The original agreement between Canada and the United States regarding construction of the highway stipulated that its Canadian portion be turned over to Canada six months after the end of the war. This took place on April 1, 1946, when the U.S. Army transferred control of the road through Yukon and British Columbia to the Canadian Army, Northwest Highway System. The Alaskan section was completely paved during the 1960s. The lower 50 miles of the Canadian portion were paved in 1959, but the remainder was largely gravel. Now completely paved (mostly with bituminous surface treatment), as late as the mid-1980s, it included sections of winding dusty road sandwiched between high quality reconstructed paved segments.
The Milepost, an extensive guide book to the Alaska Highway and other highways in Alaska and Northwest Canada, was first published in 1949 and continues to be published annually as the foremost guide to travelling the highway.
The British Columbia government owns the first 82.6 miles (132.9 km) of the highway, the only portion paved during the late 1960s and 1970s. Public Works Canada manages the highway from Mile 82.6 (km 133) to Historic Mile 630. The Yukon government owns the highway from Historic Mile 630 to Historic Mile 1016 (from near Watson Lake to Haines Junction), and manages the remainder to the U.S. border at Historic Mile 1221. The State of Alaska owns the highway within that state (Mile 1221 to Mile 1422).
The Alaska Highway was built for military purposes and its route was not ideal for postwar development of northern Canada. Rerouting in Canada has shortened the highway by about 35 miles (56 km) since 1947, mostly by eliminating winding sections and sometimes by bypassing residential areas. The historic milepost markings are therefore no longer accurate but are still important as local location references. Some old sections of the highway are still in use as local roads, while others are left to deteriorate and still others are plowed up. Four sections form local residential streets in Whitehorse and Fort Nelson, and others form country residential roadways outside of Whitehorse. Although Champagne, Yukon was bypassed in 2002, the old highway is still completely in service for that community until a new direct access road is built.
Rerouting continues, expected to continue in the Yukon through 2009, with the Haines Junction-Beaver Creek section covered by the Canada-U.S. Shakwak Agreement. The new Donjek River bridge was opened September 26, 2007, replacing a 1952 bridge. Under Shakwak, U.S. federal highway money is spent for work done by Canadian contractors who win tenders issued by the Yukon government. The Shakwak Project completed the Haines Highway upgrades in the 1980s between Haines Junction and the Alaska Panhandle, then funding was stalled by Congress for several years.
The Milepost shows the Canadian section of the highway now to be about 1,187 miles (1,910 km), but the first milepost inside Alaska is 1222. The actual length of the highway inside Alaska is no longer clear because rerouting, as in Canada, has shortened the route, but unlike Canada, mileposts in Alaska are not recalibrated. The BC and Yukon governments and Public Works Canada have recalibrated kilometre posts. The latest BC recalibration was carried out in 1990; using its end-point at the border at Historic Mile 630, the Yukon government has recalibrated in three stages: in 2002, from Mile 630 to the west end of the Champagne revision; in fall 2005, to a point just at the southeast shore of Kluane Lake, and in fall 2008, to the border with Alaska.
There are historical mileposts along the B.C. and Yukon sections of the highway, installed in 1992, that note specific locations, although the posts no longer represent accurate driving distance. There are 80 mileposts in B.C., 70 in Yukon and 16 in Alaska with a simple number marker of the original mile distance. There are 31 "historic signs" in B.C., 22 in Yukon and 5 in Alaska, identifying the significance of the location. There are 18 interpretive panels in B.C., 14 in Yukon and 5 in Alaska which give detailed text information at a turn-off parking area.
The portion of the Alaska Highway in Alaska is designated Alaska Route 2. In Yukon, it is Highway 1 (designated in 1968) and in British Columbia, Highway 97. The portion of the Alaska Highway in Alaska is also unsigned Interstate A-1 and unsigned Interstate A-2.


The Canadian section of the road was delineated with mileposts, based on the road as it was in 1947, but over the years, reconstruction steadily shortened the distance between some of those mileposts. In 1978, metric signs were placed on the highway, and the mileposts were replaced with kilometre posts at the approximate locations of a historic mileage of equal value, e.g. km post 1000 was posted about where historical Mile 621 would have been posted.
As reconstruction continues to shorten the highway, the kilometre posts, at 2-kilometre (1.2 mi) intervals, were recalibrated along the B.C. section of road to reflect the driving distances in 1990. The section of highway covered by the 1990 recalibration has since been rendered shorter by further realignments, such as near Summit Pass and between Muncho Lake and Iron Creek.
Based on where those values left off, new Yukon kilometre posts were erected in fall 2002 between the B.C. border and the west end of the new bypass around Champagne, Yukon; in 2005, additional recalibrated posts continued from there to the east shore of Kluane Lake near Silver City; and in fall 2008, from Silver City to the boundary with Alaska. Old kilometre posts, based on the historic miles, remained on the highway, after the first two recalibrations, from those points around Kluane Lake to the Alaska border. The B.C. and Yukon sections also have a small number of historic mileposts, printed on oval-shaped signs, at locations of historic significance; these special signs were erected in 1992 on the occasion of the highway's 50th anniversary.
The Alaska portion of the highway is still marked by mileposts at 1-mile (1.6 km) intervals, although they no longer represent accurate driving distance, due to reconstruction.
The historic mileposts are still used by residents and businesses along the highway to refer to their location, and in some cases are also used as postal addresses.
Residents and travelers, and the government of the Yukon, do not use "east" and "west" to refer to direction of travel on the Yukon section, even though this is the predominant bearing of the Yukon portion of the highway; "north" and "south" are used, referring to the south (Dawson Creek) and north (Delta Junction) termini of the highway. This is an important consideration for travelers who may otherwise be confused, particularly when a westbound travel routes southwestward or even due south to circumvent a natural obstacle such as Kluane Lake.
Some B.C. sections west of Fort Nelson also route more east-to-west, with southwest bearings in some section; again, "north" is used in preference to "west".
Since 1949 The Milepost, an exhaustive guide to the Alaska Highway and all other routes through the region, has been published each year.
The community Wonowon, British Columbia, is named by its location at mile 101, spoken "one-oh-one".


Mile 301 to 308, now local residential feeder roads Wildflower Drive, Highland Road, Valleyview Drive


The Alaska State Museum is a museum in Juneau, Alaska, United States. The museum's collections include cultural materials from the people of the Northwest Coast (Tlingit, Haida and Tsimshian), the Athabascan cultures of Interior Alaska, the Inupiaq of the north coast, and the Yup'ik of the southwest of Alaska, the Alutiiq people of Prince William Sound and Kodiak Island, and the Unangax from out along the Aleutian chain. Artifacts from the state's Russian colonial eras, state and political history, fine art (including contemporary art), natural history, industry and trades can also be found on exhibit.
After a $139 million renovation, it re-opened after a two-year and three-month closure. The museum closed temporarily on February 28, 2014, for the creation of a new facility that joined the State Libraries, Archives and Museum (SLAM) together in a comprehensive research facility. The old structure, designed by Linn A. Forrest, was demolished in August 2014, and a new facility opened on the same footprint (but larger), on June 6, 2016. The new building was named after the first curator for the Alaska State Museum, the Russian Orthodox priest, Father Andrew P. Kashevaroff. This building is also known as the APK.


The Alaska Veterans Memorial is an outdoor memorial grove in Denali State Park in Interior Alaska. The memorial honors Army, Navy, Air Force, Marine Corps, Coast Guard, Alaska National Guard, and Merchant Marine veterans from Alaska, as well as specific Alaskans who were awarded the Medal of Honor. There are also small memorials to the passengers and crew of military plane crashes in Alaska. The site was selected because of the scenic beauty of the area and its location between Alaska's two largest cities. On a clear day visitors can see Denali from just outside the memorial.  It is 147 miles (237 km) from Anchorage and 214 miles (344 km) from Fairbanks, on a hill above the Byers Lake campground. During the main visitor season (May–August) there is a staffed visitor center and bookstore. The main memorial alcove was constructed in 1983, Governor Bill Sheffield, himself a veteran, dedicated the site in 1984.


The Alaskan Way Viaduct ("the viaduct" for short) was an elevated freeway in Seattle, Washington, United States, that carried a section of State Route 99 (SR 99). The double-decked freeway ran north–south along the city's waterfront for 2.2 miles (3.5 km), east of Alaskan Way and Elliott Bay, and traveled between the West Seattle Freeway in SoDo and the Battery Street Tunnel in Belltown.
The viaduct was built in three phases from 1949 through 1959, with the first section opening on April 4, 1953. It was the smaller of the two major north–south traffic corridors through Seattle (the other being Interstate 5), carrying up to 91,000 vehicles per day in 2016. The viaduct ran above Alaskan Way, a surface street, from S. Nevada Street in the south to the entrance of Belltown's Battery Street Tunnel in the north, following previously existing railroad lines.
The viaduct had long been viewed as a barrier between downtown and the city's waterfront, with proposals to replace it as early as the 1960s. Questions of the structure's seismic vulnerability were raised after several earthquakes damaged similar freeways in other cities, including some with the same design as the viaduct. During the 2001 Nisqually earthquake, the Alaskan Way Viaduct suffered minor damage but later inspections found it to be vulnerable to total collapse in the event of another major earthquake, necessitating its replacement.
The state and city governments considered several options, including a rebuilt elevated structure, a surface boulevard, and cut-and-cover tunnel, but could not compromise on a final choice. A deep-bored tunnel was selected in 2009 and the southern section of the viaduct was demolished in 2011 and replaced with a six-lane, single-deck freeway that travels through the SoDo industrial area. Excavation of the downtown bored tunnel by the tunnel boring machine "Bertha" began in 2013 and was completed in 2017 after two years of delays. The viaduct was closed permanently on January 11, 2019, and the new tunnel opened three weeks later on February 4. Demolition of the viaduct began weeks later, and was complete by late 2019.


