Wednesday, 25 July 2012

The Amazing Spider-Man (2012 film)


The Amazing Spider-Man (2012 film)
Spider-Man, wounded, is covered in a spider web with New York City in the background and as a reflection in his mask. Text at the bottom of the reveals the title, release date, official site of the film, rating and production credits.
The Amazing Spider-Man is a 2012 American superhero film directed by Marc Webb, based on the Marvel Comics character Spider-Man. It is a reboot of the Spider-Man film franchise, portraying the character's origin story and his development into a superhero while still a high school student. The film stars Andrew Garfield in the title role, with Emma Stone as Gwen Stacy and Rhys Ifans as Dr. Curt Connors.
Development of the film began with the cancellation of Spider-Man 4 in 2010, ending director Sam Raimi's Spider-Man film series that had starred Tobey Maguire, Kirsten Dunst, and James Franco. Opting to reboot the franchise with the same production team, Sony Pictures Entertainment announced a July 2012 release date for The Amazing Spider-Man. James Vanderbilt was hired to write the script while Alvin Sargent and Steve Kloves helped fine-tune it. Pre-production involved auditioning many actors for the roles of Peter Parker and Gwen Stacy, resulting in the casting of Garfield and Stone. Using Red Digital Cinema Camera Company's RED Epic camera, principal photography started in December 2010 in Los Angeles before moving to New York City. The film entered post-production in April 2011 with the film being shot in 3D with 3ality Technica and with James Horner contributing to the film score.
Sony Entertainment has focused its marketing campaign with a promotional website with released images and three theatrical trailers, along with a prologue screening in certain cities, a video game tie-in being developed by Beenox and a viral marketing campaign among other products. The Amazing Spider-Man premiered on June 13, 2012, in Tokyo, Japan, and was released in the United States on July 3, 2012, in 3D and in IMAX 3D. The critical reaction to the film was generally positive, with a 74% "certified fresh" score from review aggregator Rotten Tomatoes. A sequel is set for release on May 2, 2014.

Plot
A young Peter Parker discovers his father Richard's study has been broken into. Gathering up hidden documents, Peter's parents take him to the home of his Aunt May and Uncle Ben, then mysteriously depart. Years later, a teenaged Peter attends Midtown Science High School, where he is bullied by Flash Thompson and has caught the eye of Gwen Stacy. At home, Peter finds his father's papers and learns he worked with fellow scientist Dr. Curt Connors at Oscorp. Sneaking into Oscorp, Peter enters a lab where a "biocable" is being created from genetically modified spiders, one of which bites him. On the subway ride home, he discovers that he has developed spider-like abilities.
After studying Richard's papers, Peter visits the one-armed Connors, reveals he is Richard Parker's son, and gives Connors his father's "decay rate algorithm", the missing piece in Connors' experiments on regenerating limbs based on lizard DNA. Connors is being pressured by his superior, Dr. Ratha, to devise a cure for the dying, unseen head of Oscorp, Norman Osborn. In school, Peter gets into trouble after humiliating Flash in an act of revenge. As a result, his uncle is forced to change work shifts in order to meet with the principal; Uncle Ben tells Peter to pick up his Aunt May that night for him. Peter neglects his responsibility, instead helping Dr. Connors regenerate the limb of a laboratory mouse. When Peter returns home he gets into an argument with his uncle and storms out of the house. While searching for Peter, Uncle Ben attempts to stop a thief and is shot. The thief escapes as Peter finds his uncle already dead on the sidewalk.
Afterward, Peter uses his new abilities to hunt criminals matching the killer's description. After a fall lands him inside an abandoned gym, a luchador-wrestling poster inspires him to create a mask to hide his identity. He also adds a spandex suit, and builds mechanical devices to attach to his wrists to shoot a biocable "web". Peter accepts a dinner invitation from Gwen, where he meets her father, police captain George Stacy. After dinner, Peter shows Gwen his abilities and they kiss.
After seeing success in the mouse, Ratha demands Connors begin human trials immediately if Osborn is to survive. Connors refuses to rush the drug-testing procedure and put innocent people at risk. Ratha fires Connors and decides to test Connors' serum at a Veterans Administration hospital under the guise of a flu shot. In an act of desperation, Connors tries the formula on himself. After passing out, he awakens to find his missing arm has regenerated. Learning Ratha is on his way to the VA hospital, Connors, whose skin is growing scaly and green, goes to intercept him. By the time he gets to the Williamsburg Bridge Connors has become a hybrid of lizard and man, tossing cars, including Ratha's, over the side of the bridge. Peter, now calling himself Spider-Man, saves each fallen car with his web-lines.
Spider-Man suspects Connors is the Lizard, and unsuccessfully confronts the creature in the sewers. The Lizard learns Spider-Man's real identity and attacks Peter at school. In response, the police start a manhunt for both Spider-Man and the Lizard. The police corner Spider-Man, where Captain Stacy discovers that he is really Peter. The Lizard plans to make all humans lizard-like by releasing a chemical cloud from Oscorp's tower. Spider-Man eventually disperses an antidote cloud instead, restoring Connors and earlier victims to normal, but not before the Lizard fatally claws Captain Stacy. The dying Stacy makes Peter promise to keep Gwen safe by staying away from her. Peter initially does so, but later suggests to Gwen that he may see her after all.
In a post-credits scene, Connors, in a prison cell, speaks with a man in the shadows who asks if Peter knows the truth about his father. Connors replies, "No", and demands Peter be left alone before the man disappears.

