Reserve Bank of Australia building, Sydney

Reserve Bank of Australia building is a heritage-listed bank building at 65 Martin Place, Sydney, New South Wales, Australia. It was added to the Australian Commonwealth Heritage List on 22 June 2004.

History
Martin Place was originally a small lane called Moore Street which ran between George Street and Pitt Street and was widened into a substantial thoroughfare as part of the setting for the General Post Office in 1891. In 1921, Moore Street was renamed Martin Place. In 1926, the Municipal Council of Sydney purchased a number of properties in Macquarie and Phillip Streets in anticipation of the extension of Martin Place to Macquarie Street, including those properties which would later be demolished for the Reserve Bank of Australia's head office building. After Martin Place was formed the residential land on either side of the street was auctioned in 1936 however, the properties between Phillip and Macquarie Streets were passed in and did not sell until after World War II. The closure of Martin Place to traffic occurred between 1968 and 1978 and it became a pedestrianised civic plaza.

History of the Reserve Bank

The Commonwealth Bank of Australia was established by legislation in 1911. The main functions of the bank were to undertake general banking and savings bank activities. In 1945 the bank's powers were formally widened to include exchange control and the administration of monetary and banking policy with the Commonwealth Bank Act and the Banking Act. The Reserve Bank Act 1959 preserved the original corporate body under the name of the Reserve Bank of Australia to carry on the central banking functions of the Commonwealth Bank, but separated commercial banking and savings banking activities into the Commonwealth Bank of Australia. The Reserve Bank has since then been Australia's central bank with its own Board, Governor and staff.

The Reserve Bank has two broad responsibilities—monetary policy and the maintenance of financial stability, including the stability of the payments system. The Bank's powers are vested in the Reserve Bank Board and the Payments System Board. In carrying out its responsibilities, the Bank is an active participant in financial markets and the payments system. It is also responsible for the printing and issuing of Australian currency notes. As well as being a policy-making body, the Reserve Bank is a large financial institution which provides selected banking and registry services to Australian Government and state government customers and some overseas official institutions. Its assets include Australia's holdings of gold and foreign exchange. The Bank is wholly owned by the Australian Government.

A requirement of the Reserve Bank Act 1959 was that the head office of the bank must not be in the same building as the head office of the Commonwealth Bank of Australia (CBA) or any other bank. In line with this requirement, separate buildings were constructed for the state capitals Darwin and Canberra. The Bank currently consists of a Head Office, located in Sydney, branches in Adelaide and Canberra, regional offices in Melbourne, Brisbane and Perth and representative offices in London and New York.

Reserve Bank site

The land on which the Reserve Bank is built, was in the 19th century occupied on by the first Wesleyan Chapel built in 1821 and subsequently used as a Unitarian Chapel in 1850, a Wesleyan School House also built in 1821 and purchased in 1843 by the Roman Catholic Church to be used as a school (demolished ). There was also a freestanding Georgian house occupied by a solicitor and a Georgian cottage.

By the mid-1870s following the demolition of the church and school a row of three  three-storey Italianate terrace houses known as "Lucretia Terrace" was erected (). The Georgian house was demolished and two four-storey late Victorian terrace houses were erected (1891). In  the Georgian cottage was demolished and the cottage next door and two three-storey terraces were built; one of these was demolished in 1921 and a three-storey brick building known as "Whitehall" was erected on the site.

In 1957, the Director-General of Works (Dr Lodge) suggested to the Governor of the Commonwealth Bank that the site at the top of Martin Place, owned by the Sydney City Council would be suitable for the construction of the head office of the Reserve Bank, and it was subsequently purchased for this purpose. The Bank's administrators called for a design for the building which was contemporary and international, to exemplify a post-war cultural shift away from an architectural emphasis on strength and stability towards a design that would signify the bank's ability to adapt its policies and techniques to the changing needs of its clientele. Before plans were drawn up representatives of the Reserve Bank and the Commonwealth Department of Works made detailed studies overseas into Reserve Bank planning and organisation.

The Sydney Reserve Bank building was designed by the Commonwealth Department of Works, Bank and Special Project Division (Sydney) in 1959 under the direction of a Design Committee consisting of: C. Mc Growther, Superintendent of Reserve Bank Premises; H.I. Ashworth, Consulting Architect (Sydney University); C.D. Osborne, Director of Architecture Department of Works; R.M. Ure, Chief of Preliminary Planning, Department of Works; F.C. Crocker Architect in charge, Bank Section, Dept. of Works; and G.A. Rowe, Supervising Architect, Bank Section, Dept. of Works. The consulting engineer was D. Rudd and Partners and the builder was E.A. Watts Pty Limited. The site was cleared in 1961 and the building was completed by 1964 ready for occupation in January 1965. It was built to accommodate more than 1850 people at a cost of 10 million dollars.

In a press release on the completion of the Reserve Bank headquarters building in Sydney, the then governor, Dr H.C. Coombs highlighted the contemporary design of the building:"The massive walls and pillars used in the past to emphasise the strength and permanence in bank buildings are not seen in the new head office... Here, contemporary design and conceptions express our conviction that a central bank should develop with growing knowledge and a changing institutional structure and adapt its policies and techniques to the changing community within which it works".The Reserve Bank design is characteristic of buildings of this era on less constrained sites, where the architect utilised the opportunity to define the base from the shaft using a podium. The building was constructed using a steel frame supporting reinforced concrete floor slabs (using lightweight concrete). This was a solution to the need to produce an economical structural system using a combination of steel and concrete.

The materials used in construction of the Reserve Bank were to be of Australian origin and manufacture. Externally, maintenance and durability determined the choice of marble, granite, aluminium and glass. The facade of the tower had the structural and functional columns expressed as vertical Imperial black granite shafts with Wombeyan marble spandrel panels. The white marble faced pre-cast concrete spandrel panels alternated with recessed windows between the granite columns. The 1st, 2nd and 3rd-floor perimeter beams were faced with Wombeyan marble with a recessed glazed screen wall to the office areas behind a balcony.

Internally decorative ceilings which emphasised the structural bays appeared in buildings of the 1960s and were used in the Reserve Bank. Impressive aluminium decorative ceiling panels emphasised the structural bays of the ground floor public space and lift lobby. The entry and forecourt were paved in Narranderra Grey marble, marble being the most popular stone throughout this period. The ground floor lift lobby walls and internal walls facing the forecourt were clad in Wombeyan marble. The east and west walls of the entry vestibule were clad in Imperial black granite.

Prestige areas for the conduct of important company business in buildings of this period generally had ceilings treated in the same manner as general office ceilings, the exception being the board rooms and executive areas, as is the case in the Reserve Bank where shallow, curved plaster vaults enriched the space. The floor of the board room was paved in Wombeyan white marble. Specially woven heavy-duty wool carpet manufactured in Australia was used in the general office and executive areas.

Walls of the period were often timber panelled, in the Reserve Bank special areas had demountable timber panelling in Queensland black bean and Tasmanian blackwood.

The ground floor, and sometimes mezzanine or first floor levels, of many buildings of this period, accommodated service-based commerce. Often this activity represented a public interface for the owner/occupants of the building. The Reserve Bank was constructed with a four-storey podium divided into two upper floors with projecting horizontal fins and two floors of full height recessed glazing to the mezzanine below. This contained the two-storey public area and the banking chamber in the mezzanine over. Also included in public areas of a number of office buildings of this period was an auditorium or theatrette, and one was included in the Sydney Reserve Bank.

Also included were two residential flats to accommodate senior executives travelling from interstate, a relatively uncommon feature for office buildings of this period.

The building was the central distribution point for notes and coin for New South Wales and Papua New Guinea and the basement included the vaults or strongrooms. They were innovative in their use of concrete and metal sheet to create an impenetrable surround for the strong rooms. The metal strongroom doors are also significant for their size and sophistication.

The Reserve Bank was a prestigious and desirable place to work. There was a strong staff hierarchy and senior positions had considerable community status. This status is demonstrated in physical terms by the design of executive and staff areas in the building. In the 1960s the building was known to provide more extensive staff facilities compared with other contemporary buildings. In this building they consisted of the cafeteria, executive and Board dining rooms, the staff lounge, the staff library, a medical suite, squash courts and associated amenities, an auditorium and an observation deck on the 20th level for the use of staff and ex-staff. A firing range was provided for the training of security guards. The provision of the squash courts and the medical centre would appear to be uncommon facilities provided in multi-storey buildings of this period.

Care was often taken in selecting finishes to areas of staff relaxation, special ceiling finishes were occasionally applied, such as in the case of the Reserve Bank third floor cafeteria where the ceiling was plaster domes in a square grid. Occasionally stone veneers were applied to the walls of these areas, such as in the staff lounge of the Reserve Bank, where slate was used as the wall finish.

The service areas were designed for ease of cleaning and minimal maintenance with vinyl and ceramic tile finishes popular for both floors and walls. The Reserve Bank used ceramic tiles and vinyl to line the walls of service areas and vaults. The floors of the computer and service areas were of vinyl. The Reserve Bank used terrazzo as a floor finish in the toilets. Terrazzo was often used in this way in more prestigious 1960s developments.

The Reserve Bank is also notable for the incorporation of a fire sprinkler system, smoke detectors and fire alarms throughout. All working areas of the building were airconditioned, and notably, the ceiling in the cafeteria was perforated to form a ventilated ceiling which acts as a low-velocity supply air plenum.

The lighting of the Reserve Bank was also notable. Wallwashers were used in the Reserve Bank, where a perimeter strip of recessed fluorescents served to visually detach the ceiling from the wall in the passages and reception area. The opposite effect, that gained by concealing strip fluorescents where they would throw light upwards onto the ceiling, was more uncommon but was used in the office of the Governor of the Reserve Bank. Recessed downlights, both fluorescent and incandescent, were a popular means of lighting areas such as lift lobbies, passages and other public spaces where a softer light than that provided in the general office areas was appropriate, as was the case in the Reserve Bank. Of note was the use of recessed downlights in the cafeteria, set into the interstices of the square grid formed by the shallow cast plaster domes. The lighting of a decorative ceiling was a further area of exploration by architects and lighting engineers of the period. Usually, in the major public area of an office building, elaborate decorative ceilings could be either integrated into the lighting design or the subject of it. The latter was used in the Reserve Bank banking chamber public areas where the lighting is the focus of the decorative ceiling bays. The exterior Reserve Bank emblem was lit by shaped cold cathode tubes which follow the outline of the emblem.

The detailed aesthetic design input into the building extended beyond the building structure and facade treatments and interior design and included ancillary fixtures, fittings and objects for use specifically within the building. These included artworks specially commissioned for the public spaces, furniture, china, flatware, silverware, napery and accessories specifically selected or designed for use within the building. The interior decor and furniture were designed by the Department of Works R.M. Ure and I. Managan, with Frederick Ward, Industrial designer.