On January 12, 2009, the governments of Washington, King County, the city of Seattle, and the Port of Seattle announced that they had agreed to replace the viaduct with a four-lane, 2-mile (3.2 km) long tunnel. The tunnel would have a south portal in SoDo, near CenturyLink Field, and a north portal near Thomas Street, north of the Battery Street Tunnel.
The project was estimated to cost $4.25 billion, with state, city, and county promised funding well short of the estimate. The state would fund boring of the tunnels, while the city and county would fund surface street improvements and repairs to the Alaskan Way Seawall, which itself was damaged in the Nisqually earthquake. The announcement did little to quell the long and heated debate over the viaduct's replacement, with several factions expressing their criticism over the tunnel decision.
Boring of the tunnel by the tunnel boring machine "Bertha" began on July 30, 2013, with the roadway initially scheduled to open in December 2015. Tunneling stopped on December 6, 2013, after the boring machine struck a steel pipe, which obstructed its path 1,083 feet (330 m) into the route. Investigations revealed that the machine had struck a pipe which had been installed in 2002 as a part of an exploratory well used to measure groundwater as part of the planning phases for the project. Boring resumed briefly on January 28–29, 2014, stopping again due to damage to the seal system which protects the machine's main bearing and damage to several of the cutting blades. This caused a two-year delay as it was necessary to dig a 120-foot (37 m) vertical shaft recovery pit from the surface in order to access and lift the cutterhead for repair and partial replacement.
Work was initially expected to resume by March 2015, it was December 2015 before tunnelling recommenced. Boring was halted again 23 days later after a sinkhole developed on the ground in front of the machine, but resumed a month later.
In July 2016, a citywide ballot measure attempted to build an elevated park along the waterfront after the demolition of the viaduct, utilizing a portion of the existing structure. The attempt failed, with more than 80 percent of voters in Seattle rejecting the measure. By this time, the tunnel was not expected to be completed until 2019, and had incurred $223 million in cost overruns.


Demolition of the viaduct began on February 15, 2019, after being delayed by several days due to a severe snowstorm. Contractors began with the upper deck and its columns, followed by the lower deck in a section-by-section process. It was originally scheduled to be completed by June 2019, but a compressed schedule caused by the tunnel's delayed opening caused demolition to take longer than expected and conflict with the summer tourism season. Demolition work reached the 50 percent milestone on June 11, with the Pioneer Square and Pike Place Market sections left for the final stages. The final double-deck section of the viaduct, including the Marion Street pedestrian bridge at Colman Dock, was demolished in late September 2019. The final section of the viaduct, removed in November 2019, was over the northern portal of the Great Northern Tunnel near the Pike Place Market.
Demolition work was completed on November 21, 2019, with 240 million pounds (110,000,000 kg) of concrete recycled and 15 million pounds (6,800,000 kg) of steel rebar reclaimed. Some of the concrete from the demolition was pulverized and used to fill the Battery Street Tunnel. New development along the waterfront in downtown Seattle, including a park promenade, is planned to be completed by 2021.


Alatskivi Castle (Estonian: Alatskivi loss, German: Schloss Allatzkiwwi) is a Neo-Gothic castle in Alatskivi, Estonia. Dating to the 17th century, it is situated in Alatskivi Parish, Tartu County. It was rebuilt in the late 19th century by Baron Arved von Nolcken, modeled on the royal residence of Balmoral in Scotland. A renovation occurred between 2005 and 2011. Five rooms on the first floor house the Eduard Tubin museum, which documents his accomplishments as a music composer and conductor.
Alatskivi Castle is surrounded by various ancillary buildings and a forested park of 130 hectares (320 acres) area, the largest in Tartu County. The park contains many oaks, ashes, maples, alders and an approach road lined with linden trees.


The writer Ain Hinsberg refers to the manor house having been designed as a mock-English castle. The castle is built to an asymmetrical plan, with single- and double-storied wings, turrets and a slate roof. The building has both single- and double-storied floors. It hosts seminars, training programmes and small conferences, and is fitted with three meeting rooms and dining facilities.
Completed in 2011, the Eduard Tubin Museum is located in five rooms on the first floor of the castle.  The main feature is devoted to the life and work of Eduard Tubin who was one of Estonia's most esteemed composers. The initial exhibits are of members of the Tartu school who studied with Tubin, including Heino Eller, Eduard Oja, Alfred Karindi, Olav Roots, and Karl Leichter. Tubin's music scores, manuscripts, books, records, films and photos, musical instruments, records, books, and sketches of theatre costumes are all part of the display. The museum also houses a large-scale model of the castle and plays the music of Tubin.


The 130 hectares (320 acres) large Manor Park consists of oaks, ashes, maples, alders and an approach road lined with linden trees, some trees being grown on terraces. It is the largest in the Tartu County. A hiking track is laid through the park and the Alatskivi Landscape Conservation Area. There are two artificial reservoirs along the Alatskivi River. There is a large boulder at the extreme end of the park in Kõdesi Forest where Apollo Belvedere's statue existed in the past, although the statue has been moved to Kadriorg Park in Tallinn. The main castle is surrounded by many stone buildings. During the 19th century, the manor had 57 buildings, of which 41 remain. These are grouped in four areas connected by roads. The first contains the castle, coaching house and cheese cellar; the second, the economic circle, contains the laundry, kitchen, stables and sheds; the third or border circle, contains the barn, mills, church and cemetery; the outer fourth circle contains the Apollo Belvedere statue and the final resting place of the Estonian folklore figure Kalevipoeg.


The main entrances open into a lobby with a polished stone floor on which a decorative diamond pattern surrounds the city seal. A gently arched passageway, with arched doorways (including that for the elevator), leads into the building's central atrium. There the square enclosed diamond pattern on the floor continues, with a small circle in the middle.
From both north and south, stairs ascend to the second story and descend to the ground floor. Flat curved arches supported by engaged pillars and topped with molding rise up on three sides to create a triforium. At the second story all have the blank shield design found on the exterior west facade's fourth-story windows. The staircases and the triforium both have railings of black painted metal with a brass handrail.
At the third story a stone balustrade replaces the arches, with some decorative carving on the cornice stone. Another metal railing, with intermittent decorative patterns, runs around the fourth floor, topped by gentle, wide arches. Both are lit by a single fixture on each side hanging from a chain. At the ceiling of the atrium is a cornice with decorative dentils.
Most of the rooms in City Hall are the offices of the mayor, city officials and departments. Albany's city council meets in a chamber just inside the loggia on the second story's west facade. Valances hang in the arches of the entryways, separated by two flat square engaged decorated wooden pilasters, just behind the wooden desk, carved with arches on the front echoing those on the wall behind, where the president of the 16-member council sits alongside the mayor and other officials during meetings. The other members sit at desks along the sides.
The floor is polished dark hardwood. A metal railing with brass handrail separates public viewing at the rear. The north and south walls are decorated with recessed wooden panels separated by pilasters with the same treatment as those on the west wall. They rise to a plain frieze topped by a decorative wooden cornice at the height of the separation between the upper and lower lights in the loggia windows. Above those lights, in the loggia windows, are recessed wooden panels. Decorative molding sets off a coffered ceiling from which a central chandelier is augmented by two fixtures hanging on chains over the desk at west and upward-pointing spotlights on the walls.


Albany's original city hall, the Stadt Huys, may have been built as early as 1635. Evidence from the journals of Wouter van Twiller, Director of New Netherland from 1633 to 1638, suggests that at least some type of punitory building was built on the site during his term. George Howell and Jonathan Tenney, in their book Bi-centennial History of Albany, cite reports from 1646 describing the building as a substantial (at least for its time) three-story structure, with the lower floor built of stone and used as a jail. By contrast, another Albany historian, Cuyler Reynolds, writes that the Stadt Huys was not built until 1673. Both historians agree that it stood at the northeast corner of today's Hudson Avenue and Broadway, the current site of the SUNY System Administration Building. The Stadt Huys officially became city hall when the Dongan Charter incorporated Albany as a city in 1686. A 1695 engraved map of Albany depicts the Stadt Huys at that location.
A new city hall was probably built on the site around 1740; historians at the New York State Museum (NYSM) put its completion date as the following year. The city government, quickly outgrowing the space, was able to secure constructionfunds from the provincial government. This building retained the Dutch name, even though it was new and the English had been in control of New York for more than 75 years. The NYSM describes the new Stadt Huys as a three-story brick structure, adding that it was "more substantial" than its predecessor. The new building was the third-largest in Albany, surpassed only by that era's local Dutch church and Fort Albany. The roof of the new structure was gabled and topped with a cupola and belfry. Howell and Tenney say the original Stadt Huys was in use for at least 160 years (meaning a replacement structure would not have been needed until 1795 at the earliest), which contradicts with accounts of the new Stadt Huys's construction in the 1740s.
In 1754, the Stadt Huys was the site of the Albany Congress where Benjamin Franklin of Pennsylvania presented the Albany Plan of Union, the first formal proposal to unite the British American colonies. The intent was to defend against aggressions of the French to the north rather than become independent from the British crown. It was never adopted by the British Parliament; later it was seen as an important precursor to the United States Constitution. A month prior to the meeting, Franklin published his Join, or Die political cartoon, a graphical representation of the plan.
During the Revolutionary War, City Hall was home to the Albany Committee of Correspondence (the political arm of the local revolutionary movement), which took over operation of city government in 1775 and eventually controlled all of Albany County (at that time the largest county in the colony, extending far past its current borders). Tories and prisoners of war were often held in the building with common criminals. Following the war, city hall was an occasional meeting place of the newly formed New York Legislature, in addition to being home to the city and county governments, jail, courts, and local registry.
In 1797 Albany was declared capital of the state and the legislature made City Hall its home until the first state capitol was opened in 1809. In an effort to move public buildings away from the bustling and expanding waterfront, the new capitol was located atop the State Street hill, directly in front of where the current building stands. City surveyor Simeon De Witt, in his 1794 city plan, marks this land as a public square; it had been dedicated for public purposes since the late 17th century. Also included on DeWitt's map are depictions of City Hall and the new city jail, located at State and Eagle Streets. In 1809, Albany city government moved with the Legislature into the new capitol and remained there until a new city hall was opened in 1832. The old Stadt Huys was demolished after an 1836 fire.