Cast

Andrew Garfield as Peter Parker / Spider-Man
An unpopular adolescent struggling to find his place in life ever since his parents disappeared when he was a young boy.[7][8] Garfield described Parker as someone he can relate to, and stated that the character was an important symbol to him since he was just a little boy.[9][10][11][12] Garfield drew from his life experiences as inspiration for the role, revealing, "I was thinking of my history and thinking of the kid at school who I wasn't as strong as, who behaved badly to a lot of people – including myself – and who I constantly tried to stand up to but never had the physical prowess to".[13] In comparison with the actor who previously portrayed Spider-Man, Garfield said he respects Tobey Maguire as an actor and that when he first saw Maguire play Spider-Man he "was blown away by his interpretation."[13] Garfield said in interviews, including one in which he was interviewed by Maguire, that when he watched the film Spider-Man when he was younger, he would jokingly recite Maguire's lines in the mirror with a friend who would joke that he would never be Spider-Man. On taking over the role Garfield explained, "I see it as a massive challenge in many ways.... To make it authentic. To make the character live and breathe in a new way.

The Amazing Spider-Man


The Amazing Spider-Man
The Amazing Spider-Man is an American comic book series published by Marvel Comics, featuring the adventures of the fictional superhero Spider-Man. Being the mainstream continuity of the franchise, it began publication in 1963 as a monthly periodical and was published continuously until it was relaunched with a new numbering order in 1999. In 2003 the series reverted to the numbering order of the first volume. The title has occasionally been published biweekly, and was published three times a month from 2008 to 2010. A film named after the comic was released July 3, 2012.

Publication history
The character was created by writer-editor Stan Lee and artist and co-plotter Steve Ditko, and the pair produced 38 issues from 1963 to 1966. Ditko left after the 38th issue, while Lee remained as writer until issue 100. Since then, many writers and artists have taken over the monthly comic through the years, chronicling the adventures of Marvel's most identifiable hero.
The Amazing Spider-Man is the character's flagship series, and the only monthly series to star Spider-Man until Peter Parker, The Spectacular Spider-Man in 1976. Most of the major characters and villains of the Spider-Man saga have been introduced here, and it is where key events occur. The title was published continuously until #441 (Nov. 1998) when Marvel Comics relaunched it as vol. 2, #1 (Jan. 1999), but on Spider-Man's 40th anniversary, this new title reverted to using the numbering of the original series, beginning again with issue #500 (Dec. 2003).