Interior furnishings including tables, chairs, couches, credenzas and desks were designed by Fred Ward. Fred Ward (1900–1990) was one of the leaders in modern Australian industrial design of the 1940s, 1950s and 1960s. During the 1950s, Ward was head of the Australian National University's design department. Around 1961 he resigned from ANU to set up private practice, after being invited by the Reserve Bank Governor Dr H.C. Coombs to undertake the furnishings of several Reserve Bank buildings including Sydney, Canberra, Adelaide and Port Morseby. His furnishings are of a simple and functional design which are now considered to be pieces of art in themselves. Ward also designed the furniture for numerous other important buildings including University House, Canberra, the Academy of Science Building, Canberra and the National Library of Australia, Canberra (with Arthur Robinson).

To further enhance the prestige of the building works of art by Australian artists and sculptors were used. Following an Australia-wide competition, the first prize winners were commissioned to execute their works for the Reserve Bank. The lift foyer features a wall relief by Bim Hilder and the freestanding podium sculpture in Martin Place is by Margel Hinder. Both sculptors were actively engaged in the post-war period designing works for multi-storied office buildings and there was a high degree of co-operation between the artists and architects at this period. Prestige buildings of this period generally commissioned public art highlighting the high profile of the buildings in company marketing strategies and also possibly arising from benevolent policies of these companies.

Bim (Vernon Arthur) Hilder (1909–1990) trained at the East Sydney Technical College and first exhibited his sculptures in 1945. Hilder had worked as a carpenter for Walter Burley Griffin. His murals were styled "wall enrichments in metal". Aside from the Reserve Bank mural (1962–64) he also designed the large mural on the facade of the Wagga Wagga Civic Theatre (1963) and a memorial fountain to Walter Burley Griffin in Willoughby City area (1965). His work is represented in the Art Gallery of New South Wales and the University of New England.

Margel Hinder (1906–1995) was American born moving later to New South Wales. Along with her husband Frank, they contributed to the development of Modernist Australian art focusing on abstraction. They were contemporaries of the Lewers, Ralph Balson, Yvonne Audette, Carl Plate, and Tony Tuckson. Margel Hinder's work is represented in every major Australian Gallery. Her major commissions include the James Cook Memorial Fountain, Newcastle (1966), Northpoint Tower (1970) (now at Macquarie University, Sydney); Woden City Plaza, Canberra; the Western Assurance Co. Building, Sydney (1960); and the State Office Block, Sydney (demolished). Hinder received an Order of Australia in 1979.

Clay from the excavations for the Bank from its initial construction and  extension was set aside for the production of a series of commemorative handcrafted pots. These were commissioned from Henry A. Le Grand of Canberra, some were purchased by officers of the Bank and the others were used as decorative elements in the executive suites and remain in the building.

A specially woven tapestry, 10 ft by 5 ft for the Board Room was designed by Margo Lewers and woven in France at the Aubusson workshop in 1968. Entitled "Wide Penetration" the abstract design in blue and yellow was woven in a limited edition of three copies. The tapestry is no longer hung in the Board Room but remains in the Bank's extensive art collection.

A second specially commissioned tapestry was made in 1988 by Sue Batten for display in the Board Room. The tapestry was woven at the Victorian tapestry workshop and the design was inspired by the Bank's Charter and includes elements from the paper 5 dollar note. The tapestry is now hung in the currency display area on the ground floor.

A series of paintings by Australian artists were purchased by the Bank over a period of time and found their permanent home in the executive offices, foyers and hallways of the bank.

On Macquarie Street was a setback created to enable the establishment of a formal Australian Native garden which was designed as the result of a public competition won by Melbourne architect, Malcolm Munro. The garden was flanked on either side by shallow pools and had ornamental gravel surrounds. It was planted with Australian shrubs. This garden feature has now been replaced with landscaping including formal box hedges and flowering shrubs.

Alterations to the building

Between 1974 and 1980 the Reserve Bank was extended to the south, this extension to the original building involved substantial additions on each floor to incorporate the adjacent site to the south. The site consisted of two properties Washington House and Federation House, both properties were demolished for the extension. The addition replicated the original building in height, form, and finishes.

From 1991–1995 upgrading of offices and basement areas, removal of asbestos requiring the stripping of all internal finishes, upgrading of building services and fire protection facilities, new ceilings, lighting and carpets and the extensive restoration and recladding of the external facade of the building.

In November 1993 the original facades were overclad. The original Wombeyan marble cladding was deteriorating due to a combination of weathering and pollution. The new facade was a combination of Australian and Italian stone, with the original Imperial Black granite from South Australia being used for the Columns and Italian Bianco Sardo grey granite for the spandrels. The work was designed by Arup Facade Engineering and was designed to have a minimum visual impact on the building. At the same time, the eastern end of the ground floor was modified from a banking chamber to form the public exhibition area.

In 2000 the Parliamentary Committee on Public Works approved changes to the building  included conversion of the staff cafeteria, auditorium and staff facilities (level 3) to office accommodation; demolition of the two residential flats and creation of new cafeteria space; removal of the two squash courts and plant equipment (level 17) and conversion to office use including lowering of the high level windowsills to the north elevation and enlarging of existing recessed marble panels to windows on the south facade; conversion of level 19 ancillary space to office use; and removal of the firing range.

Description

The Reserve Bank building is at 65 Martin Place, corners with Macquarie and Phillip Streets, Sydney,  a prominent corner position fronting Martin Place between Macquarie Street and Phillip Street.

The Reserve Bank 1964, is a refined example of the Post War International style. The building is a 22-storey high-rise tower with three-level basement. It is constructed of a steel frame concrete encased with reinforced concrete slabs. The building contains some unusually long cantilever beams on the 1st to 3rd floors. The Reserve Bank provides a notable example of a characteristic of buildings of this era on less constrained sites, where the architect utilised the opportunity to define the base from the shaft using a podium. The Reserve Bank has a four-storey podium divided into two upper floors with projecting horizontal fins and two floors of full height recessed glazing to the mezzanine below. The building is entered via a bronzed railed grey and black granite terrace with steps to accommodate the site slope and adjacent footpath.

The tower section above the second floor is set back from the site boundaries on the three street frontages. The rectangular building floor plate surrounds a central bank of lifts. The tower is capped with recessed balconies to level 20. Above this is a roof terrace with full height glazing and extensive cantilever roof.

The facade treatment of the building is distinctive and derives from both the modular design created to allow office subdivision which is expressed in the window mullions and the use of materials including the extensive use of natural stone. The vertical columns faced in black granite and aluminium define the eight bays of the tower and extend up to form the supports for the balconies. The use of black polished granite cladding was a popular choice of the time, the Reserve Bank used Imperial Black granite for the columns. The subdivision of the facade into smaller vertical bays was characteristic of buildings where sun control was a central concern. Between the columns spandrel panels in grey granite alternated with recessed glazing. The glazing panels stop short of the corner.

The basements contain vehicular access areas, the main switchboard as well as the three main strongrooms and a series of voucher stores and cash handling areas. Originally they also contained extensive plant areas. The Strong Rooms are located in the basement originally used for the storage of bullion and cash. They have a degree of technical significance for their innovative use of concrete and metal sheet to create an impenetrable surround for the strong rooms. The metal strong room doors are significant for their size and sophistication.

The ground floor is symmetrical around the central main vestibule which is a two-storey volume with a general banking chamber on the western side and a public display area on the eastern side. The display area replaces the former Bonds and Stock Banking Chamber of the original design. The ground level entrance foyer/vestibule remains substantially intact including internal finishes of Wombeyan marble to the south wall, granite floor, east and west Imperial granite walls including high-level glazing, anodised aluminium ceiling and the south wall relief by Bim Hilder. Alterations include the introduction of a security desk, new entrance doors, and reconfigured glazing.

The mezzanine is set back from Martin Place frontage creating an atrium over the ground floor. With the first and second floors it forms a podium from which the office tower springs. The third floor housed the staff amenities area with a staff cafeteria and kitchen, an auditorium and staff library and a staff lounge outside the lift foyer. These areas were originally designed with a distinctive character which has now been altered by later refurbishments. The eleventh floor contains the board room (featuring a marble floor), board dining room, board members common room and reception and meeting areas. The twelfth floor contains the governor's suite, reception areas and executive suites.

The 16th floor housed two residential flats, but the flats have been removed in recent works. The floor also included the medical centre. The 17th to 19th floors held two squash courts and an observation gallery was located along the northern facade. These were all removed in recent works. The 20th floor houses staff amenities. Most lift foyers are marble lined, Level 3 is timber.

Some of the original furniture designed for the building including tables, chairs, couches, credenzas and desks remain within the public spaces, offices and special areas of the building.

The Westpac (former Bank of NSW) building erected on the opposite corner to the Reserve Bank occupies a similar footprint and has a similar mass, providing a gateway effect at the top of Martin Place.

Public art
The main entrance foyer features an expansive wall relief by Bim Hilder. It is made up of many separate small parts of beaten copper and bronze. One section of it incorporates a six-inch piece of quartz crystal uncovered by geologist Ben Flounders in South Australia's Corunna Hills. Another displays semi-precious stones. The Martin Place forecourt features a freestanding podium sculpture by Margel Hinder. The Podium sculpture is a 26 ft high freestanding sculpture. It is unnamed and has no banking reference, but was designed to complement the architecture of the building. It is welded sheet copper on a stainless steel structural frame with molten copper decoration. The original design Maquette is also located in the Bank. Other important elements include the brass lettering text of the Bank's 1959 charter set on a black granite wall in the main foyer; the opening commemorative plaque; the Bank emblem originally located on the western parapet wall of the building constructed in cast aluminium with green enamelled finish designed by Gordon Andrews (now removed); the portrait of Dr H. C Coombs, the first Governor by Louis Kahan purchased in 1964.

Condition

In general, the building retains its early appearance and character despite having undergone considerable alterations and modification. Internal finishes have been considerably altered in many locations, and have been replaced with new finishes. Internally the building has been remodelled at the upper office levels. The boardroom and the lift foyers have remained largely intact. The ground level double volume spaces are intact; however, there has been substantial alteration to furniture and fittings. The original marble ceiling panel has been replaced in metal.

Comparison

In addition to the Head Office, branch offices were constructed in the central business districts of each of the state capital cities, as well as in Canberra and Darwin during the 1960s and 1970s. A number of purpose-designed office buildings were erected to designs by the Commonwealth Department of Works Banks and Special Projects Branch as part of the initial establishment of the Reserve Bank of Australia.

The buildings in Darwin and Brisbane have been sold. The Reserve Bank still owns the buildings in Perth and Hobart (sold 2001), Adelaide, Canberra, and Melbourne. The buildings constructed throughout Australia by the Bank during the 1960s reflected a confidence in things Australian and in the future.

