The construction of the Lonja del Comercio began in 1907 and ended in 1909. The building has a stone facing and a steel frame. It was designed by architects Thomas Mur and Jose Toraya, the structural engineers were the U.S. company Purdy and Henderson, engineers for many important Havana buildings including the Hotel Nacional, the National Theatre of Cuba, El Capitolio building, the Gran Teatro de La Habana and the 1947 Radiocentro CMQ Building by the architect Martín Domínguez Esteban who also designed the FOCSA Building in 1956.,


The Parti pris of the Lonja del Comercio building in plan is a perfect square and based on the classic 9 square cube problem that was used, among others, by Peter Eisenman to design some of his houses  and Andrea Palladio in the design of many of his villas.
The five-storey building has a steel frame structure. In 1939, an additional floor was added. The ground floor was originally used for warehouses and the stock market, the 2nd and 3rd floors provided office space, while the 4th and 5th floors, which adopted more sober ornamentation, were leased to customs brokers and trading companies.


After the Cuban Revolution, the Lonja del Comercio building suffered architectural deterioration through neglect. Although the Lonja del Comercio building was part of a capital rehabilitation program that was carried out in 1995 by the Office of the City Historian, in 1989 there is little indication that other similar buildings will be saved at least in the near future.


Lookout Studio, known also as The Lookout, is a stone building located on the South Rim of the Grand Canyon, within Grand Canyon National Park in Arizona.  It is part of the Grand Canyon Village Historic District, and is part of the Mary Jane Colter Buildings National Historic Landmark.  It currently operates as a gift shop and observation station for visitors, with telescopes on its outdoor terrace. Lookout Studio was constructed by the Santa Fe Railway in 1914 and was established as a photography studio to compete with Kolb Studio.  It is one of six buildings at the Grand Canyon that were designed by architect Mary Colter, along with Bright Angel Lodge, Hermit's Rest, Hopi House, Phantom Ranch, and Desert View Watchtower.  Lookout Studio employs her signature rustic style of using jagged native rocks to imitate indigenous structures of the region and to blend in with the environment.
The rubble stone building is at the edge of the canyon. The walls rise to an irregular parapet which incorporates the building's chimneys. Before a roof replacement the roof carried a pile of stones designed to look like they had fallen into ruin. The lookout is on three levels, with a main level housing a shop and enclosed viewing area, a lower viewing platform and a small enclosed observation tower. The wood viga roof structure remains visible, although the structure has undergone other renovations. The lookout is unusually brightly lighted  for a Colter building, since its interior receives a great deal of light through its banks of large windows.


Lookout Studio is a component of the multi-site Mary Jane Colter Buildings National Historic Landmark, It was incorporated into the National Historic Landmark group on May 28, 1987. Hopi House and the Lookout Studio are also major contributing structures in the Grand Canyon Village National Historic Landmark District.


The area used to be dominated by salt pans, which fell into disuse, leaving a large, flat area, and was designated for a tourist resort in the 1980s.


Los Cancajos has several small beaches of black sand, protected by artificial breakwaters, with some rocky coves and headlands, and a palm-tree lined promenade along the shore. As of 2013, there were 3,724 beds in hotels and tourist apartments in the municipality of Breña Baja (most of which are situated in Los Cancajos), making up about one third of all accommodation on the island.


Los Cancajos has a hot semi-arid climate which is heavily influenced by the Atlantic Ocean. The following climate chart is from the La Palma Airport, located 2 km south of Los Cancajos:


Loughrigg Tarn (/ˌlʌfrɪɡ ˈtɑːrn/) is a small, natural lake in the Lake District, Cumbria, England. It is situated north of Windermere, just north of the village of Skelwith Bridge, and at the foot of Loughrigg Fell. "Loughrigg Tarn" is a bit of a tautology, since "loughrigg" means "ridge of the lough (lake)" and "tarn" is also the name of a body of water.
Loughrigg Tarn was a favoured place of William Wordsworth, who, in his Epistle to Sir George Howland Beaumont Bart, likened it to “Diana’s Looking-glass... round, clear and bright as heaven," in reference to Lake Nemi, the mirror of Diana in Rome.
Alfred Wainwright notes that Loughrigg Tarn is "one of the most secluded of tarns", rarely being visible from the fells. He also identifies that Loughrigg Fell is the only Lake District fell to share its name with a tarn, although he might have overlooked Scoat Fell (Scoat Tarn) and Bowscale Fell (Bowscale Tarn).


Lovina Beach (or often simply Lovina) is a coastal area on the northwestern side of the island of Bali, Indonesia. The coastal strip stretches from 5 km west of the city of Singaraja to 15 km west. Singaraja is the seat of Buleleng Regency. The Lovina area contains the small villages (from east to west) of Pemaron, Tukad Mungga, Anturan,  Banyualit, Kalibukbuk, Kaliasem and Temukus. Although it has become more popular with tourists, it remains far quieter than the tourist hotspots of the island's south side.
The area takes its name from a home owned by Pandji Tisna (1908-1978), a Regent of Buleleng and pioneer of tourism to Bali in the early 1950s.
Popular activities for visitors include diving, snorkeling, and early-morning boat trips off the coast to see dolphins.  These dolphin sighting trips usually last about two hours, and generally cost anywhere between 60,000–250,000 Indonesian rupiah, or about US$5–$20.


The Lower Barakka Gardens (Maltese: Il-Barrakka t'Isfel) is a garden in Valletta, Malta, and it is twinned with the Upper Barrakka Gardens.
The gardens have a view of the Grand Harbour and the breakwater. It includes the Monument to Sir Alexander Ball, which is a prominent feature in the form of a neoclassical temple located in the centre of the garden. In addition, the terrace area features various commemorative plaques dedicated to, amongst others, the Hungarian revolution of 1956, the Prague spring, Giuseppe Garibaldi and the 50th anniversary of the European Union. There is also a statue.


Loyn Bridge (or Loyne Bridge) crosses the River Lune, carrying a minor road between the villages of Hornby and Gressingham in Lancashire, England.  The present bridge replaces an older bridge, which is thought to have been constructed with timber decking between stone piers.  There is evidence that the river was forded here before a bridge was built.  The date of the building of the present bridge is unknown; it is considered to have been after 1591, when the previous bridge was described as being "in a dangerous condition".  A date of 1684 has been suggested, but petitions regarding the bridge put before the Quarter Sessions between 1650 and 1750 make no mention of a new bridge between these dates.  The bridge was paid for by the County of Lancashire, and later the responsibility for maintenance and repairs was transferred to the Lonsdale Hundred.
The bridge is constructed in sandstone blocks, and consists of three segmental arches with triangular cutwaters containing refuges for pedestrians.  The arches measure 53 feet (16.2 m), 62 feet 6 inches (19.1 m) and 52 feet (15.8 m) respectively.  The carriageway is 12 feet (3.7 m) wide, and the maximum width of the bridge at the points of the piers is 33 feet 6 inches (10.2 m).  It is described as being "surprisingly impressive for a route that has little significance nowadays". When the bridge was surveyed in 1998, it was found to be adequate to carry vehicles of 40 tonnes.  It is recorded in the National Heritage List for England as a designated Grade II* listed building, and is a scheduled monument.
Loyn Bridge was damaged during Storm Desmond on 5 December 2015.  Further damage due to debris caused the bridge to be closed for an extended period.  Extensive temporary protection for the bridge and bank were required, along with infill in the bridge piers. The bridge finally reopened on 22 April 2016. Even after the bridge repairs, significant damage to the hedges and fences along the road between the bridge and Gressingham is apparent.


Extensive earthworks remain, although a private house stands on part of the site. The earthworks have been greatly altered by quarrying. The southern enclosure, which lies within them and at the opposite end of the site from the standing walls, is thought to have been an Iron Age stronghold.
A medieval castle was probably first built in the late 11th century by Edward of Salisbury, Sheriff of Wiltshire. By about 1100 it had come into the possession of the Crown, and John the Marshal (c. 1105–1165) is recorded as the king's castellan. He strengthened it and may have added the northern enclosure, which contained the important buildings, largely in stone, including a great hall and a tower with royal living quarters. The southern enclosure was the bailey, where there were stables, kitchens, and timber farm buildings.
King John improved the castle as a hunting lodge in 1210, and King Henry III periodically added improvements to the castle between 1234 and 1251 during the twenty-one times that he visited the castle, such as the addition of the great hall in 1244. The castle fell into disuse by the 15th century and by the 1540s, most of the ruins were demolished and the site was levelled over to form a garden, with the surviving tower kept as decoration; the surviving tower dates to the 12th century.
Ludgershall was a more important place in medieval England than it is now, and was able to send two members to Parliament, a privilege it kept until the Reform Act of 1832.
The site was excavated for the first time between 1964 and 1972 by the University of Southampton. The ruin was listed as a Scheduled Ancient Monument in 1981.


The Ludus Magnus (also known as the Great Gladiatorial Training School) was the largest of the gladiatorial schools in Rome. It was built by the emperor Domitian (r. 81–96 C.E.) in the late first century C.E., alongside other building projects undertaken by him such as three other gladiatorial schools across the Roman Empire. The training school is situated directly east of the Colosseum in the valley between the Esquiline and the Caelian hills, an area already occupied by Republican and Augustan structures. While there are remains that are visible today, they belong to a reconstruction that took place under the emperor Trajan (r. 98–117) where the Ludus plane was raised by about 1.5 metres (4 ft 11 in). The Ludus Magnus was essentially a gladiatorial arena where gladiators from across the Roman Empire would live, eat, and practice while undergoing gladiatorial training in preparation for fighting at the gladiatorial games held at the Colosseum.


The Ludus Magnus was situated directly to the east of the Colosseum in order to provide gladiators with accessibility to their main fighting venue. Though it is not aligned axially to the Colosseum, it does lie just north of it along the square of the Colosseum between the ancient Via Labiciana and Via Di S. Giovanni. The Ludus Magnus was located in order to connect those two buildings, through an underground gallery linking the two buildings. A path with an entrance 22.17 ft wide which began underneath the amphitheater and reached the Ludus at its southwestern corner.