The 1960s
The initial years of the book, under Lee and Ditko, chronicled Spider-Man's nascent career with his civilian life as hard-luck yet perpetually good-humored teenager Peter Parker. Parker balanced his career as Spider-Man with his job as a freelance photographer for The Daily Bugle (under the bombastic editor-publisher J. Jonah Jameson) to help support himself and his frail Aunt May. At the same time, Parker dealt with public hostility towards Spider-Man and the antagonism of his classmates Flash Thompson and Liz Allan at Midtown High School, while also embarking on a tentative, ill-fated romance with Jameson's secretary, Betty Brant.
By focusing on Parker's everyday problems, Lee and Ditko created a groundbreakingly flawed, self-doubting superhero, and the first major teenaged superhero to be a protagonist and not a sidekick. Ditko's quirky art provided a stark contrast to the more cleanly dynamic stylings of Marvel's most prominent artist, Jack Kirby, and Ditko's Spider-Man, slightly sinister yet affectionately cartoony, combined with the humor and pathos of Lee's writing to lay the foundation for what became an enduring mythos.
Most of Spider-Man's key villains and supporting characters were introduced during this time. Issue #1 (March 1963) featured the first appearances of J. Jonah Jameson and his astronaut son John Jameson, and the supervillain the Chameleon. It also included the hero's first encounter with the superhero team The Fantastic Four. Issue #2 (May 1963) featured the first appearance of The Vulture and the beginning of Parker's freelance photography career at the newspaper The Daily Bugle.
The Lee-Ditko era continued to usher in a significant number of villains and supporting characters, including Doctor Octopus in #3 (July 1963); the Sandman and Betty Brant in #4 (Sept. 1963); the Lizard in #6 (Nov. 1963); Electro in #9 (March 1964); Mysterio in #13 (June 1964); the Green Goblin in #14 (July 1964); Kraven The Hunter in #15 (Aug. 1964); reporter Ned Leeds in #18 (Nov. 1964); the Scorpion in #20 (Jan. 1965); and the Molten Man in #28 (Sept. 1965), an issue that also featured Parker's graduation from high school.
Parker began attending Empire State University in #31 (Dec. 1965), the issue which also featured the first appearances of friends and classmates Gwen Stacy and Harry Osborn. Harry's father, Norman Osborn first appeared in #23 (April 1965) as a member of Jameson's country club but is not named nor revealed as Harry's father until #37 (June 1966). Probably the most celebrated issue of the Lee-Ditko run is #33 (Feb. 1966), the third part of the story arc "If This Be My Destiny", and featuring the dramatic scene of Spider-Man, through force of will and thoughts of family, escaping from being pinned by heavy machinery.
Although credited only as artist for most of his run, Ditko would eventually plot the stories as well as draw them, leaving Lee to script the dialogue. However, a rift between Ditko and Lee developed, and the two men were not on speaking terms long before Ditko completed his last issue, The Amazing Spider-Man #38 (July 1966). The exact reasons for the Ditko-Lee split have been a source of controversyever since. Spider-Man successor artist John Romita, in a 2010 deposition, recalled that Lee and Ditko "ended up not being able to work together because they disagreed on almost everything, cultural, social, historically, everything, they disagreed on characters...."
In successor penciler John Romita Sr.'s first issue, #39 (Aug. 1966), archnemesis the Green Goblin discovers Spider-Man's secret identity and reveals his own to the captive hero. Romita's Spider-Man – more polished and heroic-looking than Ditko's – became the model for two decades. The Lee-Romita era saw the introduction of such characters as Daily Bugle managing editor Robbie Robertson in #52 (Sept. 1967) and NYPD Captain George Stacy, father of Parker's girlfriend Gwen Stacy, in #56 (Jan. 1968). The most important supporting character to be introduced during the Romita era was Mary Jane Watson, who made her first full appearance in #42, (Nov. 1966), although she first appeared in #25 (June 1965) with her face obscured and had been mentioned since #15 (Aug. 1964).
Lee and Romita toned down the prevalent sense of antagonism in Parker's world by improving Parker's relationship with the supporting characters and having stories focused as much on the social and college lives of the characters as they did on Spider-Man's adventures. The stories also became more topical, addressing issues such as civil rights, racism, prisoners' rights, the Vietnam War, and political elections.
Issue #50 (June 1967) introduced the highly enduring criminal mastermind the Kingpin, who would become a major force as well in the superhero series Daredevil. Other notable first appearances in the Lee-Romita era include the Rhino in #41 (Oct. 1966), the Shocker in #46 (March 1967), the Prowler in #78 (Nov. 1969), and the Kingpin's son, Richard Fisk, in #83 (April 1970).
The 1970s
Two spin-off series debuted in the 1970s: Marvel Team-Up in 1972, and The Spectacular Spider-Man in 1976. The flagship title's second decade took a grim turn with a story in #89-90 (Oct.-Nov. 1970) featuring the death of Captain George Stacy. This was also the first Spider-Man story to be penciled by Gil Kane, who would alternate drawing duties with Romita for the next year-and-a-half and would draw several landmark issues.
One such story took place in the controversial issues #96-98 (May–July 1971). Writer-editor Lee defied the Comics Code Authority with this story, in which Parker's friend Harry Osborn, was hospitalized after tripping on LSD. Lee wrote this story upon a request from the US Department of Health, Education and Welfare for a story about the dangers of drugs. Citing its dictum against depicting drug use, even in an anti-drug context, the CCA refused to put its seal on these issues. With the approval of Marvel publisher Martin Goodman, Lee had the comics published without the seal. The comics sold well and Marvel won praise for its socially conscious efforts. The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.
The "Six-Arm Saga" of #100-102 (Sept.–Nov. 1971) introduced Morbius, the Living Vampire. The second installment was the first Amazing Spider-Man story not written by co-creator Lee, with Roy Thomas taking over writing the book for several months before Lee returned to write #105-110 (Feb.-July 1972). Lee, who was going on to become Marvel Comics' publisher, with Thomas becoming editor-in-chief, then turned writing duties over to 19-year-old wunderkind Gerry Conway, who scripted the series through 1975. Romita penciled Conway's first half-dozen issues, which introduced the gangster Hammerhead in #113 (Oct. 1972). Kane then succeeded Romita as penciler, although Romita would continue inking Kane for a time.
The most memorable work of the Conway/Kane/Romita team was #121-122 (June–July 1973), which featured the death of Gwen Stacy at the hands of the Green Goblin in "The Night Gwen Stacy Died" (#121). Her demise and the Goblin's apparent death one issue later formed a story arc widely considered as the most defining in the history of Spider-Man. The aftermath of the story also deepened both the characterization of Mary Jane Watson and her relationship with Parker.
By late 1973, Gil Kane was succeeded by Ross Andru, whose run lasted nearly 60 issues, from 1973 to 1978. Issue #129 (Feb. 1974) introduced the Punisher, who would become one of Marvel Comics' most popular characters. The Conway-Andru era also featured the first appearances of the Man-Wolf in #124-125 (Sept.-Oct. 1973); the near-marriage of Doctor Octopus and Aunt May in #131 (April 1974); Harry Osborn stepping into his father's role as the Green Goblin in #135-137 (Aug.-Oct.1974); and the original "Clone Saga", containing the introduction of Spider-Man's clone, in #147-149 (Aug.-Oct. 1975).
Archie Goodwin and Gil Kane produced the title's 150th issue (Nov. 1975) before Len Wein became writer for two-and-a-half years. During Wein's tenure, Harry Osborn and Liz Allen dated and became engaged, J. Jonah Jameson was introduced to his eventual second wife, Marla Madison, and Aunt May suffered a heart attack. Wein's last story on Amazing was a five-issue arc in #176-180 (Jan.-May 1978) featuring a third Green Goblin (Harry Osborn’s psychiatrist, Bart Hamilton). Marv Wolfman, Marvel's editor-in-chief from 1975 to 1976, succeeded Wein as writer, and in his first issue, #182 (July 1978), had Parker propose marriage to Watson (who refused, in the following issue). Keith Pollard succeeded Ross Andru as artist shortly afterward, and with Wolfman introduced the likable rogue the Black Cat (Felicia Hardy) in #194 (July 1979). As a love interest for Spider-Man, the Black Cat would go on to be an important supporting character for the better part of the next decade, and remain a friend and occasional lover into the 2010s.

