The Ankara Arena (Turkish: Ankara Spor Salonu), is an indoor sporting arena that is located in Ankara, Turkey that opened in April 2010. The seating capacity of the arena is 10,400 spectators.
Built for the 2010 FIBA World Championship, the new venue replaced the nearby Ankara Atatürk Sport Hall as the home of Turkish Basketball League clubs, Hacettepe Üniversitesi, Türk Telekom Basketbol and Optimum TED Ankara Kolejliler.
In 2011, the arena hosted along with the Başkent Volleyball Hall the FIVB Girls Youth World Championship.
Matches of the 2012 FIBA World Olympic Qualifying Tournament for Women were played at the arena between June 25-July 1.


Braille Section: Braille Section is located at Ground Floor, special care is taken to facilitate Braille readers in this section. This section has 1500 printed Braille books, 145 e-books and 1080 Audio Books
Own Book Reading Section: This section is located at the ground floor. It is a boon to the users who are searching for spacious, cool and calm reading environment in the city. The readers’ have the liberty to carry their personal notebooks, textbooks, learning materials and, laptops. It has comfortable furniture for readers. This section opens at 8.00am. Students are allowed inside according to their token number. Tokens have to be gotten from security personnel much earlier than 8.00am because after token no 90 is allowed inside, the remaining token no's students have to wait till 9.00am for opening of another own book reading section on first floor, which is not as comfortable as the section on the ground floor.
Children's Section: Children Section is located in the first floor ' B wing ' it spreads over 15,000 sq. ft. It has over 60,000 books which cover all subject areas. This section has a very good collection of books ranges from Alphabets, Numerals to Children Encyclopedias. Majority of books are in English and it has books in different Indian and foreign languages (Tamil, Telugu, Malayalam, Kannada and Hindi, German, French, Spanish and Italian). Over 2000 Multimedia CDs, DVDs in different categories and subjects are available for the users. Any children who are at the age between 4 years and 14 years can access this section.
Periodicals Section: Periodicals section is located in the ‘A’ Wing of first floor. Newspapers and Magazines and Journals are kept in this section. All leading newspapers and magazines are available in this section for readers. Currently  37 leading dailies in different languages are being subscribed. The library is subscribing over 500 Indian and Foreign Magazines in all categories to serve user needs. There is an exclusive section for women readers which comprises magazines focused on women.
Tamil Books Section: Second Floor of this library is dedicated to "Classical Language (Semmozhi)" Tamil. In this section we have almost all the books published in Tamil available in print. Readers who are fond of reading Tamil books can see the huge collections Tamil books from all leading publishers. Over 100,000 books in the form of Novels, Poems, Short Stories, Drama, Essays, Humor, letters.
English Book Section: This library has over 450,000 books in all subjects areas published by leading publishers across the world. English Books occupy majority of the library space from third floor to seventh floor.
Third Floor: General, Computer Science, Library & Information Science, Philosophy, Psychology, Ethics, Religion, Sociology, Statistics, Political science.
Fourth Floor: Economics, Law, Public Administration, Education, Languages & Linguistics, Literature, Folklore.
Fifth Floor: General Science, Mathematics, Astronomy, Physics, Chemistry, Earth science & Geology, Fossils & prehistoric life, Life science (Biology), Plants (Botany), Animals (Zoology), Applied Science - Basic, Medicine & Health
Sixth Floor: Engineering, Agriculture, Home & Family management, Veterinary Science, Management & Public Relation, Accounting, Fine Arts, Architecture, Photography & Computer Arts, Music, Sports, Games & Entertainment.
Seventh Floor: History, Geography, Travel, Biography, e-library, Government Oriental Manuscript Library.
Eighth Floor: Administrative Office.


A literary event named "Ponmalai Pozhudhu" is organized every Saturday. Leading personalities from various subjects deliver special talks on this event.
A special orientation program  for competitive exam aspirants is arranged at Anna Centenary Library on Sundays. Bureaucrats and subject experts share their experience, interact and motivate the aspirants.
Children's section of the library organizes programmes like Art and Craft, Chess, Memory technique, Music, Painting, Science Experiments, Story Telling etc. for children on every Sundays morning.


Annapurna Conservation Area is Nepal's largest protected area covering 7,629 km² (2,946 sq mi) in the Annapurna range of the Himalayas. It ranges in elevation from 790 m (2,590 ft) to the peak of Annapurna I at 8,091 m (26,545 ft). The conservation area stretches across Manang, Mustang, Kaski, Myagdi, and Lamjung Districts.
Annapurna Conservation Area encompasses Annapurna Sanctuary and is known for several trekking routes including Annapurna Circuit.


It was first ascended 6 May 1961 by an Indian expedition led by Capt. Mohan Singh Kohli via the Northeast Face. The summit party comprised Mohan Kohli, Sonam Gyatso, and Sonam Girmi. A Japanese Women's expedition led by Junko Tabei succeeded in putting the first women on top on 19 May 1970.
Several teams had attempted to summit Annapurna III via the southeast ridge, with all efforts prior to 2021 ending in failure. The first attempt up this ridge was in 1981 by Nick Colton and Tim Leach who reached about 1000 feet below the peak before turning around. Twice in 2010, Pete Benson, Nick Bullock and Matt Helliker unsuccessfully attempted the southeast ridge. Their first attempt started at the southeast pillar, and the second attempt started at the east ridge where the team began by flying a helicopter into basecamp to save time. In 2016, David Lama filmed a documentary of his unsuccessful attempt up the southeast ridge along with Hansjörg Auer and Alex Blümel winning the UIAA awarded the Best Climbing Film.
The first successful southeast ridge ascent was made in 6th November 2021 by Mykyta Balabanov, Vyacheslav Polezhayko and Mykhailo Fomin. Before them, the route was one of unfinished challenges in the Himalayas. The route is about 2800-3000 meters on vertical face. The summit was made in bad conditions, because of strong wind. It was the second attempt by this Ukrainian expedition, their first one being in 2019.


The temple was formally a Vishnu/Krishna Temple, dating back some 1500 years. The temple after Amma's Prathishta (giving sacred power to the idol of Annapoorneshwari) was built by Avittam thirunal Raja Raja Varma of Chirakkal Kovilakam. In Hindu mythology, it is said that the goddess arrived from Kashi with two other goddesses or devis ( Kalarivathikal Amma and Madai Kavail Amma) and a boatman in a golden ship, and disembarked at Azhi Theeram which is now known as Aayiram Thengu.
The Puna Prathistha was done in 1994, in the month of Kumbham in the Malayalam calendar, Pooyam Nakshtram, which now is observed as the Prathista Dinam every year.
The main festivities in the Temple start from the Malayalam month of Medam Shankramam (15 April), and is celebrated in the following seven days. The other festivals that are celebrated in the temple are Shiva Rathri, Navami, Ekadashi etc.
The temple is presently under the Malabar Devasom Board, and is maintained by the Temple Committee. A unique characteristic of this temple is that it is built of one single type of rock, and the Sree Kovil of both Annapoorneshwari and Krishnan is of the same size as per Vasthu, signifying that both the goddess and the god are given equal importance. The Entrance of the temple is in front of Krishnan's Sree Kovil, and the reason there isn't a direct entrance to Annapoorneshwari's Sree Kovil is because during the olden days, it was believed that women from Brahmin families aren't supposed to be seen directly (Antharjanam). Hence there is a small window that is right in front of the Sree Kovil so that people can view the idol from outside.
This temple is one among the two Annapoorneshwari temples in Kerala. It was built using polished stones and put together using avil and belam (a mixture of flattened rice and jaggery). Next to the Temple is the Temple pond or the Ambala Kolam, which is approximately 2.5 acres in area. In the centre is the Pole, otherwise known as the stumpa. The four major entrances of the Chera have been built using large layers of rock laid parallel to each other. The Chera also has a Kollapura (used by poojaris for bathing), located to the southwest of the Chera.


WikiWeb_Anne C. and Frank B. Semple House_0

The Anne C. and Frank B. Semple House is a historic house in the Stevens Square/Loring Heights neighborhood of Minneapolis, Minnesota, United States. It is located on the same block as the George R. Newell House and the George W. and Nancy B. Van Dusen House. The house was listed on the National Register of Historic Places in 1998.
The house was built in the Beaux-Arts architectural style, reflecting a shift in style toward the classicism of the Renaissance and away from Victorian ideals.  Its first owner, Frank Semple, was a partner in Janney, Semple, and Co., a wholesale hardware firm.  The entry on Franklin Avenue has a balustraded entry porch with Ionic columns, a detailed Palladian window, and a rounded bay.  The interior has a reception hall with mahogany paneling, a hardwood floor with marble inlays, and a frescoed ceiling.  Interior spaces include a 1,000-square-foot (93 m²) living room and a ballroom.
The mansion is now available as a reception site for weddings and other events.


Annesley Hall is a Grade II listed country house near Annesley in Nottinghamshire, England and the ancestral home of the Chaworth-Musters family. The 13th-century park, 17th-century terraces and 19th-century pleasure gardens and walled gardens of the hall are Grade II* listed on the Register of Historic Parks and Gardens.


The Hall dates from the mid-13th century and was the home of the Annesley family, passing to the Chaworth family when Alice, heiress to the Manor of Annesley, married George Chaworth, third son of Sir Thomas Chaworth of Wiverton, in the 15th century. The Chaworth family were to possess the estate for the next 350 years. It was significantly enlarged and improved by Patrick Chaworth, 3rd Viscount Chaworth, in the 17th century when damage to his family seat at Wiverton obliged him to move to Annesley.
Mary Chaworth, who lived at the Hall, was the boyhood lover of the poet Lord Byron, who lived at nearby Newstead Abbey. Byron's poem "The Dream" concerns the meeting of two lovers on Diadem Hill, part of the Misk Hills range, which belonged to the Annesley estate. The uncle of the poet Byron had killed William Chaworth in a duel at the Star and Garter tavern in Pall Mall, London after a meeting of the "Nottinghamshire Club" that met there every month. Mary Chaworth eventually married John Musters of Colwick Hall in 1805. Their teenage son, Charles Musters, sailed as a Volunteer 1st Class aboard HMS Beagle with Charles Darwin, but died of malaria in South America on 19 May 1832. The Chaworth-Musters family became one of the most powerful families in Nottinghamshire. John Chaworth-Musters was appointed High Sheriff of Nottinghamshire for 1864–65. Structural alterations to the hall took place in the 18th and 19th centuries, including the addition of a service wing c.1880.
Annesley Lodge, the former gatehouse to the hall, is also grade II listed.