The Ludus Magnus functioned as the leading gladiatorial school in Rome. The Romans used the same word ludi to denote gladiatorial games, as well as the schools which saw to the practice of such games. It was meant to be a place for gladiators from around the world to practice fighting techniques, such as training for venatio. Upon arriving to the ludus, gladiators would be separated based on their fighting specialty and then assigned a doctore for their specialty, as well as placed under the general oversight of a lanista. It is here that the gladiators would eat, train, and sleep on a regular basis. The training portion of their days was extensive but also public. As was customary, the Romans often watched the gladiators train as we know that the seating provided at this ludus accommodated approximately 3,000 spectators. This effectively served as a sort of precursor to the games, a taste of what was to come at the Ludi Romani.


The Ludus Magnus was constructed under the reign of emperor Domitian during the late first century C.E. He also erected three other ludi around the same time (such as the Dacian, Gallic, and Matutinus or Morning School), though the Ludus Magnus was the largest of the four training schools that Domitian erected in the area surrounding the Colosseum.
The Ludus Magnus underwent various reconstructions under succeeding emperors during the Roman Empire. For instance, changes were undertaken under Trajan so that the pavement level was raised by 1.4 m providing us with the structure that can be seen today. Hadrian also added certain refinements as the structure suffered fire damage in the late second century. And then Caracalla also saw to some repairs and modifications during his reign, with other additions occurring under unclear patronage throughout the active life of the Ludus Magnus.
In late antiquity the gladiatorial school, along with the Colosseum, largely went out of use due to a lack of need in society for gladiatorial games as a form of entertainment when gladiatorial combat was outlawed in the fifth century C.E. The building was abandoned in the sixth century when the space was then used to house a small cemetery. By the middle of the sixth century, the area was no longer cared for and numerous churches were built, as the population continued to decrease.


The structural remains were rediscovered in 1937 during construction work taking place near the Colosseum, though excavations did not occur until 1957–61. Situated between the Via Labicana and Via di S. Giovanni in Laterano, excavations were carried out for less than half of the overall building. However, in light of the educated assumption that the structure was largely symmetrical and additional help from the marble plan, a restored plan for the entire structure has been postulated.


Access points would have been located along the Via Labicana whereby one descended steps to the level of the arena floor below street level.
There was a central courtyard which served as arena space and was surrounded by Tuscan style colonnades on all four sides, with fountains flanking each corner.
At the centre of the Ludus Magnus there was an ellipsoidal arena in which the gladiators practiced, circumscribed by steps of a small  cavea, probably reserved for a limited number of spectators.
The size of the arena was relatively average (though slightly smaller than the Colosseum's) sitting at roughly 63 m long x 42 m wide. The cavea surrounding the arena has been calculated to encompass nine gradus, with a support system of concrete vaults over brick-faced concrete walls. In order to reach the cavea one would access a small staircase. Then there were ceremonial entrances located along the long entrance with smaller boxes located on the small axis. There were also underground chambers which were likely used for storage purposes. The foundation of the cavea was also elevated 2.75 m above the arena with a rectangular portico surrounding it with columns  in two storeys, the lower in unfluted travertine Tuscan style and presumably Ionic above with no surviving capitals to confirm and the Ionic column features themselves belonging to a later repair than original construction. Throughout the sides of the portico were openings to various small rectangular chambers which would have served as living quarters for the gladiators, as well as stairs leading up to the second storey. We also have evidence of a second row of small spaces located behind the rectangular chambers along the north and south sides with access outwards to the street that were likely used as shops in antiquity.

In the northwest corner of the portico, one of the four small, triangular fountains has been restored. It lies in the spaces between the curved wall of the cavea and the colonnade. A cement block remained between two brick walls, converging at an acute angle.
 A large part of the brickwork structures were also originally covered by marble slabs that were later removed.
While there is a lack of remains for the upper storeys, it has been assumed that the second storey replicated the plan of the first in general layout and usage, while the third storey likely had an open gallery in light of the portico. It has also been postulated that there was a large axial hall encompassed on all three sides by colonnades with five entrances serving as a sacrarium or armamentarium.
As noted in textual sources and still undergoing inconclusive excavations carried out in relation to the Colosseum, there was an underground passage that connected the gladiatorial school with the Flavian amphitheatre. This corridor was likely paralleled above the ground as well, though, it remains speculation.


The archaeological remains of the Ludus Magnus represent roughly less than half of the practice arena and barracks, while the rest of the structure remains hidden under street level and other buildings. What remains is largely the product of a rebuilding endeavor taken on by the emperor Trajan in the early second century C.E. According to Claridge, under Trajan the seating area and ground level were elevated while the arena level remained intact. We also know of half of the plan from a fragment that has survived from the Severan Marble Plan (early third century C.E.), although breakage and erosion have decreased its informative value. There were also great doubts about where it was located in the general topography of ancient Rome, so that it can now be related to a building in Piazza Iside, still visible.


Lugano Cathedral (Italian: Cattedrale di San Lorenzo) is a Roman Catholic cathedral dedicated to Saint Lawrence in Lugano, Ticino, Switzerland. It was founded in the High Middle Ages but rebuilt in the late 15th century, with the façade completed in 1517. It is the seat of the Bishop of Lugano.


The church is known on this site from 818. In 1078 it was made a collegiate church, becoming a cathedral in 1888. The original Romanesque building was oriented the opposite way to the present church, as is shown by remains of the apse discovered under the current parvise. In the 15th century the church was expanded and the entrance moved to the present position, while the open roof was covered by a groin vaulted ceiling.
There were extensive renovations in 1905-1910, when some Baroque chapels were demolished and the interior received frescoes by Ernesto Rusca.


The church's main feature is its facade, which was inspired by Giovanni Antonio Amadeo's Certosa di Pavia. It is made of white stone from Saltrio and Viggiù and of Carrara marble, and is divided in three sectors by four false columns supporting the entablature. In the middle sector is the main portal and a large rose window with decoration of cherubs executed after 1578. The decorations of the portals' frames are of high quality, with figures of puttoes, birds and lion-protomes. The central portal, called the "Saints Portal", has five medallions with reliefs, depicting four saints and, in the middle, the Virgin with Child. Between the portal's frame and the entablature are two angels carrying torches, resembling the decoration of the Roman triumphal arches.
Between the portals, inside square frames, are busts of the Four Evangelists and of the Kings Solomon and David. The entablature frieze has 17 figures, including biblical characters and the Sibyls. Also present are animal figures, while a restoration in 2002 showed traces of a fresco. The main portal of the Romanesque church is now moved to the sacristy.
The bell tower dates, in its lower part, to the Romanesque church. The two upper storey are in the Baroque style with an octagonal lantern covered by a cupola, designed by Costante Tencalla.


The Lukang Folk Arts Museum (traditional Chinese: 鹿港民俗文物館; simplified Chinese: 鹿港民俗文物馆; pinyin: Lùgǎng Mínsú Wénwùguǎn) is a museum in Lukang Township, Changhua County, Taiwan.


The museum was originally built as a residence of Koo Hsien-jung. The construction started in 1913 and was completed 6 years later in 1919. In the 1920s and 1930s, the building became the venue for international conferences with foreign dignitaries. In 1973, the building was converted into the Lukang Folk Arts Museum, with all the buildings, land, furniture, utensils and collector's items having been donated by the Koo family and other private benefactors. The museum holds more than 6,000 articles. The items exhibited in the museum mostly date from the mid-Ching dynasty to the early years of the Republic. Household, travel, and recreational items, as well as religious implements and celebratory artifacts are displayed for visitors.


The museum was designed by Japanese architect Moriyama Matsunosuke. The building has a strong local flavor. The architecture of the museum and the pieces housed within not only demonstrate craftsmanship, but also a thriving history of Lukang.
The museum has the following buildings:
Yang Building: The Yang Building was built in 1919. The design and materials used in the Meiji styled structure are excellent examples of that time in Taiwan.
Ku Feng Building: This 18th century wood and brick structure is of a Min-nan (Southern Fukien) style. The building has a traditional feel to it.


The museum houses a collection of Ming and Qing dynasty artifacts: vintage photographs, lacquer ware, porcelain, carved stones, embroidery, musical instruments, and other items. The building is an unusual combination of Asian architecture and Western architecture.


The museum is accessible by bus from Changhua Station of Taiwan Railways.


Luther Place Memorial Church is a congregation belonging to the Evangelical Lutheran Church in America. The neo-Gothic church building in Thomas Circle in Washington, D.C., was designed by architects Judson York, J. C. Harkness, and Henry Davis and constructed in 1873 as a memorial to peace and reconciliation following the American Civil War. Its original name was Memorial Evangelical Lutheran Church. The Luther Monument is situated in front of the church. The statue is a replica of the centerpiece of the Luther Monument in Worms, Germany, and was given to the church in 1884 by German emperor William I.


Luther Place was built in 1873 by architects Judson York, J. C. Harkness, and Henry Davis. The church, like many others, resembles the shape of a ship, symbolizing a vessel for God's work, and it is well known for its stained glass windows picturing twelve reformers: Gustavus Adolphus, John Hus, John Wycliffe, Philipp Melanchthon, Martin Luther, Martin Luther King Jr., Dietrich Bonhoeffer, Harriet Tubman, John Knox, John Calvin, Huldrych Zwingli, and John Wesley. The church's exterior is covered with red sandstone from the Seneca Quarry, the same quarry that provided the stone for the Smithsonian Castle.
The church was dedicated as a symbol of healing after the Civil War. In 1904, Luther Place suffered damage from a fire, leading to restoration of the church and a renewed energy and celebration of its mission. President Theodore Roosevelt spoke at the restoration ceremony, saying, "The Lutheran Church is destined to become one of the two or three greatest churches, most distinctly American."
In 2007, the interior of the sanctuary was extensively restored.