The 1980s
The Amazing Spider-Man #200 (Jan. 1980) featured the return and death of the burglar who killed Spider-Man's Uncle Ben. Writer Marv Wolfman and penciler Keith Pollard both left the title by mid-year, succeeded by Dennis O'Neil, a writer known for groundbreaking 1970s work at rival DC Comics, and penciler John Romita, Jr.. Roger Stern, who had written nearly 20 issues of sister title The Spectacular Spider-Man, took over Amazing in late 1981. During his two years on the title, Stern augmented the backgrounds of long-established Spider-Man villains, and with Romita Jr. created the mysterious supervillain the Hobgoblin in #238-239 (March–April 1983). Fans engaged with the mystery of the Hobgoblin's secret identity, which continued throughout #244-245 and 249-251 (Sept.-Oct. 1983 & Feb.-April 1984). One lasting change was the reintroduction of Mary Jane Watson as a much more serious, mature woman who becomes Peter's confidante after she reveals that she knows his secret identity.
By mid-1984, Tom DeFalco and Ron Frenz took over scripting and penciling. DeFalco helped establish the maturation in Parker and Watson's relationship, laying the foundation for the character's eventual wedding. Notably, in #257 (Oct. 1984), Watson tells Parker that she knows he is Spider-Man, and in #259 (Dec. 1984), she reveals to Parker the extent of her troubled childhood. Other notable issues of the DeFalco-Frenz era include #252 (May 1984), with the first appearance of Spider-Man's black costume, which the hero would wear almost exclusively for the next four years' worth of comics; the debut of criminal mastermind the Rose, in #253 (June 1984); the revelation in #258 (Nov. 1984) that the black costume is a living being, a symbiote; and the introduction of the female mercenary Silver Sable in #265 (June 1985).
Tom DeFalco and Ron Frenz were both removed from The Amazing Spider-Man in 1986 by editor Owsley under acrimonious circumstances. A succession of artists including Alan Kupperberg, John Romita, Jr., and Alex Saviuk penciled the book from 1987 to 1988; Owsley wrote the book for the first half of 1987, scripting the five-part "Gang War" story (#284-288) that DeFalco plotted. Former Spectacular Spider-Man writer Peter David scripted #289 (June 1987), which revealed Ned Leeds as being the Hobgoblin (although this was retconned in 1996 by Roger Stern into Leeds not being the original Hobgoblin after all).
David Michelinie took over as writer in the next issue, for a story arc in #290-292 (July-Sept. 1987) that led to the marriage of Peter Parker and Mary Jane Watson in Amazing Spider-Man Annual #21. Issue #298 (March 1988) was the first Spider-Man comic to be drawn by future industry star Todd McFarlane, the first regular artist on The Amazing Spider-Man since Frenz's departure. McFarlane revolutionized Spider-Man's look. His depiction – large-eyed, with wiry, contorted limbs, and messy, knotted, convoluted webbing – influenced the way virtually all subsequent artists would draw the character. McFarlane's other significant contribution to the Spider-Man canon was the design for what would become one of Spider-Man's most wildly popular antagonists, the supervillain Venom. Issue #299 (April 1988) featured Venom's first appearance (a last-page cameo) before his first full appearance in #300 (May 1988). The latter issue also featured Spider-Man reverting to his original red-and-blue costume.
Other notable issues of the Michelinie-McFarlane era include #312 (Feb. 1989), featuring the Green Goblin vs. the Hobgoblin; and #315-317 (May–July 1989), with the return of Venom. After the editorial and creative turmoil that beset The Amazing Spider-Man in 1987, the Michelinie/McFarlane team at the tail-end of the 1980s restored a sense of creative consistency and quality to the book, and set the tone for Spider-Man for the next decade.