It remained in the hands of the Chaworth-Musters family until sold by Major Robert Patricius Chaworth-Musters in 1972. The new purchasers carried out extensive internal alterations and removed many of the 17th century fittings.
The hall suffered a fire in 1997 which caused damage to the structure and it has not been lived in since. The hall is now in private ownership, in very poor condition and not open to the public. English Heritage have listed the building on the 'Buildings at Risk Register' as high vulnerability and deteriorating.
Two of the three floors at the hall were severely damaged in a fire on 16 May 2015.


Annesley Old Church or the Church of All Saints, Annesley Park, is a disused church in a ruinous condition which stands on a mound near to Annesley Hall, Nottinghamshire. The building remains are Grade I listed and are surrounded by a graveyard. The site is scheduled as an ancient monument.
The church is built in stone and measures approximately 35 metres (115 ft) by 14.5 metres (48 ft). The standing remains include the roofless west tower, nave, chancel and a large 14th-century lady chapel to the south. The Lady Chapel, known as the "Felley Chantry” after the priory at Felley to whom the patronage once belonged, contained three fine sedilia and a piscina and a large east window with reticulated stone tracery. The surrounding graveyard contains a variety of mainly 17th- and 18th-century grave markers.


The name "Annisquam" comes from an Algonquian term meaning "top of the rock, containing <wanashque>, "on top of", and <-ompsk>, "rock". The first European settlement in Annisquam was established in 1631. In the late 19th-century, it was home to both granite quarrying and an artist colony, which attracted painters including George Loftus Noyes and Margaret Fitzhugh Browne.
Annisquam is primarily a residential village. Its only businesses include a restaurant and marina, a small hotel, a real estate company, a library and the Annisquam Yacht Club, founded in 1896. Because of its small size, historic architecture and secluded geography, Annisquam remains a popular summer resort.
At the mouth of the Annisquam River on Ipswich Bay is Annisquam Harbor Light, perhaps the village's most historic edifice. The lighthouse has been in the same spot since 1801, having undergone significant repairs in 1850.
The movie Good Son starring Macaulay Culkin was filmed here.
Marilyn Monroe is said to have secretly vacationed here, renting a cottage on Lobster Cove at which she was visited by John F. Kennedy, who was introduced to the area by his Harvard University roommate Benjamin A Smith II.


The work consists of cast iron figures which face out to sea, spread over a 2-mile (3.2 km) stretch of beach between Waterloo and Blundellsands. Each figure is 189 centimetres (6 ft 2 in) tall and weighs around 650 kilograms (1,430 lb). The figures are cast replicas of Gormley's own body. As the tides ebb and flow, the figures are revealed and submerged by the sea, and are subject to corrosion by seawater and colonisation by marine animals. The figures were cast at Hargreaves Foundry in Halifax, West Yorkshire and the Joseph and Jesse Siddons Foundry in West Bromwich by foundryman Derek Alexander.


Another Place was first exhibited on the beach of Cuxhaven, Germany, in 1997 followed by Stavanger in Norway and De Panne in Belgium. It was the subject of much controversy in Merseyside, although many people considered the figures to be beautiful pieces of art, and tourism in the local area increased.
Originally, the statues were due to be relocated in November 2007. Those who use the beach for watersports were among the most vocal in their resistance to the figures remaining, citing safety concerns. The coastguard also expressed safety concerns, fearing that tourists could become stuck in soft sand and get cut off by the tide. Conservationists, meanwhile, complained that bird-feeding areas had been compromised by the increased tourist traffic. Art lovers and local businesses, on the other hand, lobbied for the statues to stay. Gormley himself supported the proposal to keep the statues at Crosby Beach, saying the location was "ideal".
In October 2006, the local council refused to give permission for the statues to stay, prompting Gormley to criticise what he called Britain's "risk-averse culture." He stated, "When I have been down on the beach myself, the majority of people have been intrigued, amused, sometimes very moved." The company Another Place Ltd was established to campaign for the figures' permanent installation and appealed the council's decision.
In March 2007, permission was granted for Another Place to remain at Crosby Beach permanently. The approved plan provided for 16 statues to be moved from contentious areas and decreased the installation's area from 232 to 195 hectares. The cost of the work was estimated at £194,000, to be paid by Another Place Ltd with funding from sources including The Northern Way and Northwest Development Agency.
In a press release, the Chief Executive of Sefton Metropolitan Borough Council, Graham Haywood, said, "Despite some controversy, this internationally renowned artwork has aroused national and international public and media support ... The Iron Men have placed Crosby and Sefton firmly in the spotlight and the knock-on benefits of this should be felt for years to come."
In 2012, biologists from the University of Liverpool studied the colonisation of the statues by sessile intertidal organisms, such as invasive species of barnacles.


The Anson Engine Museum is situated on the site of the old Anson colliery in Poynton, Cheshire, England. It is the work of Les Cawley and Geoff Challinor who began collecting and showing stationary engines for a hobby. The museum now has one of the largest collections of engines in Europe. The museum site also includes a working blacksmith's smithy and carpentry shop and a café.


Today the museum has one of the largest collection of engines in Europe and attracts stationary engine enthusiasts from around the globe. Over the past few years it has picked up awards for its displays, volunteers and for some of the engines.
Among the top attraction engines are:-
Largest running example of Crossley Atmospheric gas engine;
Award Winning, original L Gardner & Sons L series engine along with Engineering Heritage Hallmark Scheme (EHHS) plaque  from Institution of Mechanical Engineers;
Oldest diesel engine in the UK - Mirrlees No1;
Original Crossley No1 engine;
Steam engine area with a Stott cross-compound mill engine and a Fowler beam engine;
Very rare Griffin 6-stroke engine;
Rare Atkinson cycle engine;
Crossley over-hung crank;
Hugon gas engine;
63 ton Ruston & Hornsby used at Ealing Studios.


Ansty Hall is a 17th-century country house, located in the village of Ansty, and near Coventry and Rugby, Warwickshire, which is now a four star hotel operated by Macdonald Hotels Ltd. It is a Grade II* listed building surrounded by 8 acres of landscaped gardens.
The Manor of Ansty was owned by the Stanhope family from 1406.  It was sold in 1506 to the Earl of Shrewsbury who donated it to the Dean of St George's, Windsor. It was let out on lease until 1659 when it was purchased by Richard Tayler.
The old manor was replaced by Edward Tayler in 1678 with a seven-bayed, two-storey mansion. On the death of a later Edward Tayler in 1799, the property passed to his nephew Simon Adams, a barrister and Recorder of Daventry. In 1800 Adams remodeled the house adding a third storey to the main block, with a pediment over the central three bays, and two one-bayed wings, so creating a Carolean style entrance front. Later extensions were added to the south east in the mid- and late 19th century.
Henry Cadwallader Adams (1779-1842) was Mayor of Coventry in 1836 and High Sheriff of Warwickshire in 1837. His nephew and namesake Henry Cadwallader Adams (1817-1899) was a children's writer.
Descendants of the Adams family remained in residence until 1965.
More recently the property has been restored and converted for use as a hotel.


The radio transmitter system of Caltanissetta or Antenna RAI of Caltanissetta is a plant, now idle, for broadcast on long wave, medium and short; tipe guyed mast. The transmitter is insulated against ground.
Its main element is an omnidirectional antenna 286 meters high, which holds the record for the tallest structure in Italy; it stands on a hill 689 meters above sea level; The top antenna is placed at 975 meters above sea level.


Anthology Film Archives is an international center for the preservation, study, and exhibition of film and video, with a particular focus on independent, experimental, and avant-garde cinema. The film archive and theater is located at 32 Second Avenue on the southeast corner of East 2nd Street, in a New York City historic district in the East Village neighborhood of Manhattan.


Anthology Film Archives screens nearly 1,000 public programs annually; features weekly in-person appearances by artists with their work; and publishes historical and scholarly books and catalogs. Anthology maintains an invaluable collection of approximately 20,000 films and 5,000 videotapes and preserves 25-35 films each year with more than 900 titles preserved to date. Anthology's research library holds the world's largest collection of paper materials documenting the history of American and international film and video as art, and is accessed weekly by students, scholars, researchers, writers, artists, and curators.


Local tradition maintains that a pagan temple dedicated to the Roman goddesses Diana and Minerva once stood on the site, and that St Paul stopped here to preach in AD 63, during a journey to Spain.
The Bishopric of Antibes was established c.450 by Pope Leo I, the first two bishops being Armentarius and Agroecius. Presumably it was around this time that the cathedral was first built, and indeed the altar in the Chapel of the Holy Sacrament has been dated to the Merovingian era.
The cathedral was destroyed during a raid on Antibes by Saracen pirates in 1124, and rebuilt on the initiative of Berenguer Ramon, Count of Provence; the choir, the oldest surviving part of the cathedral structure, dates to this phase of construction. Further raids followed over the next century or so, and in 1244 the bishops relocated to Grasse to escape their depredations. The bishops remained there for the next five centuries, despite an attempt to lure them back to Antibes by rebuilding the cathedral in 1250.
The cathedral was destroyed yet again in the eighteenth century, this time by Austrian bombardment during the 1746-7 Siege of Antibes. Louis XV of France personally issued an edict for the cathedral's reconstruction in June 1747, and the external form of the building dates largely to this phase of its history.
The Bishopric of Grasse was suppressed during the French Revolution and was not restored by the Concordat of 1801; instead its territory, including Antibes, was assigned to the Diocese of Nice.


