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.