In the years after the fiery devastation along 14th street following the assassination of Dr. Martin Luther King in April 1968, Luther Place began to consider its property and location as an opportunity to help minister to the wounded of the city. In 1970, the church called a new pastor, John Steinbruck, who had served an innercity neighborhood in Easton, Pennsylvania. Under his leadership, the congregation began transforming dilapidated row houses on N Street into headquarters for faith inspired programs such as Bread for the City, Deborah's Place, Zacchaeus Medical Clinic, Sarah House, Bethany Women's Center, Dietrich Bonheoffer House, Abraham Welcome House, and the DC Hotline to help bring healing in the community. A multi-denominational religious community led by Luther Place, with a Protestant, Jewish, and Catholic coalition (ProJeCt), gradually created what was to become known as N Street Village. A critical step along the way was Luther Place's opening of its church doors to the homeless in the cold winter of 1976.
John and Erna Steinbruck, together with Luther Place congregation, founded N Street Village and created a vision and a challenge to the wider community that gained wide volunteer and financial support. In the late 1980s, Luther Place and its partners initiated a capital campaign to add a permanent night shelter at Luther Place and to build a new complex across N Street to house the various programs for homeless women that had evolved on and near the block. The multi-year effort raised $19.5 million in capital gifts and government grants, loans, and low income tax credits. Luther Place made its land available for the construction and a complex public private partnership was formed to meet the requirements of the government's low income tax credit program. In December 1996, a new facility that included Promise Place (housing for the programs for homeless women) and Eden House (51 apartments serving low and moderate income individuals and families) opened. This facility, along with the Luther Place Night Shelter, formed the core of N Street Village until two additional programs were brought into the Village; Miriam's House for women with HIV/AIDS and Erna's House, permanent supportive housing for homeless women. The set of programs now serves approximately 1000 women per year, estimated to encompass 63 percent of the adult homeless women population in the city.


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At the end of the 19th century, local leaders felt the need for a large city theatre to be situated in the capital of Galicia (Ukrainian: Галичина, Polish: Galicja). In 1895, the city announced an architectural design competition, which attracted a large number of submissions. Among the participants were the renowned Viennese architects Fellner & Helmer, whose entry was rejected as too international and eclectic.
An independent jury chose the design by Zygmunt Gorgolewski, a graduate of the Berlin Building Academy and the director of city's Engineering Academy. Gorgolewski pleasantly surprised the jury by planning to locate the building in the center of the city, despite the area having been already densely built-up. In order to solve the space problem, he boldly proposed to enclose the Poltva River underground, and instead of using a traditional foundation, utilized a reinforced concrete base for the first time in Europe.
In June 1897, the cornerstone was placed. Gorgolewski oversaw construction, earthwork and design, employing the leading stonemasons from the city and beyond. Local materials were used wherever possible, however marble elements were manufactured in Vienna, special linen for painting in the foyer was imported from Belgium. The German company Siemens, ran the electrical wiring and lights, while the hydraulic mechanization of the stage was built by the Polish railway workshop company in Sanok.
Construction continued for three years. Funding came from the city, the surrounding communities, and from voluntary donations. The cost of the works totaled 2.4 million Austrian crowns.
Stories remain that despite the engineering innovations used by Gorgolewski to construct the foundation of the building, it began to slowly sink because of the Poltva river running underneath it in a tunnel. In July 1903 he died suddenly of paralysis of the aorta of the heart. After some initial settling, the building ceased 'sinking' and remains stable to this day, owing to the innovative design of Gorgolewski.
Immediately prior to the fall of the Soviet Union, the first performance of the national anthem of Ukraine, Shche ne vmerla Ukrainy i slava, i volia, was held at the theatre in 1990, during the last perennial rule of Soviet Ukraine.


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The Lviv Opera opened on October 4, 1900. The cultural elite—painters, writers, and composers, as well as delegations from various European theatres—attended the opening festivities. Among the guests attending the ceremony were writer Henryk Sienkiewicz, composer Ignacy Jan Paderewski, the painter Henryk Siemiradzki, the Chief magistrate of Lviv Godzimir Małachowski, the provincial governor Leon Piniński and head of the provincial assembly Count Stanisław Badeni. A delegation from the city of Prague was headed by mayor Vladimir Srb and former director of the National Theatre, František Adolf Šubert. Due to recent deaths of both the Roman Catholic and Greek Catholic archbishops, the building was blessed by the Armenian Catholic archbishop of Lviv, Izaak Mikołaj Isakowicz, alongside rabbi Ezechiel Caro and the Protestant pastor Garfel.
The grand opening gala that evening included excerpts from:
The ballet Baśń nocy świętojańskiej (Tale of the Midsummer Night) by Jan Kasprowicz and Seweryn Berson
The opera, Janek by Władysław Żeleński, about the life of Carpathian mountain-dwellers, with an aria sung by the Ukrainian tenor, Oleksandr Myshuha, for whom it was specially written.
A comedy Odludki (Recluses) by Aleksander Fredro


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The Lviv Theatre of Opera and Ballet is built in the classical tradition using forms and details of Neo-Renaissance and Neo-Baroque styles. There are also elements of Art Nouveau. The stucco mouldings and oil paintings on the walls and ceilings of the multi-tiered auditorium and foyer give it a richly festive appearance. The Opera's imposing facade is opulently decorated with numerous niches, Corinthian columns, pilasters, balustrades, cornices, statues, reliefs and stucco garlands. Standing in niches on either side of the main entrance are allegorical figures representing Comedy and Tragedy sculpted by Antoni Popiel and Tadeusz Barącz; figures of muses embellish the top of the cornice. The building is crowned by large bronze statues, symbolizing Glory, Poetry and Music.
The theatre, beautifully decorated inside and outside, became a centrefold of the achievements in sculpture and painting of Western Europe at the end of the 19th century. The internal decoration was prepared by some of the most renowned Polish artists of the time. Among them were Stanisław Wójcik (allegorical sculptures of Poetry, Music, Fame, Fortune, Comedy and Tragedy), Julian Markowski, Tadeusz Wiśniowiecki, Tadeusz Barącz, Piotr Wojtowicz (relief depicting the coat of arms of Lviv), Juliusz Bełtowski (bas-relief of Gorgolewski) and Antoni Popiel (sculptures of Muses decorating the façade).
Among the painters to decorate the interior were Tadeusz Popiel (staircases), Stanisław Rejchan (main hall), Stanisław Dębicki, Stanisław Kaczor-Batowski and Marceli Harasimowicz (foyer). The team supervised by the abovementioned artists included further painters, among them Aleksander Augustynowicz, Ludwik Kohler, Walery Kryciński, Henryk Kuhn, Edward Pietsch, Zygmunt Rozwadowski, Tadeusz Rybkowski and Julian Zuber. The main curtain was decorated by Henryk Siemiradzki.


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a.The Habsburg Empire. The World of the Austro-Hungarian Monarchy in Original Photographs 1840-1916 by Franz Hubmann, Vienna, 1971, attributes this theatre to Fellner & Helmer.


Its 14th-century frescoes are influenced by the contemporary Byzantine art and adorned with more than a dozen of Georgian and Greek inscriptions.
The Lykhny church is a domed cross-in-square design, built of straight rows of well-refined ashlar stone. The small dome, with a low drum and a sloping roof, is based on four freely standing piers. The western portion of the building includes an upper gallery. The façades are simple, apertured with windows and marked with three protruding apses protruding from the east wall. There are traces of the 10th-11th-century wall painting, but the extant cycle of frescoes date to the 14th century. They are characterized by neatly colored, dynamic, and expressive paintings of somewhat elongated human figures.
The antiquities of Lykhny, then also known as Souk-Su, were first studied and published, in 1848, by the French scholar Marie-Félicité Brosset, who also copied several medieval Georgian and Greek inscriptions from the Lykhny church. Of note is the Georgian inscription, in the asomtavruli script, relating the apparition of Halley's Comet in 1066, in the reign of Bagrat IV of Georgia.
Efforts at conservation have been launched by the de facto Abkhaz authorities in 2010. The works, according to Georgian specialists, carry the risk of authenticity infringement. The Lykhny church is inscribed on Georgia's list of Monuments of National Significance.


The Mönckebergstraße (locally also called Mö) is one of the main shopping streets in Hamburg, Germany.
Mönckebergstraße is located in Hamburg-Altstadt, running some 800 m in east-west-direction between the Hauptbahnhof at Steintorwall and the Rathaus at Rathausmarkt. It is named after Johann Georg Mönckeberg, mayor of Hamburg in the 1890s and 1900s.
On the south side, Mönckebergstraße passes the churches of St. Petri and St. Jacobi. Halfway in between, at Gerhart-Hauptmann-Platz, Mönckebergstraße intersects with Spitalerstraße, another important shopping street. Notable attractions of this prominent four-way-fork-junction are the Mönckebergbrunnen (Mönckeberg-Fountain) and a former central building of Hamburg public libraries, later had been a Burger King restaurant for many years, now a Starbucks subsidiary inside a coffeehouse called Elbphilharmonie Kulturcafé.
Many major retailers such as H&M, Kaufhof, Karstadt, Karstadt Sport, Peek & Cloppenburg, Saturn or Zara have a presence on Mönckebergstraße. Many of the department stores have been converted from former kontor-houses. Some houses were demolished for the construction of Europa Passage in 2003. The shopping mall, which leads to the Jungfernstieg boulevard, opened in 2006.


Møllestien (Lit.: Mill Path) is a street in Aarhus, Denmark which runs west to east from Vester Allé to Grønnegade and intersects Møllegade roughly in the middle. The street is situated in the historic Indre By neighborhood and is known for its small houses and cobblestone pavement. The street has existed since before 1300 and the name has been used since the 15th century. The majority of the buildings in the street were constructed between 1870 and 1885.
Møllestien has a unique picturesque architecture that has made it a landmark and tourist attraction.


Møllestien was most likely created in connection with an expansion of the road network in the 1200s, but it possibly dates back as far as the Viking Age. The name refers to Aarhus Mill and is from sometime before 1600; the mill is mentioned for the first time in 1289 and was situated where the former Aarhus Main Library is located on Møllestien 1 in Mølleparken in the western end of the street. The street has previously been split in three parts - Møllestien, Vestre Møllesti (Western Møllesti) and Østre Møllesti (Eastern Møllesti). The street stretched from Møllegade to the area where Lokalcenter Møllestien is today (2017). At that point it curved at a 90-degree angle and merged into Vestergade. The former path of the street is today marked by a narrow walking path that extends around Lokalcenter Møllestien. Østre Møllesti was the section of the street east of Grønnegade while Møllestien was the section west of it. The section between Møllestien and Vestergade which is today Grønnegade was previously Vestre Møllesti. Originally there were no direct path from Møllestien to Aarhus river and as a result there was little traffic in the area. Not until Christians Bridge was created in 1910 was Møllestien extended to the river and the street became more lively.
The soil between Møllestien and the river made the backyards of the houses in the street ideally suited for growing vegetables and the street has occasionally been called "Aarhus' Amager" as a result. However, the closer to the 20th century the poorer the inhabitants in the street became. The tenants generally could not afford to maintain the buildings or have them improved with new technologies such as modern sanitation and electricity. During the 1920s Aarhus suffered a lack of housing and the small, increasingly decrepit houses became home to impoverished families. In 1925 the conditions had deteriorated so much that several of the houses remained unused despite the general lack of housing throughout the city and a committee was established by the city council to look at ways to improve living conditions. The recommendations were not followed however, and the houses in the street were left to deteriorate for another 50 years.
In June of 1960 the city council enacted a renovation plan for Møllestien east of Grønnegade and south of Vestergade which entailed demolishing most of it. Several years passed before the plans could be effectuated and in the meantime the western section of the street became inhabited by young students and artists who renovated the old houses, painted them in colorful colors and planted roses in front of most of the houses.
The renovation plan for the remaining section was carried out through the 1960s and the old buildings from the turn of the 20th century were replaced with larger, modern structures.
Among the people that moved in were the actors Vigga Bro and Fritz Bruun in 1959 and in 1963 the young couple Bettina Heltberg and Svend Auken.
The part of Møllestien that remains is largely left untouched since the 1870s and is one of the places left in Aarhus that showcases 19th-century working class housing in the city.