This work by Poole was the first of his many public buildings in the state, and a significant departure in architectural style for the Public Works Department. The design followed a contemporary movement of architects, such as Edwin Lutyens, that drew influence from the English cottage. The work is identified as Federation Arts and Crafts, and as an "aesthetically exceptional example" of the architect's work. Other nineteenth century buildings on the site, such as the former nurses quarters, morgue, and carpenters workshop, are regarded as significant as an intact hospital complex, and in particular as a cottage hospital. It is the oldest remaining hospital of the historic township. The views of the harbour make this a significant landmark.
The building was established as an arts centre and various conservation works were done in the early 2000s.


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The Albany Institute of History & Art (AIHA) is a museum in Albany, New York, United States, "dedicated to collecting, preserving, interpreting and promoting interest in the history, art, and culture of Albany and the Upper Hudson Valley region". It is located on Washington Avenue (New York State Route 5) in downtown Albany. Founded in 1791, it is among the oldest museums in the United States.
Several other institutions have merged over time to become today's Albany Institute. The earliest were learned societies devoted to the natural sciences, and for a time it was the state legislature's informal advisory body on agriculture. Robert R. Livingston was the first president. Joseph Henry delivered his first paper on electromagnetism to the Institute. Its collections of animal, vegetable and mineral specimens from state surveys eventually became the foundations of the New York State Museum. Later in the century it became more focused on the humanities, and eventually merged with the Albany Historical and Art Society. It has had its present name since 1926. Over the course of the 20th century it has become more firmly established as a regional art museum.
The institute's three-building complex includes the late 19th-century Rice Building, the only freestanding Beaux-Arts mansion in the city, designed by Richard Morris Hunt and donated to the institute by one of its former benefactors. Its main building is a 1920s Classical Revival structure designed by local architect Marcus T. Reynolds. A more modern glass structure connects the two. The original two buildings were listed on the National Register of Historic Places in 1976. At the beginning of the 21st century, the institute completed an extensive renovation in which the entrance building was constructed and new climate-controlled storage space for the collections was built.


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The Albany Institute of History & Art is open from Wednesday to Saturday from 10:00 a.m. to 5:00 p.m. and Sunday from 12:00 a.m. to 5:00 p.m. Admission costs $10.00 for adults, $8.00 for senior citizens and students, and $6.00 for children aged six to twelve (those under five are free). The library is open on Thursdays from 1:00 to 4:30 p.m. and by appointment. The museum has a parking lot in the rear.


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The town hall is a two storied building with a stone exterior and four-faced clock tower. It is situated on the corner of Grey Street West and York Street in the centre of Albany. The hall has gallery space on the lower floor with a 310-seat theatre on the upper floor. The building is an example of Victorian Free Classical architecture and was designed by an Adelaide firm, Henderson, Marriot and Company, in 1886.
It is constructed from locally quarried granite masonry and finished with stucco ornamentation externally and plastered brickwork internally. The hall has a ground floor, first floor and gallery level along with other levels within the clock tower.
The building has a rectangular footprint with the clock tower centrally located on the front facade, which dominates the streetscape. The tower is topped with a copper roof and a flagpole.
Originally the building housed municipal and commercial offices on the ground floor with the public hall on the first floor. The hall provided a venue for cultural and community events such as theatre, cinema, meetings and dances.


It was planned and built between 1923 and 1925 and opened on 18 January 1926. Its official name was Albergo Diurno Metropolitano and it was opened every day from 7 a.m. to 11 p.m.
The convention for the concession for thirty years of the square was signed on 24 November 1923 by the Milan municipal assessor to building, Cesare Chiodi, and the engineers Troiani, Cavacini and Masini, referring to a project of the engineer Troiani. The three engineers established the Società Anonima Imprese Metropolitane (S.A.I.M.) to manage the albergo diurno. A monument above it to Guglielmo Oberdan was planned but never built. The square, previously called Piazzale Venezia, was dedicated to Guglielmo Oberdan on 19 July 1923.
The decorations, the furniture and a part of the general architecture have been attributed to architect Piero Portaluppi.
The Albergo Diurno was approximately 88 meters long and 14 meters wide circa and occupied a surface of around 1200 sqm. It was divided in two parts, the public baths towards via Tadino and the hall of the artisans towards corso Buenos Aires. The public baths, with an access from the side of via Tadino, occupy two thirds of the length and have six luxury bathrooms with bath tub and the simple baths with shower with access from two parallel corridors.
In the main entrance area, heading towards the corso Buenos Aires, one could find a travel agency and a photographer, and the entry to the main hall with two side naves where there were barbers, manicurists and pedicurists. From the door at the end of the hall one could enter the baths section, with a central corridor ending with a bronze statue of Hygeia, goddess of health, made by the sculptor Luigi Fabris. The central corridor is connected to the two corridors of the baths, to the heating room and to a safety exit.
In the square two cement columns that contain the smoke chimneys can be seen. Over the access staircases there were two platform roofs but only the one towards via Tadino has been conserved, but without the covering glass. The platform roof towards the corso Buenos Aires was removed when the subway line 1 was built in the 1950s. Access to the Diurno was opened from the staircase to the subway. A part of the entrance hall and the toilets have been demolished.
In 1985 the baths were shut down. In 1990 the structure was given in concession to the Consorzio Oberdan Servizi, created by the artisans that worked there.  Most of the artisans left the Diurno in the middle of 1990, selling a part of the furniture that they considered their own. The last barber for men, Carmine Aiello, was sent away by Milan on 16 June 2006, for legal reasons. Afterwards, following the break of a skylight by the wheel of a cleaning truck, the skylights were covered with asphalt outside and reinforced inside.
In 1995 the company GTS of Bergamo proposed to the Municipality to transform it into a beauty farm. The project was stopped by architect Italo Rota, who became in 1996 assessor to urban quality in the Giunta Formentini and planned its transformation in a shop, conserving the hall, as a part of a project of renewal of Piazza Oberdan and modification of the Porta Venezia station of the subway line 1.
The Regional Direction for the Beaux Arts of Lombardy has put the Diurno under restriction as a national monument on 25 October 2005. Milan province, starting from year 2000, asked for the Diurno for the municipality to link it to Spazio Oberdan and put offices and archives of the Cineteca Italiana. The project could have been financed by the earnings of the participation in the Autostrada Serenissima, tied to cultural uses.
On 3 February 2006 the municipal government approved the text of a 25-year agreement with the province, but the province never signed it because the money was used for the restoration of the spires of the Duomo di Milano. An attempt of the province to start in 2010 a Programma Integrato di Intervento with the Lombardy Region, the Ferrovie dello Stato Italiane and ATM was abandoned for lack of interest by the various institutions. The offices of Cineteca Italiana were later transferred to the ex Manifattura Tabacchi in viale Fulvio Testi.
The property of the structure has remained to Milan municipality which thought to restore it with its own funds, at least for the hall of the artists or as an alternative the emission of a bid to rent it to private organizations.
Following the publication of a study by Stefano Masi and Pierfrancesco Sacerdoti attributing to Portaluppi the project of the furniture, the Fondo Ambiente Italiano (FAI) and  Fondazione Portaluppi have organized a convention on the Diurno at Villa Necchi for 4 February 2014.
Following this convention FAI, in agreement with the Municipality, opened the Diurno Saturday and Sunday 22 and 23 March 2014 from 10 to 17 as an initiative of the Giornate di Primavera of FAI, after FAI volunteers have cleaned and provided lightning to the Diurno.
In July 2015 FAI signed an agreement with Milan Municipality committing itself to plan and collect funds for a project of restoration  and opening to the public of Diurno.
On 4 December 2015 the Municipality inaugurated the western side of piazza Oberdan over the Diurno, with the creation of a pedestrian area and the restoration of the columns and the platform roof under the monitoring of the Soprintendenza Belle Arti e Paesaggio di Milano
.
FAI opens the Diurno once a month to the public with guided tours and events like modern art installations and theater plays.  Booking is managed by FAI website.


In 1998 the first phase of work on the bridge was carried out by Roads Service, involving replacing, strengthening and waterproofing the concrete bridge deck. The second phase replaced corroded wrought iron structural members supporting the bridge deck with new structural steel members. The final phase, in autumn 2001, involved the removal of existing paint and rust and application of a new paint system for corrosion protection, which should ensure no repainting will be needed for the next 15 years. Floodlighting was also being installed. Total cost of restoration was about £1 million.
The original drawings and sketches of the bridge from 1888 had been passed to Roads Service from Belfast Corporation at the time of local government reorganisation in 1973. The drawings were used for information on the works connected with the bridge and passed to the Public Record Office of Northern Ireland in 2001.


In 1990, the tidal flow system was abandoned and Albert Bridge was converted back to two-way traffic. A traffic island was installed on the south end of the bridge to prevent larger vehicles from using it. In the early years of the 21st century the Chelsea area experienced a growth in the popularity of large four-wheel drive cars (so-called Chelsea tractors), many of which were over the two-ton weight limit; it was estimated that one third of all vehicles using the bridge were over the weight limit. In July 2006 the 27-foot (8.2 m) wide roadway was narrowed to a single lane in each direction to reduce the load. Red and white plastic barriers have been erected along the roadway in an effort to protect the structure from damage by cars.
Between 1905 and 1981, Albert Bridge was painted uniformly green; in 1981 it was repainted yellow. In 1992 it was redecorated and rewired. This has added to its status as a London landmark. The bridge is painted in pink, blue and green to increase visibility in fog and murky light and thus to reduce the risks of ships colliding with the fragile structure during the day. At night, a network of 4,000 low-voltage tungsten-halogen bulbs illuminated the bridge. In 1993 the innovative use of long-life low-energy lighting was commended by Mary Archer, at the time Chairwoman of the National Energy Foundation.
Except for Tower Bridge, built in 1894, Albert Bridge is the only Thames road bridge in central London never to have been replaced. Intended as a temporary measure to be removed in 1978, the concrete central piers remain in place, and although in 1974 its lifespan was estimated at a maximum of 30 years, the bridge is still standing and operational. The Albert Bridge was protected as a Grade II* listed structure in 1975, granting it protection against significant alteration without consultation. It continues to deteriorate. Although proposals have been drawn up by Kensington and Chelsea London Borough Council to repair and rescue it, by March 2008 funds for the repairs were unavailable. As well as structural damage caused by traffic, the timbers underpinning the deck were being seriously rotted by the urine of dogs crossing to and from nearby Battersea Park. With multiple measures in place to reduce traffic flow and prolong the life of the bridge, in 2009 it carried approximately 19,000 vehicles per day, the lowest usage of any Thames road bridge in London other than the little-used Southwark Bridge.


