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.
.
.
.