The Canberra Branch building of the Reserve Bank was the result of an architectural competition, managed by the National Capital Development Commission. Howlett and Bailey from Perth won the competition from 131 submissions. It was constructed by Civil and Civic and completed in 1965. Also of a contemporary design, the Canberra building is in the Stripped classical style. The architectural qualities of the Canberra Reserve Bank building rely on the lightness of the structure, the regular structural pattern, the contrast between the marble-faced columns and beams and the receding pattern of the glazing. The vertical effect imparted by the columns extending over two levels gives the low rise building a sense of height and is most effective. The columns are cruciform in plan and support a beam carefully separated from the column. The glazed curtain wall is supported on the beam and uses aluminium mullions. The very strong, blank wall of the secure ground floor cash handling area on the external southeastern side of the building is another powerful reminder of its modernist qualities where the internal function gains external expression. Internally the most important space is the banking chamber. It is a symmetrical design with a central entrance under a canopy with black slate entrance floor, converting into carpet once inside the room.

The Reserve Bank, Adelaide, was built in 1963-65 to a design by the Commonwealth Department of Works architects C.D. Osborne, R.M. Ure, G.A. Row and F.J. Crocker. It is constructed from largely Australian building materials of high quality including Wombeyan marble, South Australian black granite and Victorian Harcourt grey granite. Of particular interest is the building's inward curving wall to both the east and west elevations.

Heritage listing

The Reserve Bank building (1964) designed by the Commonwealth Department of Works, Bank and Special Project Section, is highly significant in the development of post World War II multi-storey office buildings in Australia. It is a significant example of a 1960s office building notable as being a well-designed example of the International style; its construction using high-quality Australian materials; steel and concrete construction; and interior design details and artworks. The building's significance has been retained through a major extension (1974–1980), recladding (1993) and internal refitting. Through its prestigious design and function as Australia's central bank, the building makes an important contribution to the streetscape and character of Martin Place, Macquarie Street and Phillip Street.

Reserve Bank was listed on the Australian Commonwealth Heritage List on 22 June 2004 having satisfied the following criteria.

Criterion A: Processes

The Reserve Bank building (1964) designed by the Commonwealth Department of Works, Bank and Special Project Section, is highly significant in the development of post World War II multistorey office buildings in Australia. The building's significance has been retained through a major extension (1974–1980), recladding (1993) and internal refitting. The Reserve Bank building is of historical significance in its ability to demonstrate the changing functions and role of the Reserve Bank of Australia, particularly that of the head office, since 1964. The International style of the building represents the post-war cultural shift within the banking industry, away from the traditional architectural emphasis on strength and stability towards a more contemporary and international style.

The two foyer artworks are of historical and aesthetic significance. The artworks by Bim Hilder and Margel Hinder are significant examples of Australian modernist sculpture of this period by two significant artists, who were selected as the winners of design competitions by the Reserve Bank. The furnishings by Fred Ward are of historical and aesthetic significance. Designed for the building by Ward, who was one of the leaders in modern Australian industrial design at this time, the furnishings are of a simple and functional design which are now considered to be pieces of art in themselves.

When constructed elements of the mechanical and electrical services within the building were considered advanced and innovative, and although many elements have been removed or substantially altered, their incorporation in the building is still of interest today, this included the fire sprinkler system, smoke detectors and fire alarms; interior and signage lighting; and airconditioning.

The provision of two residential flats, for use by visitors to the bank; squash courts; and firing range were relatively uncommon for the time (all removed 2001). The two doors to the main strongroom were at the time of construction the largest and most technically advanced in the southern hemisphere.

Criterion B: Rarity

When constructed elements of the mechanical and electrical services within the building were considered advanced and innovative, and although many elements have been removed or substantially altered, their incorporation in the building is still of interest today, this included the fire sprinkler system, smoke detectors and fire alarms; interior and signage lighting; and airconditioning.

The provision of two residential flats, for use by visitors to the bank; squash courts; and firing range were relatively uncommon for the time (all removed 2001).

Criterion D: Characteristic values

The Reserve Bank building (1964) designed by the Commonwealth Department of Works, Bank and Special Project Section, is highly significant in the development of post World War II multi-storey office buildings in Australia. It is a significant example of a 1960s office building notable as being a well-designed example of the International style; its construction using high-quality Australian materials; steel and concrete construction; and interior design details and artworks. The building's significance has been retained through a major extension (1974–1980), recladding (1993) and internal refitting

Criterion E: Aesthetic characteristics

Through its prestigious design and function as Australia's central bank, the building makes an important contribution to the streetscape and character of Martin Place, Macquarie Street and Phillip Street.

Criterion F: Technical achievement

The Reserve Bank building is highly significant in the development of post World War II multi-storey office buildings in Australia for its use of high-quality Australian materials; steel and concrete construction; and interior design details and artworks.

The furnishings by Fred Ward are of historical and aesthetic significance. Designed for the building by Ward, who was one of the leaders in modern Australian industrial design at this time, the furnishings are of a simple and functional design which are now considered to be pieces of art in themselves

The variety of moveable heritage items located throughout the building including furniture, china, flatware, silverware, napery and accessories, pottery, tapestry and artworks are significant having been specifically designed or purchased for the building as well as being of artistic merit in their own right.

When constructed elements of the mechanical and electrical services within the building were considered advanced and innovative, and although many elements have been removed or substantially altered, their incorporation in the building is still of interest today, this included the fire sprinkler system, smoke detectors and fire alarms; interior and signage lighting; and airconditioning.

The two doors to the main strongroom were at the time of construction the largest and most technically advanced in the southern hemisphere.

Criterion G: Social value

The building has social significance being regarded by the Australian community as the home of the Reserve Bank function and the place where significant economic policy is carried out on behalf of the nation.

Criterion H: Significant people

The artworks by Bim Hilder and Margel Hinder are significant examples of Australian modernist sculpture of this period by two significant artists, who were selected as the winners of design competitions by the Reserve Bank. The furnishings by Fred Ward are of historical and aesthetic significance. Designed for the building by Ward, who was one of the leaders in modern Australian industrial design at this time, the furnishings are of a simple and functional design which are now considered to be pieces of art in themselves

The Reserve Bank head office building is associated with successive governors of the Reserve Bank: Dr. H.C. Coombs; J.G. Phillips (KBE); H.M. Knight KBE DSC; R.A. Johnston (AC); B.W. Fraser and I.J. Macfarlane. The building is also associated with personnel of the Commonwealth Department of Works, Banks and Special Projects branch, responsible for the building's design in particular: C. McGrowther; Professor H.I. Ashworth; C.D. Osborne; R.M. Ure; F.C. Crocker; G.A. Rowe; as well as E.A. Watts (builders for both stages of construction) and Frederick Ward (furniture designer).

See also

 Reserve Bank of Australia building, Canberra

References

Bibliography
 Architecture in Australia "Reserve Bank of Australia" September 1966.
 Australian Heritage Commission, Register of the National Estate, Place Reports for Reserve Bank, Canberra and Reserve Bank, Adelaide.
 City of Sydney, Heritage Database Inventory Report "Reserve Bank".
 Drill Hall Gallery Catalogue "Fred Ward: A selection of Furniture and Drawings" Drill Hall Gallery: 2 May-16 June 1996.
 Noel Bell Ridley Smith & Partners Pty Ltd. "The Reserve Bank 65 Martin Place Sydney 2000 Conservation Management Plan" June 2001.
 Proposed headquarters, Sydney, for the Reserve Bank of Australia. 1959. Folios F 725.24099441
 Royal Australian Institute of Architects, Register of Twentieth Century Buildings of Significance: "Heritage Inventory Report: Reserve Bank, 2000".
 Staples, M. "From Pillar to Post: Regional heritage and the erasure of Modernist architecture" in Rural Society Journal Volume 9 No 1, 1999.
 Taylor, J. "Post World War II Multistoried Office Buildings in Australia (1945–1967)" Report. For the Australian Heritage Commission 1994.
 Woodhead International & Noel Bell Ridley Smith & Partners Architects Pty Limited. "Revised Statement of Heritage Impact: Reserve Bank of Australia- Head Office Consolidation, 65 Martin Place, Sydney, New South Wales". Revised May 2001.

Other sources of information
 Bloomfield Galleries: Information on Margel Hinder
 Information on Fred Ward from the Drill Hall Gallery.
 Reserve Bank of Australia Web site www.rba.gov.au

Attribution

External links

Category:Commonwealth Heritage List
Category:Office buildings in Sydney
Category:Bank buildings in New South Wales
Category:Articles incorporating text from the Australian Heritage Database
Category:Reserve Bank of Australia
Category:Martin Place
Category:1964 establishments in Australia
Category:Office buildings completed in 1964


CountyWatch

CountyWatch is a direct action group in the United Kingdom that was set up in 2004 to remove what they consider to be wrongly placed county boundary signs that do not mark the historic or ancient county boundaries of England and Wales. Since 2005, Count Nikolai Tolstoy has been a patron of CountyWatch. CountyWatch and its supporters claim to have removed, re-sited or erected 80 county boundary signs in Dorset, County Durham, Greater Manchester, Hampshire, Lancashire, Lincolnshire, North Yorkshire, Somerset and Warwickshire.

A prominent member of the group is Anthony Bennett, a British politician. In May 2002 Bennett was prosecuted for removing 29 metric road signs that he claimed were illegal and that he was preventing the law from being broken. He buried the signs in four locations under bushes. Initially found guilty of theft and criminal damage, his theft conviction was overturned in October 2002 on appeal. The judge stated that "there was no evidence of dishonesty or that he intended to permanently deprive the owners of their signs." His conviction for criminal damage was upheld, but the judge discharged the sentence, which had been 50 hours of community service.

Beliefs

CountyWatch sees the abolition of democratically elected county councils in the UK as part of a long-term project to weaken the constituent nations of Europe, notably the UK, and to concentrate power at two levels: Brussels (the European Commission) and the "regions" within countries. CountyWatch believes in taking direct action within the law to counter aspects of this project.

There have been similar illegal acts before. The former county of Humberside was extremely unpopular with some of its residents.  The book The Fight for Yorkshire by Michael Bradford detailed a series of cases where signs were altered to read "East Riding of Yorkshire" in North Humberside. None of these acts were ever prosecuted and in 1996 the county was abolished.

Direct action

Bedfordshire
In August 2007, CountyWatch took its campaign to Bedfordshire, where, in November 2006, Bedfordshire County Council erected four signs on the main roads on the north, west and south sides out of Luton proclaiming 'Welcome to Bedfordshire'. Luton is the largest town within the historic and ceremonial county of Bedfordshire. Some letter writers still address mail to "Luton Beds". Some organisations based in Luton, such as the University of Bedfordshire, include 'Bedfordshire' as part of their address. In 1996, the Royal Mail stopped using Postal Counties as a method of sorting mail, using instead the post code. However, they have a "flexible addressing policy" whereby historic counties can be used. Luton became a unitary authority on 1 April 1997. Bedfordshire County Council no longer runs any services in the area covered by Luton Borough Council.