The bridge was closed to motor vehicles on 15 February 2010 for refurbishment and strengthening. It was originally expected to remain closed for approximately 18 months, but after the condition of the bridge was found to be worse than expected, it was closed for 22 months. All of the timber in the decking as well as the footway that had rotted away were replaced, with additional timber added for strengthening. Surfaces at the carriageway and pavement decking were replaced. New steel structures were added to strengthen the bridge. All the lightbulbs were changed to more energy-efficient ones. The tollbooths were refurbished. All twelve layers of paint were stripped down until the bare metal was exposed, which was repaired and treated before three new coats of paint were added. The whole project cost £7.2 million of which the Royal Borough of Kensington and Chelsea provided 25% of the cost and the other 75% was provided by Transport for London.
It re-opened on 2 December 2011, when two dogs named Prince and Albert, from nearby Battersea Dogs and Cats Home, walked across the bridge to open it officially. All of the Grade II features were retained.


WikiWeb_Albert Memorial Clock, Belfast_1

In 1865 a competition for the design of a memorial to Queen Victoria's late Prince Consort, Prince Albert, was won by W. J. Barre, who had earlier designed Belfast's Ulster Hall. Initially Barre was not awarded his prize and the contract was secretly given to Lanyon, Lynn, and Lanyon, who had come second. Following public outcry the contract was eventually awarded to Barre. The construction cost of £2,500 (2011: £196,000) was raised by public subscription.
The sandstone memorial was constructed between 1865 and 1869 by Fitzpatrick Brothers builders and stands 113 feet tall in a mix of French and Italian Gothic styles. The base of the tower features flying buttresses with heraldic lions. A statue of the Prince in the robes of a Knight of the Garter stands on the western side of the tower and was sculpted by SF Lynn. A two tonne bell is housed in the tower and the clock was made by Francis Moore of High Street, Belfast.
As a result of being built on wooden piles on marshy, reclaimed land around the River Farset, the top of the tower leans four feet off the perpendicular. Due to this movement, some ornamental work on the belfry was removed in 1924 along with a stone canopy over the statue of the Prince. This gave rise to the expression that the tower “has the time and the inclination.”
Being situated close to the docks, the tower was once infamous for being frequented by prostitutes plying their trade with visiting sailors. However, in recent years regeneration has turned the surrounding Queen's Square and Custom's House Square into attractive, modern public spaces with trees, fountains and sculptures.
The clock was damaged in a Provisional Irish Republican Army bomb explosion outside nearby River House in High Street on 6 January 1992.


Following British settlement from 1835 onwards, much of the Yarra River delta was drained to dry the land and enable agriculture, housing and grazing. Through the 1840s and 1850s, the area now occupied by Albert Park itself was unofficial parkland, used for military training, grazing and hunting. In 1864 the area was officially proclaimed a public park and named Albert Park in honour of Queen Victoria's consort, Prince Albert.
By 1875, areas of the park along Queens Road and in St. Kilda, had been sold off for housing and other uses, reducing the park from 385 to 231 hectares (950 to 570 acres). Through much of the late 19th century, allotments were allocated for sporting facilities such as football, tennis, bowling, cricket and boating. Between 1873 and 1880, silt in the lagoons was excavated and used as infill around the lagoon itself to create a permanent lake. In 1890, water was diverted from the Yarra River to help fill the lake. Through the late 19th and early 20th centuries, the park was used as a tip, a camp for the armed services, scenic drives, picnics, and many other forms of recreation.
In 1882, 1918 and 1935, adjoining educational institutions acquired land from the park, to much opposition at the time. From 1941 to 1950, the Army occupied large areas of land in the park:  this land was given back to the park during the 1950s and 1960s. From 1953 to 1958, motor racing was held within the park, including the 1953 and 1956 Australian Grands Prix, around the lake, until it was moved to the Phillip Island Grand Prix Circuit. Through much of the 1960s, 1970s, and 1980s, although by this time the park was home to over 100 sporting clubs, general park maintenance was neglected by an over-restrictive management and funding became hard to come by, finances of any significance only being collected from the two restaurants in the park.


The Albert Pike Memorial is a public artwork in Washington, D.C. honoring Albert Pike (1809–1891), a senior officer of the Confederate States Army as well as a poet, lawyer, and influential figure in the Scottish Rite of freemasonry.  The memorial, which now only includes the base and Goddess of Masonry sculpture, is sited near the corner of 3rd and D Streets NW in the Judiciary Square neighborhood.  The memorial's two bronze figures were sculpted by Gaetano Trentanove, an Italian-American artist responsible for another Washington, D.C. sculptural landmark, the Daniel Webster Memorial.  The dedication ceremony in 1901 was attended by thousands of Masons who marched in a celebratory parade.
The memorial is one of 18 Civil War monuments in Washington, D.C., which were collectively listed on the National Register of Historic Places in 1978.  The memorial is owned and maintained by the National Park Service, a federal agency of the Interior Department. The Pike statue was the only outdoor sculpture in Washington, D.C. honoring a Confederate general.  Though Pike was depicted as a Mason, not a soldier, the memorial often stirred controversy for decades.  The statue was toppled and burned by protesters in June 2020, as protests continued in response to the murder of George Floyd.


The dedication ceremony on October 23, 1901, was planned to coincide with the centennial anniversary of the SCJC.  At 2 P.M., members of the Grand Lodge of the Masons of the District of Columbia led by Grand Master Harry Standiford marched from the Masonic Temple at 9th and F Streets NW to the House of the Temple where they joined thousands of Masons taking part in the parade.
The parade ended at the memorial site, on a triangular lot bordered by 3rd Street, D Street, and Indiana Avenue NW.  A large temporary stand for invited guests and ceremony participants was built at the base of the memorial.

Following a musical performance by Haley's Washington Band, grand commanders of the SCJC, the Scottish Rite's Northern Jurisdiction, and Royal Order of Scotland all released the halyard holding the U.S. flag that covered the memorial.  This was followed by loud cheers from the crowd and a prayer given by Masonic chaplain Charles Alvin Smith.  Frederick Webber, secretary general of the SCJC, then gave a speech and formally presented the memorial to the American people:
I am here to represent the Supreme Council, and in its name to present to the government of the United States this statue.  It will long stand as a loving tribute from his brethren of the Ancient and Accepted Scottish Rite of Freemasonry.
— Frederick Webber, Evening Star, October 23, 1901
 President of the District Commission H. B. F. McFarland accepted the memorial on behalf of the American people:
Although Albert Pike was a soldier in the Civil War, this statue will commemorate him rather as a victor in the honorable rivalries of peace.  It is well that you thus add to the comparatively small number of statues in the city of Washington that honor the victories of peace rather than of war.
— H. B. F. McFarland, Evening Star, October 23, 1901
  After the band performed additional music, a benediction was given, and the ceremony concluded.  Throughout the ceremony, Pike was portrayed as a kind poet. However, there were a few references to his service as a Confederate general.


Albert Street (Latvian: Alberta iela) is a street in central Riga known for its Art Nouveau buildings. It was built in 1901 and named after Bishop Albert, who founded Riga in 1201.
Many of the apartment buildings along the street were designed by the architect Mikhail Eisenstein, who was particularly active in Riga at the beginning of the twentieth century. His creativity is reflected through the various atypical, decorative buildings along Albert street. The architectural style makes use of structural and decorative elements of romantic nationalism common to northern Europe at the time. Konstantīns Pēkšēns and Eižens Laube, a teacher and his pupil respectively, were prominent in building design on the street at the same time. Other authors of buildings of Alberta iela include Baltic and Baltic German architects Paul Mandelstamm, Hermann Hilbig and Heinrich Scheel.
Since April 2009 Pēkšēns' former residence at number 12 has housed the Riga Art Nouveau Museum. A number of institutions of higher education are located on the street or adjacent; the Stockholm School of Economics in Riga, the Riga Graduate School of Law and the College of Business Administration (lv). The embassies of Belgium and Ireland are also located on Alberta iela.


Albert Street Uniting Church is a heritage-listed church at 319 Albert Street (on the corner of Ann Street), Brisbane City, City of Brisbane, Queensland, Australia. It was designed by George Henry Male Addison and built from 1888 to 1889 by Thomas Pearson & Sons. It was originally known as Albert Street Methodist Church and Central Methodist Mission. It was added to the Queensland Heritage Register on 21 October 1992.


Albert Street Uniting Church was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.
Demonstrating the evolution or pattern of Queensland's history.
As an excellent example of a Victorian Gothic Revival church, climatically adapted with side colonnades and front porch; and internally a good example of the major attributes of the Methodist tradition.
For its association with the Methodist Church in Queensland
As a dominant element on the corner of Albert and Ann Streets, and for its contribution to the townscape at King George Square
As one of the major works of the architect G H M Addison.
Demonstrating the principal characteristics of a particular class of cultural places.
The church is an excellent example of a Victorian Gothic Revival church, climatically adapted with side colonnades and front porch; and internally a good example of the major attributes of the Methodist tradition.
As one of the major works of the architect G H M Addison.
Aesthetic significance.
As a dominant element on the corner of Albert and Ann Streets, and for its contribution to the townscape at King George Square.
Strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
For its association with the Methodist Church in Queensland.


Alberto Mena Caamaño Museum (Spanish: Museo Alberto Mena Caamaño) is a museum in Quito, Ecuador. A cultural institution of Quito, the capital of Ecuador, it is located in the historic center of the city, next to the Palacio de Carondelet. The Rough Guide to Ecuador considers it to be the "old town's most rewarding museum".
It was created by ordinance on May 28, 1957, following a donation from the aristocratic philanthropist Alberto Mena Caamaño. The donation included more than 600 objects including paintings, sculptures, archaeological pieces, weapons and miscellaneous items. After a restoration of the former Royal Barracks building,  the museum opened to the public on November 3, 1959. In 1970 a permanent exhibition hall was added on a theme of the slaughter which occurred on August 2, 1810, when 200 citizens were killed in the barracks and the surrounding streets of Quito by royalist troops. It is depicted by wax figures of the artist Francisco Barbieri. In 1987 the museum had to close its doors due to minor damage to the building structure, as a result of the earthquakes that rocked Quito that year. Finally, on November 27, 2002, it reopened following extensive restoration.