The 1990s
With a civilian life as a married man, the Spider-Man of the 1990s was different from the superhero of the previous three decades. McFarlane left the title in 1990 to write and draw a new series titled simply Spider-Man. His successor, Erik Larsen, penciled the book from early 1990 to mid-1991. After issue #350, Larsen was succeeded by Mark Bagley, who had won the 1986 Marvel Tryout Contest and was assigned a number of low-profile penciling jobs followed by a run on New Warriors in 1990. Bagley penciled the flagship Spider-Man title from 1991 to 1996, with his art forming the basis for most Spider-Man licensed merchandise of the decade and onward.
Issues #361-363 (April–June 1992) introduced Carnage, a second symbiote nemesis for Spider-Man. The series' 30th-anniversary issue, #365 (Aug. 1992), was a double-sized, hologram-cover issue with the cliffhanger ending of Peter Parker's parents, long thought dead, reappearing alive. It would be close to two years before they were revealed to be impostors, who are killed in #388 (April 1994), scripter Michelinie's last issue. His 1987–1994 stint gave him the second-longest run as writer on the title, behind Stan Lee.
With #389, writer J. M. DeMatteis, whose Spider-Man credits included the 1987 "Kraven's Last Hunt" story arc and a 1991–1993 run on The Spectacular Spider-Man, took over the title. From October 1994 to June 1996, Amazing stopped running stories exclusive to it, and ran installments of multi-part stories that crossed over into all the Spider-Man books. One of the few self-contained stories during this period was in #400 (April 1995), which featured the death of Aunt May — later revealed to have been faked (although the death still stands in the MC2 continuity). The "Clone Saga" culminated with the revelation that the Spider-Man who had appeared in the previous 20 years of comics was a clone of the real Spider-Man. This plot twist was massively unpopular with many readers, and was later reversed in the "Revelations" story arc that crossed over the Spider-Man books in late 1996.
The Clone Saga tied into a publishing gap after #406 (Oct. 1995), when the title was temporarily replaced by The Amazing Scarlet Spider #1-2 (Nov.-Dec. 1995), featuring Ben Reilly. The series picked up again with #407 (Jan. 1996), with Tom DeFalco returning as writer. Bagley completed his 5½-year run by September 1996. A succession of artists, including Ron Garney, Steve Skroce, Joe Bennett, and Rafael Kayanan, penciled the book until the final issue, #441 (Nov. 1998), after which Marvel rebooted the title with vol. 2, #1 (Jan. 1999).