Antietam National Cemetery, which adjoins the park, covers 11.36 acres (4.60 ha) and contains more than 4,976 interments (1,836 unidentified). The cemetery was commissioned in 1865, and interments began in 1867, following an arduous process of identifying the remains, which was only successful in about 40% of the cases. Civil War era burials in this cemetery consist of only Union soldiers; Confederate dead were interred in the Washington Confederate Cemetery in Hagerstown, Maryland; Mt. Olivet Cemetery, in Frederick, Maryland; and Elmwood Cemetery in Shepherdstown, West Virginia. The cemetery also contains the graves of veterans and their wives from the Spanish–American War, both World Wars, and the Korean War. The cemetery was closed to additional interments in 1953. However, two exceptions have been made; the first in 1978 for Congressman Goodloe Byron and the second in 2000 for the remains of USN Fireman Patrick Howard Roy who was killed in the attack on the USS Cole. The cemetery was placed under the War Department on July 14, 1870; it was transferred to the National Park Service on August 10, 1933. The gatehouse at the cemetery entrance was the first building designed by Paul J. Pelz, later architect of the Library of Congress.


The Antietam National Battlefield was listed as one of America's Most Endangered Places in the years 1988, 1989, 1990, 1991, according to the National Trust for Historic Preservation. The Battlefield was added to the list in response to a "...flawed proposal to construct a shopping center and other buildings on battlefield land, the listing helped to galvanize support and action by local, state and federal agencies and non-profit organizations." By 2017, the Antietam National Battlefield was deemed a success story and was included alongside ten other sites that previously named to the Most Endangered and also became the focus of successful preservation efforts.
The American Battlefield Trust and its federal, state, and local partners, including the Save Historic Antietam Foundation, have acquired and preserved 464 acres (1.88 km²) of the overall battlefield through late 2021, including the "epicenter" tract, a 44.4-acre, previously privately owned parcel in the heart of the battlefield park between the Cornfield and the Dunker Church. The land, also known as the Wilson farm, was purchased by the Trust in 2015 for about $1 million. The preservation organization has since removed the postwar house and barn that stood on the property along Hagerstown Pike and returned the land to its wartime appearance.


The Church of Christ Antiphonitis is notable for the array of frescoes on the walls and on the pillars. The oldest paintings belong to the end of the twelfth century and are thought to be a local interpretation of the style of the late Comnenian period as it appears at Panagia tou Arakou at Lagoudera.
When first studied, the Virgin Mary and prelates in the apse were damaged, but the saints in the sanctuary were well preserved. Early painting also include decons, martyrs and stylites. There was a Baptism on the south-west pillar of the nave.
The remaining paintings are later in date and belong to the 1400s. They are executed in a post-Byzantine local revival style. On the south wall was a Tree of Jesse, and on the north an elaborate Last Judgement or Μέλλουσα Κρίση. In the dome is Christ Pantocrator surround by angels. A. and J. Stylianou report that the paintings of the dome were already "badly damaged" at the time of their studies in the 1960s and 1970s.
The paintings in the narthex are faded due to sunlight, but include a notably large depiction of St. George.
Some time after 1975, some of the fresco paintings were stolen and sold on the international art market. The Last Judgement has been badly damaged, and the heads of the twelfth-century angels in the apse damaged and partly removed. The Tree of Jesse has also been removed.


The church is notable for the graffiti and pilgrim records scratched into the lower frescoes during the eighteenth, nineteenth and twentieth centuries. They are predominantly in Greek but a few are also in the Ottoman Turkish alphabet. They are unique documents of popular history, telling us about the ordinary Cypriots who visited the building. Among the dates visible are 1803, 1888, 1891, 1896, 1902, 1903, 1904, 1910, 1911, 1919, 1930 and 1958.


The Antiquarium was built from 1568 to house the ducal Collection of Classical Antiquities and Library as an extension of the Munich Residenz and was converted into a ballroom soon after. It is one of the most important surviving Renaissance collection buildings.


The ground floor hall of the Antiquarium, 69 metres long, is considered the largest Renaissance hall north of the Alps. The continuous barrel vault is hollowed out by the piercing caps of the 17 pairs of windows and is transparent. The rich painting by artists such as Hans Donauer the Elder, Alessandro Scalzi, called Padovano, Peter Candid and Antonio Viviani with 102 views of old Bavarian towns was completed only at around 1600.


The residence in downtown Munich was the seat of the Bavarian dukes, electors and kings. Between 1568 and 1571 Duke Albrecht V built a free-standing, two-storey building there for his extensive sculpture collection (on the ground floor) and library (on the upper floor) based on ideas by Jacopo Strada from Mantua. In 1580-1584 Friedrich Sustris was commissioned to convert the ground floor hall of the Antiquarium into a festival and banquet hall, and the painting still preserved today was begun.
During the Second World War, the vault was destroyed by an explosive bomb in the middle. However, the moisture penetrating the vault in the following years was even more serious as it severely destroyed the ceiling painting. Following the closure of the gap in the vaults and the reroofing of the building wing, the Antiquarium was rebuilt under the direction of Otto Meitinger. The hall is again used for receptions by the Bavarian state government and for concerts. It is part of the Residenzmuseum.


The Antique Temple is a small round temple in the west part of Sanssouci Park in Potsdam.  Frederick the Great had the building constructed to house his collection of classical works of art, antique artifacts, coins and antique gems.  Carl von Gontard created the building in 1768/69 near the New Palace north of the Central Alley, as a complement to the Temple of Friendship situated south of the Alley.  Since 1921 the Antique Temple has been used as a mausoleum for members of the House of Hohenzollern and is not open to the public.


The Antique Temple was, like the Sanssouci Picture Gallery, envisioned from the beginning as a museum and at the time of Frederick the Great could be visited after notifying the castellan at the New Palace.  Next to dozens of antique ornaments, such as marble urns, bronze figurines, tools, weights and ceramics, could be found the so-called 'Family of Lycomedes', ten life-sized marble statues on marble plinths.  They came to Frederick the Great from the art collection of the French Cardinal Melchior de Polignac.  Fifty busts of marble, basalt and bronze sat on brackets, 31 of which also came from Polignac's collection; the rest were from Friedrich's favourite sister, Princess Wilhelmine, Margravine of Brandenburg-Bayreuth. In a square annex that could only be reached through opening a door from the round central hall, the Coin Chamber was created. Four cedar wood cupboards were filled with over 9,200 gold, silver and bronze coins, around 4,370 engraved gems and cameos, 48 marble, terra cotta and bronze reliefs, and books from Frederick the Great's archaeological library.


Frederick William III, who ruled Prussia from 1797, announced in a Cabinet Order on 1 September 1798:
"...for the progress of the study of the antiquities and art... the collection of medals and antiques in the Antique Temple in Potsdam shall be united with the similar collections in Berlin and entrusted with the Academy of Sciences..."
Consequently, the coin and gem collection were placed in the Antique Chamber of the Berlin City Palace.  In 1828 the sculptures and busts followed, which, after being restored in the workshop of the sculptor Christian Daniel Rauch, found their place in the Altes Museum in Lustgarten.  The museum was built to the design of the architect Karl Friedrich Schinkel and opened in 1830.
In June 1828 Friedrich William III had the second version of a coffin designed by Christian Daniel Rauch set into the now empty Antique Temple.  The coffin's famous original lay in the mausoleum in the park of Charlottenburg Palace in Berlin, which was completed for Queen Louise, who died 19 July 1810.  Until 1904 the copy remained in the Antique Temple, and arrived in Spring 1877 in the Hohenzollern Museum, situated in Monbijou Palace, which was open to the public.  The Monbijou Palace was destroyed during the Second World War.


Plans for the use of the Antique Temple as a court chapel were made during the reign of Wilhelm II, the last German Emperor.  The architect Ernst von Ihne drew up several designs.  The first from 1904/05 suggested a conversion in the style of the Italian High Renaissance.  Eight years later, in 1913, came plans for classical interior decoration.  Due to other building projects and the outbreak of the First World War, the project was never realised, however.  Even a suggestion from 1918, to furbish a gravesite for the imperial leadership, did not come to fruition.  However, on 19 April 1921, Empress Augusta Victoria was laid in the Antique Temple, according to her wishes, and until the 1940s the Antique Temple became the final resting place of other members of the House of Hohenzollern.


The Antonín Dvořák Museum in Prague is a museum dedicated to the Czech composer Antonín Dvořák (1841–1904).
It is part of the Czech Museum of Music which in turn is part of the National Museum. Since 1932, the museum has been housed in a Baroque style building which was designed by the famous architect Kilian Ignaz Dientzenhofer at the beginning of the 18th century, even though the house itself has no particular link with the Dvořák. It is situated in the north part of the New Town, about 15 minutes' walk from the city center of Prague.
The museum displays photographs, newspaper cuttings, programmes and personal objects relating to the composer, including his viola and his piano. The building houses a unique collection of his manuscripts and correspondence, thus providing an important centre for research into Antonín Dvořák. Concerts are held there regularly, as well as seminars, lectures, and exhibitions.
The museum also organizes an annual ceremony on the eve of the day of his death (1 May) at his grave in the Vyšehrad cemetery just south of the New Town district.  There is also a matinee celebration on his birthday at his birthplace in Nelahozeves. The museum also takes care of the village house of his son-in-law, Josef Suk. There are also commemorative centres connected with Dvořák at other locations: there is a permanent exhibition at his country estate in Vysoká near Příbram, one in Zlonice and a memorial hall in Sychroy Castle near Turnov.


Antony House hosts a splendid collection of portraits, including a portrait of Charles I of England at his trial, (Charles I granted a baronetcy to the Poles in 1628). The collection contains some of Sir Joshua Reynolds' works, and a portrait of Rachel Carew, believed to have inspired Daphne du Maurier's novel My Cousin Rachel.
Rooms are heavily panelled in Dutch Oak and contain fine collections of 18th-century furnishings and textiles.


The grounds were landscaped by Georgian garden designer Humphry Repton and include the formal garden with the "National Collection of Day Lilies". In the early 19th century, yew hedges and topiary were added to the formal landscaping. Adorning the gardens are stone carvings from North West India, a Burmese temple bell brought to Antony by General Sir Reginald Pole Carew, statuary and more recently acquired modern sculptures, including the Antony Cone water sculpture by William Pye. This echoes the grand spectacle of the topiary yew cone nearby, which is almost as tall as the house itself. Other sculptures include Jupiter Stone by Peter Randall-Page and Hypercone by Simon Thomas.
Other notable features include a black walnut tree, cork tree, a Japanese ornamental pond and knot garden. The dovecote dates from the 18th century, while a folly has been added recently in the estate grounds.
The surrounding woodland garden (not National Trust, but owned by the Carew Pole Garden Trust) is noted for rhododendrons, azaleas, camellias and magnolias, and surrounding woods provide delightful walks, which extend down to the river Lynher. The Bath Pond House situated in the woodland walks was built in 1789.


