondimento della storia e delle metodologie di restauro degli edifici di rilevante interesse storico e artistico. Laureatasi con il massimo dei voti e lode, apre il proprio studio portando avanti parallelamente l'attività didattica nel corso di Storia dell'Architettura tenuto dal Prof. F. Borsi, presso la Facoltà di Architettura di Firenze. Dal 1990 al 2008 opera attivamente all'interno dell'ADSI, Associazione Dimore Storiche Italiane, prima come rappresentante della sezione giovanile per la Toscana, in seguito come membro del consiglio nazionale. Discendente di una delle nobili famiglie del vino italiano, sin dall'inizio della sua carriera si dedica alla progettazione di cantine e di spazi dedicati al vino, divenendo in tal senso uno dei progettisti più proliferi ed innovativi in Italia. Lo studio nato a Firenze nel 1993 si occupa di progetti a diversa scala intervenendo prevalentemente su edifici monumentali, nel pieno rispetto delle radici storiche delle preesistenze con attenzione alle necessità degli stili di vita contemporanei. Un team di professionisti sviluppa i progetti in ogni dettaglio partendo dal restauro delle preesistenze per reinventare spazi nuovi interamente disegnati - dai complementi d'arredo fino agli interventi paesaggistici - con particolare attenzione al recupero delle tecnologie e dei materiali locali. Negli anni lo studio ha maturato una notevole esperienza nella realizzazione di cantine vinicole, proponendo soluzioni innovative ed eco-compatibili che coniugano le esigenze funzionali e produttive con l'estetica architettonica locale ed il paesaggio circostante. After the attainment of the classical maturity he attended the faculty of architecture, directing his training to the deepening of the history and methods of restoration of buildings of significant historical and artistic interest. She graduated with full marks and honors, she opens her own studio carrying out the teaching activity in the course of History of Architecture held by Prof. F. Borsi, at the Faculty of Architecture in Florence. From 1990 to 2008 she actively worked within ADSI, the Italian Historic Houses Association, first as a representative of the youth section for Tuscany, then as a member of the national council. Descendant of one of the noble families of Italian wine, from the beginning of his career he devoted himself to the design of cellars and spaces dedicated to wine, thus becoming one of the most prolific and innovative designers in Italy. The studio born in Florence in 1993 deals with projects at different scales, mainly intervening on monumental buildings, in full respect of the historical roots of the pre-existing structures with attention to the needs of contemporary lifestyles. A team of professionals develops the projects in every detail starting from the restoration of pre-existing structures to reinvent entirely designed new spaces - from furnishing accessories to landscaping - with particular attention to the recovery of local technologies and materials. Over the years the studio has gained considerable experience in the construction of wine cellars, proposing innovative and eco-compatible solutions that combine functional and production needs with the local architectural aesthetics and the surrounding landscape.
Since 1938, our shop in Rome L.A.R. Paralumi welcomes and serves the Romans and patrons passing through the capital. The high quality of our work and the exclusivity of our products has been appreciated over the years by a large group of prominent people, and some of our Lumi furnish the most important Roman palaces. In our laboratory we make lampshades in every work, from the ancient lampshades in parchment stitched, to the pleats, passing through the classic lined in fabric.
From 1868 at Calce Piasco we extract limestone from our quarries and through the cooking in the ovens of the Piasco plant we transform it into live lime and its derivatives. We offer our customers eco-friendly and natural products, made by specialized personnel with modern means, aimed at satisfying multiple needs in different sectors. Lime proved to be useful in construction, in agriculture, in breeding, in the steel industry, in the purification and for numerous other applications.
Cà Albrizzi Interiors, was born from an idea of Alba Giannelli and Adalberto Cremonese, initially it was a bookbinding and cartonage laboratory, nowadays the activity carried out by her son Alessandro Giannelli who adds the sale of fabrics, mats, carpets, lighting, small furniture and gift items. Seated in the heart of Milano, today it's a luxury style for Interios.
Alessio Sorrentino and his son Vincenzo create small works of art engraving corals, cameos, turquoise and precious shells. A real art, where the hands are guided by the original shape of the raw material, from which delicate and particular works arise. An ancient and unique work, handed down from father to son, a work of patience, dexterity, where the hands of Alessio and Vincenzo join the mind of Silvia and give the public objects of extraordinary beauty.
The organic biscuits of Zenzero Candito are still made by hand with wholemeal flour of ancient stone-ground grains. Zenzero Candito uses excellent organic raw materials from small local producers, the chestnuts of the Tuscan-Emilian Apennines, the Sicilian almonds of the Val di Noto, the hazelnuts of the Altalanga. Each biscuit is handmade as it once was, always guaranteeing the maximum naturalness and genuineness of each of our products. From December 2015 the biscuit is certified organic. ]/box]
Among the rolling hills of Recanati, the Agriturismo Raggio Verde, ideal for spending pleasant holidays in the Marche region. The farmhouse, completely renovated, obtained from an old farmhouse, offers a synthesis of the Marche's motifs: nature, tranquillity, marvellous scenery, history, and culture. The Agriturismo Raggioverde is located on top of a hill and looks directly towards the historic centre of Recanati (just 5 km), offering a "postcard" view.
Antico Forno Santi svolge da molti anni la propria attività a Migliana, borgo immerso nel verde della bellissima Valle del Bisenzio, alle porte di Prato. In un piccolo e caratteristico laboratorio sono nati i nostri biscotti grazie alla creatività e alla passione di Leonardo Santi, il nostro maestro. Grazie ai suoi insegnamenti abbiamo imparato il rispetto per la tradizione e i segreti delle vecchie ricette che oggi ci permettono di presentare con grande orgoglio e soddisfazione il frutto del nostro lavoro. Benvenuti dunque in questo piccolo mondo di dolcezza. Antico Forno Santi has been operating for many years in Migliana, a village immersed in the greenery of the beautiful Bisenzio Valley, just outside Prato. Our biscuits were born in a small and characteristic laboratory thanks to the creativity and passion of Leonardo Santi, our master. Thanks to his teachings we have learned respect for tradition and the secrets of old recipes that today allow us to present the fruit of our work with great pride and satisfaction. So welcome to this little world of sweetness.