Relaunch and the 2000s
Marvel began The Amazing Spider-Man anew with vol. 2, #1 (Jan. 1999). Howard Mackie wrote the first 29 issues. The relaunch proved controversial with the Sandman being regressed to his criminal ways and the "death" of Mary Jane, which was ultimately reversed due to fan backlash. Other elements included the introduction of a new Spider-Woman (who was spun off into her own short-lived series) and references to John Byrne's controversial "Spider-Man: Chapter One", which launched at the same time as the reboot. Mackie's run ended with The Amazing Spider-Man Annual 2001, which saw the return of Mary Jane, who then left Parker upon reuniting with him.
With #30 (June 2001), J. Michael Straczynski took over as writer. While his arrival saw the title regain lost readers, Straczynski oversaw additional controversial storylines — most notably his lengthy "Spider-Totem" arc, which raised the issue of whether Spider-Man's powers were magic-based, rather than as the result of a radioactive spider's bite. Additionally, Straczynski resurrected the plot point of Aunt May discovering her nephew was Spider-Man, and returned Mary Jane, with the couple reuniting in The Amazing Spider-Man #50. Straczynski also gave Spider-Man a new profession, having Parker teach at his former high school.
Issue #30 began a dual numbering system, with the original series numbering (#471) returned and placed alongside the volume-two number on the cover. Other longtime, rebooted Marvel Comics titles, including Fantastic Four, likewise were given the dual numbering around this time. In October 2000, John Romita, Jr. succeeded John Byrne as artist. After vol. 2, #58 (Nov. 2003), the title reverted completely to its original numbering for #500 (Dec. 2003). Mike Deodato, Jr. penciled the book from mid-2004 until 2006.
That year Peter Parker revealed his Spider-Man identity on live television in the company-crossover storyline "Civil War", in which the superhero community is split over whether to conform to the federal government's new Superhuman Registration Act. This knowledge was erased from the world with the event of the four-part, crossover story arc, "One More Day", written partially by J. Michael Straczynski and illustrated by Joe Quesada, running through The Amazing Spider-Man #544-545 (Nov.-Dec. 2007), Friendly Neighborhood Spider-Man #24 (Nov. 2007) and The Sensational Spider-Man #41 (Dec. 2007), the final issues of those two titles. Here, the demon Mephisto makes a Faustian bargain with Parker and Mary Jane, offering to save Parker's dying Aunt May if the couple will allow their marriage to have never existed, rewriting that portion of their pasts. This story arc marked the end of Straczynski's six-and-a-half years as writer (from 2001 to 2007) on the title after 75 issues (including issues of Friendly Neighborhood Spider-Man and The Sensational Spider-Man as part of crossovers).
Following this, Marvel made The Amazing Spider-Man the company's sole Spider-Man title, increasing its frequency of publication to three issues monthly, and inaugurating the series with a sequence of "back to basics" story arcs under the banner of "Brand New Day". Parker now exists in a changed world where he and Mary Jane had never married, and Parker has no memory of being married to her, with domino effect differences in their immediate world. The most notable of these revisions to Spider-Man continuity are the return of Harry Osborn, whose death in The Spectacular Spider-Man #200 (May 1993) is erased; and the reestablishment of Spider-Man's secret identity, with no one except Mary Jane able to recall that Parker is Spider-Man (although he soon reveals his secret identity to the New Avengers and the Fantastic Four). The alternating regular writers were initially Dan Slott, Bob Gale, Marc Guggenheim, Fred Van Lente, and Zeb Wells, joined by a rotation of artists that included Chris Bachalo, Phil Jimenez, Mike McKone, John Romita, Jr. and Marcos Martín. Joe Kelly, Mark Waid and Roger Stern later joined the writing team and Barry Kitson the artist roster.
With issue #648 (January 2011), the series became a twice-monthly title with Dan Slott as sole writer. Eight additional pages were added per issue. These were initially published under the banner of "Big Time". The most recent story heading is "Ends of the Earth", which runs through June 2012.