The County Council erected the signs only in November 2006 in a struggle to save Bedfordshire County Council from extinction against rival bids from the Borough of Bedford to become a unitary Borough Council and from Mid Bedfordshire and South Bedfordshire Councils to become another unitary authority, to be called Central Bedfordshire.

The signs were unpopular with some Luton residents, some of whom called the signs "snooty". Bedfordshire County Council responded by saying, "Luton has been a unitary authority since 1997 and is therefore not part of Bedfordshire. In July 2007, the government announced that Bedfordshire County Council would be abolished in 2010.

On 9 August 2007, CountyWatch removed four Welcome to Bedfordshire signs from Luton, claiming they were misleading to the public. One sign was removed from the B653 to Wheathampstead and re-erected on the A505 near Stopsley in front of a Welcome to Luton sign. The other three signs were removed from the A6, the A505 and the B579. CountyWatch claimed these were being stored at a secure location and added that the signs would be returned to the County Council if they were re-sited on what CountyWatch deem to be the true Bedfordshire boundaries. The County Council responded by stating that, "This is absolutely crazy. We are proud of our county and we like to ensure that visitors are given a warm welcome. The signs on the edge of Luton mark the boundaries of their responsibilities and the beginnings of ours."

Berkshire
In April 2006 the group set up "Royal County of Berkshire" signs on the ancient border between Berkshire and Oxfordshire.  The signs were quickly removed. The Mayor of Abingdon, once the county town of Berkshire, now administered by Oxfordshire County Council, said "I still get letters addressed to me with Abingdon, Berkshire, and many older people still have allegiances." The Mayor of Wantage, however, noted, "I think Count Tolstoy and his supporters are living in the past. They need to face reality. I know there are many older people in Wantage who still think of themselves as Berkshire people, but the reality is that time has moved on and we can't go backwards." The Mayor of Faringdon said that "Faringdon should stay in Oxfordshire", noting that "when we were in Berkshire, County Hall in Reading was so far away. It's much better for us to get into Oxford."

Dorset and Hampshire border
On 10 November 2005, Tony Bennett removed a Dorset sign from Chewton Bunny at Highcliffe and moved it to its historic location at the original County Gates border between Bournemouth and Poole, claiming that while Bournemouth and neighbouring Christchurch had been administered by Dorset County Council for the past 30 years, they remained historically Hampshire towns.

Durham
In May 2006, CountyWatch announced that it has been contacted by Durham residents who were unhappy that Durham County Council had recently relocated signs from the historic boundary between Durham and Yorkshire and relocated them to the Darlington boundary. It would be travelling around Durham looking to see whether signs were on what it consider to be the correct, true border and would remove County Durham signs from the border with the unitary authority of Darlington to the historic and currently ceremonial border with North Yorkshire on the River Tees on 25 May 2006 and re-erect them on suitable posts along the River Tees.

The BBC and Tyne Tees Television filmed CountyWatch removing the boundary signs at Royal Oak. Twelve signs with, "County Durham: Land of the Prince Bishops" were removed. Three of them were re-erected along the historic border between Yorkshire and Durham – the River Tees, also the current ceremonial border. The Council were informed by CountyWatch of the location of the other signs they removed. Durham County Council issued a statement saying that CountyWatch's actions were "nothing more than sheer vandalism, no less mindless or anti-social than smashing bus stops or phone boxes".

On 31 May 2006, an article in The Northern Echo newspaper praised the group's actions, calling the council's statement "a trifle wide of the mark" and ended the article - "Carry on CountyWatch".

Lancashire
In November 2005 CountyWatch removed over thirty 'Welcome to Lancashire' signs from Blackburn, Blackpool, Skelmersdale and Southport, placing all of them on the historic Lancashire/Yorkshire border at Blacko near Nelson, where they telephoned the Council's Solicitor. Lancashire County Council reacted by stating that "the cost of replacing the signs would be met from taxpayers' money." and also that it would be speaking to the police about the group. The Welcome to Lancashire signs were erected on the boundaries with Blackburn with Darwen and Blackpool unitary authorities by the county council in 2004 to show where its services begin. CountyWatch responded stating that, "The sign says 'Welcome to Lancashire', it doesn't say 'Welcome to the administrative unit of Lancashire County Council - that would be all right." The signs which were dumped by the side of the A682 in Blacko, near to the historic border with Yorkshire, were recovered by Lancashire County Council who stated that they would re-erect them.

CountyWatch also claimed to have removed the larger brown-coloured motorway signs on the M6, M66 and M61 which read "Welcome to Lancashire the Red Rose County". They also claimed that they  had a legal right to remove signs under the section 131 of the Highways Act 1980 because "they misinform the public".

Lincolnshire
On 27 July 2005, the BBC TV Look North regional news programme featured the group and filmed it in the act of removing a "Welcome to the County of Lincolnshire" sign near Brigg. Lincolnshire County Council Area Highways Manager Eric Jorgensen described the group as "self-appointed and unelected" and stated that taxpayers would be forced to pay for the signs to be replaced.

On 22 September 2005, CountyWatch removed ten road signs stating: "Welcome to the County of Lincolnshire" between Brigg and Immingham, which the group claimed there was no point in putting up a welcome sign 15 miles into the historic county. CountyWatch claimed, "Lincolnshire starts where Yorkshire finishes – not 20 miles into Lincolnshire. We want them erected on the proper boundary". Lincolnshire County Council however attacked the group for taking council property and said "it will cost the taxpayer to put the signs back up". The signs were deposited at a council depot after being removed.

Somerset
In August 2004, CountyWatch's first action was the removal of five signs saying 'Welcome to the County of Somerset', on the northern border of the non-metropolitan county of Somerset with either Bath and North East Somerset or North Somerset. The signs were taken down by CountyWatch members and relocated on the historic borders of Somerset with neighbouring historic counties Gloucestershire and Wiltshire.

Nine new local authorities
On 25 July 2007, the Local Government Minister, John Healey from the Department for Communities and Local Government announced that nine all-purpose local authorities would be created in 2009 in England.

CountyWatch see this as the next phase of attempts to replace the administration of England and Wales by county and district councils with a series of so-called 'unitary' authorities, which combine the administrative functions of both district councils and county councils. Region-wide functions will be carried out by regional development agencies and new government quangos, following the announcement earlier in the month of the abolition of unelected regional assemblies from 2010.

See also
Association of British Counties
Friends of Real Lancashire
Yorkshire Ridings Society

References

Category:Activism
Category:2004 establishments in the United Kingdom
Category:Organizations established in 2004
Category:Counties of the United Kingdom


Radu Poklitaru

Radu Poklitaru (born 1972) was born in Chișinău, Moldova. He is the current director (2006–present) and artistic manager for the Kyiv Modern Ballet. From 2012-2014, he was one of the judges for Everybody Dance! (in Ukrainian: Танцюють всі!). In 2014, Poklitaru was the choreographer for the opening and closing ceremonies of the 2014 Winter Olympics in Sochi.

From 1991–2001, Poklitaru was a ballet dancer of the National Academic Bolshoi Theatre in the Belorussia Republic. From 2001–2002, he was the head choreographer of the National Opera in Moldova. From 2012–2013, Poklitaru was the creative director of the Municipal Academic Opera and Ballet Theatre for Children and Young People in Kiev.

Works as a choreographer Radu Poklitaru directed the following performances
“The Fairy’s Kiss” to I. Stravinsky's music. The National Academic Bolshoi Opera and Ballet Theatre of the Republic of Belarus, Minsk, 1999.
“The World does not stop on the doorstep” to G.Mahler's and J. Des Prez's music. – The State Musical Theatre in Minsk, 1999.
“La spectre de la Rose”, to C.M.Weber's music. The State Musical Theatre in Minsk, 2001.
“Pictures from the Exhibition”, to M. Mussorgsky's music. The T. Shevchenko National Opera and Ballet of Ukraine, 2002.
“Bolero” and “Waltz” to M. Ravel's music. The National opera and Ballet Theatre of Moldova, 2003.
“Othello’s Birthday” to S. Prokofiev's music. The Russian Chamber Ballet “Moscow”, 2004.
“Le forze del destino”  – an opera-ballet: the project of Vladimir Filippov Art Foundation, Kiev, 2005.
“Cinderella” to S. Prokofiev's music. – The National Opera of Latvia, 2005.
“Cinderella” to O. Khodosko's music. – The National Opera of Latvia, 2006.
"The Rain" – a choreographic fantasy to the world folk melodies and J.S. Bach's music, 2007.
"Underground" - a one-act ballet to P. Vasks’ music, 2008.
“Two for the Seesaw”, to Ch. Vargas's and J.-S. Bach's music. – Bunkamura Orchard Hall, Tokyo, Japan, 2009.
"Quartet-a-tete", A. Maas's music, a one-act ballet, 2010.
«IN PIVO VERITAS», a one-act ballet to the Celtic folk music and the music of Renaissance, 2011.
"Intersection", a ballet-triptych to M. Skoryk's music: joint project of the “KYIV MODERN-BALLET” Theatre and the T.H.Shevchenko National Opera and Ballet Theatre of Ukraine, 2012.
"Hereven", V.Nikolayev's music – a one-act ballet: joint project of the “KYIV MODERN-BALLET” Theatre and the P.I.Tchaikovsky Opera and Ballet Theatre in Perm, 2012.
"Swan Lake", P.I. Tchaikovsky's music, a two-act ballet, 2013.
"Women in D Minor" - " A one-act ballet to J.S. Bach’s music,2014.
"The Long Christmas Dinner", a one-act ballet to A. Vivaldi's music, 2014.
“Hamlet” to D.Shostakovich's music (in collaboration with the British director D. Donnellan) – The Bolshoi Theatre of Russia, Moscow, 2015.\
 “The Rain”, a choreographic fantasy to the world folk melodies and J.- S. Bach's music. The National Theatre (Národní divadlo), Prague, 2016.
“Women in D minor” to J.- S. Bach's music and “The Long Christmas Dinner” to A. Vivaldi's music. National Theatre in Belgrade (Narodno Pozorište u Beogradu), Belgrade, 2016.