Mġarr ix-Xini (Maltese: L-Imġarr ix-Xini), is a bay close to Għajnsielem (southwest), Xewkija and Sannat (southeast) on the Maltese island of Gozo. It lies in a gorge to the west of Mġarr Harbour, accessible mainly from the nearest village of Xewkija as well from Sannat.


Nowadays, this secluded spot is popular for swimming and diving. On 12 November 1999, the former Gozo ferry MV Xlendi was purposely sunk to create an artificial reef and dive site. However, the ship rolled over while sinking and it ended up upside down. It may be unsafe for inexperienced divers.
The movie titled By the Sea, starring Angelina Jolie and Brad Pitt was partially filmed at Mġarr ix-Xini from August to November 2014.


The M. E. Blanton House is a two-and-a-half-story Craftsman style historic building in the community of Aloha in the U.S. state of Oregon. Built in 1912, it is situated along Southwest 170th Avenue less than a block south of Tualatin Valley Highway. The interior of the 3,000-square-foot (280 m²) house is of the Arts and Crafts style. It was added to the National Register of Historic Places in 1989 and is used as a law office.


The land where Blanton House sits was first owned by Portland butcher Arthur Johnson. Starting in 1857 he began buying land west of Portland and eventually ended up with over 1,400 acres (570 ha) that his estate sold in 1909 to the Merchants Savings and Trust. In 1907, the Southern Pacific Railroad started service in the area, which was converted to an electric interurban line in 1914, and had a station at Huber.
The bank sold the land it had acquired from the estate to William A. Shaw, a partner in the Shaw-Fear Company. Shaw-Fear was a local real estate development firm, and Mr. M. E. Blanton was a road grader for Shaw-Fear. Blanton purchased the lot where the house stands in 1911, and the next year a 2+1⁄2-story home was built on the property along what was Huber Road, today's 170th Avenue, and what became Blanton Street.
Blanton's employer developed the area and donated five lots to build a school, with Blanton grading the road through what was then the community of Huber. Tualatin Valley Highway was built in 1918 adjacent to the railroad. In 1922, Blanton sold his house to the Avondale Farm Company, with the property going through several ownership changes during the next thirteen years before Leonard H. and Alice M. Place bought it in 1935. The Places owned the home until 1949, and it was later used as a group home for drug and alcohol dependency. In 1929, the interurban railroad ceased service. Blanton house was turned into a commercial office in 1987. On March 2, 1989, the house was added to the National Register of Historic Places.
In 1989, attorney Lauren J. Paulson purchased the property and restored it. Washington County decided in 1999 to widen 170th Avenue, which would eliminate much of the yard and cause the removal of two arched entrance ways along with several trees. After a year of proposals, the project was approved in April 2001 despite neighbors objecting to the project, including Paulson. Paulson even filed an appeal with the Oregon Land Use Board of Appeals, but it was rejected in September 2001. As of 2013, the building was used as the law office for Paulson.


Blanton House has 3,000 square feet (280 m²) with seven bedrooms over 2+1⁄2 storeys, plus a full basement. There is also a matching pump house and small pool on the grounds. The pool was the only pool in Aloha. When the property was listed on the NRHP it also had decorative entrances to the property consisting of two archways, but those were removed due to a road widening project.
The exterior is of the Craftsman style with horizontal lap siding and a hip roof. There are gables with truss ornaments and dormers in several places, plus a brick endwall on the south side. The building has two porches, and at the time of listing on the NRHP it had leaded, double-hung sash windows. Inside, the style is Arts and Crafts, which includes dark woodwork throughout. The first floor includes a living room, dining room, den, kitchen, foyer, and a small bathroom. The second and third floors consist of seven bedrooms and one bathroom, while the basement is unfinished. There are also a variety of pieces of built-in wood-furniture, such as a bench.


The MV Krait /ˈkraɪt/ is a wooden-hulled vessel famous for its use during World War II by the Z Special Unit (Z Force) of Australia during the raid against Japanese ships anchored in Singapore Harbour. The raid was known as Operation Jaywick.
The MV Krait is on display at the Australian National Maritime Museum (ANMM) in Sydney.


Krait was originally a Japanese fishing vessel based in Singapore named Kofuku Maru. Following the outbreak of war, the ship was taken over by the American destroyer USS Edsall and used to evacuate over 1,100 people from ships sunk along the east coast of Sumatra. The ship eventually reached Australia via Ceylon and India in 1942, and was handed over to the Australian military. In Australian service, she was renamed Krait after the small but deadly snake.
In September 1943, Krait transported members of Z Special Unit to Singapore, where they successfully raided the city's harbour, sinking seven ships, in what became known as Operation Jaywick. She returned to Australia in October. Krait was used by the Australian military throughout the war, and was present at the surrender of the Japanese forces on Ambon in September 1945.
Krait was later used as transport for intelligence-gathering missions to islands in the area, including Buru, Aru, Ceram, Banda, and Saparua. During this period, she carried several Japanese prisoners, army survey teams, and a naval intelligence officer.
At Ambon, the boat acquired a monkey as a mascot. He was named Peter and had lost his tail. Peter remained with the crew until Krait finished her service and was towed to Morotai. She was then sailed to Labuan, where she was sold and handed over to the British Borneo Company and where Able Seaman Robert Harry Easom of Perth kept its ensign as a souvenir. That ensign is now on display at the Australian War Memorial in Canberra.
After its sale, Krait was operated off Borneo until she was purchased for use as an Australian Royal Volunteer Coastal Patrol vessel in 1964. On Anzac Day 1964, Krait was formally dedicated as a war memorial by the governor of NSW. A plaque was affixed to the wheelhouse and is shown below. She was then acquired by the Australian War Memorial in 1985 and was lent to the Australian National Maritime Museum, where she has been displayed to the public since 1988.
From 2015, plans for restoration had been made, and as of 2017, this work has begun.
Since the success of Krait at Singapore, Australian Commando Unit vessels have traditionally used the names of venomous snakes. This tradition continues with Red Viper and Coral Snake as current examples.


WikiWeb_Mabel Tainter Memorial Building_1

The building was commissioned by Captain and Mrs. Andrew Tainter (whose son's house, the Louis Smith Tainter House, is also on the National Register), to honor their late daughter Mabel Tainter, who died in 1886 at age 19. The lumber baron's daughter had enjoyed music and the arts, so the building was designed to serve those areas and no expense was spared by the parents. Designed by Harvey Ellis or Edgar Joraleman, both architects in the Minneapolis firm of L. S. Buffington in the Richardsonian Romanesque style, the building was constructed in 1889.
The Tainters were wanting to do something to memorialize their late daughter when Reverend Henry Doty Maxson, a Unitarian minister, arrived in Menomonie in April 1888 to organize a local Unitarian society. They were Unitarians and discussed their wish with him. They were inspired by his suggestion to create a community center that would “deepen, broaden, heighten the entire round of life” as a memorial.
Construction began in April 1889 on property in the heart of the business district that had contained a livery stable that Tainter already owned. There was a brief explanation in March in the local weekly newspaper, the Dunn County News, that Captain Tainter owned the livery stable being razed, but no mention of what was going to be built.
It wasn't until the end of December that the general public learned the details of the new large building on Main Street. Captain Tainter wrote a brief note to the Unitarian Society explaining his purpose - “It is my purpose to convey the Memorial building I am erecting in this city to trustees for certain public uses and purposes, among which is the tender to your society and congregation of a place for the prosecution of its educational, charitable, social and religious work. I hope to have the building ready for use on or before the middle of May next.” When this news appeared in the weekly newspaper, the editor added additional information in response to the “all sorts of speculation and conjecture respecting the character and purpose of the memorial building”  since construction began. He said that while some people would have “herald[ed] in advance their purposes and plans,” Tainter “entered upon this work with his same business methods and, very naturally, he did not see any more reason to take the entire public into his confidence in this case, than he would in any other matter of business.” He added that the building will include a free public library and reading room, an auditorium, parlors, amusement rooms, dining room, kitchen, and offices.
The building was dedicated on July 3, 1890, with a ceremony in the building's theater. Featured guests were Captain and Mrs. Tainter, Menomonie's mayor and common council, and the president of the Mabel Tainter Literary, Library and Education Society, L. S. Tainter, a brother of the late Mabel. The presentation address was given by Rev. H. D. Maxson, a Unitarian minister who had been instrumental in working with the Tainter family in developing the idea for the building. The trust was accepted by S. W. Hunt, and the dedicatory address was delivered by Rev. J. H. Crocker of Madison, Wisconsin.
The Mabel Tainter Memorial Building, which cost approximately $125,000, was donated by Captain and Mrs. Tainter to the private Mabel Tainter Literary, Library and Education Society to own and manage the building during the dedication. As stated at the time, "In accordance with her wish, the father and mother have felt the fittest monument to the dear dead is a contribution to the welfare of the living."
Until Captain Tainter's death in 1899, he provided funds to cover the operating costs of the building. At his death, he established an endowment fund of $65,000 for the society. By 1925, the endowment had grown to $105,000 through legacies left by other members of the Tainter family and other individuals.