Alison Woolley started her career as an apprentice in a traditional Florentine ‘bottega’ decorating furniture in the Renaissance style. Over the years she specialized work blossomed into expertise in creating luxuriously decorated surfaces of many kinds, from interior murals to fabric and stencil design. Today, you can see the artist's refined and meticulous hand on works such as two hand-painted harpsichords for the Opera of Versailles and designs for Salvatore Ferragamo. Alison is a professional artist and decorator specialized in Italian painted furniture, owner of Florenceart.net, a painting and decoration studio in Florence Italy. Alison graduated with honours after winning two scholarships from the Ontario College of Art and Design in Canada. She moved to Florence and worked for more than 15 years under the guidance of Florentine master artisans before opening her own bottega in Via San Bartolo a Cintoia 97. Her bottega produces fine furniture finishes and decorative art for the interior design industry worldwide. 'I came as a student in 1987 to Florence and was captured by the special beauty of this city and the Florentine people. The atmosphere inside a true old style Florentine bottega is something rare that I view as a gift that was given to me, and that I would like to share. These artisans taught me a way of working, a set of skills, and an appreciation for fine European antiques and decorative work that remains the basis of my daily work.' Alison’s work has been exhibited in various international decorative design shows:
Andrea Besana, classe 1975, artigiano con un diploma in grafica pubblicitaria nel 1994, si ri-diploma alla Scuola di Mosaico di Spilimbergo nel 2002. Vincitore di significativi premi di settore, è un artista del mosaico e mastro terrazziere, con al suo attivo importanti lavori e opere realizzate in Italia e all'estero. Parallelamente si occupa di mosaico contemporaneo e di opere musive, apprezzandone la libertà compositiva e il forte potere evocativo. Il suo laboratorio è specializzato in progettazione mosaici, realizzazione ex novo e restauro di pavimentazioni monolitiche e alla Veneziana. Andrea Besana, born in 1975, artisan with a diploma in advertising graphics in 1994, he re-graduated from the Mosaic School of Spilimbergo in 2002. Winner of significant industry awards, he is a mosaic artist and master terrace maker, with important works and works carried out in Italy and abroad. At the same time he deals with contemporary mosaics and mosaic works, appreciating their compositional freedom and strong evocative power. His workshop specializes in mosaic design, construction from scratch and restoration of monolithic and Venetian flooring.
Independent Museums and Institutions Professional, Journalist, and art expert. Andreina d'Agliano is the greatest expert in antique ceramics and porcelains. During her travels around the world, she studied deeply different styles and technics, especially in the East countries. After many years in Rome she moved to Turin and now she has many important roles in Museums and Associations among them she is Curator of the Exhibitions in Torino, Museo Accorsi and President of Filatioio di Caraglio, Cuneo.
The holiday farm Agriturismo Il Calesse takes its origin from the farm F.lli Giuntini, existing from 1860, and it is located on the green hills of Montalbano region, in Tuscany. The estate and the farmhouse have been totally restructured to be able to accommodate guests and to offer them genuine and relaxing holidays. The farm is composed of woods, olive groves, vineyards, and it produces olive oil, wine, and lumber.
Se avete un mobile in cantina che non vi piace più o che sa di vecchio, potete fralo rinascere nelle mani capaci di Alessandra Elia. Terra d'Ombra è il nome della sua attività di decoratrice e restauratrice pittorica. Spinta dall'ineusaribile passione per il suo lavoro, negli anni si è spinta su territori sempre nuovi, imparando e sperimentando con sapienti artigiani. Oggi organizza anche corsi per trasmettere la sua specialità e condividere crendo squadre capaci di affrontare anche lavori importanti. If you have a piece of furniture in your cellar that you no longer like or that smells old, you can reborn it in the capable hands of Alessandra Elia. Terra d'Ombra is the name of her activity as a decorator and pictorial restorer. Driven by her inexhaustible passion for her work, over the years she has ventured into ever new territories, learning and experimenting with skilled craftsmen. Today she also organizes courses to convey her specialty and share by creating teams capable of tackling even important jobs.
Il Maestro Adriano Spada, esperto in restauro architettonico ha una grande passione per tutti gli habitat e il benessere di tutto ciò che vive. Molto curioso, dedica tempo alla ricerca di materiali organici, specialmente alla calce e alle loro trasformazioni con nuove tecniche, per renderli adatti al nostro tempo, gusto, modo di pensare e vivere. Capace di trasmettere ai giovani muratori, restauratori, decoratori e pittori quella manualità che viene da una vita vissuta nei cantieri di edifici storici, insegna il marmorino e tutte le tecniche affini, come si facevano 2.000 anni fa. Gestisce fino a 10 cantieri insieme con passione e dedizione. Sempre alla ricerca di risposte, a volte le trova. Master Adriano Spada, an expert in architectural restoration, has a great passion for all habitats and the well-being of everything that lives. Very curious, he devotes time to researching organic materials, especially lime and their transformation with new techniques, to make them suitable for our time, taste, way of thinking and living. He, capable of transmitting to young masons, restorers, decorators and painters that manual skill that comes from a life lived in the construction sites of historic buildings, teaches marmorino and all related techniques, as they were done 2,000 years ago. He manages up to 10 construction sites together with passion and dedication. Always looking for answers, sometimes he finds them.
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