Agriculture in Spain


Agriculture in Spain
Agriculture in Spain is important to the national economy. Viewed in terms of land mass, Spain is one of the largest countries of Western Europe, and it ranks second in terms of its elevation, after Switzerland. A large part of the country is semiarid, with temperatures that range from extremely cold in the winter to scorching in the summer. Rainfall, which is often inadequate, tends to be concentrated in two generally brief periods during the year. Summer droughts occur frequently. Of Spain's 50.5 million hectares of land, 20.6 million, or about 40 percent, are suitable for cultivation; however, the soil is generally of poor quality, and only about 10 percent of the land can be considered excellent. In addition, the roughness of the terrain has been an obstacle to agricultural mechanization and to other technological improvements. Furthermore, years of neglect have created a serious land erosion problem, most notably in the dry plains of Castilla-La Mancha.

Overview
Compared with other West European countries, the proportion of land devoted to agricultural purposes in Spain is low. In the 1980s, about 5 million hectares were devoted to permanent crops: orchards, olive groves, and vineyards. Another 5 million lay fallow each year because of inadequate rainfall. Permanent meadows and pastureland occupied 13.9 million hectares. Forests and scrub woodland accounted for 11.9 million hectares, and the balance was wasteland or was taken up by populated and industrial areas.
The primary forms of property holding in Spain have been large estates (latifundios) and tiny land plots (minifundios). In large measure, this was still true in the 1980s. The agrarian census of 1982 found that 50.9 percent of the country's farmland was held in properties of 200 or more hectares, although farms of this size made up only 1.1 percent of the country's 2.3 million farms. At the other end of the scale, the census showed that 61.8 percent of Spain's farms had fewer than 5 hectares of land. These farms accounted for 5.2 percent of the country's farmland. Furthermore, just under 25 percent of all farms consisted of less than 1 hectare of land, and they accounted for 0.5 percent of all farmland. Minifundios were particularly numerous in the north and the northwest. Latifundios were mainly concentrated in the south, in Castilla-La Mancha, Extremadura, Valencia, and Andalusia (Spanish: Andalucía).
Crop areas were farmed in two highly diverse manners. Areas relying on nonirrigated cultivation (secano), which made up 85 percent of the entire crop area, depended solely on rainfall as a source of water. They included the humid regions of the north and the northwest, as well as vast arid zones that had not been irrigated. The much more productive regions devoted to irrigated cultivation (regadio) accounted for 3 million hectares in 1986, and the government hoped that this area would eventually double, as it already had doubled since 1950. Particularly noteworthy was the development in Almeria — one of the most arid and desolate provinces of Spain — of winter crops of various fruits and vegetables for export to Europe.
Though only about 17 percent of Spain's cultivated land was irrigated, it was estimated to be the source of between 40 and 45 percent of the gross value of crop production and of 50 percent of the value of agricultural exports. More than half of the irrigated area was planted in corn, fruit trees, and vegetables. Other agricultural products that benefited from irrigation included grapes, cotton, sugar beets, potatoes, legumes, olive trees, mangos, strawberries, tomatoes, and fodder grasses. Depending on the nature of the crop, it was possible to harvest two successive crops in the same year on about 10 percent of the country's irrigated land.
Citrus fruits, vegetables, cereal grains, olive oil, and wine — Spain's traditional agricultural products — continued to be important in the 1980s. In 1983 they represented 12 percent, 12 percent, 8 percent, 6 percent, and 4 percent, respectively, of the country's agricultural production. Because of the changed diet of an increasingly affluent population, there was a notable increase in the consumption of livestock, poultry, and dairy products. Meat production for domestic consumption became the single most important agricultural activity, accounting for 30 percent of all farm-related production in 1983. Increased attention to livestock was the reason that Spain became a net importer of grains. Ideal growing conditions, combined with proximity to important north European markets, made citrus fruits Spain's leading export. Fresh vegetables and fruits produced through intensive irrigation farming also became important export commodities, as did sunflower seed oil that was produced to compete with the more expensive olive oils in oversupply throughout the Mediterranean countries of the EC.