The low arcaded ground story is of rusticated stone, and at one time housed little shops. Above are two stories with Doric and Ionic columns separating large mullioned windows, and a fourth story forming an open gallery.
The richly ornamented central section, which rises above the eaves in diminishing stages, holds female statues representing Justice, Prudence, and the Virgin Mary, and bears the coats of arms of the Duchy of Brabant, the Spanish Habsburgs, and the Margraviate of Antwerp.
Renovations during the late 19th century by architects Pierre Bruno Bourla, Joseph Schadde and Pieter Jan August Dens drastically modified the interior.  Much of the stately decoration dates from this period, as does a roof over what was once an open-air inner courtyard.  A number of the leading Antwerp historical painters were invited to assist with the decorations.  Henri Leys painted a series of murals depicting key events in Antwerp's history and portraits of former Belgian rulers for the Leys Hall.


Anundshög (also Anundshögen and Anunds hög) is a tumulus near Västerås in Västmanland, the largest in Sweden. It has a diameter of 60 metres (200 ft) and is about 9 metres (30 ft) high.
Assessments of the era of the mound vary between the Bronze Age and the late Iron Age. A fireplace under it has been dated by radiocarbon dating to sometime between AD 210 and 540.
Some historians have associated the mound with the legendary King Anund, while others regard this as speculative. It is purported also that the name is taken from the large runestone at the site, (Vs 13) the central stone in a row of 15 alongside the mound, re-erected in the 1960s and apparently marking out the route of the Eriksgata. The inscription on the runestone reads:
+ fulkuiþr + raisti + stainn + þasi + ala + at + sun + + sin + hiþin + bruþur + anutaʀ + uraiþr hik + runaʀ
"Folkvid raised all of these stones after his son Heden, Anund's brother. Vred carved the runes."
At the foot of the mound are 2 large stone ships placed end to end, 51 metres (167 ft) and 54 metres (177 ft) long. The site was a thing-place and the ship settings may be associated with this function.


The lighthouse is built of local stone and was completed in 1881. It was opened by Joseph Chamberlain, the President of the Board of Trade. The lighthouse tower is twelve metres tall, the height of the light above the high-water mark is 45 m (148 ft). The light is positioned to give a waypoint for vessels passing along the English Channel coast.
Originally the light was illuminated by a Douglass multi-wick mineral oil burner, set within a large (first order) revolving 14-panel dioptric optic by Chance Brothers & Co. It was the first example of a significant new design of lighthouse optic, whereby (through the use of dense flint glass in the upper and lower portions) the height of a Fresnel lens could be significantly increased, dispensing with the need for additional reflective prisms above and below; the lenses alone stood 6 ft 2 in (1.88 m) high. The lamp was also specially designed for Anvil Point by James Douglass; it was subsequently used in other large coastal lighthouses, a series of international patents having been granted.
An explosive fog signal was established at the lighthouse in February 1894, which in foggy weather sounded once every ten minutes (later altered to every five minutes).
In the early 20th century a paraffin vapour burner (PVB) replaced the oil lamp.
During 1960, the lighthouse was modernised and electrified (with a new lamp, powered by mains electricity, replacing the PVB). At the same time a smaller optic replaced the original lens array, which was removed and donated to the Science Museum. That same year, the five-minute explosive fog signal was replaced by a triple-frequency electric signal, sounded from a stack of thirty tannoy emitters positioned on the seaward edge of the compound directly in front of the lighthouse. In 1981 new automatic equipment was installed, but the fog signal was discontinued in 1988.
Anvil Point Lighthouse was fully automated on 31 May 1991 and is now monitored and controlled from the Trinity House Operations Control Centre at Harwich.
The lighthouse had a 1,000 watt filament lamp with an intensity of 500,000 Candela. The lights range was about 19 nautical miles (35 km; 22 mi), but was reduced to 9 nautical miles (17 km; 10 mi) following a review of aids to navigation in 2010.
In 2012, a LED lamp was installed above the rotating Fresnel lens to serve as the main light at Anvil Point; its character is, as it was previously, a white flash every 10 seconds. (The old lens, though no longer in use, remains in place in the tower.)


The Anzac Memorial is a heritage-listed war memorial, museum and monument located in Hyde Park South near Liverpool Street in the CBD of Sydney, Australia. It is also known as Anzac War Memorial, War Memorial Hyde Park and Hyde Park Memorial.
The Art Deco monument was designed by C. Bruce Dellit, with the exterior adorned with monumental figural reliefs and sculptures by Rayner Hoff, and built from 1932 to 1934 by Kell & Rigby. This state-owned property was added to the New South Wales State Heritage Register on 23 April 2010.
The memorial is the focus of commemoration ceremonies on Anzac Day, Remembrance Day and other important occasions. It was built as a memorial to the Australian Imperial Force of World War I. Fund raising for a memorial began on 25 April 1916, the first anniversary of the Australian and New Zealand Army Corps (ANZAC) landing at Anzac Cove for the Battle of Gallipoli. It was opened on 24 November 1934 by Prince Henry, Duke of Gloucester. In 2018, refurbishments and a major expansion were completed.  The memorial was officially reopened by Prince Harry, Duke of Sussex.


The uncertainty about both site and building style of the ANZAC Memorial combined with the long wait for its construction left Sydney without a focal point for Anzac Day ceremonies. Around 1925 the Lang Labor government responded to the urging of the NSW RSSILA by donating 10,000 pounds for a cenotaph in Martin Place, near where wartime appeals and recruitment rallies had been held. This was also the place where the Armistice Day crowds had honoured their "Glorious Dead" at the war's end on 11 November 1918. It was consecrated on 8 August 1927, becoming the focus of Anzac Day ceremonies some eight years before the ANZAC Memorial building was available for such purposes. Sydney's Anzac Day Dawn Service was never moved to the ANZAC Memorial because the Cenotaph had already become the accepted site and Martin Place had stronger war-time associations than Hyde Park.


A competition for the design of the memorial was commissioned on 13 July 1929. Entrants were required to be Australians qualified to work as architects within or outside NSW, the latter persons being required to register in the state if they won. Competitors could confer with an Australian sculptor, either while designing the competition entry or during its construction. All entrants had to register by 30 January 1930 and present their entries two weeks later. The judges were Professor A. S. Hook, Dean of the Sydney University Faculty of Architecture Professor Leslie Wilkinson, and the Public Trustee E. J. Payne. The winner would be appointed the ANZAC Memorial architect. The cost of the building was limited to £75,000 calculated at rates current at the time of entry. In addition to the memorial itself the building was required to provide office accommodation for the Returned Soldiers and Sailors Imperial League, TB Soldiers' Association and the Limbless Soldiers' Association. The Trustees received 117 entries in the competition and chose seven for second stage consideration which were exhibited in the Blaxland Galleries in Farmers Department Store (now Grace Bros). In February 1930 the prize-winning entries were announced by the Governor of New South Wales, Sir Philip Game. Third prize was awarded to Peter Kaad, second prize to John D. Moore and the winner was Bruce Dellit. The successful contractors for the building works were Kell & Rigby. According to Building magazine, most people agreed that Dellit's design for the ANZAC Memorial was the best in the competition.
In his entry, Dellit submitted a model with photographs of it from all angles and 17 drawing sheets including an aerial perspective and an isometric section in Dellit's own words: "ENDURANCE COURAGE AND SACRIFICE – these are the three thoughts which have inspired the accompanying design, and it is around the last mentioned that it develops". Dellit explained that the central sculpture "sacrifice" was placed in the lower chamber "like a famous French tomb" – Napoleon's tomb – to "offer visitors an opportunity for a quiet, dignified, physical and mental acknowledgment of the message".


George Rayner Hoff was born in 1894 on the Isle of Man. His father later moved the family to Nottingham in England where Rayner Hoff worked in a stonemason's yard while still at school. At 14 he commenced work in an architect's office and later furthered his training by studying drawing and design at the Nottingham School of Art. In 1915 Hoff enlisted in the army and served on the Western Front the following year. After the war he studied sculpture at the Royal College of Art in London under Frances Derwent Wood and in 1922 he won the Prix de Rome.
Hoff arrived in Sydney in August 1923 and began work as head teacher of modelling and sculpture at East Sydney Technical College, Darlinghurst (Sydney's major art school), where he also established his private studio. Hoff exerted an enormous influence on the progress of Australian sculpture. By the end of the decade, Hoff's work at the college produced a school of gifted sculptors and assistants. It was, according to Deborah Edwards, "perhaps the sole instance of a coherent school of production among sculptors in Australian history". In 1925 Hoff completed reliefs for the Dubbo War Memorial and in 1927 he was commissioned to design the sculptures on the National War Memorial, South Australia.
In 1930 Dellit commissioned Hoff to design the sculptures for the ANZAC Memorial. Creating the numerous sculptures on the ANZAC Memorial became the pinnacle of Hoff 's career. The task involved creation of sixteen seated and four standing figures of servicemen and women in cast synthetic stone, four corner cast stone reliefs and two long bronze bas-reliefs over the eastern and western doors outside the building. Hoff's contributions to the interior also included designing the form of the 120,000 faceted gold stars that covered the domed ceiling, four relief panels showing the march of the dead, each superimposed with symbolic representations of the Army, Navy, Air Force and Army Medical Corps, and the marble wreath surrounding the Well of Contemplation that framed the view of Sacrifice below. Hoff and eight assistants were fully employed on the memorial between 1931 and 1934.
Hoff gave considerable prominence to the female contributors to the war effort in the ANZAC Memorial, including the women who lost their fathers, husbands and sons. Nurses were prominent among the figures representing the services and women were central to the group sculpture, "Sacrifice". Hoff explained the prominent position of the women in this work in 1932: "Thousands of women, although not directly engaged in war activities lost all that was dearest to them. There was no acknowledgment of them in casualty lists, lists of wounded, maimed and killed. In this spirit I have shown them carrying their load, the sacrifice of their menfolk".
In 1932 models for the two massive bronze groups intended for placement in front of the east and west windows were publicly exhibited. Hoff's "The Crucifixion of Civilisation 1914" and "Victory after Sacrifice 1918" both featured naked women as the central figures. The violent controversy that greeted the exhibition of these models prevented their development into full-size sculptures, with the sexual aspect of the imagery attracting the most intense criticism. In despair over the controversy, Hoff eventually destroyed the plaster models and refused to compromise his designs when the possibility of making them was raised again in 1934. The sculptures were never completed.
Hoff's other public sculptures in Sydney included a bas-relief of Mercury in Transport House, York Street and several sculptures in Emil Sodersten's City Mutual Life Building in Hunter Street. However, in spite of his obvious success, Hoff was unable to shake the controversy about the unexecuted ANZAC Memorial sculptures. It remained with him until his early death from pancreatitis on 19 November 1937.