WikiWeb_Mabel Tainter Memorial Building_2

The exterior stone is Dunnville sandstone quarried from along the Red Cedar River about six miles south of town. The architect used Moorish influences in addition to the Richardsonian Romanesque style that guided most of his work. The interior contains hand-stenciled walls and ceilings, marble staircase and floors, stained glass windows, four fireplaces, brass fixtures and walnut and oak woodwork. The building still has its original Steere and Turner pipe organ, with a total of 1597 pipes and 28 stops; originally water-powered, it was eventually converted to electric power and completely restored. The building included both an ornate 313-seat theater and a reading room.
The building was intended to be the home of the Unitarian Society of Menomonie. The original deed to the society gave the Unitarian Society free use of the auditorium, assembly room, parlors, ladies' work room and young men's club room. It continues to meet there on a regular basis.
As the name of the society indicates, the building was also intended to become Menomonie's public library, replacing the public library in second-floor rooms across Main Street. The city library donated (subject to recall) 745 of its 3,000 volumes to the new library, distributing the rest to the public schools. In addition, Captain Tainter donated his 3,000 volume collection.  The city also provided $200 a year to the new library. The Mabel Tainter Memorial Library opened January 21, 1891 with nearly 4,000 volumes.
By 1925 the collection included 16,374 volumes, 2,577 public documents, and 3,930 pamphlets. The library was open to any resident of the county.
Needing more space and better accessibility, the Menomonie Public library moved to a new single story building in 1986.  The former Reading Room is now the Mabel Tainter Center for the Arts Box Office & Gallery Store.
Although the historic elegance and beauty remain intact at the Mabel Tainter Memorial Building, construction was recently completed to update the building's accessibility and safety features. A new entrance, public elevator, new wiring, a sprinkler system, and other safety updates were installed to improve the facility and ensure its longevity in historic downtown Menomonie.
The building was listed on the National Register of Historic Places in 1974, is a charter member of the League of Historic American Theatres and a designated Wisconsin Historical Marker Site.
Today, the Mabel Tainter Center for the Arts—a tax-exempt, 501(c)3 nonprofit organization—owns and operates the building.  The organization offers a performing arts and comedy series, an annual fine arts and crafts fair, and other arts and cultural programming.  The Menomonie Theater Guild also presents much of its season at the Mabel Tainter Center for the Arts.
Note: Information about the Tainter Memorial assembled for National Register listing some decades ago has been superseded by later historical research, and in fact in recent years the Register information has been modified to reflect the conclusion that Ellis did not design the building. More likely Edgar E. Joralemon, who replaced Ellis in Buffington's office, did.


The Macombs Dam Bridge (/məˈkuːmz/ mə-KOOMZ; also Macomb's Dam Bridge) is a swing bridge across the Harlem River in New York City, connecting the boroughs of Manhattan and the Bronx. The bridge is operated and maintained by the New York City Department of Transportation (NYCDOT).
The Macombs Dam Bridge connects the intersection of 155th Street and Adam Clayton Powell, Jr. Boulevard (Seventh Avenue), located in Manhattan, with the intersection of Jerome Avenue and 161st Street, located near Yankee Stadium in the Bronx. The 155th Street Viaduct, one of the bridge's approaches in Manhattan, carries traffic on 155th Street from Seventh Avenue to the intersection with Edgecombe Avenue and St. Nicholas Place. The bridge is 2,540 feet (770 m) long in total, with four vehicular lanes and two sidewalks.
The first bridge at the site was constructed in 1814 as a true dam called Macombs Dam. Because of complaints about the dam's impact on the Harlem River's navigability, the dam was demolished in 1858 and replaced three years later with a wooden swing bridge called the Central Bridge, which required frequent maintenance. The current steel span was built between 1892 and 1895, while the 155th Street Viaduct was built from 1890 to 1893; both were designed by Alfred Pancoast Boller. The Macombs Dam Bridge is the third-oldest major bridge still operating in New York City, and along with the 155th Street Viaduct, was designated a New York City Landmark in 1992.


The Macombs Dam Bridge was named after Robert Macomb, the son of merchant Alexander Macomb. It is composed of an over-water span and the 155th Street Viaduct, both of which were designed by consulting engineer Alfred Pancoast Boller. The bridge's total length is 2,540 feet (770 m), including its approach viaducts.
As of 2019, the Macombs Dam Bridge carries New York City Transit's Bx6 and Bx6 SBS bus routes. In 2016, the New York City Department of Transportation reported an average daily traffic volume in both directions of 38,183, with a peak of 55,609 in 1957. Between 2000 and 2014, the bridge opened for vessels 32 times.


The Macombs Dam Bridge includes a swing bridge over the Harlem River, pivoting around a small masonry island in the middle of the river.  The swinging span is the oldest remaining swing bridge in New York City that retains its original span. According to the New York City Department of Transportation (NYCDOT), which maintains the bridge, it is the city's third-oldest major bridge still in operation. It is variously cited as being 408 or 415 feet (124 or 126 m) long. It has four lanes for vehicular traffic and a sidewalk on each side for pedestrians. The roadway measures 40 feet (12 m) wide and the sidewalks measure 9.9 feet (3.0 m) wide. The total width of the deck, including additional space for supports and railings, is 65 feet (20 m).
The span's trusswork consists of concave chords running along the top. The chords taper up toward a square section in the center of the span, which is topped by four finials. On the Manhattan side, there is a plaque stating the year 1894, the words "Central Bridge", and the name of the bridge's major engineers. The design has been compared to a "raffish tiara" due to the presence of the Gothic Revival-style abutments. The swing span can be rotated around a tower located below the center of the deck, which in turn is located on the small masonry island. On both sides of the island are shipping channels with 150 feet (46 m) of horizontal clearance. When closed, the bridge provides 25 feet (7.6 m) of vertical clearance. The swinging portion weighs 2,400 short tons (2,100 long tons; 2,200 t) and is turned by two concentric drums: the inner drum has a diameter of 36 feet (11 m) and the outer has a diameter of 44 feet (13 m). At the time of its construction, Macombs Dam Bridge's over-river span was said to be among the largest drawbridges built to date, or the heaviest movable mass in the world.
On either bank of the river are pairs of stone end piers with shelter houses. The shelter houses contain red tile roofs and are used by the bridge tender. Latticework gates are located near these end piers, blocking off access to the span when it is in the "open" position. Many of the original railings have been replaced.


There are three approaches to the bridge. Two are from the Manhattan side (the 155th Street Viaduct and the Seventh Avenue approach), while the third leads to the intersection of Jerome Avenue and 161st Street in the Bronx.


At the western end of the over-water span is a long steel viaduct, carrying two sidewalks and two lanes of traffic in each direction.  The viaduct stretches from the intersection of 155th Street, Edgecombe Avenue, and St. Nicholas Place, at its western end, to the intersection of Macombs Place, Macombs Dam Bridge, and Seventh Avenue (also Adam Clayton Powell Jr. Boulevard) at its eastern end. There are traffic lights at both ends of the 155th Street Viaduct. An unconnected lower section of 155th Street runs at ground level under the viaduct.
The viaduct stretches 1,600 feet (490 m) was built due to the presence of Coogan's Bluff at its western end, some 110 feet (34 m) above the river. It passes over an unconnected section of 155th Street located at the bottom of the cliff. The viaduct is supported by 31 girders; the western 22 girders contain horizontal, diagonal, and vertical bracing, while the eastern 9 girders do not contain bracing. The extreme western end of the viaduct is located on a granite and limestone abutment; the roadway retains its original ornamental iron railings designed by Hecla Iron Works, with a tall chain-link fence above. The rest of the viaduct contains utilitarian metal railings and tall chain-link fences.
The viaduct was designed similar to a landscaped boulevard or parkway, with observation decks projecting outward from the viaduct's sidewalks. Additionally, four long metal staircases originally connected the viaduct and the lower level of 155th Street; these stairs had canopies covering their upper flights. By 1992, only two of these stairs remained on the west side of Eighth Avenue, and by 2000, both remaining stairs had deteriorated too severely to be restored. On the western end of the viaduct, a stone staircase connects the north sidewalk of the viaduct and the lower section of 155th Street. A 28-foot-tall (8.5 m) column with a weather vane, lamp, and drinking fountain is at the western end of the viaduct. The fountain—sometimes called the Hooper Fountain after its donor, businessman John Hooper—still exists on the southeast corner of the 155th Street Viaduct and Edgecombe Avenue. Just east of the column, a path leads south to Jackie Robinson Park.
Before the viaduct was built, the 155th Street station of the elevated IRT Ninth Avenue Line, located along Eighth Avenue at the bottom of the cliff, could only be reached from the top by a long staircase. A Scientific American magazine article in 1890 stated that "To draw a load up the hill a team has to be taken a mile or more to the south".


The other approach viaduct to the over-water span is from Seventh Avenue and Macombs Place (formerly Macombs Dam Road). It is 140 feet (43 m) long. The approach ramp is carried by several steel plate girders, as well as three Warren truss spans on the approach's southern side, which are carried by box girders. Part of the approach ramp is carried on an abutment pier, which contains a limestone-and-granite facade. A stairway leads from the Seventh Avenue approach's western sidewalk to the lower level of 155th Street; a corresponding stair on the eastern sidewalk of Macombs Place was demolished when the Seventh Avenue ramp was rebuilt in 1930.
As originally laid out, Macombs Place provided access to Eighth Avenue (Frederick Douglass Boulevard), which was located at the bottom of Coogan's Bluff and was bypassed by the viaduct. Original plans did not provide for a connection to Seventh Avenue, but a curved ramp to Seventh Avenue was added by the time the bridge was opened. The approach was rebuilt in 1931 to provide direct access to Seventh Avenue. As of 2020, it provides access to southbound Macombs Place and both directions of Seventh Avenue. At 152nd Street, a connecting road descends from the median of Seventh Avenue, connecting to the lower section of 155th Street.


At the eastern end of the over-water span, there are two Warren truss spans, followed by a camelback span over the tracks of the Metro-North Railroad's Hudson Line. Past the camelback span, the bridge intersects with the on- and off-ramps to and from the southbound Major Deegan Expressway. To the northeast, a steel approach road leads to Jerome Avenue, which extends north into the Bronx and Westchester County, and there are cloverleaf ramps to and from the northbound Major Deegan Expressway. The approach road consists of six steel-and-concrete spans across the expressway, as well as six more Warren trusses. These spans are supported by girders located atop granite piers. The approach road contains another intersection, with 161st Street, before terminating at Jerome Avenue. The grade of the approach road is 1%.