The Albula Tunnel is a major feature of the Rhaetian Railway (RhB), an extensive metre-gauge network in the southeast of Switzerland that was launched during 1889. The railway's management had placed a significant emphasis on the line being attractive to the growing tourism market, thus the line traverses the northern valleys in a deliberately spectacular manner. The highest point of the line, being roughly 1,800 metres above sea level, is where the Albula tunnel was constructed.
The construction effort was impacted by multiple unusual problems. The cold, 6 °C (42.8 °F), water outflows transformed the already fractured rock into a pulpy mass, regularly clogging up the shell of the northern tunnel lead (or adit). At the same time, a strong water source above the northern tunnel portal dried up. The water streaming in at 300 L/s (66 impgal/s; 79 USgal/s) had to be painstakingly diverted with pipelines. As a result, construction virtually came to a standstill: in the ten weeks from May 1900, only two metres (6.6 ft) of tunnel were driven. These difficulties could not be overcome by the head construction contractor Ronchi & Carlotti, which entered into bankruptcy.
From 1 April 1901, the Rhaetian Railway took the construction work into its own hands. With the use of a bonus system, it was able to regain part of the lost time. At 03:00 hours on 29 May 1902, the breakthrough of the two tunnel leads was achieved, at a point 3,030.5 m (9,943 ft) from the north portal, and 2,835 m (9,301 ft), from the south portal.
The finished tunnel had a length of 5,864 metres and contained a single track. It cost 7,828,000 Swiss francs to build. A total of 1,316 people were employed in the tunnel's construction. Overall, there were 16 fatal accidents involving construction workers; a stone memorial to commemorate these victims has been placed at the Preda station.
During 1903, Albula Tunnel was opened to traffic. Early working of the tunnel was by steam locomotives, however both it and the entire route were later electrified using the standardised 15 kV, 16⅔Hz system. Various passenger services use the tunnel on a routine basis, such as the luxurious Glacier Express. According to industry publication Rail Engineer, the danger posed by rock falls became ever-present towards the latter half of the twentieth century.
By 2006, inspections of the tunnel determined its condition to have degraded to the point where significant renovations were required. By this time, around 7.4 million passengers, including 2.3 million commuters, along with a high volume of freight traffic, was using the tunnel every year, thus any closure would have been highly disruptive. In June 2009, the Rhaetian Railway announced that it was conducting investigations into either fundamental modernisation or reconstruction of the tunnel.
While a second tunnel was constructed during the 2010s, the original Albula Tunnel has been retained. A total of 12 cross passages are to be excavated between the two tunnels, which shall enable personnel to travel between either bore, useful during emergency situations and routine maintenance activities alike. Following the completion of the second tunnel, the older tunnel has been scheduled to be temporarily closed to rail traffic while extensive repair works are carried out; this activity is to be largely focused on the stabilisation of its walls and roof.


The bell tower is quadrangular and was constructed in the early decades of the 20th century. Three patron saints of the parishare inscribed among the bells: Santa Monica, San Agustin and "Calipay" (Joy).


The railway precinct at Albury was the terminus for the Main Southern Line from 1881 until 1962. It remains as an operational railway yard and passenger station and is the last station before the NSW/Victoria border.
By the late 19th century, colonial rivalry between Victoria and NSW, particularly with regard to the competition for wool trade from the Riverina, was the catalyst for the rapid expansion of rail networks in both states in the direction of the Victoria/NSW border. In Victoria, a proposal for a line to Belvoir (Wodonga) was approved in 1869 and completed by 1873. In April 1873, John Sutherland, the Minister for Public Works, set out a policy to complete "the main trunk railways". The policy included the Great Southern Line and was in response to the threat that wool from the Riverina and the west would be diverted to Melbourne via river boats and the Victorian railway. By 1877, the Great Southern Railway extended from Sydney to as far as Cootamundra and rapidly continued on to Bethungra (1878), Junee (1878), Bomen (1878), Wagga Wagga (1879), and Gerogery (1880).
The construction contract for the Wagga Wagga to Albury section was awarded to George Cornwell & F. Mixner on 14 February 1878. The single line opened from Gerogery to Albury on 3 February 1881. The line finally reached the border with the extension across the Murray River on 14 June 1883 as a single track, the contract being awarded to Alex Frew on 1 May 1882.
The station and yard at Albury opened with a loop, stockyards, toilet, wool stage and a temporary platform on 1 March 1881. Albury and Wodonga were both used as change stations, with the interchange of passengers and goods to take place at Albury and livestock at Wodonga.
A contract for construction of a temporary station building, crew barracks, porters' cottages, Station Master's residence, and carriage shed at Albury was let to a J. Stevens in May 1880. In 1882, a 10 tonne crane and a cart weighbridge were installed, the temporary passenger platform converted to a loading stage, and the signal box moved from the temporary platform to a new location near the station.
On 26 February 1882, the new station building was opened. Designed in an Italianate style under the direction of John Whitton, the grandeur of the new building stood as a symbol of NSW's colonial pride. The premiers of both New South Wales and Victoria attended the official opening of the 1881 station, marking the first time in Australian history that two colonial premiers had appeared together publicly.
The New South Wales Government Railways were built to the standard gauge, which meant travellers in both directions had to change trains at Albury. This resulted in a 455-metre-long (1,493 ft) platform being built to accommodate that move, then the longest in Australia.
Early changes to the station precinct included construction of refreshment rooms, a goods shed and a temporary customs office in 1883, and an engine shed, new covered platform and new goods shed in 1884. In 1887, the station and southern end of the yard were interlocked and the southern yard remodelled. Other changes at Albury in the late 19th century included alterations to the barracks (1890), provision of a furnace for heating foot warmers (1890), provision of a special booking office on the platform for sleeping berth tickets for passengers from Victorian trains (1890), new drivers' barracks (1890), interlocking of the North Yard (1891), and the extension of the platform (1892 and 1902).
A contract for the construction of an engine shed, turntable pit, and coal stage was let to A. Frew in October 1880, with the original engine shed built as a two-track structure with the capacity to accommodate eight locomotives. The original 15.240m turntable was increased in size to 18.288m in 1904 and then to 22.860m in 1926. A coal stage was introduced in c. 1950.
Numerous changes were made to the station and yard in the 20th century, with some of the major alterations or additions including extension of the carriage shed (1905), extension of the platform and awning at the Country (southern) end (1907), erection of an additional carriage shed (1912), provision of an Institute building (1921), and extension of the awning (1944).
Major improvements were made to railway infrastructure at Albury and Wodonga during, and immediately prior to, World War II. The importance of improving railway links between states had been understood by military planners since Federation and became more acute after Japan entered World War II. The threat posed to coastal shipping by enemy ships and submarines, combined with restrictions on petrol and rubber, made rail transport increasingly important during the war. Rail traffic (for civilian and military purposes) increased significantly between Victoria and NSW during World War II with the number of passengers at Albury trebling from 1938 to 1941 and goods traffic increasing from 25,000 to 123,000 tonnes during the same period. The increased volume of traffic and the military presence at the border had significant implications for Albury with the Australian defence forces virtually commandeering the station for the duration of World War II.
Many changes were made to the station precinct and goods yard at Albury prior to and during World War II. Some of the major changes included the addition of a timber transhipment platform, lengthening of the station platform by 66m, and expansion of the goods yard on the western side of Parkinson Street. The railway transhipment platform remained in use after the war but activity within the Albury yard declined as road transport gradually displaced rail transport in the second half of the 20th century. Another important change was the introduction of standard gauge track between Wodonga and Melbourne in 1961, reducing the need for transhipment facilities at Albury, although not entirely as the transhipment platform remained in use after the introduction of standard gauge in Victoria. However, by the 1970s and 1980s some of the transhipment facilities at Albury were demolished (including the goods shed, wool depot and engine house) .
In April 1962, a new standard gauge line to Melbourne's Spencer Street station opened, and thus the Intercapital Daylight, Southern Aurora and Spirit of Progress began to operate without the need to change trains. However, the Riverina Express continued to terminate at Albury until November 1993, with passengers transferring to V/Line services to continue into Victoria.
The refreshment room closed in August 1975. The gatekeeper's residence was demolished in 1984 and the Institute building demolished in 1986. Railway residences at 528–538 Young Street and the railway barracks at 540 Young street were sold to private ownershipc. 1991 and are no longer heritage listed. Conservation works were undertaken to the main station building in 1995. The goods shed, tripod crane and various other buildings and structures in the northern yard were demolished prior to 2000
The construction of the Hume Highway bypass in 2005 and 2006 involved the demolition of the Wilson Street footbridge and Dean Street overbridge, and modifications to the eastern end of the footbridge at the station.


A grand symmetrical Victorian Italianate style station building with a tall central tower topped with a decorative cupola. The building features load bearing brickwork with face brick and stuccoed and painted detail for pilasters, arches, quoins, pediments, string courses and architraves. The building has a pitched roof with hipped ends and hipped transverse bays at the ends of the building. The roof over the booking hall is elevated. The road-side of the building features the clock tower and two verandahs between the projecting bays supported on double cast iron columns. The platform side has a series of gabled roofs running at right angles to the main building; all supported on trusses over cast iron, decorated, fluted columns. Timber valances are still intact on the exterior of the building. The awning over the platform extension at the south end is of later design than the station building awning. The platform is covered for its entire length (and with Flinders St, Melbourne is the longest platform in Australia) .
Internally the building is arranged along the platform with a central booking hall and ticket office which contains most of its original cedar detailing and panelling. Opening off this space are a number of offices. Along the platform there is access to the ladies waiting room (divided into first and second class sections), the parcels office (also accessed from the street), stores, porters room, lamp room and male toilets. The stores and toilets are separated from the main building by a passageway and are under separate hipped roofs with dormer gables.
A refreshment room was added to the station building in the 1880s at the Sydney end of the main building and in a similar style to the main building. It has a separate awning structure of later construction which extends beyond the station building. Also the north end of the building has been extended by the addition of a second storey to provide additional accommodation space for the refreshment rooms.