Originally, Dellit wanted the memorial to be built of sandstone or synthetic granite on an 18-inch base of Bowral trachyte. However, the building was actually constructed in red granite from quarries near Bathurst, NSW. The podium and semi-circular stairs were faced in granite; and the terrace was formed in terrazzo.
In 1932 Dellit incorporated four stones from battlefields at Gallipoli, France, Palestine and New Guinea into the floors of the niches in the Hall of Memory in the form of the AIF Rising Sun. The names of major battles at each of these sites were added to the niche walls. The dome of stars approved in 1933 was also a late inclusion. This feature began as a fundraiser when the project had lost support through the fracas over Hoff's exterior statues. To cover the shortfall in funding the memorial, the RSSILA offered 150,000 stars for sale at two shillings each. Although they were unable to sell the full number, 120,000 stars were fixed to the ceiling to represent all the state's volunteers. In order to facilitate their attachment to the plaster ceiling, they were fashioned from plaster of Paris and gilded.
In another late change, the interior walls were lined in unpolished marble while polished marble covered the floors. All doors were originally to be bronze but funding shortages caused that specification to be changed to maple, studded with bronze nails. Dellit intended that each of the great amber windows would bear a different design for the Army, Navy, Air Force and Medical Corps. However, the building subcommittee asked for an alternative and a new design was etched on all the windows which combined the AIF symbol with a pattern of eternal flames.
Dellit always intended that the office accommodation at the base of the building should be incorporated into the memorial when the need for its original use had passed. The ex-servicemen's offices featured joinery in silky oak and parquetry floors of red mahogany. Light fittings in the shape of stars echoed the dome in the Hall of Memories. On the eastern side Dellit added an Assembly Hall to balance the entry foyer on the west. This room had seating for 130 people and was available to all ex-servicemen's groups. In practice it was used mainly by the associations with offices in the building. Its small size and the ban on alcohol (which applied to the whole memorial) meant that few associations sought to hire it. It was not available for outside use from 1942 to 1957 while the RSL occupied it as an extension to their office.
The inscriptions that Dellit intended for the memorial were another casualty of the design process. The Trustees consulted the poet Leon Gellert, then Professor Hook, who consulted Professor Mungo McCallum, librarian H. M. Green and historian C. E. W. Bean, about the inscriptions. These experts ruled against most of the numerous labels suggested by Dellit.  The surviving inscriptions include those on the Foundation stones laid by Governor Game and Premier Bevan on 19 July 1932 which bear the words "A soldier set this stone" and "A citizen set this stone" to indicate the contributions both soldiers and citizens had made to the building. An inscription in the floor at the western entrance to the Hall of Silence, "Let Silent Contemplation be Your Offering" was also kept, as was a list of the major battles in the Hall of Silence. The experts chose a simple statement submitted by Hook, Green and Bean to mark the dedication of the building, stating, "This Memorial was opened by a son of the King on 24th November 1934".
Another feature that was considerably altered was the landscaping. Dellit planned water gardens for either side of the memorial in the form of a narrow pool to the north and a cascading waterfall to the south. However, as the bulk of the building began to rise above the park, it became apparent that the scale of the water features needed to be increased to balance it. As a result, the cascades were eliminated and the pool extended to 170 feet (52 metres) long by 72 feet (22 metres) wide. Landscaping was completed by the City Council, which was responsible for the park. Finance for the additional work came from the state Unemployment Relief Fund and a large number of council employees and relief labourers poured the concrete for the pool in a single day to eliminate the need for joints and ensure that it was watertight. The Council acceded to Dellit's request to keep a clear open space around the memorial. It also followed his plan for a line of poplars on either side of the pool to symbolise the French battlefields. Dellit also wanted beds filled with the red poppies of Flanders and other plantings from the eastern and western fronts.


All associations with offices in the ANZAC Memorial building helped members with their applications to the Repatriation Department and assistance with medical needs. Each office in the memorial had a counter where members could apply for assistance, a waiting lobby, and secretarial and general offices.
By the mid 1930s the ex-servicemen's offices in the ANZAC Memorial were already overcrowded, and the situation became critical when veterans from World War II began accessing the building for services in the 1940s. The RSL gained permission to extend its rooms into the Assembly Hall in 1942 but its situation was not significantly improved until it moved to nearby Anzac House in College Street in 1957. The TB Soldiers, Sailors and Airmen also moved into Anzac House but returned to the ANZAC Memorial in 1980. The Limbless and Maimed Soldiers' Association stayed in the memorial through the whole period that its members survived.


Australia was embroiled in World War II less than five years after the ANZAC Memorial opened. Attempts to physically make changes and add additional symbols to reflect this and later wars did not proceed due to difficulties envisaging how this might be achieved without compromising the design.
Although the ANZAC Memorial experienced no significant structural changes, in the latter half of the twentieth century people did tend to assume that it was a memorial for all wars. The memorial also became a symbol of all wars in a negative way, particularly in the case of the Australian Government's support of the United States in Vietnam, which polarised the nation. In the prolonged civil protests about Australian involvement in that war – characterised by the moratorium marches of the late 1960s – the ANZAC Memorial became a rallying point. It was also the site of an anti-war sit-in in 1970 and the centre for a Ban the Bomb protest in 1983. In 1975 feminists inferred it was a symbol of male domination when they painted on it, "Women march for Liberation".
In 1984 an amendment of the Anzac Memorial Building Act of 1923 legally acknowledged the meaning of the ANZAC Memorial that most people had already accepted when it authorised the building's re-dedication as the principal war memorial of NSW. Governor Sir James Rowland performed the ceremony on 30 November, fifty years and six days after the first dedication by the Duke of Gloucester. From that time, the ANZAC Memorial's stated purpose was to honour the men and women of NSW who served in all wars where Australia had been involved.
In the same year a "museum" or exhibition space was established to inform the public both about the wars in which Australia has been involved and those who served in them. It was originally opened on the 50th Anniversary of the official opening of the memorial, on 18 November 1984. A bronze plaque marking the event was mounted on a wall in the Vestibule. A permanent photographic exhibition titled "Australians at War" opened during this month and became a great success with visiting school groups and tourists.
A recent mark of respect to NSW service men and women was the 1995 addition of a Remembrance Flame to the Hall of Memory. The Trustees made space for this new symbol by removing the door to the Archives Room and commissioning the Australian Gas Light Company Limited (AGL) to install the burner which is currently lit 8 hours a day between 9 am and 5 pm.
The ANZAC Memorial has been variously described as "a unique statement of architectural and sculptural unity", "the ultimate conception of the Art Deco style in this country" and "the epitome of Art Deco in Australia." It has become a site of increasing visitation in the 21st century, including a marked increase in the number of schools and other educational bodies. The ANZAC Memorial Building is "a lasting memorial", [an] "outstanding legacy" that continues to move present-day Australians to bow their heads  'in honoured memory of all those who have fought on the nation's behalf'.