Performances created with the dancing company of Kyiv Modern Ballet Theatre
 “Up the river”, a one-act ballet to A. Rodin's music, 2017.
 “Giselle”, a two-act ballet to A. Adam's music, 2016.
 “The Long Christmas Dinner”, a one-act ballet to A. Vivaldi's music, 2014.
 “Women in D minor”, a one-act ballet to J. - S. Bach's music, 2014
 “Swan Lake”, a two-act ballet to P. Tchaikovsky's music, 2013.
 “Hereven”, a one-act ballet to V.Nikolayev's music, joint project of Kyiv Modern Ballet Theatre and Perm Opera and Ballet Theatre, 2012.
 “Intersection”, a ballet-triptych to M. Skoryk's music, joint project of Kyiv Modern Ballet Theatre and Taras Shevchenko National Opera and Ballet Theatre of Ukraine, 2012.
 “In Pivo Veritas”, a one-act ballet to the Celtic folk music and the music of Renaissance, 2011.
 “Con Tutti Instrumenti”, divertissement of modern choreography, 2010.
 “Quartet-a-Tête”, a one-act ballet to A. Maas’ music, 2010.
 “Two for the Seesaw”, a one-act ballet to Ch. Vargas’ and J.- S. Bach's music, 2009.
 “Underground”, a one-act ballet to P. Vasks’ music, 2008.
 “Ward No. 6”, a one-act ballet to A. Piart's music, 2008.
 “Nutcracker”, a two-act ballet to  P. Tchaikovsky's music, 2007.
 “Romeo and Juliet” (Shakespeariments), a one-act ballet based upon W. Shakespeare's plays, to  P. Tchaikovsky's, G.F. Handel's music and the music of Renaissance times, 2007.
 ”Bolero”, a one-act ballet, to M. Ravel's music, 2007.
 “The Rain”, a choreographic fantasy to the world folk melodies and J. - S. Bach's music, 2007.
 “Carmen.TV”, a two-act ballet to G. Bizet's music, 2006.

In 2014 Radu Poklitaru was invited as a choreographer for the opening and closing ceremonies of the Olympic Games in Sochi. For the opening ceremony he produced a mini-ballet “Natasha Rostova’s First  Ball” to the music of several composers, with present and past stars of  Bolshoi Theatre taking part – Svetlana Zakharova, Vladimir Vassilyev, Ivan Vassilyev and Alexander Petukhov among them.

In 2016 Radu Poklitaru received Shevchenko National Prize in the “Performing Arts” nomination – the highest state prize of Ukraine for works of culture and arts.

Up until now the choreographer has created over thirty one-act and full-length productions, performed on various stages, including the Bolshoi Theatre, the Russian Chamber Ballet “Moskva”, the Stanislavsky and Nemirovich-Danchenko Moscow Music Theatre and the National Operas of Moldova, Latvia, Belarus and Ukraine.

Radu Poklitaru's ballet productions were presented at International musical festivals and on tours in Great Britain, France, the Netherlands, the United States, Japan, China, Poland, Estonia, Thailand, Spain and other countries.

Each of Radu Poklitaru's projects is a challenging experiment and a daring quest, which unveils the complicated inner world of a human personality and attracts with its unconventional reading of world-known theatrical plots, as well as its renewing and enriching form and vocabulary of modern dancing.

References

Category:1972 births
Category:Living people
Category:People from Chișinău
Category:Ballet choreographers


Erivan Province (Safavid Empire)

The Erivan Province (), also known as Chokhur-e Sa'd (), was a velayat (province) of the Safavid Empire, centered on the territory of the present-day Armenia. Erivan (Yerevan) was the provincial capital and the seat of the Safavid governors.

At the end of the Safavid period, it had the following administrative jurisdictions; Bayazid, Maghazberd, Maku, Nakhchivan, Sadarak, Shadidlu, Zaruzbil, and the tribal district of the Donbolis.

The provinces of Erivan and Qarabagh were the two administrative territories that made up Iranian Armenia.

History
The alternate name of the province, Chokhur-e Sa'd, had been in use since the fourteenth century. The name is derived from a certain Amir Sa'd, the leader of the Turkic Sa'dlu tribe, who had accompanied Timur from Central Asia. The Sa'dlu's had become prominent under their leader, Amir Sa'd, and settled in the Erivan area, where Amir Sa'd became the governor of the area. Chokhur-e Sa'd literally means "Vale of Sa'd".

Historic Armenia, which included the territory of the Erivan Province, made part of the Safavid Empire from its earliest days. In 1502, the first governor of the Erivan Province was appointed by then incumbent King (Shah) Ismail I (1501–1524), and royal Safavid edicts make mention of the province as early as 1505 and 1506. As a result of the Peace of Amasya of 1555, the Safavids, then under King Tahmasp I (1524–1576) were forced to cede the western part of historic Armenia to the expanding Ottomans.

In 1578, the Ottomans invaded the Safavid Empire, and by 1583 they were in possession of the Erivan province. In 1604, Safavid King Abbas I (1588–1629) expelled them and re-established the Safavid sway.

Around the same time, realizing the vulnerability of the province, King Abbas I ordered for the mass deportation and relocation of the Armenians from his Armenian territories (which thus included the Erivan Province), deeper into mainland Iran.

At the beginning of the seventeenth century, some 19,000 converted Catholic Armenians were living in three towns and twelve villages in the Nakhchivan, Ernjak and Jahuk regions, and had ten Catholic churches to serve them. When the Safavid Empire started to decline, in the second half of the 17th century, during the reign of King Suleiman I (1666–1694), the situation of the Catholic Armenians of Nakhchivan deteriorated. As a result of the increasing religious intolerance and misrule by governmental officials, the majority of the Armenian Catholics of Nakchivan had to convert to Islam. The remaining minority either returned to the Armenian Apostolic Church, or migrated to Smyrna, Constantinople, Bursa and other towns in the Ottoman Empire.

In 1639, the Safavids and the Ottomans concluded the Treaty of Zuhab. Eastern Armenia was reconfirmed as being an Iranian domain, whereas Western Armenia was irrevocably lost to the Ottomans. The ensuing period following 1639 was marked by peace and prosperity in the province. At the end of the seventeenth century, the Erivan Province had become a centre of Catholic missionary activities in the empire.

In 1679, the province was the epicenter of an earthquake, which resulted in the destruction and damaging of numerous notable structures.

In 1714, the mayor (kalantar) of the provincial capital, Mohammad Reza Beg, was appointed as the new ambassador to France, and led the embassy to Louis XIV of 1715.

In 1724, the Ottomans and the Russians invaded the crumbling empire. By the Treaty of Constantinople (1724), they agreed to divide the conquered territories between them. Per the treaty, the Ottomans gained the territory of the Erivan Province.

By 1735, Nader-Qoli Beg (later known as Nader Shah) had restored the Safavid sway over the Caucasus, including the Erivan Province. In 1736, he deposed the Safavids and became king himself, establishing the Afsharid dynasty.

Mint
The provincial capital, Erivan, housed an important Safavid mint. It was one of the few Safavid mints, alongside the ones at Tabriz and Tiflis (Tbilisi), where re-minting took place.

Stationed Safavid force
The Erivan Province was of high importance to the Safavids, partly due to the fact that it bordered the Ottoman Empire. The French missionary and traveller Père Sanson, who was in the Safavid Empire during the latter part of King Suleiman I's reign (1666–1694), wrote that some 12,000 Safavid troops were stationed in the Erivan Province.

Religious and ethnic affiliation
Muslims constituted majorities in the province, whereas ethnic Armenians were a minority. Until the mid-fourteenth century, Armenians had constituted a majority in Eastern Armenia.
At the close of the fourteenth century, after Timur's campaigns, Islam had become the dominant faith, and Armenians became a minority in Eastern Armenia.

List of governors

Notes

References

Sources

Category:Provinces of the Safavid dynasty
Category:16th century in Armenia
Category:17th century in Armenia
Category:18th century in Armenia
Category:History of Nakhchivan
Category:History of West Azerbaijan Province


1999 Queensland Cup

The 1999 Queensland Cup season was the 4th season of Queensland's top-level statewide rugby league competition.

The competition was contested by fourteen teams over a 26-week long season (including finals), with the Burleigh defeating the Redcliffe Dolphins 12–10 in the Grand Final at Suncorp Stadium. Redcliffe  Mick Roberts was named the competition's Player of the Year.

Teams
The number of teams in the competition was reduced from 16 to 12 for the 1999 season. Brisbane Brothers, Bundaberg Grizzlies, Gold Coast Vikings and Townsville Stingers were all withdrawn. Brothers and Bundaberg both competed in the inaugural season of the Queensland Cup, while Townsville and the Vikings both played just one season.

For the 1999 season, the Brisbane Broncos were affiliated with the Toowoomba Clydesdales, the Melbourne Storm with the Norths Devils and the North Queensland Cowboys with the Cairns Cyclones and Wests Panthers. The Auckland Warriors also used Souths Magpies and Wynnum Seagulls as feeder clubs, sending them up to four players each round.

Ladder

Finals series

Grand Final

Burleigh qualified for their first Grand Final after a comeback win over Norths in the minor semi finals and with a six-point win over Redcliffe a week later. Redcliffe, who finished as minor premiers for the first time and earned a first week bye, were forced into a preliminary final with Norths after losing to the Bears. The Dolphins held on for a four-point victory to book their third Grand Final appearance in five years.

First half
After Burleigh kicked a penalty goal inside the opening minute, it took 20 minutes for the first try of the game to be scored, with Bears' centre Darren Anderson crossing out wide. With six minutes to play in the first half, Dolphins' centre Mixie Lui put his winger Trent Leis into gap to score. Leis missed the ensuing conversion leaving his side trailing by four points at half time.

Second half
Redcliffe opened the second half with a penalty goal from right in front after Burleigh prop Tony Priddle was penalised. 10 minutes later, the Dolphins nabbed their second try when winger Ricky Hewinson scored in the corner, courtesy of a Tony Gould cutout pass. Leis failed to convert but Redcliffe had their first lead, 10–8, with 18 minutes remaining. Burleigh regained the lead shortly after when fullback Jamie Mahon scored what would be the game-winning try. A tense final 10 minutes followed but Burleigh hung on to claim their first premiership in their third season in the Queensland Cup.

Burleigh winger Aaron Douglas, who was stretchered off during the game, became the first player to win two Queensland Cup Grand Finals, winning his first with Redcliffe two years earlier.

Player statistics

Leading try scorers

Leading point scorers

End of season awards
 Courier Mail Medal: Mick Roberts ( Redcliffe Dolphins)
 Rookie of the Year: David Seage ( Wynnum Seagulls)

See also

 Queensland Cup
 Queensland Rugby League

References

Category:1999 in Australian rugby league
Category:Queensland Cup


1920 Mississippi A&M Aggies football team

The 1920 Mississippi A&M Aggies football team represented the Mississippi A&M Aggies of Agricultural and Mechanical College of the State of Mississippi during the 1920 college football season.

Schedule

References

Mississippi AandM
Category:Mississippi State Bulldogs football seasons
Category:1920 in Mississippi


Raj Shekhar

Raj Shekhar is an Indian lyricist. He made his Bollywood debut as a lyricist with the 2011 film Tanu Weds Manu. He went on to write lyrics for other notable films including Tanu Weds Manu Returns, Tumbbad, Veere Di Wedding, Hichki and Uri: The Surgical Strike.

Career
He started his career as an assistant director to Aanand L. Rai. He made his debut as a lyricist in the Bollywood film Tanu Weds Manu, directed by Rai and starring R. Madhavan and Kangana Ranaut. He assisted Abbas Tyrewala in Jaane Tu... Ya Jaane Na and Sujoy Ghosh in Home Delivery.
He even appeared for small role in Anwar and Ghanchakkar.