The original river crossing on the site was called Macombs Dam and was built along with the since-demolished lock-and-dam system on the Harlem River. The dam was opened in 1814, and the bridge was finished in 1815 or 1816. Macombs Dam's capacity was limited by its narrow width, as the manned lock only measured 7 by 7 feet (2.1 by 2.1 m), and by the mid-19th century, no longer used as a dam. In one incident in September 1839, local residents breached the dam over several days, and their actions were later reinforced by New York Supreme Court despite the operator's objections. Following legislature passed by the city in 1858, the dam was demolished that year, and was mandated to be replaced with a swing bridge.
The wooden Central Bridge, a swing bridge across the Harlem River, followed in 1860 or 1861. The span's construction was initially supposed to cost $10,000, but ultimately cost nine times as much. The wooden swing bridge included a rotating square tower situated atop a small island in the center of the river; the span itself was supported by iron rods attached to the tower. Because of the number of wooden parts, it often required maintenance. The city held a contest in 1875 for the installation of "a new wooden draw" to replace the existing Central Bridge. In 1877, the swinging component's square-shaped frame was removed and an A-frame was installed. The approach spans were subsequently replaced with iron in 1883, and the wooden span was rebuilt in 1890. The rebuilt span was 210 feet (64 m) long and 18 feet (5.5 m) wide, with two 4-foot-wide (1.2 m) sidewalks, as well as approach ramps measuring 180 feet (55 m) long. These improvements did not help the public's reputation of the bridge, and one driver was quoted as saying, "They ought to keep it for clam wagons, though no clam with any regard for himself would ever cross the bridge."


By the late 1880s, landowners in Upper Manhattan were advocating for development of Washington Heights, the then-sparsely-populated area atop Coogan's Bluff, the high cliff to the west of Macombs Dam. At the time, there were few options for traveling between the top and bottom of Coogan's Bluff. Another reason for developing this region of Manhattan was the opening of the Polo Grounds stadium at the bottom of Coogan's Bluff in 1890. By 1886, local landowners had come to an agreement that a viaduct was needed to connect the top of Coogan's Bluff and the Central Bridge. The next year, the New York state legislature passed a law that enabled the construction of a viaduct connecting the high point of Coogan's Bluff to the Central Bridge. Around the same time, the Central Bridge was slated to be rebuilt as a result of the River and Harbor Act, passed by the United States Congress in 1890. As part of the act, bridges on the Harlem River with low vertical clearance were to be replaced with those with at least 24 feet (7.3 m) of clearance during mean high water springs. Drawbridges and swing spans were determined to be most suitable for this purpose.
Structural engineer Alfred Pancoast Boller was hired to design the viaduct; his plans were officially approved in May 1890 at an estimated cost of $514,000, to be split evenly between the city and landowners. The city hired Herbert Steward to be the contractor; the Union Bridge Company for structural steel; and Hecla Iron Works for iron ornamentation. In June 1890, Boller was also hired for the over-water span. Boller submitted his plans for the over-water span that November; the plans entailed a smaller approach viaduct in the Bronx to cross over the swamp on that side. Work on the 155th Street Viaduct began in December 1890.
At the end of 1891, the foundations for the 155th Street Viaduct's support structure, as well as the masonry abutment at the viaduct's western end, had been constructed. However, further work at the viaduct's east end was delayed until the over-water span's foundations could be laid. The contract for the over-water span and Bronx approach was given to the Passaic Rolling Mill Company in March 1892, and work on that segment began two months later. The contractors and suppliers for the 155th Street Viaduct were also contracted for the over-water span. As the old bridge was about to be closed, residents of the town of Tremont, Bronx, expressed concerns that one of their few links to Manhattan would be temporarily severed. Ultimately, the old drawbridge was floated slightly north to 156th Street while the new span was constructed immediately adjacent. The old bridge remained there until the new span was completed, at which point the old span was demolished.
After the height of the over-water span's deck had been established, two falsework rails were placed on the outer edges of the span, along which a rolling scaffold traveled. Two different methods were used to construct the foundations for the over-water span. A caisson was used for the western bank's pier and the central pivoting "island", while a cofferdam was used for the eastern bank's pier. The latter required a modification to the original contract "owing to the great depth of swampy bottom". The design of the short span over the Hudson Line railroad tracks was likely also changed when the contract modification was made.
By late 1892, the 155th Street Viaduct was nearly completed and the Real Estate Record stated that pedestrians were already using the viaduct to access the elevated line. However, there were disputes over the ramp between Seventh Avenue and the over-water span. In the initial plans, the 155th Street Viaduct lacked a direct connection to Seventh Avenue. A rocky outcropping obstructed the line of view between Seventh Avenue and the bridge, so the builders decided to destroy the rock. The city also acquired land for a park between Macombs Dam Road, Seventh Avenue, and 153rd Street. Additionally, there were problems in coordinating work on the viaduct and over-water span, since the two segments intersected at an angle. An additional contract for a second Bronx approach from Sedgwick and Ogden Avenues was designed by Boller in January 1893, and was approved by the New York State Legislature. In 1894, the contract for the second Bronx approach was awarded to Passaic, while the contract for the over-water span's ornamentation was given to Valentine Cook & Son.


The 155th Street Viaduct opened on October 10, 1893. The over-water span opened "without any particular ceremony" a year and a half later, on May 1, 1895. The viaduct cost $739,000 (about $22 million in 2021), while the over-water span cost $1.3 million (equal to $42 million in 2021); however, the total cost of the over-water span including land acquisition was $1.774 million (about $58 million in 2021). The new bridge was also called the Central Bridge, and though a plaque bearing this name still can be seen on the swing span, the name never stuck. The old "Macombs Dam" name remained in popular use, and the bridge was officially renamed with its original moniker in 1902. The 155th Street Viaduct and over-water span were formerly operated by two different entities. The over-water span was erected by the New York City Department of Parks and Recreation before being transferred to the Bridge Department in 1898, while the 155th Street Viaduct was erected by the Department of Public Works and was transferred to the Manhattan borough president's office in 1898.
A trolley franchise was awarded to the Union Railroad Company in 1903, providing Bronx residents with a direct connection to the Eighth Avenue trolley. The first trolley traveled over the Macombs Dam Bridge in 1904. Due to the increasing prevalence of trolleys and automobiles, there was a decrease in horse-drawn carriages that used the bridge. Also in 1904, the steam engine that powered the movable over-water span was replaced with a 24 horsepower (18 kW) electric motor, which itself was replaced with a 52 horsepower (39 kW) motor in 1917. The New York City Department of Plant and Structures assumed control of the over-water span in 1916, and five years later it also had jurisdiction of the 155th Street Viaduct.
In 1920, while Yankee Stadium was under construction, ramps were built on the Bronx side of the Macombs Dam Bridge, leading to 161st Street. As part of this project, the staircase on the northern facade of the Bronx abutment was demolished, and a corresponding stair on the southern facade was built. On the Manhattan side, a rebuilt approach from Seventh Avenue and 151st Street to the bridge, as well as a rebuilt triangular plaza between Seventh Avenue and Macombs Dam Road, was opened in 1931. The approach was built on land donated by John D. Rockefeller Jr. The new approach, designed by Andrew J. Thomas, entailed rebuilding the formerly-straight Macombs Dam Road approach to a "flared polygonal" route, which required extending the masonry abutment there. In 1938, both the over-water span and the viaduct became the jurisdiction of the Department of Public Works.


Part of the pedestrian railing was damaged in 1949 after a boat's boom ran into the over-water span. Around the same time, from 1949 through 1951, the approach to Ogden and Sedgwick Avenues in the Bronx was demolished to make way for the construction of the Major Deegan Expressway. Three segments of truss bridge were also removed during this time, and the removed truss segment over the expressway's path was replaced with a new steel deck. The trolley tracks were also removed c. 1950, and many of the original decorative and lighting fixtures were replaced in the early 1960s.
The Transportation Administration assumed control of the bridge and viaduct in 1966. Mayor John Lindsay proposed enacting tolls along the University Heights Bridge, as well as all other free bridges across the East and Harlem rivers, in 1971. The proposal failed in 1977 after the United States Congress moved to ban tolls on these bridges. A new interchange on the Bronx side opened in 1977, providing easier access to Yankee Stadium. The same year, jurisdiction passed to the NYCDOT, which still operates and maintains the bridge and viaduct.
By 1988, the NYCDOT listed the Macombs Dam Bridge as one of 17 bridges citywide that urgently needed restoration. The work, initially expected to cost $34 million, would pay for the restoration of steel brackets and deteriorated concrete supports. The New York City Landmarks Preservation Commission designated the Macombs Dam Bridge and the 155th Street Viaduct as a city landmark on January 14, 1992. The NYCDOT conducted a $145 million overhaul of the bridge between 1999 and 2004. As part of the renovation, the NYCDOT replaced the deck of the bridge, and renovated the structural elements of the approach viaducts and the four ramps to and from the Major Deegan Expressway. The over-water span was also repainted and the electrical systems were replaced. Simultaneously, the NYCDOT also assessed the Macombs Dam Bridge and 155th Street Viaduct for a seismic-retrofitting project, which at the time was slated to be completed between 2010 and 2013 for $36 million. Despite the low probability of earthquakes in the area, the project had been proposed after more stringent building codes had been implemented in 2003.


Even while under construction, the Macombs Dam Bridge and the 155th Street Viaduct were favorably appraised by contemporary media. Scientific American praised the design of the ornamental iron handrails and lampposts in 1890. Two years later, the Engineering News-Record said that the two structures comprised "two of the parts of a grand system of improvements which will [...] transform that section of the city of New York."
In 1895, after the bridge was completed, the Real Estate Record called the bridge "a beautiful piece of engineering work splendidly conceived." Bridge engineer Martin Gay praised the masonry's "fine lines" and the "graceful sweep" of the over-water span's upper chord in 1904. Architectural critic Montgomery Schuyler stated that the Macombs Dam Bridge was "the most pretentious and costly" of the Harlem River swing bridges, and that the Macombs Dam and University Heights Bridges were "highly creditable works, in an artistic as well as in a scientific sense." The writer Sharon Reier, in the book "The Bridges of New York", referred to the Macombs Dam Bridge and the University Heights Bridge as "the only movable bridge[s] across the Harlem [...] which warrants a walking tour". After Boller's death in 1912, a colleague wrote that the Macombs Dam Bridge was one of several spans designed by Boller that were "characterized by their originality and boldness of design". The painter Edward Hopper depicted the bridge in a 1935 painting of the same name.