The building is constructed of concrete, with an exterior cladding of pink granite, and consists of a massed square superstructure with typically Art Deco setbacks and buttresses, punctuated on each side by a large arched window of yellow stained glass, and crowned with a ziggurat-inspired stepped roof. It is positioned atop a cruciform pedestal within which are located administrative offices and a small museum. The interior is largely faced in white marble, and features a domed ceiling adorned with 120,000 gold stars – one for each of those men and women from New South Wales who served during World War I. Access to the main hall is provided via broad stairways on each side of the building's north–south axis, while ground-level doorways on the east and west sides offer entry to the lower section.  The main focus of the interior is Rayner Hoff's monumental bronze sculpture of a deceased youth, representing a soldier, held aloft on his shield by a caryatid – three female figures, representing his mother, sister and wife. The male figure's nudity was considered shocking at the time of the monument's opening, and it is said to be the only such representation of a naked male form within any war memorial. Two other even more controversial figural sculptures designed by Hoff—one featuring a naked female figure—were never installed on the eastern and western faces of the structure as intended, partly as a result of opposition from high ranking representatives of the Catholic Church. The building's exterior is adorned with several bronze friezes, carved granite relief panels and twenty monumental stone figural sculptures symbolising military personnel, also by Hoff. Immediately to the north of the ANZAC Memorial is a large rectangular "Lake of Reflections" flanked by rows of poplars. The poplars, not native to Australia, symbolise the areas of France in which Australian troops fought. Original plans called for the construction of similar pools on each of the other sides of the building, but these were never built.
The memorial setting
The ANZAC Memorial is located in Hyde Park South and is a principal physical focal point in the axis joining it and the Pool of Reflection with the Archibald Fountain in Hyde Park north. There are many prominent views of the memorial through Hyde Park South and the main axis is aligned with an avenue of fig trees, which accentuates the main path. The ziggurat form of ANZAC Memorial is also evident from Oxford Street for several blocks east of Whitlam Square.
The plantings around the ANZAC Memorial have strong associations with the building. The Allepo pine trees arranged around the building have significance because of their symbolic connection to Lone Pine Ridge in Anzac Cove in Turkey. Other symbolic trees have been brought as seedlings and planted in Hyde Park near the memorial, including Gallipoli Rose. The 14 poplars planted in two rows on either side of the Pool of Remembrance were planted in 1934, the date the pool was completed.
The pool underwent renovations in 1992 when a waterproof membrane was installed. This work was co-ordinated with paving around the memorial and the installation of a waterproofing membrane to the steps and podium level of the building.
Aligned between the Pool of Reflection and the memorial building staircase are two rows of flag poles that are used on ANZAC Day and commemorative occasions as part of the formal ceremonies at the memorial. Flags are flown permanently throughout the year. The three on the eastern side display the NSW flag and the three on the western side display the Australian national flag. The flagpole on the podium level of the memorial building is for the Governor's Flag and is only used when the Governor formally visits the site.
The external building
The ANZAC Memorial was designed as a sculptural monument. The building is symmetrical on both axes. It uses elements reminiscent of traditional gothic church buildings (buttresses, tall windows, high ceilings), but interprets them in an Art Deco style. Grand staircases lead to the podium level and extend symmetrically on the north and south sides of the building on the main axis of Hyde Park. The balustrade around the exterior of the podium level is surmounted with cast stone urns. Large timber moulded doors slide into cavities in the external walls to allow entry. The ground floor provides the visual base of the building form and is fenestrated with timber framed double hung windows and bronze security grilles. A string course of granite extends around the building and becomes the sill at windows.
The memorial is adorned externally with many sculptures representing the various Australian armed forces and support units. They are the sentinels of the building, keeping watch whilst representing the fallen for whom the building is dedicated. Between the seated figures in each corner are cast stone bas reliefs. The four large standing figures at the top of each corner of the building represent the Australian Infantry, Navy, Air Force and Army Medical Corps. Another 16 seated figures are positioned at the top of the buttresses, below the corner figures, and represent the various units. These statues include a Naval Signaller, Aviator, Nurse and Lewis Gunner fabricated from cast stone to resemble the granite facing of the building "so they should have the effect of having been hewn out of the moment rather than placed thereon". Above the Eastern and Western Entrances, bronze bas reliefs depict scenes of Australians in the Eastern and Western Fronts. The bronze bas reliefs are generally in good condition, however they require cleaning and the repair of some minor corrosion.
A dark pink granosite (synthetic coating) applied to the external statues in the mid 1980s does not reinterpret the architect's original design intention of the statues being hewn from the stone.
The internal building
The memorial's main entrance from ground level is from the Western side. The vestibule area is lined in Ulum white marble. Two timber cabinets of silky oak with obscured glass are recessed into opposite walls. In the centre of the ceiling is a large brass "Star" light, designed by Dellit.
This vestibule has glazed doors leading to the association and management offices to the north, exhibition area to the south, and opens to the west to the stair hall and the Hall of Silence. Originally, internal access between the upper and lower levels of the building was via two "mirror imaged" stairwells, which extended from the Stair Hall in the Vestibule to the Hall of Memory and down to the basement. One of these stairwells has been converted into a new lift, constructed in 2009, linking all three levels. This controlled lift was installed to provide equitable access to the Hall of Memory for aging veterans and people with a disability. In the remaining stairwell is a bronze, Art Deco-styled skylight with amber glass. That has been converted to a light. Both stairwells are lined in marble with marble treads. A bronze handrail was fixed to each of the stair walls in 1997, designed by Louis Berczi, in a style to match the external copper handrails designed by Dellit.
At the edge of the Stair Hall is a barred entrance to the Hall of Silence. A large bronze moulded banister, too heavy to move, prevents access to the "tomb" of the fallen soldier, in the "Hall of Silence". At the foot of the entrance, engraved in black granite, with inset brass lettering are the words "LET SILENT CONTEMPLATION BE YOUR OFFERING".
At the top of the stairwell is a plaster niche framed with marble. The niche displays the original wreath laid by the trustees at the building opening. The wreath is kept in a glass display case and was restored in late 2009.
Hall of Silence
The room located in the centre of the building is striking in its starkness and wields a powerful influence on visitors. The room is circular in plan with the sculpture "Sacrifice" located at its centre, as if to hold the sculpture in its embrace. The floor is Ulum white marble, inlayed with a bronze flame that flares out from the centrally located sculpture. The ceiling of the room curves up toward the carved marble banister that defines the "Well of Contemplation", a large circular opening in the centre of the shallow domed ceiling. This opening provides the only natural lighting to the "Hall of Silence" and has the effect of focussing that light onto the central sculpture. The cornice is a marble frieze in which is carved the names of the great battles where Australian forces participated in the war. According to Dellit, the names 'complete the message which the group of sculpture symbolising "Sacrifice" is intended to deliver'.
Located on the north–south and east–west axes, the room has three large silky oak double doors, gold painted, that slide open into wall cavities. Two of the doors are now permanently left open and glass doors installed in front of the reveals to allow visitors a view of the sculpture "Sacrifice" from inside the Exhibition space and the Assembly Hall.
Sacrifice
At the heart of the memorial is the bronze sculpture, "Sacrifice", by Rayner Hoff. It powerfully symbolises the sacrifice made in times of war by both those who go to fight and those left behind. The sculpture can be seen from above through the Well of Contemplation, with heads bowed, or at ground level from the vestibule, Assembly Hall and Exhibition space. The sculpture is also visible from Hyde Park, as originally proposed by Dellit, with glazed eastern doors to the Assembly Hall.
Hall of Memory
The "Hall of Memory" is also a circular room that occupies the podium level of the building centred on and located directly above the "Hall of Silence". The large external staircases that lead to the external timber sliding double doors on the podium level on the northern and southern sides were intended to form the grand entrances to the memorial. The "Hall of Memory" is clad in Ulum marble. In the centre of the room, carved in the form of a wreath is the marble balustrade around the "Well of Contemplation".
Located in the four "corners" of the room are semi-circular "Niches of Remembrance", each devoted to one of the major theatres of World War I in which Australians fought, and each commemorating the names of major campaigns in those theatres. The name of the theatre is carved in relief into the face of the marble wall at the top of each niche with the names of the battles beneath it, another example of the fusion of sculpture and building. At the base of each niche, laid in the paving is a headstone from Flanders, Gallipoli, Palestine and New Guinea.
Above the tall niches are marble cast bas reliefs by Rayner Hoff that represent the Army, Navy, Air Force and Army Medical Corps and therefore correspond to the four large standing external sculptures. Hoff called them "The March of the Dead". Each relief is bracketed by winged finial lights. Above all this is the high soaring dome of the ceiling covered with 120,000 stars, one for every man and woman in NSW who served in the Great War, made of plaster of paris and painted gold leaf. The height of the room is accentuated with the four grand cathedral windows of etched amber glass, designed by Dellit with Hoff.
To the west of Hall of Memory are the internal stairs from the ground floor vestibule. To the east is the Remembrance Flame Room, originally the Archives Room and intended to list the names of those 21,000 NSW men and women who died serving their county in the Great War. The room's entrance is accentuated with pilasters and carvings. Over the doorway is carved "1914–1918" and above that is a winged flaming sword (a symbol of sacrifice) over a rising sun emblem. The room holds the Remembrance Flame that was first officially lit on 11 November 1995. The Great Doors to the room are left open to keep the flame exposed to view at all times. A braided rope hangs across the entrance to prevent visitors from entering.
The exhibition space
The exhibition space occupies the southern office area originally provided for the RSL. In 1986, changes to the existing room layout were made, including removal of a number of small offices. The original Strong Room with its Chubb security door is still intact. The items displayed in the museum collection were donated by the public and they include personal letters, medals, books, diaries, uniforms, souvenirs, relics and banners relating to the various conflicts in which Australians were involved. In 2000 an Abloy anti-theft proof locking system was installed in the exhibition cases. To commemorate the 75th anniversary of the Memorial in 2009, the space was refurbished (for example the original marquetry counter was reused as the visitor's counter) and a new exhibition was installed.
The Assembly Hall
Located opposite the entry vestibule on the eastern side of the memorial, the Assembly Hall was originally designed as a large open space used for meetings and forums by the different building occupants. In recent years it had been partitioned to allow for a smaller meeting space, office accommodation and archive storage at the northern end. It has been restored and reopened to the public, with new glazed doors to the east and west and a large freestanding AV unit, screening a short film about the Memorial. The room can also be used as a travelling exhibition space.
The original plans for the room proposed a raised dais on the southern endwith protruding stage and steps but this was never built. The original dais area was fitted as a kitchen for the memorial staff. This was subsequently removed in 2009, providing a linking space between the exhibition and the Assembly Hall.
The design of the room is more ornate than the general office space. The Art Deco detailing extends to the fittings and fixtures in the room. The ceiling is moulded with large Art Deco coffers and the walls are punctuated with plaster pilasters. A set of gold painted great doors opens back to reveal the sculpture "Sacrifice". This room has marble door architraves and "star lights" designed by Dellit. The original flange wall lights are still in use and many of the original switches still exist in the room. The floors of the Assembly Hall are two-inch hardwood seasoned Red Mahogany.
The bearers are built directly onto the concrete slab. The flooring structure suggests that the original intent may have been to install parquetry flooring throughout the hall. These floor boards were lifted, patched, repaired and relaid as part of building works during 2009.
Offices for the TB Soldiers and Limbless Soldiers Association
The northern side of the ANZAC Memorial was originally designated for offices for the TB Soldiers Association and for the Limbless Soldiers Association with parquetry floors, marquetry counters and maple panelled timber partitions. The association's rooms are accessed by the public from the front vestibule via a tiled corridor with maple-framed clerestory windows glazed with obscured glass. The offices as built did not follow the original plan. The original partitions in the TB Soldiers Association were removed in 1986 and substituted with aluminium-framed timber panel and glass partitions. These were subsequently replaced in 2009 with stud-framed plasterboard walls in a new configuration.
The Limbless Soldiers offices changed only slightly from the original layout. The marquetry counter ran across the room and the entrance door was placed to the top of this room. The general activity room was also changed just slightly from the plan, the door is in the middle of the room and the wall curves slightly to make a concave shape in the corridor. Building works in 2009 included restoration of the remaining original offices, creation of a new meeting room/library, kitchenette and management offices.  The timber panelled partitions in this area are still in good order but only some of the original furniture remains. The Limbless Soldiers Association moved out of their offices in 2004 and the area has been used by the RSL since that date.
The original Chubb Strong Rooms are still retained in both rooms (there are three strong rooms in all).
Basement
The basement of the ANZAC Memorial contains toilets for both men and women and the original timber lockers are still used by the memorial staff today. The basement has had some alterations within the original layout, however the toilet partitions and doors as well as many fixtures have not been altered and are in good order. Construction during 2009 included the insertion of a new disabled toilet (associated with the new lift), and a purpose-made cleaners room. Two light wells were originally created to provide fresh air and natural light for the toilets. These light wells now also contain the air conditioning plant, air intake and exhaust system for the building. A major stormwater pit (approximately 1m x 1m) is also located in the basement, in the central cleaner's store with a submersible pump, and is known as the Underground Plant Room. The stairs and flooring of the basement are terrazzo in good condition. The partitions in the male and female toilets are marble and the original timber doors and hardware are in good order. In addition to the existing original timber handrail, a new brass handrail was added in 1985 to match the style of the handrail in the stairwell to the "Hall of Memory".
Undercroft and vertical security screens
The undercrofts are located under the external stairs leading to the podium level of the memorial. Originally intended for storage spaces for the offices of the RSL and the TB and Limbless Associations, they were largely unusable until 1992 when a water proof membrane was installed over the external stairs to deal with the damp and water ingress issues. The north undercroft now stores the original unused furniture from the memorial.
To provide protection against increasing vandalism of the ANZAC Memorial, external security screens were installed in 1999. The panels of the screen are made of safety glass etched with designs that continue the original concept of the symbolic use of building elements to reinforce the memorial's purpose. When lowered (normally between 9am and 5pm) they are virtually invisible and allow unobstructed public access.
The great doors and windows
There are ten sets of great doors to the building, seven on the ground floor and three on the podium level. All the doors are double leaf sliding doors of solid silky oak timber with brass furniture. The sets of external doors are painted green externally and gold internally. The doors slide on tracks that are recessed in the masonry walls of the building. The sets of doors are all panelled and decorated with carvings of urns, eternals flames, swords and crosses all symbolic of the memorial. These doors were repaired and repainted in 2006.
Moveable heritage
There is an extensive collection of artefacts, items of memorabilia and tributes on display in the Museum space or stored in a number of small spaces on site, including one of the safes. These items have all been donated by members of the public.
Mechanical and electrical services
Construction works during 2009 upgraded the services in the building, including the air-conditioning with the installation of new suspended services spine for ductwork, lighting and security services through the exhibition area and offices.
Many of the original electrical fittings remain in use in the building. These include switches and lighting. The original star lights, designed by Dellit and inspired by the stars on the ceiling of the Hall of Memories, are still used throughout the building. The original wall bracket light fittings in the Assembly Hall are also still used.