As at 19 July 2013, the station buildings are in very good condition. Other structures are generally in good condition with some repairs required to the signal box and transhipment shed.
The station buildings, signal box and Station Master's residence have a high level of integrity/intactness.


The railway station, initially entered onto the now defunct Register of the National Estate on 21 March 1978, was transferred to the Australian National Heritage List on its establishment in 2012 and its scope widened to include the station and its associated yards with the following statement of significance:
Albury Railway Station and Yard was particularly important in the movement towards Federation and in the defence of the nation during the Second World War.
The built fabric at the site is an historical record of outstanding importance as a tangible expression of how the Australian nation was forged with the bringing together of sovereign colonies. It demonstrates the notions of colonial division and convergence that underlay, first, the negotiation and, then, the further working out of the federal compact.
The connection of the New South Wales and Victorian railway systems at Albury-Wodonga gave a dramatic boost to the cause of Federation. The connection was a long-heralded and much-vaunted engineering achievement, which was crowned with the architectural triumph of Albury Railway Station Building. The connection was, above all else, a political accomplishment, and was perceived as marking a turning point in the movement towards Federation. It provided a tangible and inspirational expression of what might develop into a railwayed nation continent. Contemporaries hoped the connection would encourage the bond of commerce and lead to revision of ungainly trading arrangements. It would, they hoped, help overcome colonial rivalries and jealousies by increasing communication and understanding. It would assist the colonies to defend themselves. Historians have subsequently built on the rhetoric of the time to confirm the importance of establishing the rail link. It is still symbolic that the concepts of national unity in Australia did not receive any dramatic boost until the driving-in of the last spike in the Sydney Melbourne railway at Albury on the border of our two dominant colonies.
The Station Building was, and is, interpreted as an expression of the sense of accomplishment felt by its designer, John Whitton, in having reached the southernmost point in the network of railways throughout New South Wales that he had established as railway Engineer-in-Chief. It was a monumental border marker: a palpable indicator that New South Wales, with this railway, was reclaiming the trade of the border district.
At the same time, the Yard was designed to facilitate the interchange of goods and passenger traffic arriving on different railway gauges. The sets of two-gauged railway lines in the Yard point to the competing interests of two most populous colonies. The persistence of the two gauges beyond Federation points to the difficulties sovereign colonies had in reconciling differences. Subsequent changes to the Yard illustrate shifts in interstate relations as well as improvements in transhipment processes, especially in times of war. They demonstrate the eventual emergence of a national economy with the introduction of standard gauge and, more recently, the development of a single national freight network.
The break-of-gauge was a strategically important as an impediment when Japanese submarine activity virtually halted coastal shipping, and the nation prepared to resist a possible invasion during the Second World War. The people involved in transhipment activities related to moving munitions, goods and passengers at Albury Railway Station and Yard played an important part in fighting the home front Battle of Albury. Russell Drysdales pictures of the Albury Railway Station during the Second World War have entered the national imagination of home front perceptions of the menace of war in 1942 and 1943, just as surely as his pictures of the 1944 drought shaped the national imagination of the outback.
Albury Railway Station and Yard developed as a significant punctuation point on a national route. There was no other transport connection like it in scale or character in regional Australia. The long passenger platform was familiar to generations of train travellers. Illustrative materials in addition to Drysdales works indicate a high level of regard for the site and rail connection as national cultural capital.

Albury Railway Station and Yard provides an exceptional explanation of the political character of Australia before and after Federation, and, through the artworks it inspired, provides a powerful evocation of the nature of the home front during the direst times of the Second World War.
— Statement of significance, Australian National Heritage List.
On 2 April 1999 the Victorian Italianate railway station, signal box and station master's residence were collectively listed on the New South Wales State Heritage Register with the following statement of significance:
The railway precinct at Albury is of state significance as one of the major railway precincts in NSW which includes one of the most prominent station buildings in NSW. The grandeur of the station building at Albury reflects the importance attributed to this location by the NSW government in the late 19th century and reflects important historical themes, particularly the rivalry between NSW and Victoria and the competition for trade between Australia's colonies in the 19th century. The station building, platform and former Station Master’s residence are prominent civic buildings in Albury which, along with less prominent structures (the former barracks building, signal box, transhipment shed and other items) are extant reminders of the important and continuing role of the railways in Albury since the 1880s.
The place is significant as the point at which there was a break-of-gauge between the different gauges used in Victoria and NSW and where, from 1881, the transfer of passengers and goods took place near the border between Victoria and NSW. The railway precinct at Albury was also a significant location during World War II when the transfer of freight and military personnel at Albury made an important contribution to the war effort, particularly through the operation of the transhipment area, where military supplies were loaded and unloaded.

The barracks building at Albury is an excellent, representative example of late 19th century accommodation for railway workers and is one of the oldest remaining railway barracks in NSW. It demonstrates standard late 19th century and 20th century railway practices, namely the accommodation of railway crews at strategic locations throughout the state, and reveals the use of a standard design for rest houses in the late 19th century.
— Statement of significance, New South Wales State Heritage Register.


The Alcázar de Colón, or Columbus Alcazar is the first fortified Spanish palace built in the Americas. It is located in the Dominican Republic's colonial area of Santo Domingo city, and forms part of the Ciudad Colonial UNESCO's World Heritage Site. It was built between 1511 and 1514 mostly in a Gothic and Renaissance style.
It is the only known residence of a member of the Christopher Columbus family in the New World, his first-born son Diego Columbus, whose children Juana, Isabel, Luis and Christopher were born in the palace. Diego Columbus died in Spain in 1526 but María Álvarez de Toledo, his widow, remained there until her death in 1549. Three generations of the Columbus family inhabited the residence, possibly until the late 16th century.
The Tapestry collection (spanning from the 15th to 17th centuries) is particularly important and unique in the Caribbean, and includes pieces produced by the Flemish Van Den Hecke family from cartouches created by Charles Le Brun. The Alcázar is the most visited museum in Santo Domingo.


Some of the most famous Spanish conquistadors such as Hernán Cortés and Pedro de Alvarado visited the residence. During the early Spanish colonial period, the mansion occupied a very important place in history. It was from here that many expeditions of conquest and exploration were planned. In 1586, the palace was captured and looted by the British pirate Sir Francis Drake and his forces who took many valuables with them.
As the influence of Santo Domingo declined, the house fell into ruins, and by the mid-18th century was abandoned and in danger of rotting away. Originally the residence had 55 rooms, of which only 22 remain. Eventually it was abandoned and the passage of time began to wreak havoc on the structure of the palace. By 1776 the building was in ruins and was nearly turned it into a prison, a project that was not carried out.
Almost a century later in 1870 it was declared a National Monument and the Dominican government eventually restored the palace. It was rescued and restored between 1955 and 1957, being transformed into a 22 rooms museum filled with period furniture, artwork, and other accessories.  A self-guided tour using a portable audio speaker that discusses each room's function is available in various languages.


Even though the Native Indians of the San Francisco area are stated to be the original settlers on the island (they collected eggs from the large flock of birds that regularly gathered there), Alcatraz got its name during Spanish rule in 1775 when naval officer and explorer Juan de Ayala surveyed the harbor and the San Francisco Bay. Since he observed pelicans in large numbers on the island he named the island as "Isla de los Alcatraces" meaning the "Island of Pelicans". The island is separated from the main land by more than 1 mile (1.6 km).
The gold rush and the inherent risk of the choppy waters of the west coast prompted the urgent need for establishing lighthouses. Congress recognized the need and passed suitable acts in the years 1851 and 1852 to build seven lighthouses on the West Coast to guide navigation. The Baltimore firm of Gibbons and Kelly was awarded the contract to build seven lighthouses in California, at Alcatraz Island, Fort Point, Point Pinos, Point Loma, Farallon Island, and Humboldt Bay, and one at Cape Disappointment in Washington state. Equipment were shipped on Oriole, reached San Francisco on January 29, 1853. The Alcatraz Lighthouse was the first to be completed in July 1853, making it the oldest major navigational light on the West Coast. However, the foundation for building the light house had begun much before the equipment reached San Francisco.
In the original order placed for supply of the equipment Argand lamps and parabolic reflectors had been specified as the Fresnel lens, created by Augustin Fresnel of France in 1822 was considered very costly at that time. However, the Lighthouse Board which replaced the Fifth Auditor of the Treasury's control, decided to install Fresnel lenses in all lighthouses considering its established better performance, even though the cost was high. The Baltimore firm was informed of this change before the equipment was shipped. The shipping involved a long sea voyage of 12,000 miles (19,000 km) from the East Coast going round the cape of South America. It was lit on June 1, 1854, from a fixed, third-order Fresnel lens. In 1902, it was transferred to the Cape St. Elias Lighthouse in Alaska and replaced by a revolving fourth-order Fresnel lens, producing a white flash every five seconds.
In 1909–12, the present cell house of Alcatraz was built. Since the new structure would interfere with the operation of the lighthouse, a taller 25.6 metres (84 ft), concrete tower was built south of the original lighthouse. The original lighthouse had been damaged during the great San Francisco earthquake of 1906 and was eventually torn down. In 1963, the Alcatraz Lighthouse was automated by the United States Coast Guard. In 1970 a fire destroyed the warden's house, the keepers' quarters and other buildings on the island. The only remaining building is the tall cement tower equipped with a modern beacon. The lighthouse has been a museum since 2000 and can be visited. In over 50 years, the lighthouse has not been seriously damaged despite many prison escapes, the Battle of Alcatraz and fires.


The leading marks which guide the ships while entering the island are the lime point which is 2.5 miles (4.0 km) east and the black point which is lime 1 mile (1.6 km) north. The island itself is interspersed with several buildings and military towers. The highest point of the island is where the light house is located. Northwestern and southeastern tips of the island have small buildings which housed the fog signals (the electric horns were installed in small buildings known as "mid twentieth century foghorn shacks".). The white  light is shown by a grey tower flashes white that  lasts for 0.5 seconds and eclipses' for 4.5 seconds and forming with the Fort Point light House a range for crossing the bar for the main ship. Fog signals are electric sirens, one on the southeast end sounding two blasts of 4 seconds duration, every 30 seconds while the one on the northwest end gives a single blast every 20 seconds of 5 seconds duration.