Boller designed several bridges across the surrounding section of the Harlem River. Two of them were built to the south of the Macombs Dam Bridge. These spans were the 145th Street Bridge and the Madison Avenue Bridge, which originally opened in 1905 and 1910, respectively. Though the 145th Street Bridge was replaced in 2006, writer Sharon Reier had described the original 145th Street Bridge as an "uninspired copy" of the Macombs Dam Bridge.
Immediately to the north of the Macombs Dam Bridge was the Putnam Bridge, also designed by Boller. The New York City Subway's now-demolished Ninth Avenue elevated line ran over the bridge, connecting with the IRT Jerome Avenue Line (current 4 train). The bridge opened in 1880, and was demolished after that portion of the Ninth Avenue line stopped operating in 1958.


Madikeri Fort also called Mercara Fort is a fort in Madikeri, in the Kodagu district of the Indian state of Karnataka, first built by Mudduraja in the second half of the 17th century. Mudduraja also built the palace within the fort.  It was rebuilt and restructured in granite by Tipu Sultan, and the site was then renamed Jaffarabad. Madikeri Fort is one of the many forts built or rebuilt by Tipu Sultan during his reign in the second half of the 18th century. In 1790, Dodda Vira Rajendra took control of the fort.   The palace underwent renovations by Linga Rajendra II from 1812-1814. The British made additions to the fort in 1834.  Notable structures in the fort include two stone statues of elephants at the northeast entry and a church in the southeast corner.
Today, the Madikeri Deputy Commissioner's Office is housed in the palace building, while St. Mark's Church houses the Madikeri Fort Museum, managed by the Karnataka State Archaeological Department. The museum has exhibits which display artifacts and weaponry from the time between the fort's construction and British rule. The museum also has a large portrait of Field Marshal K. M. Cariappa. The church was constructed in 1859 by soldiers of the East India Company, with funding from the Madras Presidency.  The church was administered by the Madras Diocese of the Church of England, but was closed after Indian independence, and taken over by the Government of Karnataka in 1971.


The Madikwe Game Reserve is a protected area in South Africa, part of the latest park developments in the country. Named after the Madikwe or Marico River, on whose basin it is located, it was opened in 1991 and comprises 750 km² of bushland north of the small town Groot-Marico up to the Botswana border.


Madikwe Game Reserve lies 90 km north of Zeerust on what used to be farm land, but owing to the poor soil type, farming was not that successful. After extensive research, the South African Government found that this land would best be utilised as a provincial park, to economically uplift this otherwise rather poor area.
The process of reintroducing wildlife to the area began in 1992 under the codename Operation Phoenix which relocated entire breeding herds of elephants, Cape buffaloes, south-central black rhinos and southern white rhinos along with various species of antelopes. Following Operation Phoenix, Madikwe has also successfully reintroduce rarer predatory species such as lions, cheetahs, spotted hyenas and Cape wild dogs bringing the total large mammal population of the reserve to over 10 000. There are currently more than 60 species of mammal in the park.
The reserve has recently opened itself up to private farms outside the main reserve. Private users need to abide by parks board rules, animals can roam over any land, but there are restrictions as to where private vehicles can drive. There are 30 lodges on the property, and six lodges in the private farms outside the main reserve. Some of the commercial lodges include Rhulani Safari Lodge, Jaci's Lodges, Tau Game Lodge, Etali Safari Lodge, Impodimo Game Lodge and an eco-lodge, Mosetlha Bush Camp. Madikwe has started community lodges, which the local villages own and run. All profits are then used to uplift the communities.
It is currently the fifth largest game reserve in South Africa and yet not widely known. The park is now 680 km² by itself, and 750 km², including the now incorporated privately owned land. The terrain is mainly open grasslands and bushveld plains, interspersed with rocky outcrops and single mountains. Madikwe has been regarded as one of the better conservation areas in Africa, offering all the major species, including lion, leopards, elephants, Cape buffaloes, both white and black rhinos along with almost all the plains antelope species.
A special feature of Madikwe lies in its unique location, a transition zone on the edges of the Kalahari, where a number of rare species occur naturally, and the bushveld. The climate is generally mild to hot, but winter nights can be cold. Over 350 species of birds have been recorded at Madikwe. The reserve is relatively close to Pilanesberg Game Reserve and there is a long-term plan to develop a corridor between the two parks.


Madikwe forms part of a semi-arid region on the edge of the Kalahari desert. In this region the climate can be broken into the rainy season (October – April) and the dry season (May – September). Summers overlap with the rainy season. Temperatures are high (32 °C / 90 °F) with cooling thunderstorms common in the late afternoon, evenings are mild (18 °C / 64 °F). Winters here are dry, with mild days (21 °C / 70 °F) and chilly nights (3 °C / 37 °F). Game viewing is good at all times of the year though most animals tend to congregate around available water sources during the winter.


Federal Air operates charter flights to OR Tambo International Airport from the airstrips in both the north and south of Madikwe. The flight takes about 55 minutes. Alternatively, the drive from Johannesburg is about 5 hours.


The Basilica-Sanctuary of Maria Santissima Annunziata (also called "Madonna of Trapani") is a Roman Catholic church and minor basilica, dedicated to Our Lady of Mount Carmel in Trapani, in Sicily.
It is included in the Roman Catholic Diocese of Trapani.


Was originally built by the Carmelite Order in 1315–1332 and rebuilt in 1760.
The church houses the skull of Saint Albert of Trapani in a silver statue crafted in the 18th century, and the relics of Clement of Ancyra.


It houses a marble statue of the Madonna of Trapani (Our Lady with Child), which might be the work of Nino Pisano.
The statue is life-size, weighs 12 tons and is 165 cm high. To her left she is holding the baby Jesus. Pope Clement XII granted a decree to crown this image in his name in the year 1734.


The ancient convent today is the "regional museum Agostino Pepoli", one of the most important Sicilian museum.


"IL Santuario Elevato Al Titolo E Dignità DI Basilica Pontificia Minore" [The Shrine Raised to the Title and Dignity of a Minor Pontifical Basilica]. madonnaditrapani.org. Archived from the original on 2016-03-22. Retrieved 2021-05-04.
Schifano, Melchiorre (24 May 2013). "La statua della Madonna di Trapani" [The statue of the Madonna of Trapani]. belladimora.eu. Archived from the original on 2016-02-22. Retrieved 2015-09-16.
"Pepoli Museum Trapani". www.trapaniwelcome.it.


The building, which opened next door to the Adolphus Hotel in August 1922 at a cost of US $4 million, was originally the headquarters for the Magnolia Petroleum Company. In 1934, the company erected its trademark neon Pegasus on the building's roof (the Pegasus logo later became the logo of Mobil Oil who merged with Magnolia Petroleum in 1959) to celebrate the American Petroleum Institute's annual meeting, held in Dallas for the first time.  The rotating winged horse came to represent the city of Dallas and became one of its most recognizable and endearing landmarks, even after the building became obscured by much larger skyscrapers (the neon Pegasus can now only be seen in the downtown skyline approaching from the south).
By 1974, however, Pegasus stopped rotating due to mechanical problems and in 1977 the property was sold to the city of Dallas. The building was listed in the National Register of Historic Places in 1978.
The building was purchased by Denver, Colorado developers in 1997 and was converted into the luxury 330-room Magnolia Hotel.
In 1999, in preparation for Dallas's Millennium Celebration, Pegasus was taken down to be completely restored. However, the sign was beyond repair and a new sign was recreated from scratch. At midnight on 1 January 2000, the new Pegasus, complete with rotation, was lit for the first time.  A copy of the  original sign, which sat atop a Mobil Oil station in the Casa Linda neighborhood of Dallas for many decades, is now on display at the Old Red Museum.


Mago National Park is a national park in Ethiopia located in the Southern Nations, Nationalities, and Peoples' Region about 782 kilometers south of Addis Ababa and north of a large 90° bend in the Omo River, the 2162 square kilometers of this park are divided by the Mago River, a tributary of the Omo, into two parts. To the west is the Tama Wildlife Reserve, with the Tama river defining the boundary between the two. To the south is the Murle Controlled Hunting Area, distinguished by Lake Dipa which stretches along the left side of the lower Omo. The park office is 115 kilometers north of Omorate and 26 kilometers southwest of Jinka. All roads to and from the park are unpaved.


The Mago National Park was established in 1979, making it the newest of Ethiopia's several National Parks. Its highest point is Mount Mago (2528 meters). The major environments in and around the Park are the rivers and riverine forest, the wetlands along the lower Mago and around Lake Dipa, the various grasslands on the more level areas, and scrub on the sides of the hills. Open grassland comprises about 9% of the park's area. The largest trees are found in the riverine forest beside the Omo, Mago and Neri.
In this park, the main biomes or landforms are Savanna, Acacia trees, Shrubland, and also Woodland.


Mago National Park affords protection to 74 species of mammals and 237 species of birds. At least 10 species of reptiles and 14 species of fish are also found within the park's ecosystem.
Indigenous bird life includes the extremely uncommon Dusky babbler (Turdoides tenebrosus) especially at Lake Dipa, Black-rumped waxbill (Estrilda troglodytes) in the rank grass along streams and swamp edges, Violet wood hoopoe (Phoeniculus damarensis), Allen's gallinule (Porphyrio alleni), Striated heron(Butorides striatus) also at Lake Dipa, and in riverine contexts Egyptian plover (Pluvianus aegypticus), Pel's fishing owl (Scotopelia peli), and snowy-crowned robin-chat (Cossypha niveicapilla).
Other animals that are interesting to find are Lion, Leopard, Lelwel Hartebeest, Beisa oryx ,Hippopotamus, Cape Buffalo, Cheetah, Giraffe, Gerenuk, Hyena, African Wild Dog, Warthog, Nile Crocodile, Zebra, and African Elephant.


The Mahaiwe Block is a commercial and theater building in the heart of downtown Great Barrington, Massachusetts.  In addition to smaller businesses, it houses the Mahaiwe Performing Arts Center, the town's only major performance space.  It has been in virtually continuous operation since its construction in 1905.  The building is located at 6-14 Castle St. and 314-322 Main St, and is listed on the National Register of Historic Places.
The building's condition and fate in the 1990s was a major contributing factor in the establishment of local preservation ordinances.  The building takes its name from an earlier structure on the site, which its owner called "Mahaiwe House".