There are four branch shrines in the precincts: Inari Shrine, Kogo Shrine, Miyajitake Shrine, and Daijingu Shrine. In the past, there were more than 10 shrines.


The Aoi Matsuri (葵祭), or "Hollyhock (although commonly, but mistakenly identified as "hollyhock", the "aoi" actually belongs to the birthwort family and translates as "wild ginger"—Asarum, as correctly pointed in the Wikipedia article on the Tokugawa clan) Festival," is one of the three main annual festivals held in Kyoto, Japan, the other two being the Festival of the Ages (Jidai Matsuri) and the Gion Festival. It is a festival of the two Kamo shrines in the north of the city, Shimogamo Shrine and Kamigamo Shrine. The festival may also be referred to as the Kamo Festival. It is held on 15 May of each year.


There are several events that take place during the month, but the most important event is on 15 May.
There are two parts to Aoi Matsuri: the procession (rotō-no-gi) and the shrine rites.  The procession is led by the Imperial Messenger.  Following the imperial messenger are: two oxcarts, four cows, thirty-six horses, and six hundred people. The six hundred people are all wearing traditional dress of Heian nobles (ōmiyabito), while the oxcart (gissha) is adorned with artificial wisteria flowers.  The procession starts at 10:30 on May 15 and leaves the Kyoto Imperial Palace in front of the main gate Kenreimon (建礼門) and slowly works its way towards the Shimogamo Shrine and finally the Kamigamo Shrine.  When they finally arrive at both shrines, the Saiō-Dai and Imperial Messenger perform their rituals.  The Saiō-Dai simply pays her respects to the deities and the Imperial Messenger intones the imperial rescript praising the deities and requesting their continued favor.
There are two main figures in the Aoi Matsuri: the Saiō-Dai and the Imperial Messenger. Historically the Saiō-Dai was a woman of the imperial house who was chosen from the sisters and daughters of the emperor to dedicate herself to the Shimogamo shrine. The role of Saiō-Dai was to maintain ritual purity and to represent the emperor at the festival.  Nowadays, the role of the Saiō-Dai is a stand-in by an unmarried woman in Kyoto. She has to have the three attributes of wisdom, grace, and social standing. The selection process is strict and the news is announced in the press. It is the highest honour a woman can receive in Kyoto.
The Saiō-Dai is dressed in the traditional style of the Heian court. Traditional Heian court dress for women would be wearing several layers of exquisitely colored silk robes.  The Saiō-Dai wears twelve layers of the traditional style robes (jūnihitoe).  To maintain ritual purity, the Saiō-Dai goes through several ceremonies of purification before the procession of the festival.  The Imperial Messenger leads the festival procession on horseback.   During the Heian period he would be a Fifth-Rank courtier holding the office of middle or lesser captain and was usually a man destined for high office.  His role was to read the imperial rescript of the shrines and present the emperor’s offerings.  During the Heian period, the Saiō-Dai and the Imperial messenger would be accompanied by ten dancers and twelve musicians. Also present during the procession are guards (kebiishii), government officials, civic officials, military retainers, and a delegate from Yamashiro (Yamashiro-no-Tsukai).
Also featured at the Aoi Matsuri are horse races (kurabe-uma), and demonstrations of mounted archery (yabusame).
Many things in Kyoto are named after the Aoi.


The Aomori Museum of Art (青森県立美術館, Aomori Kenritsu Bijutsukan) is a museum in Aomori, Japan, opened in July 2006. It is located near Sannai-Maruyama Site, which the museum's design takes inspiration from in its partially-buried structure. The museum houses more than 120 works from drawings to three-dimensional works by Yoshitomo Nara, a young artist from Aomori Prefecture. The museum is also active in having concerts, plays, and workshops. Since opening in 2006, the Aomori Museum of Art with its goal of introducing the arts of Aomori to the world has collected and exhibited works from Aomori native artists such as Shiko Munakata, Shuji Terayama, Yoshitomo Nara, and Tohl Narita. The Aomori Dog by Yoshimoto Nara has become the museum's iconic symbol.


The Aonach Eagach is a rocky ridge lying to the north of Glen Coe in the Scottish Highlands, boasting two Munro summits.
In length the full ridge continues for 10 km from the Pap of Glencoe at the west to the eastern end at the Devil's Staircase. The central section, some 2 km in length, is very rocky and the route along it requires scrambling ability. The slopes to each side are extremely dangerous, with steep grass and scree slopes hiding even steeper slopes which end in cliffs on both north and south sides of the ridge.
The Aonach Eagach is usually regarded as the most difficult horizontal 'scrambling' ridge in mainland Scotland, though it vies with Liathach (and, in winter, An Teallach) for this title. In his book "Scrambles in Lochaber", local climber Noel Williams warns that there are no other ridges in the area that are "so narrow and so difficult to escape from once committed. Some sections are extremely exposed. This makes it a difficult outing to grade, because the technical difficulties are not great". Williams settled on grade 2, implying it is easier than the (optional) grade 2/3 approach scramble up A'Chailleach, but added a further warning (in bold type) that "there are no safe descents on the south side of the ridge".


The Apache Trail in Arizona was a stagecoach trail that ran through the Superstition Mountains. It was named the Apache Trail after the Apache Indians who originally used this trail to move through the Superstition Mountains.
The historic Apache Trail linked Apache Junction (33.4152°N 111.5807°W) at the edge of the Greater Phoenix area with Theodore Roosevelt Lake (33.6725°N 111.1531°W), through the Superstition Mountains and the Tonto National Forest.
Most of the Apache Trail is unpaved, turning into a dirt road a few miles up from Tortilla Flat, and continuing as such for nearly the full remainder of its length. The section east of Apache Junction is known officially as State Route 88. It is also the main traffic corridor through Apache Junction, turning into Main Street as the road passes into Mesa, and regains the Apache name by becoming Apache Boulevard in Tempe, ending at Mill Avenue. Prior to the completion of the Superstition Freeway in 1992, the Apache Junction portion of the Apache Trail was part of US Highway 60, which was rerouted to the Superstition Freeway once it was completed.
The Trail winds steeply through 40 miles (64 km) of rugged desert mountains, past deep reservoir lakes like Canyon Lake and Apache Lake. The narrow, winding road is unpaved from just east of the town of Tortilla Flat to Roosevelt Dam; there are steep cliff drops and few safety barriers. The trail requires caution when driving and it is not recommended for large RVs, SUVs, or caravans. Some large RV rental companies in the US do not allow their vehicles to be taken on this route.
Fires and floods in 2019 resulted in a massive landslide between the Fish Creek Hill Overlook and Apache Lake Marina. This section of road has not been repaired and is closed indefinitely. Drivers can access Tortilla Flat from the west. Access to Apache Lake is only possible from the east.


After the completion of the Apache Trail in 1905, the character of this road began to change. While this road continued to serve as a supply route for the Theodore Roosevelt Dam, the Apache Trail soon opened up for public use. Several entrepreneurs began to provide transportation services along this road, which included both stagecoach and automobile excursions.  These entrepreneurs recognized the unspoiled and spectacular landscape surrounding this road and marketed its appeal as a popular tourist destination. Southern Pacific Railroad was one of the first companies to benefit from the scenic beauty of this road. They offered the famous "Sunset Route", which was their "New Orleans to San Francisco" train route that included a motorcar side trip over the Apache Trail for an additional fee.  Of note, it was the Southern Pacific Railway Company who coined the name "Apache Trail" in their advertising campaigns in order to promote these automobile side tours of the Theodore Roosevelt Dam and the Apache Trail. This name has been used for this road ever since.