As lyricist

References

External links

Category:Indian lyricists
Category:Living people
Category:Hindi-language lyricists
Category:Year of birth missing (living people)


West Island Way

The West Island Way is a waymarked long distance footpath on the Isle of Bute. The route opened in September 2000 as part of Bute's millennium celebrations, and was the first waymarked long distance route on a Scottish island. As of 2018 it was estimated that between six and seven thousand people were using the trail each year. The route is designated as one of Scotland's Great Trails by Scottish Natural Heritage.

Description
It is a fairly easy walk of approximately , passing through seashore, moorland, farmland and forest. The route begins at Kilchattan Bay in the south of the island, and finishes at Port Bannatyne in the north, with Rothesay, the main town on Bute, as a central point. The hike can be completed over two fairly lengthy walking days, or four shorter days. The official map and guide of the route is available from the Bute Discovery Centre in Rothesay.

Footnotes

External links
Official Website

Category:Scotland's Great Trails
Category:Isle of Bute
Category:Footpaths in Argyll and Bute


Crimesterdam

Crimesterdam is an Armenian rock band from Yerevan. They are known for their rock and roll and psychedelic sound influenced by many bands such as Oasis, Blur, The Beatles, etc. The band is currently on hiatus.

Overview

Formation
Crimesterdam was founded in Yerevan in July 2010 by vocalist Arthur Solakhyan and guitarists Sarkis Shirinian and George Hovhannisyan. They played several concerts at local clubs with support from former The North Avenues bassist Dave Geodakian (who joined Crimesterdam in November 2010) and other musicians. Guitarist Yura Khachatryan joins the band in March 2011. The final line-up of Crimesterdam formed in June 2011 when Vladimir Hovhannisyan from Scream of Silence joined the band.

First releases
In December 2010 Crimesterdam signed to Indie Libertines Records label. They released their debut single Yeah Pappa I'm Smoking under Indie Libertines Records on 14 December, and several weeks later, on 31 January 2011, their acoustic EP, Acoustic for Indie Libertines, came out. It consisted of three songs, two of which are also featured on Mary Wants To Marry EP.

The band released their debut EP Mary Wants To Marry on 28 April 2011. EP was recorded and mixed at Dave Geodakian's home studio.

Later that year, on 3 September, Crimesterdam released Your Russian Wife EP, which was preceded with eponymous video.

Debut album
In October 2011 Crimesterdam started working on their debut full-length album. Their only LP, "Obsolete Modern Retro" was released on 18 June 2012.

Discography

Albums
 Obsolete Modern Retro (18 June 2012)

EPs
 Mary Wants To Marry (28 April 2011)
 Your Russian Wife (3 September 2011)

Singles
 Underground Glory (26 March 2012)
 Friday (As It Starts) / It Is Not Dying (7 May 2012)
 Bring It On (6 November 2012)
 An English Breakfast (6 November 2012)
Other
 Acoustic For Indie Libertines'' (31 January 2011)

References

External links

Category:Armenian rock music groups
Category:Musical groups established in 2010
Category:Musical groups disestablished in 2014


Madison Mad Dogs

The Madison Mad Dogs were an indoor football team that played in the Professional Indoor Football League (PIFL) in 1998, and in the Indoor Football League (IFL) in 1999 & 2000. The Mad Dogs franchise was owned by Keary Ecklund. The team office was based in Madison, Wisconsin, and played their games at the Dane County Coliseum, now Veterans Memorial Coliseum, at the Alliant Energy Center. The team colors were: Red, Silver, and Black. The Mad Dogs were coached by Richard "Dick" Adams for the '98 PIFL season.

The Mad Dogs played four preseason PIFL games in '98. Winning only once:

February 18 – Madison Mad Dogs 22 at Green Bay Bombers 64
February 23 – Green Bay Bombers 45 at Madison Mad Dogs 39
March 19 – Colorado Wildcats 20 at Madison Mad Dogs 27
March 28 – Madison Mad Dogs 29 at Minnesota Monsters 33

The Madison Mad Dogs tied with their sister team, Green Bay Bombers – both teams owned by Ecklund, for the second best record in the PIFL with a 10-4 record. In the playoffs, the Mad Dogs hosted the Bombers in the first round. They won 46-19.

Keary Ecklund took his Bombers and Mad Dogs teams and defected from the PIFL to form the IFL. In 1999, the team, finished 6-6 in the Northern Division of the IFL.

The following year was very similar, but finalized with a couple of playoff games. The Mad Dogs finished 8-6 in the Northern Division of the IFL. Then, Madison faced Erie at home in the first round of the IFL playoffs. Defeating them 34-22 and advancing to the second round at Peoria. Peoria was too much for the Mad Dogs, as they lost 13-25 and out of the IFL playoffs. When the IFL was sold, following the 2000 season, the Mad Dogs disappeared.

Season-By-Season

|-
| colspan="6" align="center" | Madison Mad Dogs (PIFL)
|-
|1998 || 10 || 4 || 0 || 2nd League || Won Semifinal (Green Bay)Lost PIFL Championship (Louisiana)
|-
| colspan="6" align="center" | Madison Mad Dogs (IFL)
|-
|1999 || 6 || 6 || 0 || 3rd Northern || --
|-
|2000 || 8 || 6 || 0 || 3rd EC Northern || Won Round 1 (Erie)Lost Quarterfinal (Peoria)
|-
!Totals || 26 || 18 || 0
|colspan="2"| (including playoffs)

Madison Mad Dogs 1998 PIFL schedule
April 10 – Louisiana Bayou Beast 36, at Madison Mad Dogs 28
April 19 – Madison Mad Dogs 33, at Louisiana Bayou Beast 67
April 27 – Great Britain Spartans‡ 12, at Madison Mad Dogs† 29
†EXHIBITION GAME

‡Team in the proposed PIFL European Division – set for late '98
May 2 – Texas Bullets 28, at Madison Mad Dogs 35
May 9 – Madison Mad Dogs 49, at Utah Catzz 27
May 16 – Madison Mad Dogs 24, at Honolulu Hurricanes 33
May 23 – Green Bay Bombers 30, at Madison Mad Dogs 31
May 31 – Madison Mad Dogs 44, at Texas Bullets 46
June 6 – Minnesota Monsters 20, at Madison Mad Dogs† 36
†EXHIBITION GAME
June 13 – Madison Mad Dogs at Minnesota Monsters – Minnesota forfeits
June 20 – Honolulu Hurricanes 36, at Madison Mad Dogs 64
July 4 – Madison Mad Dogs at Colorado Wildcats – Colorado forfeits
July 11 – Madison Mad Dogs 52, at Green Bay Bombers 30
July 18 – Colorado Wildcats 18, at Madison Mad Dogs 54
August 1 – Utah Catzz at Madison Mad Dogs – Utah forfeits

PLAYOFF SUMMARY
August 7 – #3 Green Bay Bombers 19, at #2 Madison Mad Dogs 46

PIFL CHAMPIONSHIP GAME
August 15 – #2 Madison Mad Dogs 41, at #1 Louisiana Bayou Beast 42

Madison Mad Dogs 1999 IFL schedule
April 2 – Madison at Peoria Pirates 0-36
April 9 – Dayton Skyhawks at Madison 41-48
Week 3 bye
April 23 – Madison at Lincoln Lightning 37-34
April 30 – Topeka Knights at Madison 26-38
May 7 – Green Bay Bombers at Madison 33-23
May 14 – Madison at Duluth-Superior Lumberjacks 55-28
May 21 – Steel Valley Smash at Madison 47-53
Week 9 – Madison at Green Bay Bombers 34-59
Week 10 – Madison at Steel Valley Smash 33-50
Week 11 – Peoria Pirates at Madison 52-22
Week 12 – Madison at Dayton Skyhawks 47-51
Week 13 – Lincoln Lightning at Madison 41-47

Madison Mad Dogs 2000 IFL schedule
Week 1 Madison at Peoria Pirates 20-46
Week 2 bye
Week 3 Madison at Green Bay Bombers 27-53
Week 4 Minnesota Purple Rage at Madison 48-32
Week 5 La Crosse River Rats at Madison 27-56
Week 6 Madison at Billings Thunderbolts 33-60
Week 7 Steel Valley Smash at Madison 24-49
Week 8 Madison at La Crosse River Rats 37-25
Week 9 Peoria Pirates at Madison 	62-59
Week 10 Duluth-Superior Lumberjacks at Madison 25-57
Week 11 Madison at Duluth-Superior Lumberjacks 66-21
Week 12 Johnstown Jackals at Madison 45-54
Week 13 Green Bay Bombers at Madison 44-31
Week 14 Fargo Freeze at Madison 26-37
Week 15 Madison at Minnesota Purple Rage 61-45

PLAYOFF SUMMARY
Week 1 – Erie Invaders at Madison 22-34
Week 2 – Madison at Peoria Pirates 13-25

Category:Professional Indoor Football League teams
Category:Indoor Football League (1999–2000) teams
Category:American football teams in Wisconsin
Category:Sports in Madison, Wisconsin
Category:1998 establishments in Wisconsin
Category:2000 disestablishments in Wisconsin
Category:American football teams established in 1998
Category:American football teams disestablished in 2000


MV British Cavalier

British Cavalier was a  tanker that was built in 1942 for the Ministry of War Transport (MoWT) as Empire Cavalier. In 1945, she was sold to the British Tanker Co Ltd and renamed British Cavalier, serving until 1959 when she was scrapped.

Description
The ship was built by Sir J Laing & Sons Ltd, Sunderland. She was launched on 27 August 1942 and completed in November.

The ship was  long, with a beam of  and a depth of . She had a GRT of 9,891 and a NRT of 5,912.

She was propelled by a 4-stroke Single Cycle Single Action diesel engine which had eight cylinders  diameter by  stroke. The engine was built by Hawthorn, Leslie & Co Ltd, Newcastle upon Tyne.

History
Empire Castle was built for the MoWT. She was placed under the management of Mungo Campbell & Co Ltd. She was allocated the United Kingdom Official Number 169033. The Code Letters BFCF were allocated and her port of registry was Sunderland.

Empire Cavalier was a member of a number of convoys during the Second World War.

ON 166
Convoy ON 166 departed Liverpool on 11 February 1943 and arrived at New York on 3 March. Empire Cavalier joined the convoy at sea, having departed from Halifax, Nova Scotia.

HX 229
Convoy HX 229 departed New York on 8 March 1943 and arrived at Liverpool on 23 March. Empire Cavalier was carrying a cargo of aviation fuel.

HX 313
Convoy HX 313 departed New York on 10 October 1944 and arrived at Liverpool on 24 October. Empire Cavalier was bound for Thameshaven.