The three lighthouse keepers, known as "wickies", were dressed in prescribed formal uniforms which consisted of a "navy blue hat, sack coat, vest and trousers". Decorative buttons and insignia patches adorned their uniforms. The keepers worked on an eight-hour shift with the beacon lighted all through the year; during day time the lens was covered and protected from sun rays.
The island's lighthouse keepers included:
Michael Cassin (1853–1855)
John Sloan (1855–1856)
Underwhill Van Wagner (1856–1862)
Hartford Joy (1862–1872)
Amasa Bushnell (1872–1874)
William W. Scott (1874–1875)
John A. F. McFarland (1875–1878, 1882–1888)
John T. Huie (1878–1882)
Benjamin F. Leeds (1888–1905)
Henry W. Young (1905–1909)
James Anderson (1909 – at least 1912)
Frederick Arthur Harrington (1919–1938) was the keeper of both the light houses and remained as keeper till his death in 1938.
Harry Davis (1938 – at least 1940)
Edward H. Schneider (1950 – 1959)
Norman Fornachon (at least 1962 – 1963)


The Alcobaça Monastery (Portuguese: Mosteiro de Alcobaça, Mosteiro de Santa Maria de Alcobaça) is a Catholic monastic complex located in the town of Alcobaça, in central Portugal, some 120 km north of Lisbon. The monastery was established in 1153 by the first Portuguese king, Afonso Henriques, and would develop a close association with the Portuguese monarchy throughout its seven-century-long history.
The church and monastery were the first Gothic buildings in Portugal, and, together with the roughly older Augustinian Monastery of Santa Cruz in Coimbra, it was one of the most important mediaeval monasteries in Portugal. Due to its artistic, cultural and historical relevance, it was included in UNESCO's World Heritage Site list in 1989.


The Alcobaça Monastery is one of the first buildings associated with the Cistercian Order in Portugal. It was founded in 1153 as a gift from the first Portuguese king, Afonso I or Afonso Henriques (1112–1185) to Bernard of Clairvaux, following the king's conquest of the city of Santarém from the Moors in March 1147. The foundation of the monastery was part of a larger strategy by King Afonso I to assert his authority and promote the colonisation of lands recently conquered from the Moors during the "Reconquista Cristã" or Reconquista.
Construction began in 1178, some 25 years after the first Cistercian monks settled in the Alcobaça region. Initially, the monks lived in wooden houses, and would only move to the newly built monastery in 1223. The church proper wasn't completed until 1252. Church and adjacent monastery are the earliest examples of truly Gothic architecture in Portugal, and the church itself was the largest in Portugal at the time of its completion. The final touch in this large mediaeval ensemble was given in the late 13th century, when King Denis I (1261–1325) ordered the construction of the Gothic cloister, also known as the Cloister of Silence.
The monks dedicated their lives to religious meditation, creating illuminated manuscripts in a scriptorium. The monks from the monastery produced an early authoritative history on Portugal in a series of books. The library at Alcobaça was one of the largest Portuguese mediaeval libraries, but was pillaged by the invading French in 1810, and many items were stolen in an anti-clerical riot in 1834, when the religious orders in Portugal were dissolved. The remnants of the monastery library, including hundreds of mediaeval manuscripts, are kept today in the Biblioteca Nacional de Portugal , Portugal's national library in Lisbon.
During the Middle Ages, the monastery quickly became a powerful and influential presence within the kingdom of Portugal. The monastery owned and developed extensive agriculture areas, and the abbot exerted influence over a large area. A public school was opened in 1269. The importance of the monastery can be measured by the fact that many monarchs were buried here in the 13th and 14th centuries. Kings Afonso II and Afonso III and their queens Urraca of Castile and Beatrice of Castile are buried here, as well as King Pedro I and his mistress, Inês de Castro, who was murdered on the orders of Pedro's father, King Afonso IV. After being crowned king, Pedro commissioned two magnificent Gothic tombs for himself and his mistress, both of which can still be seen inside the monastery church.
During the reign of Manuel I, a second floor was added to the cloister and a new sacristy was built, following the characteristic Portuguese late Gothic style known as "Manueline". The monastery was further enlarged in the 18th century, with the addition of a new cloister and towers to the church, although the mediaeval structure was mostly preserved. In the Baroque period, the monks were famous for their clay sculptures, many of them are still inside the monastery. Elaborate tiles and altarpieces completed the decoration of the church.
The great 1755 Lisbon earthquake did not cause significant damage to the monastery, although part of the sacristy and some smaller buildings were destroyed. Far greater damage was caused by invading French troops in the first years of the 19th century during the Peninsular War, itself a part of the Napoleonic Wars. In addition to looting the library, they robbed the tombs and stole and burnt part of the inner decoration of the church. In 1834, with the dissolution of the monasteries in Portugal, the last monks left the monastery.
Alcobaça Monastery was classified as a National Monument January 1, 1907 and included to the special protection zone on August 16, 1957.


Aldenham Country Park is a 175-acre (0.71 km²) parkland and woodland, including Aldenham Reservoir. It is now part of the Watling Chase Community Forest, near Elstree, Hertfordshire, England.
Aldenham Reservoir was excavated by French prisoners of war in 1795 to help maintain local river levels after the Grand Union Canal was built. It is held as a reserve public water supply.
The park supports walking, fishing and sailing activities, has playgrounds, Special Needs Centre and a Disney-backed Winnie-the-Pooh theme area. Since 1984, it has been a centre for breeding rare livestock (one of seventeen Rare Breeds Survival Trust centres in the UK), including Aldenham Longhorn cattle, Bagot goats, Berkshire and Tamworth pigs, and Norfolk Horn and English Leicester sheep.


The marsh is situated in the westernmost reaches of the Sofia Valley, 5 km north-west of the town of Slivnitsa and 1 km north of the village of Aldomirovtsi near European route E80. It is located not far from the Serbian border (28 km), and 30 km from capital city Sofia. The Aldomirovtsi Marsh covers an area of 129.4 ha.
Near the marsh are the localities Meka Crev and Tri Ushi–- a scene of the bloody battle of Slivnitsa in November 1885 during the Serbo-Bulgarian War when the Bulgarians decisively defeated a Serbian invasion.
The marsh used to be a popular destination for anglers due to the large specimen of northern pike, common carp and the introduced grass carp. The record for a grass carp fished by angle was set there in 1982 –- 22.7 kg.
The Aldomirovtsi Marsh is home to many nesting and wintering bird species, including ruff, great crested grebe, little grebe, black-necked grebe, white stork, water rail, little gull, common redshank, little egret, little bittern, short-toed snake eagle, etc.


The marsh has a variable water regime and irregular shape. Its area increases in spring and almost dries in summer and autumn. The marsh had dried completely twice, in 1991 and 2012. In May 2012, immediately after the 2012 Pernik earthquake, the marsh began to rapidly dry up until it disappeared completely in July 2013. The cause was a shift of the earth layers of the local karst rocks in the aftermath of the earthquake.
In 2014 experts from Slivnitsa municipality and environmentalists discovered that the water of the marsh was draining in a ponor. The ponor was sealed with clay and concrete and since the autumn of 2014 the Aldomirovtsi Marsh has recovered.


The exterior utilizes Indiana limestone set on a granite base in combination with aluminum spandrels. The interior doors are inlaid with white metal, with the exterior gates in bronze. Surrounding the doors and covering the walls and floors of the entrance lobby are a variety of marbles, including Belgian Black, Yellow Sienna, Tinos Greek, St. Genevieve Golden Vein, Verde Antique, and Moutonelle. Flooring above the ground level is made of terrazzo with brass strips. Bronze also makes up the frames for windows of the ground floor bank, and is used in trim throughout the building along with stainless steel.
The steel structure of the building is supported two floors below street level on a solid concrete mat which is nine feet thick. The steel is fireproofed with terra-cotta tiles and supports reinforced concrete floors. The steel structure allows for a total of 840 windows, which cover approximately 20 percent of the building's surface area. Numerous services in the Aldred Building identify it as a modern structure, including conditioned ventilation in the basement and first nine floors, with fresh air 'washed' and filtered in an air-cleaner. Aldred Building features a central vacuum system, an electric time-clock system, an incinerator, paper baler and an ozone machine in the kitchen to eliminate odours. All the floors contain built-in ducts for electrical and telephone cables. The six high-speed elevators were the most modern available in the day, and were installed by Otis Fensom. The cars travel at 700 feet (210 m) per minute and have teak interiors.


In 1949, Laurence Olivier directed the first London production of Tennessee Williams' A Streetcar Named Desire at the Aldwych Theatre. Starring as Blanche DuBois was Olivier's wife Vivien Leigh, who later won an Academy Award for the role in the 1951 film of Williams' play. Bonar Colleano co-starred as Stanley.
On 15 December 1960, after intense speculation, it was announced that the Royal Shakespeare Company, headquartered in Stratford-upon-Avon and under the directorship of Peter Hall (director) was to make the Aldwych Theatre its base in London for the next three years. In the event the company stayed for over 20 years, finally moving to the Barbican Arts Centre in 1982. The theatre was sold to the Nederlander Organization immediately afterwards. Among numerous RSC productions staged at this venue were The Wars of the Roses, "Ondine" with Peter Hall's wife Leslie Caron, The Greeks, and Nicholas Nickleby, as well as the transfer of most of the Shakespeare productions that were first staged at the RSC's Shakespeare Memorial Theatre in Stratford.  During absences of the RSC, the theatre hosted the annual World Theatre Seasons, foreign plays in their original productions, invited to London by the theatre impresario Peter Daubeny, annually from 1964 to 1973 and finally in 1975. For his involvement with these Aldwych seasons, run without Arts Council or other official support, Daubeny won the Evening Standard special award in 1972.
In 1990–91, Joan Collins starred in a revival of Private Lives at the Aldwych.  The theatre is referred to in Julio Cortázar's short story Instructions for John Howell (Instrucciones para John Howell) in the anthology All Fires the Fire (Todos los fuegos el fuego).