The Apalachicola Historic District is a U.S. historic district in Apalachicola, Florida. It is bounded by the Apalachicola River, Apalachicola Bay, 17th and Jefferson Streets, encompasses approximately 4600 acres (19 km²), and contains 652 historic buildings. On November 21, 1980, it was added to the U.S. National Register of Historic Places.


The temple priests perform the puja (rituals) during festivals and on a daily basis. The temple rituals are performed six times a day; Kalasanthi at 6:00 a.m., Irandam Kalm at 9:00 a.m., Uchikalam at 12:00 a.m., Sayarakshai at 6:00 p.m,  Irandam Kalm at 7:30 p.m., and Arthajamam at 9:00 p.m.. Each ritual comprises four steps: abhisheka (sacred bath), alangaram (decoration), naivethanam (food offering) and deepa aradanai (waving of lamps) for Apatsahayesvarar and Elavarkuzhali. There are weekly rituals like somavaram (Monday) and sukravaram (Friday), fortnightly rituals like pradosham, and monthly festivals like amavasai (new moon day), kiruthigai, pournami (full moon day) and sathurthi. Other festivals include Vinayaka Chaturthi, Aadi Pooram, Navaratri, Aippasi Pournami, Skanda Sashti, Kartikai Deepam, Arudra Darisanam, Thaipusam, Maasi Magam, Panguni Uththiram and Vaikasi Visakam. The major festival of the temple is the Brahmotsavam celebrated during the Tamil month of Chittirai (April–June), when special worship practises are followed and the festival image of the deity is taken around the streets of Alangudi.


Apogee Stadium is a college football stadium located at the junction of Interstate 35 East and West in Denton, Texas. Opened in 2011, it is home to the University of North Texas (UNT) Mean Green football team, which competes in Conference USA. The facility replaced Fouts Field, where the school's football program had been based since 1952.
The stadium was proposed by the University of North Texas System Board of Regents after the 2002 New Orleans Bowl. Designed by HKS, Inc., it was constructed at a cost of $78 million after a student body election in 2008. It was originally named "Mean Green Stadium", but was renamed when ResNet provider Apogee purchased the naming rights in 2011. The stadium hosted its first major event on September 10, 2011 when the Mean Green lost 48–23 against the University of Houston Cougars. Official home attendance figures for the team's first six seasons at Apogee Stadium averaged 18,563 per game, which is 60% of its capacity of 30,850.
The facility includes various amenities, including a press box, luxury boxes, and an alumni pavilion. It also uses environmental technology; it is the first newly built stadium to achieve Leadership in Energy and Environmental Design (LEED) Platinum certification. It can be reached by road, but because of limited parking and traffic congestion on game days, many attendees park on the northeast side of Interstate 35E and cross a pedestrian bridge to reach the stadium. Others use public transportation to reach the facility on game days.


In 2008, the athletic department tried again to increase the athletics fee to pay for the new stadium, which now had an estimated cost of $60 million. UNT Student Government Association (SGA) student senators voted to hold a student election on the referendum to approve the new fee, which amounted to a net increase of $7 per credit hour for each student, or approximately $840 per student over the course of four years. According to state law, students cannot pay for more than half the cost of a stadium.
The athletic department made a concerted effort to promote the higher fee to students, and supporters suggested hiring street preachers or troubadours to promote the election. Making the case for the fee prior to the election, athletic director Rick Villareal said that the stadium was "not some arms race for us" and that the fee's objective was not just to keep up with other universities.

The referendum was held between October 13–17, 2008. Students voted for or against the proposal:
In order for the University of North Texas to have a better Athletic program, which in turn can lead to national exposure and increased recognition of UNT; I agree to a dedicated Athletic Fee not to exceed $10 per semester credit hour, capped at 15 hours. Once the Athletic Fee is implemented, the Student Service Fee will be reduced by $3 per semester credit hour. The Athletic Fee shall not be implemented until the semester the new football stadium is complete, which is expected to be fall 2011.
On October 21, 2008, the UNT SGA announced that in one of the largest turnouts in the school's history, student voters approved a dedicated athletic fee to fund the new stadium. Almost 14% of the student body voted, with 2,829 students (58.1%) voting for the increase and 2,038 (41.9%) voting against it. After the election, the cost estimate for the stadium's construction increased by $18 million to $78 million, $38 million more than the 2005 estimate. At a press conference with head football coach Todd Dodge, Villarreal stated that "there's an arms race going on with facilities. This one will put us up there with everybody else." In February 2009, the school's chapter of Students for a Democratic Society unsuccessfully attempted to petition for a re-vote on the referendum.
Following the election, Representative Myra Crownover and Senator Craig Estes submitted companion bills during the eighty-first Texas Legislature to approve the fee increase. According to the report submitted by Crownover to the state's Higher Education Committee, the fee would not begin until construction of the new stadium was complete. As a result of the fee, the athletics department would collect approximately $8.7 million from students in 2012, of which $3.9 million would be put towards payment of the new stadium. Estes' bill was approved by the Texas House and Senate, and was signed into law by Governor Rick Perry on May 23, 2009. Prior to the groundbreaking ceremony on November 21, 2009, President of UNT Gretchen Bataille said that of the approximately $78 million needed to pay for the new stadium, the department had raised $5 million. In 2015, the eighty-fourth Texas Legislature passed a bill allowing the Board of Regents to raise the fee by up to 10% each year beyond the original limit of $10. In September 2015, the Board of Regents approved an increase in the fee, raising it to $11 per credit hour.


In February 2008, the school selected HKS, Inc. to provide architectural and design services for the proposed new stadium. The university hired Manhattan Construction Company in 2009 to provide pre-construction and construction services. After leveling the area, Manhattan installed a steel-reinforced concrete skeleton for the stands. Subsequently, the firm flattened the playing field area and installed artificial turf. In later phases, glass and brick were added to the facility's luxury suites. Construction officially finished on July 20, 2011.
On August 11, 2011, UNT announced a deal with Austin-based ResNet provider Apogee for the naming rights to the new stadium, and the name was changed to "Apogee Stadium". According to the contract, Apogee will pay $11.8 million of the $20 million deal in cash over 20 years, including graduated annual payments beginning at $312,000 and ending in three payments of $1 million. The remaining $8.29 million will be in the form of in-kind services. As part of the contract, Apogee also received one luxury suite in the new stadium and premium tickets to other UNT events.


The stadium hosted its first game on September 10, 2011, when the Mean Green football team lost 48–23 against the University of Houston Cougars. Despite the concerted efforts of the university and the athletic department, the first home game at the new stadium did not sell out, and the game attracted 28,075 spectators, 2,775 fewer than full capacity. Although attendees' reception to the opening game was generally positive, attendance dropped to 21,181 for the second home game against the Indiana University Hoosiers. By the third home game against the Florida Atlantic University Owls, attendance had dropped to a season-low of 13,142. To promote the final home game of the season against the Middle Tennessee State University Blue Raiders, the university offered free tickets to some athletic booster club members, and head football coach Dan McCarney promoted the game with an op-ed in the school's student newspaper, the North Texas Daily. The official attendance for the final game was 15,962, bringing the total home attendance for the year to 113,186, a new record for the Mean Green. For the 2011 season, the stadium averaged 18,864 spectators per home game, which is 61.15% of the facility's capacity of 30,850. T (FBS) teams in average home attendance. It finished with five wins and seven losses, its best record since the 2004 season.


Other events at the stadium include an annual Independence Day fireworks show, hosted by the local Kiwanis organization. The stadium also hosted Bands of America regional marching band competitions in 2012 and 2014  The facility also hosts a number of high school football contests each year, including playoff games. The venue hosted a 5K run in 2016, coinciding with that year's spring game.
On March 25, 2017, the stadium hosted an exclusive concert for university students, staff, and alumni. The concert featured the Eli Young Band as the main act, with Midland and Macy Maloy as the opening acts.


The  Apollo Theater is a music hall at 253 West 125th Street between Adam Clayton Powell Jr. Boulevard (Seventh Avenue) and Frederick Douglass Boulevard (Eighth Avenue) in the Harlem neighborhood of Manhattan in New York City.  It is a noted venue for African-American performers, and is the home of Showtime at the Apollo, a nationally syndicated television variety show which showcased new talent, from 1987 to 2008, encompassing 1,093 episodes; the show was rebooted in 2018.
The theater, which has a capacity of 1,506, opened in 1913 as Hurtig & Seamon's Music Hall. It was designed by George Keister in the neo-Classical style. Alterations were made that year for showing movies, and it was renamed the Apollo Theater. (It was often referred to as the "125th Street Apollo" to distinguish it from the legitimate Apollo on 42nd Street). In 1924 the Minsky brothers leased the theater for burlesque shows. In 1934 it became a venue for black performers and was opened to black patrons for the first time.  In 1983, both the interior and exterior of the building were designated as New York City Landmarks, and the building was added to the National Register of Historic Places. It is estimated that 1.3 million people visit the Apollo every year.


Although the 1960s was the venue's most successful decade, in the following decade, the drug problem in Harlem, with its attendant robberies and thefts, was the cause of its closing in 1976, after an 18-year-old was shot to death. On April 1 and 2, 1976, Fred and Felicidad Dukes along with Rafee Kamaal produced two 60-minute television specials with Group W Productions as a way to help restore life to the theater, which re-opened in that year, featuring acts such as Ashford and Simpson, Labelle, Cab Calloway, and Stephanie Mills, etc. From 1975 to 1982, the theater was owned by Guy Fisher. In 1983, it was bought by Inner City Broadcasting, a firm owned by former Manhattan borough president Percy E. Sutton. It obtained federal and city landmark status in that same year. In 1991, the Apollo was purchased by the State of New York, which created the non-profit Apollo Theater Foundation to run it.
In 2001, the architecture firms Beyer Blinder Belle, which specializes in restorations of historic buildings, and Davis Brody Bond began a restoration of the theater's interior. In 2005, restoration of the exterior, and the installation of a new light-emitting diode (LED) marquee began. In 2009–10, in celebration of the theater's 75th anniversary, the theater put together an archive of historical material, including documents and photographs and, with Columbia University, began an oral history project. As of 2010, the Apollo Theater draws an estimated 1.3 million visitors annually.