In 1945, Empire Cavalier was sold to the British Tanker Co Ltd and renamed British Cavalier. She served until 1957, and was laid up on 13 November at Swansea. On 23 May 1959, she arrived at Briton Ferry for scrapping.

References

External links
Old Ship Picture Galleries: Empire Cavalier 01

Category:1942 ships
Category:Ships built on the River Wear
Category:Tankers of the United Kingdom
Category:Ministry of War Transport ships
Category:Empire ships
Category:World War II tankers
Category:Merchant ships of the United Kingdom


Ira J. Kurzban

Ira J. Kurzban is an American civil rights and immigration lawyer. He is the author of Kurzban's Immigration Law Sourcebook, published by the American Immigration Council. Kurzban received widespread media coverage during the 1980s for his representation of Haitian immigrants in Miami, and, in the 1990s and more recently, for his representation of the Haitian government and its two-time president, Jean-Bertrand Aristide.

Kurzban is a partner in the law firm of Kurzban Kurzban Tetzeli & Pratt, P.A., of Miami, Florida, and serves as adjunct faculty member in Immigration and Nationality Law at the University of Miami School of Law. He is also a founding board member of Immigrants' List, a political action committee focusing on immigration issues. He was a founder of the Institute for Justice & Democracy in Haiti and served as Board Chair from 2004-2019.

Academic honors
Kurzban holds J.D. and M.A. Degrees from the University of California, Berkeley and a B.A. with honors from Syracuse University, where he graduated Phi Beta Kappa. He also holds an honorary law degree from the University of Pennsylvania Law School and is also the 2003–04 recipient of the Wasserstein Fellowship at Harvard University Law School.

Professional honors
Kurzban was the first recipient of the Tobias Simon Pro Bono Award, presented by the Chief Justice of the Florida Supreme Court.  He is also the recipient of the Lawyers of the Americas Award for his work on behalf of human rights in this hemisphere given by the University of Miami, The Jack Wasserman Award for excellence in federal litigation and the Edith Lowenstein Memorial Award for excellence in the advancement of immigration law given by the American Immigration Lawyers Association, and the Carol King Award for his effort in immigration law given by the National Lawyers Guild.  In 1986 Kurzban was selected by Newsweek magazine, in their commemorative issue on the 100th anniversary of the Statue of Liberty, as one of 100 American heroes for his work on behalf of immigrants.  He was also selected by Esquire Magazine as part of America's New Leadership Class. Kurzban has also been named to Who's Who in America, Who's Who in American Law, and Who's Who in the World. He was also called a "legend in the field" and listed among the world's most highly regarded individuals in the International Who's Who of Corporate Immigration Lawyers.

Kurzban served as President (1987–88) of the American Immigration Lawyers Association and has also served as the association's General Counsel.

Litigation
Kurzban has litigated over 50 federal cases concerning the rights of aliens, including Jean v. Nelson, Commissioner v. Jean, and McNary v Haitian Refugee Center, Inc., which he argued before the United States Supreme Court.  He has also litigated numerous cases under the Alien Tort Claims Act and the Torture Victim Protection Act, including obtaining a $500 million judgment against Jean-Claude Duvalier, the former dictator of Haiti. He recently prevailed against the U.S. Department of Homeland Security, after a 23-year battle, to gain U.S. citizenship for English-born rapper Slick Rick.

Haiti and Aristide
Kurzban also served as U.S. attorney for Haiti's elected governments since 1991 (led by Jean-Bertrand Aristide (1991 & 1994-96), René Préval (1996-2000), and Aristide again (2000–04)). After Aristide was forced from office and cast into exile, Kurzban has served as the former president's personal attorney in the United States. On March 18, 2011, Aristide, accompanied by Kurzban and others, returned to Haiti.

Publications

Kurzban's Sourcebook
First published in 1990, Kurzban's Immigration Law Sourcebook has become one of the most respected one-volume treatises on immigration law, particularly among attorneys, judges, and government officials involved with immigration issues. The original 490-page edition was derived from notes Kurzban used while teaching immigration law. Now in its 16th edition, the Sourcebook has since grown to over 2500 pages. The book has been cited by administrative tribunals, federal courts, and state supreme courts.

Other publications
 "Comprehensive Immigration Reform: The Missing Debate," Legal Briefs on Immigration Reform (Robinson Omnimedia Publishing, 2011)
 "Democracy and Immigration," Keeping Out the Other (Columbia U. Press, 2008)
 "Restructuring the Asylum Process," 19 San Diego L. Rev. 91 (1981–82)

References

External links

 "Interview: Aristide’s Lawyer, Ira Kurzban, Says US Gave 'Green Light' for Duvalier’s Arrival in Haiti, But Blocked Aristide’s Return"
 "Citizen Kurzban, Lawyer Ira Kurzban, An Immigrant's Son Himself, Champions the Cause of Today's Huddled Masses," Sun Sentinel, 22 Sept. 1991

Category:Florida lawyers
Category:University of California, Berkeley alumni
Category:University of Miami faculty
Category:Nova Southeastern University faculty
Category:Living people
Category:UC Berkeley School of Law alumni
Category:Syracuse University alumni
Category:Year of birth missing (living people)


Na Trioblóidí

"Na Trioblóidí (Irish for The Troubles), is the thirteenth and final episode of the second season of the FX television series Sons of Anarchy. It was written by Jack LoGiudice, and directed by Stephen Kay. It originally aired in the United States on December 1, 2009.

This episode marks the final appearance of Johnny Lewis (Half-Sack Epps), Adam Arkin (Ethan Zobelle), Henry Rollins (A.J. Weston), and Sarah Jones (Polly Zobelle).

Production
Kurt Sutter, series writer and creator, said that Half-Sack was killed off because Lewis wanted to leave the show due to creative differences; "We decided we'd find some noble way for him to go. It wasn't my intent to try to be sensational and kill off a main character."

Plot
Stahl orders Zobelle released from prison, as he is an FBI informant with information on several high-up players in government and in the Aryan Brotherhood. Zobelle refuses police escort, and the Mayans arrive in Charming to protect their investment in him. Zobelle's plans to skip town are delayed while Polly says goodbye to Edmond. Weston is also released, as Chuck's testimony is deemed unreliable because he is an ex-felon. Weston retrieves his children from state custody and uses their presence to protect himself from SAMCRO's reprisal. SAMCRO is able to isolate him in the bathroom of a tattoo parlor, where Jax kills him with a silenced pistol. Cameron Hayes calls his son Edmond, and orders him to kill Agent Stahl to prove his loyalty to the IRA. Edmond retrieves a gun hidden in his bathroom, but fails to execute. Stahl kills him when he attempts to run, then texts Cameron from his phone claiming that the deed is done. Meanwhile, Gemma spots Polly shopping for flowers and follows her to Edmond's home. Polly goes inside and sees Edmond's body, and when Gemma follows her in with her gun drawn, Polly assumes that Gemma killed Edmond and tries to shoot her. Gemma shoots Polly in the chest before the latter can, killing her, and Stahl emerges, offering Gemma a chance to get out before she is pursued. As Gemma turns to leave, Stahl tosses Gemma her own 9mm, and Gemma catches it instinctively. Stahl trains Polly's pistol on Gemma and tells her to drop the gun; Stahl plans to use Gemma's fingerprints to frame her for both deaths. Gemma calls Unser, who picks her up before the Bureau of Alcohol, Tobacco and Firearms ATF can. Zobelle and the Mayans leave without Polly; SAMCRO takes off in hot pursuit. When Stahl reports the killing of Polly and Edmond over the radio, Cameron Hayes overhears over the report on a police scanner. Seeking revenge, he goes to Jax's house, holds up Tara, and kidnaps Abel. When Half-Sack tries to stop him, he is stabbed in the stomach. Jax arrives to find Sack dead, Tara tied up, and Abel missing. He calls Clay, who pulls the rest of the men pursuing Zobelle to rescue his grandchild. They chase Hayes to a marina, but it is too late: Hayes has disembarked in his gunrunning boat, Abel in tow.

Reception
Ahead of the airing of the third season, IGN rated Polly Zobelle's and Edmond Hayes death #5 while A.J Weston's was voted #2 in IGN's "SONS OF ANARCHY'S BEST DEATHS". IGN commented on Weston's death by saying;  "Rollins' final moment with his son, where he tells his boy to be brave for his brother and that he's always loved both of them, was a wonderfully complicated twist on an easy-to-hate character. And then he just sits in the bathroom stall - our final view of him is his boots still sitting up on the toilet seat. Even in death, he's rigid and unrelaxed. Because he was such a great character, I hated seeing Weston die, but in this case, the saying is true: it's better to burn out than fade away."

Zach Handler of The AV Club gave "Albification" a B+ rating, stating; "The way things stand now, with Gemma on the run, and a grief-stricken Cameron kidnapping Abel, means, well, who the hell knows? The trouble brewing between Jax and Clay, temporarily put on hiatus, is bound to come back now—with Jax out of his mind with fear for his son, and Gemma's uniting influence, Daddy's memoirs may be making a come back very soon. After all, the lost baby comes, in a way, from the club's Irish connections, connections based on gun-running that I don't think Dad would've approved of in his day."

References

Category:2009 American television episodes
Category:Sons of Anarchy episodes


Chahar Gonbad Rural District

Chahar Gonbad Rural District () is a rural district (dehestan) in the Central District of Sirjan County, Kerman Province, Iran. At the 2006 census, its population was 2,564, in 655 families. The rural district has 81 villages. It also contains many copper and metal mines: one metal mine is located near Bolboli village and the biggest copper mine is located near Takht. The name of the mine company is Takhtgonbad Copper Mine and it is located 80 km from Sirjan.

References

Category:Rural Districts of Kerman Province
Category:Sirjan County


Kimlan Foods

Kimlan Foods Co., Ltd. () is a Taiwanese food products company. Its headquarters are in Daxi District, Taoyuan City, Taiwan. As of 2008 it is the largest soy sauce manufacturer in Taiwan. The Chinese-language Reader's Digest ranked Kimlan as a winner of the gold awards in 2008.

History
The company was originally founded on 8 May 1936 by Mr. Han Chung named Datung Company. In 1970, the company was renamed as Kimlan Soy Sauce. In 1987, it was renamed again to Kimlan Foods Co., Ltd..

References

Category:1936 establishments in Taiwan
Category:Food and drink companies established in 1936
Category:Food and drink companies of Taiwan
Category:Companies based in Taoyuan City


Abtao

Abtao may refer to:

 Abtao Island, a Chilean island
 Battle of Abtao, an 1866 naval battle between Spain and the allied Peru and Chile
 Abtao-class submarine, a Peruvian Navy submarine class
 BAP Abtao, Peruvian submarine of the Abtao class and a museum ship
 Chilean corvette Abtao, a Chilean Navy corvette

See also

 Antão


Gawler Ranges

The Gawler Ranges are a range of stoney hills in South Australia to the north of Eyre Peninsula. The Eyre Highway skirts the south of the ranges. The Gawler Ranges National Park is in the ranges north of Kimba and Wudinna. The ranges are covered by the Gawler Ranges Native Title Claim.