The Mahaiwe Block is a roughly rectangular three-storey building, presenting long facades to both Main and Castle Streets.  Its exterior is finished in pale brick, with marble trim elements and a pressed metal entablature.  White marble belt courses separate the floors.  The Main Street facade includes two storefronts and an Art Deco building entrance, the product of a 1929 remodeling by a banking tenant.  The Castle Street facade has a row of round-arch windows, three commercial storefronts, and the main entrance to the theater.  The theater entrance has three sets of double doors, set in a large two-story round-arch opening, which is sheltered by the theater's 1930 marquee.  The marquee is supported by chains and has a scrolled top.  The street-facing portion of the marquee bears the theater's name in illuminated letters, a detail repeated in compressed form on the sides, above the panels showing the facility's current offerings.


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Maharashtra Cricket Association Stadium is a cricket stadium situated in the city of Pune, India besides the Pune Mumbai Expressway nestled between the hills of the Western Ghats.
It is the home venue for the Maharashtra cricket team and is the headquarters of the Maharashtra Cricket Association. This stadium is situated on the outskirts of city limit of Pune in Gahunje Village. Before existence of this arena, Nehru Stadium of downtown Pune was the home ground of Maharashtra Cricket team.
This arena is designed by Michael Hopkins. It is designed like a deep bowl.  It has floodlights to organise contests at night.
Hopkins Architects of London was commissioned to design a new 37,000-seat stadium in Pune. This stadium's final phase of construction is still yet to complete.
In 2012, it was inaugurated by then BCCI and ICC president Sharad Pawar. In April 2012, the first match was played between Kings XI Punjab and Pune Warriors in April 2012. The first Twenty20 International match at the stadium was played between India and England in December 2012. The first Test match at the venue was played between India and Australia in February 2017.
As of 17 April 2022 it has hosted 2 Tests, 7 ODIs and 3 T20Is and 44 IPL matches.


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The MCA's decision to build a new Cricket stadium in Pune stemmed from a dispute with the Pune Municipal Corporation, regarding ticket allocations for Nehru Stadium. This conflict came to a head when an international match between India and Sri Lanka was moved to Kolkata, with the MCA stating they were in no position to host the match. Following this, the MCA decided a new stadium was needed.
The groundbreaking ceremony was performed on the construction site on 21 October 2007 by the BCCI president Sharad Pawar. MCA granted the contract to construct the first phase of the construction to  M/S Shapoorji Pallonji & Co. Ltd company in November 2009. The construction work started on 14 November 2007.
MCA Pune was inaugurated by the then ICC President and Agriculture Minister Sharad Pawar on 1 April 2012.
In 2013, the Indian company Sahara India Pariwar bought the naming rights and the stadium was renamed the Subrata Roy Sahara Stadium. However, the name was changed back to the Maharashtra Cricket Association Stadium because Sahara paid only a part of the Rs. 200 crore that it had promised when acquiring the rights.
The major part of the construction is completed but the final phase of the construction is still yet to complete. This arena is designed by British architect Sir Michael Hopkins, who credited to designed Lord's cricket ground's mount stand and Ages bowl Stadium of Southampton in England.
In November 2015, the stadium was selected as one of the six new Test venues along with Holkar Stadium, JSCA International Stadium Complex, Saurashtra Cricket Association Stadium, Himachal Pradesh Cricket Association Stadium and Dr. Y.S. Rajasekhara Reddy ACA-VDCA Cricket Stadium in India.
The stadium has been home ground for Pune Warriors India, Punjab Kings, Rising Pune Supergiant and Chennai Super Kings in the Indian Premier League.


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The stadium was designed by British architecture company, Hopkins Architects. Its original completion date was November 2010 at a cost of Rs 1.50 billion, covering an area of 35 acres (140,000 m²). However, the stadium was not ready until 2012. As a result, the stadium was not able to host ICC Cricket World Cup matches as originally intended.
The arena is located close to the Mumbai–Pune Expressway, just outside the city of Pune, with views of the surrounding mountains.
The stadium and the seating arrangement were designed in such a way that an unobstructed view is assured from each location.
The most important feature of this stadium is its rainwater drainage system. Often, matches are abandoned due to heavy downpour. To overcome this problem, MCA opted for a sand-based outfield developed departmentally with technical assistance from STRI Limited, UK. Due to this technology, even during heavy showers, water on the outfield drains out fast, making it ready for play again just in few minutes.


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In 2015 IPL, Punjab Kings decided to move out of Mohali due to lukewarm spectator response at their primary home ground. Following the decision three home games were played at the MCA Stadium.
In 2018 IPL, due to members of a few fringe political parties staging protests outside the M. A. Chidambaram Stadium, Chennai as well as several parts of Chennai demanding the IPL matches to be moved out of the city until the Cauvery Management Board (CMB) was set up as directed by the honourable Supreme Court of India. Despite tight security for the match against KKR, the Chennai police expressed their inability in ensuring enough personnel at the venue for the smooth conduct of the remaining games. MCA Stadium in Pune was selected to host the remaining six home games of Chennai Super Kings.
On 28 March 2021, MCA Stadium completed its 50th competitive match milestone during the India vs England 3rd ODI Match.


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In 2017, Indian TV network India Today exposed this stadium's official pitch curator Salgaonkar on sting operation, the network alleged Salgaonkar for malpractice before India vs New Zealand ODI match. In response to that Mahrashtra Cricket Association sacked Salgaonkar from the job. According to  'cricket.com.au', the pitch curator showed batting pitch to the men around the Pune, which is clear breach of ICC rule to governing access to the Cricket pitch in international cricket matches. The second ODI went ahead on schedule after the pitch had been inspected by match referee Chris Broad. The India Today footage of Salgaonkar speaking with a reporter, who was posing as a bookmaker, was broadcast a few hours before the match. India Today alleged that Salgaonkar shared information about the wicket to their undercover reporter about possible score and Salgaonkar was ready to tamper wicket for bounce. As per India Today their undercover reporter accompanied by Salgaonkar permitted to tapp, test walk and stamp with the feet to the pitch. The curator guaranteed to doctor the pitch according to demand.
Salgaonkar was suspended for 6 months from the curator position by BCCI and ICC, after that he returned on the job at MCA as curator.
In 2017, Pune pitch used for the first test for India vs Australia rated poor by ICC match referee Chris Broad in his report.
In 2018 Bombay High court restricted Maharashtra Cricket Association (MCA) to use Pavana river water for the maintenance of this stadium's ground. Bombay court gave this verdict in response to a Public interest litigation field by a NGO, Loksatta movement. Maharashtra government granted the permission to use the water of Pavana river for industrial purpose to MCA. The judges of Bombay High court said that, "We are shocked to note that for a period of six years, the state government has allowed the MCA to draw water from the Pavana river for industrial purposes when admittedly the MCA is not running any industry. The water is being used for the stadium” and to do so was illegal.


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The MPIC project included:
A main 15 wicket match ground
Adjacent practice ground with nets, for practice and smaller matches
Spectator seating for 37,406 grouped into 4 stands
A Members' Pavilion and a media stand
Additional facilities for 5,000 members including squash and badminton courts, a swimming pool, spa, restaurants and bars
80 corporate hospitality boxes
A state-of-the-art indoor Cricket Academy with residential accommodation for youth training schemes
Parking for almost 4,000 cars and 10,000 two-wheelers


The Mahmoudiya Mosque (Arabic: جامع المحمودية, Hebrew: מסגד מחמודיה) is the largest and most significant mosque in Jaffa, now part of the larger city of Tel Aviv. It is composed of a complex of buildings arranged around two large courtyards and a third, smaller, courtyard. The buildings, gates, and courtyards were built at different stages throughout the 18th and 19th centuries while Palestine was under Ottoman rule.


Initial construction of the Mahmoudiya Mosque is said to have occurred in 1730 on the orders of governor Sheikh Muhammad al-Khalili. A sabil (fountain), embedded in the southern wall of the mosque, is attributed to Sulayman Pasha, governor of Acre in the late 18th and early 19th centuries.
Most of the current mosque was built in 1812 by the Ottoman governor of Gaza and Jaffa, Muhammad Abu-Nabbut. The main courtyard, located in the western part of the mosque, with its arcades and large rectangular prayer hall covered by two big shallow domes, and with its slender minaret are accredited to him. Traces of earlier construction are hardly noticeable, but research contends that Abu-Nabbut's mosque was built on the foundations of a smaller mosque that belonged to the Bibi family of Jaffa. The building reuses Roman columns from  Caesarea and Ashkelon.


The Mahmoudiya Mosque used to occupy the northeast corner of Old Jaffa. In the middle of the 19th century, the walls of Jaffa were gradually dismantled thus allowing for another major addition to the mosque to be made. Around the turn of the 20th century, the center of government moved to the east of the mosque, just outside the ancient walls. In order to facilitate access to the mosque from the government building, a new gate was built in the eastern wall of the mosque, facing the clock-tower plaza. The gate, named "the gate of the governors", reflects the design of Sabil Sulayman, built in Jerusalem in the 17th century by Suleiman the Magnificent.
Today, the exterior walls of the mosque are largely concealed by shops. However, in some places the two shallow domes of the prayer hall and the multitude of ancillary dome are still visible from the surrounding streets. The tall and refined silhouette of the minaret is still prominent in what remains of the fabric of Old Jaffa and its surrounding.


The Maid of the Mist is a sightseeing boat tour of Niagara Falls, starting and ending on the American side, crossing briefly into Canada during a portion of the trip.
The fleet currently consists of two vessels, both of which launched in 2020. The James V. Glynn was named in honor of the Maid of the Mist Chairman and CEO, who in 2020 celebrated 70 years with the company, and the Nikola Tesla, for the man who invented the alternating current (AC) motor, the standard form of electricity that is used in American homes to this day. Tesla’s invention prompted George Westinghouse to invite him to join his team that won the bid to build the power plant at Niagara Falls.  Prior to the current two boats, all prior ships had been named Maid of the Mist, dating back to 1846.  The first ships were steam powered; these were replaced by diesel-powered vessels from 1955 until 2019, and later replaced with the current two boats powered by lithium-ion battery-powered electric motors.
The name, Maid of the Mist, could be a reference to the Iroquois myth of Lelawala.