Alendan lake (Persian: دریاچهٔ الندان) is a lake with 17 hectare span located in Sari County. This lake belongs to Quaternary era and has recorded in The national index of Iran in 2015.
This lake is also called Pelle Azni because of the nearby village, Azni. The best way for going the lake is through Azni village, which has a flat way to the lake. The lake has a 70 km distance from Sari and located in Sari-Semnan road. (About two hour way from Semnan) The lake is 1200 m higher than sea level.
This lake is the main source of water for paddy fields of near villages like Azni, Mazarostaq, Konta, Didu and Zalam. However no river water comes to the lake, rain full fills the lake.
In recent years, fish farming has developed in the lake.
Plenty of various trees, including Carpinus betulus, oak, Ulmus glabra and Tilia, surrounded the lake.


The present cathedral, built in 1687 by architect Domenico Spotorno, was constructed on the ruins of an earlier church built at the expense of Donna Violante Carroz, Marchioness of Quirra (1456-1510), at the time of the transfer of the seat of the diocese of Usellus to Ales. The first cathedral had a Romanesque nave with a truss roof and a small bell tower, three chapels (dedicated to Our Lady of Mount Carmel, Our Lady of the Rosary, and the Crucifix), and a sacristy, which was replaced by a new one in 1627. The building was enlarged in 1634, probably with walling of large blocks of white stone, and four additional chapels. In the time of Bishop Brunengo the nave and the apse were covered with barrel vaulting. In 1648 Brunengo started building one of two planned towers, but it collapsed on April 29, 1683, for reasons never discovered, and in its fall almost completely destroyed the rest of the church.
Construction of the present cathedral was begun in 1687 to plans drawn up by the architect Domenico Spotorno, who had died on June 17, 1684, in Ales and was later buried in the new building. He had previously worked on the conversion of the Baroque cathedral of Cagliari, which served as a model for the cathedral of Ales.
The new cathedral was completed after the death of Spotorno by the architect Ignatius Merigano, with the help of the master builders Antonio Cuccuru and Lucifero Marceddu of Cagliari. It was consecrated by Bishop Didoco (Domenico) Cugia on May 9, 1688.
Along the boundary wall with the Chapel of San Michele and the clock tower, traces can still be seen of the tower that collapsed.
The building was equipped during the 18th century with marble furnishings of good workmanship, by the sculptor Pietro Pozzo and his school. In the first half of the 20th century the decorations and frescoes of the interior were completed. Major renovations, in progress during some twenty years, have recently been completed.


The cathedral has a Latin cross floorplan. The nave is 21 metres long and 10 metres wide, divided from the side-aisles by pilasters with Ionic capitals, with two side chapels and a large transept, the arms of which extend 7.80 metres. The choir is 10 metres long and 7.40 metres wide. The chapels and apse are barrel-vaulted, as are the nave and the transept, except of course at the crossing, which is roofed by the large octagonal dome (36 metres high), covered with decorations (1950-1962) and frescoes (1954), the more recent work by Peppinetto Boi Ales. The frescoes include, from left to right: the Martyrdom of Saint Peter; medallion of Saint Gregory the Great; the Glory of Saint Peter; medallion of Saint Ambrose; the Martyrdom of Saint Paul; medallion of Saint Augustine; the Glory of Saint Paul; and a medallion of Saint Jerome. The central vault is 16 metres high, and the two towers are 26 metres high.
The vaults are decorated with frescoes (1907) by Giovanni da Ferraboschi of Bergamo, depicting the main incidents of the lives of Saints Peter and Paul, with relief decoration on coffering using classical motifs such as rosettes, leaves, heraldic emblems (a papal tiara and a bishop's mitre), as well as Celtic knotwork with grotesque faces. The decorations on the walls of the cathedral, including simulated inlaid polychrome marble, were made at the end of the 1950s by the decorator Enrico Lorrai of Cagliari (1908-1995). The floors have almost all been remade, firstly between 1950 and 1962 during the episcopate of Bishop Antonio Tedde and secondly between 1983 and 2003 during the episcopates of Bishops Gibertini and Orrù.


On its northern flank lies the Aletschfirn, which is part of the Aletsch Glacier. On the southwest lies the Oberaletsch Glacier and, on the southeast, lies the Mittelaletsch Glacier. Both are in the catchment area of the Massa river, which originates in the Aletsch Glacier and ends up in the Rhone river. Its remote location in the middle of glaciers means that the Aletschhorn, despite its height, is less frequently visited and less well known than the summits of the Jungfrau and the Eiger, which lie about 10 km on the north.


The Aletschhorn was first climbed almost 50 years after the first ascent of the Jungfrau. When the Jungfrau was first climbed, the climbers used base camps on the Aletschfirn, at the foot of the Aletschhorn.
The Aletschhorn was climbed first in 1859 by Francis Fox Tuckett, J. J. Bennen, V. Tairraz and P. Bohren. The party passed the night in some holes in the rocks above the Mittel Aletsch Glacier (on the east side of the mountain), and on the following morning, on 18 June, started the ascent and reached the snow arête connecting the Dreieckhorn with the main peak. The passage along this arête at a so early period of the year, before the snow has become well consolidated, involved some risk and a slope of névé lying at an angle of 50°, required care and good step-cutting. But the summit could be reached without too much difficulty. Like many other climbers, Tuckett took with him a barometer and made scientific observations. He noted the icy temperature and the very strong wind, blowing the snow and threatening to knock over the climbers.
After they reached the summit, Tuckett separated from Bennen and descended via the north face with Bohren and Tairraz. He wanted to descend directly to the Lötschental, but soon after they began the descent, an avalanche started right under the feet of the climbers. They cautiously went back and descended on the Mittelaletsch.


The Alex Fraser Bridge (also known as the Annacis Bridge) is a cable-stayed bridge over the Fraser River that connects Richmond and New Westminster with North Delta in Greater Vancouver, British Columbia. The bridge is named for Alex Fraser (1916 – 1989), a former British Columbia Minister of Transportation. The bridge was the longest cable-stayed bridge in the world when it opened on September 22, 1986, and was the longest in North America until the Arthur Ravenel Jr. Bridge, in South Carolina, USA, opened in 2005.


The Alex Fraser Bridge is 2,525 m (8,284 ft) long with a main span of 465 m (1,526 ft). The towers are 154 m (505 ft) tall. It consists of seven lanes, three in each direction with the middle lane acting as a counterflow lane, and had a maximum speed limit of 90 km per hour until July 24, 2019 when the speed limit was lowered to 70 km/h to accommodate the additional counterflow lane.  Upon opening in 1986, only four of the six available lanes were open. Cyclists and pedestrians share two narrow sidewalks one on each side. All six lanes opened in 1987 after traffic demand justified the need.
The bridge's southern end is in North Delta and its northern end is on Delta's Annacis Island.  Connections on its southern end lead to Blaine, Washington and to White Rock.  The connections on the northern end lead into the cities of New Westminster, Richmond, and Burnaby, and on into Vancouver itself.  It is a major artery in the Lower Mainland of British Columbia.
The bridge was constructed for the British Columbia Ministry of Transportation and was designed by a joint venture of Klohn Crippen Berger and Buckland & Taylor (Now COWI North America). Its total cost was $58 million.


In December 2016, the Alex Fraser Bridge along with the Port Mann Bridge dropped "ice bombs," also called "slush bombs" on vehicles causing damage to windshields.  The Alex Fraser has the cables along the sides of the driving lanes where as the Port Mann has them cross over-top of the driving lanes. In addition to 2016, this also happened on the Alex Fraser in 2005, 2008, and 2012. The Alex Fraser needed to be closed a few times during December 2016 due to the possibility of ice bombs; this caused major traffic problems in the region. To combat this issue, the BC Government announced that a heavy lift helicopter will be used to blow snow and ice off the cables to prevent it from accumulating and falling onto the cars below.
An announcement was made on January 19, 2017, that a new seventh travel lane will be added on the bridge by slightly narrowing the existing lanes and removing the shoulders. A counterflow system with movable barrier was added to help ease traffic during morning and afternoon rush hours. The new seventh lane opened to traffic on September 14, 2019, with the moveable reversible zipper in operation on December 16, 2019.


The Alex Theatre originally opened in 1925 as the Alexander Theatre, and was designed by architects Arthur G. Lindley and Charles R. Selkirk  Associates, although at least one written source attributes it to the architectural firm of Meyer & Holler. Lindley & Selkirk Associates also designed the Hotel Glendale. The unique interior has distinct neo-classic Greek and Egyptian architectural elements, similar to the Greco-Egyptian period of Ptolemaic Egypt. A long walkway and courtyard separating the ticket booth from the lobby was inspired after the famous Grauman's Egyptian Theatre in Hollywood.
In 1940, notable theater architect S. Charles Lee was commissioned to redesign the exterior of the Alexander. Lee's portfolio included the Tower Theatre and the Los Angeles Theatre, both in Downtown Los Angeles, the Academy Theatre in Inglewood, as well as the Tujunga Theatre in Tujunga. His contributions included a 100-foot-tall (30 m) art-deco column with neon lights, topped by a spiked, neon sphere that gave it a starburst appearance. A neon, angled marquee emblazoned the theater's new name, the Alex, which was shortened to fit the larger letters. At this time the two-story retail and office building on the south half of the forecourt lot was demolished.


The Alex Theatre Performing Arts and Entertainment Center has been the centerpiece of Glendale's arts, culture and community events since it originally opened. It is managed by Glendale Arts, a non-profit organization. The theater's diverse schedule boasts roughly 250 events per year and attracts more than 100,000 patrons annually. Programs range from classical and contemporary concerts, theatre, dance, comedy, fundraising and special events as well as TV and film productions and industry related award presentations. The Alex was the venue in 2017 for the finale of RuPaul's Drag Race (season 9). And in the summer of 2019, the NBC comedy competition series Bring the Funny used the Alex Theatre as the venue for the final two episodes of its first season.
Resident companies include the Alex Film Society, Glendale Youth Orchestra, Musical Theatre Guild, and the Los Angeles Chamber Orchestra.
The Alex Film Society regularly schedules classic films, often accompanied with special guests (e.g., the annual Thanksgiving weekend tradition "Three Stooges Big Screen Event," which children, grandchildren, and other relatives of the Stooges often attend), live musical performances of the film's soundtrack and vintage photos.
Backstage tours covering the entire history of the Alex are available through the Alex Theatre website.