History
The ranges were named by Edward John Eyre after the Governor of South Australia, George Gawler in 1839. This was on one of Eyre's earlier expeditions before his famous crossing of the Nullarbor Plain further west. And it was on this expedition that Edward John Eyre made the first recorded sighting of South Australia's floral emblem, the Sturt desert pea, in 1839 during an early exploration of the region.

Stephen Hack explored the range in 1856 and in 1857 the first pastoral lease was taken up in the area and more sheep stations were soon established. Two good seasons followed in 1857 and 1858 with pastoralists reporting permanent freshwater lakes on their runs. Stations were required to stock 50 sheep per square mile (19 per square kilometre) but soon properties such as Nonning were shearing flocks of 90,000. The first mail service from Port Augusta to Yardea commenced in 1876, with the telegraph service to Western Australia that passes through the range commencing in 1903

Environment

Geology
The ranges were formed by volcanic activity nearly 1.5 billion years ago: the volcanic activity resulted in a lava field, rather than volcanoes.  The highest point is Nukey Bluff at  above sea level.
The ranges are a small part of the Gawler Craton which is a craton rich in mineral resources, although many are only recently discovered and not yet fully exploited. Bornhardts dominate the landscape.

Birds
There are some 140 species of birds in the Gawler Ranges, including the emu, wedge-tailed eagle, Major Mitchell's cockatoo and singing honeyeater.

Mammals
The Gawler Ranges are home to several larger mammals, like the southern hairy-nosed wombat and the endangered yellow-footed rock wallaby.

See also

List of mountains in Australia

Notes

Further reading
 Andrewartha, H.G (1972). The Gawler Ranges. Report on a survey by the Nature Conservation Society of South Australia. NCSSA: Adelaide.

Category:Mountain ranges of South Australia
Category:Volcanoes of South Australia
Category:Proterozoic volcanism
Category:Bornhardts
Category:Eyre Peninsula
Category:Far North (South Australia)


Allen Feldman

Allen Feldman is an anthropologist and professor. He is Professor of Media, Culture, and Communication at the New York University (NYU) Steinhardt School of Culture, Education, and Human Development. He has taught at Central European University in Budapest, the Institute of Humanities Studies in Ljubljana, Slovenia, and in the Department of Performance Studies at NYU. He received a Ph.D. in cultural anthropology at New School for Social Research, where he also received his M.A. and B.A.

His research and teaching interests include visual culture and violence, the political anthropology of the human body and  the senses, performance studies, state cultures, and the political archaeology of media and technology.
His second book, Formations of Violence: The Narrative of the Body and Political Terror in Northern Ireland,' was published by the [University of Chicago Press] in 1991. It is a widely acclaimed ethnography and oral history of embodied violence focused on the torture and  prison protests of Republican prisoners.  In his third book "Archives of the Insensible: of War, Photopolitics and Dead Memory" [University of Chicago Press 2015], Feldman argues that contemporary sovereign power mobilizes asymmetric, clandestine, and ultimately unending war as a will to truth. Whether responding to the fantasy of weapons of mass destruction or
an existential threat to civilization, Western political sovereignty seeks to align justice, humanitarian right, and democracy with technocratic violence and visual dominance. Connecting Guantánamo tribunals to the South African Truth and Reconciliation Commission, American counterfeit killings in Afghanistan to the Baader-Meinhof paintings of Gerhard Richter, and the video erasure of Rodney King to lynching photography and political animality, among other scenes of terror, Feldman contests sovereignty’s claims to transcendental right —whether humanitarian, neoliberal, or democratic—by showing how dogmatic truth is crafted and terror indemnified by the prosecutorial media and materiality of war. Excavating a scenography of trials—formal or covert, orchestrated or improvised, criminalizing or criminal—Feldman shows how the will to truth disappears into the very violence it interrogates. He maps the sensory inscriptions and erasures of war, highlighting war as a media that severs factuality from actuality to render violence just. He proposes that war promotes an anesthesiology that interdicts the witness of a sensory and affective commons that has the capacity to speak truth to war. Feldman uses layered deconstructive description to decelerate the ballistical tempo of war to salvage the embodied actualities and material histories that war reduces to the ashes of collateral damage, the automatism of drones, and the opacities of black sites. Feldman articulates critical visual theory, political philosophy, anthropology, and media archeology through a  dissection of emerging forms of sovereignty and state power that war now makes possible.

External links
 Faculty bio at NYU
 Faculty profile at NYU

Notes

Category:American anthropologists
Category:Living people
Category:Steinhardt School of Culture, Education, and Human Development faculty
Category:Central European University faculty
Category:The New School alumni
Category:Year of birth missing (living people)


Marie-Thérèse Toyi

Marie-Thérèse Toyi, from Burundi, is a member of the Pan-African Parliament.

References

Category:Year of birth missing (living people)
Category:Living people
Category:Members of the Pan-African Parliament from Burundi
Category:Burundian women in politics
Category:21st-century women politicians
Category:Women members of the Pan-African Parliament


Dannielle Tegeder

Dannielle Tegeder is a contemporary artist who works with installation, animation and sound and is best known for her abstract paintings and drawings.  She lives in Brooklyn, New York and maintains a studio at The Elizabeth Foundation in Times Square, Manhattan.

Life and work

Tegeder was born in Peekskill, NY.  She received her BFA from the State University of New York at Purchase,  and an MFA in Painting and Drawing from The Art Institute of Chicago. Tegeder’s work employs strategies connected to Post-Minimalism and Twentieth-Century abstraction, often utilizing mathematical, architectural or demographic data to produce an ever-evolving visual vocabulary. Her work is influenced by the mechanical drawings she observed as a child growing up in a family of steam fitters.

Tegeder's work is mainly abstract paintings and drawings and in recent years has expanded to include installation, wall drawings, and sound.
She has had solo gallery exhibitions, both nationally and internationally in Paris, Houston, Los Angeles, Berlin, Chicago, and New York.  She has participated in numerous group exhibitions at various museums such as PS1/MoMA, The New Museum of Contemporary Art, The Brooklyn Museum of Art, and Museum of Contemporary Art in Chicago.

She has been the recipient of many residencies and grants, including  Yaddo, the Pollock-Krasner Foundation,  SmackMellon Studio Program, and the Marie Walsh Sharpe Studio Fellowship. In 2011, she was an artist in residence on Governor's Island as part of the Lower Manhattan Cultural Council's Swing Space program.  She has been a visiting artist at Cornell University,  RISD, Pratt Institute, San Francisco Art Institute, Princeton University, Purchase College and others.  She is currently an Associate Professor at Lehman College in the City University of New York.

In 2013 Tegeder will have her first major museum survey at the Wellin Museum of Art, at Hamilton College. A fully illustrated hardcover catalog will accompany the exhibition with essays by Barry Schwabsky, and Claire Gilman, the curator from the Drawing Center in NYC.

Her works are in the permanent collection of the Museum of Modern Art, the Museum of Contemporary Art Chicago, and The Weatherspoon Museum of Art in Greensboro, NC.

Tegeder is married to Mexican artist Pablo Helguera and their daughter Estela was born in 2009.

References

External links
 dannielletegeder.com

Category:1971 births
Category:Living people
Category:American artists


Alfred Frenzel

Alfred Frenzel (1899-1968) was a West German member of parliament, who was secretly conducting espionage for Czechoslovakia while serving on the Bundestag's Defense Committee.  Given the code name Anna by the StB, he passed along classified information to the Communist government in Prague for five years, until his arrest in Bonn on October 31, 1960.     He was the most important StB spy during the entire Cold War.

During World War II, after the invasion of his homeland by Nazi Germany, Frenzel worked as an agent for the government in exile in the United Kingdom. After the end of the war, Czechoslovakia became a communist state, and Frenzel emigrated to West Germany.

The new state intelligence service in Czechoslovakia, the StB, examined the files of pre-war intelligence officers, and found information on Frenzel's pre-war activities. When they discovered that Frenzel had been appointed to the parliamentary defence committee responsible for remilitarising West Germany and establishing her place in NATO, the StB leapt on this opportunity to recruit such a highly placed spy.

Recruitment
In April 1956, an old friend of Frenzel's visited him in West Germany. He told Frenzel that he was now working for the Czechoslovak government, and offered Frenzel a job. The old friend added that he would expose Frenzel's political past and criminal record unless he took up the offer. He also said that Frenzel's wife, who was on a trip to Prague, would be in grave danger if he refused. Intimidated, Frenzel agreed to take the job.

He travelled to Vienna, Austria, which was at the time crawling with StB officers due to its proximity to Czechoslovakia, where he was given 1,500 Deutsche Marks and given the code name Anna. In July, he signed a document indicating his links to the StB.

Frenzel was now trapped, and the StB had enough information to blackmail him unless he did exactly as they said.

Espionage activities
Under the close watch of his StB controller, Major Bohumil Molnár, Frenzel returned to West Germany. He began to pass information to Molnár, including a copy of the entire West German defence budget and details of prototype American aircraft.

To reward him for this, the StB gave him a car and a villa back in Czechoslovakia, and also paid Frenzel an enormous salary, placed into a Czechoslovak bank so as not to arouse West German suspicion.

During his time as a spy, the StB's Technical Directorate gave Frenzel many new and experimental devices, including a small, film carrying statue, which, by way of a small explosive charge, would destroy its film unless a special mercury switch was deactivated.

Much of the information the StB gathered from Frenzel was passed on to the KGB.

Downfall
In September 1959, Frenzel was passed on from Molnar (who was promoted to deputy director of the StB for his work with Frenzel) to a new controller, a man operating under the pseudonym Franz Altman. Altman's favourite method of transporting information and film was by way of the containers that would destroy their contents, such as the small statue mentioned before.

These containers would be passed on to Czechoslovak diplomats, who would return the information to Prague. However, in October 1960, the West German counterintelligence organisation, the BfV, became suspicious of Altman, after the tax department reported spending disproportionate to his income.

Altman was arrested just before he boarded a flight to Prague. The arresting BfV agents went through his luggage, and found a talcum powder tin. It was determined to be carrying film, and BfV agents very carefully disassembled it.

Inside was a roll of film, and when the film was developed, photos were found of key West German installations. In the corner of one photo was the number plate of a car. The BfV investigated this, and found that the car belonged to Alfred Frenzel. Along with further evidence, he was arrested and sentenced to 15 years in prison.

He was exchanged for four West German agents five years later.

Frenzel died of natural causes in 1968.

References

The Ultimate Spy Book by H. Keith Melton,

Category:1899 births
Category:1968 deaths
Category:Czechoslovak spies against the United States
Category:Czechoslovak spies against West Germany
Category:Social Democratic Party of Germany politicians
Category:German Bohemian people
Category:People of the StB
Category:People convicted of spying for Czechoslovakia