Agricultural development
Farming was only marginally affected by the Spanish Civil War, yet agricultural output during the 1940s remained below the 1933 level. This low agricultural productivity led to food rationing, substantially contributing to the great hardships endured by people residing in the cities. One of the main reasons for this dilemma was the government preoccupation with industrial self-sufficiency, which resulted in neglect for the modernization of agriculture. The government did encourage grain cultivation with the aim of achieving agricultural self-sufficiency, but heavy-handed efforts to control food prices led to the massive channeling of agricultural products into the black market.
The traditional shortcomings of Spanish agriculture — excessive land fragmentation (minifundismo) and extremely large land tracts in the hands of a few (latifundismo) — were, for all practical purposes, ignored. As in the past, latifundio areas with low yields and little irrigation were primarily devoted to the production of such traditional commodities as olive oil, grains, and wine. They were, moreover, the areas where casual rural laborers (braceros) were concentrated, where wage levels were lowest, and where illiteracy rates were highest.
A gradual change in Spanish agriculture began in the 1950s, when prices rapidly increased, and the surplus labor pool began to shrink, as a half million rural field hands migrated to the cities or went abroad in search of a better life. Nonetheless, more substantial changes did not take place prior to the 1960s. The Stabilization Plan of 1959 encouraged emigration from rural areas, and the economic boom in both Spain and Western Europe provided increased opportunities for employment. The subsequent loss of rural manpower had a far-reaching effect on both agricultural prices and wage levels and, as a consequence, on the composition of Spanish agriculture.
Spain's economic transformation in the 1960s and in the first half of the 1970s caused tremendous outmigration from rural areas. Between 1960 and 1973, 1.8 million people migrated to urban areas. Even later, between 1976 and 1985, when the economy was experiencing serious difficulties, the fall in farm employment averaged 4 percent per annum. The results of these migrations were reflected in the changing percentage of the population involved in farming. In 1960, 42 percent of the population was engaged in agricultural work; by 1986 only about 15 percent was so employed — a marked reduction, though still twice as high as the European Community (EC) average. As Spain became more industrialized, the declining share of agriculture in the economy was evidenced by its declining share of the GDP. Agriculture accounted for 23 percent of GDP in 1960; for 15 percent, in 1970; and for 5 percent, by 1986. In addition, the character of Spanish agriculture in the 1980s had changed. It had become less a way of life and more a way of making a living. Even subsistence agriculture, already in steady decline, had become increasingly market oriented.
The magnitude of the rural exodus permitted the government to undertake a program of parcel consolidation, that is, to bring together into single plots many tiny, scattered pieces of land that characterized the minifundio sector. The government managed to surpass its goal of consolidating 1 million hectares of small land holdings between 1964 and 1967; by 1981 it had brought together a total of 5 million hectares.
The decreased size of the rural work force affected Spanish agriculture because its traditionally labor-intensive practices required a large pool of cheap labor. The workers who remained in the countryside saw their wages advanced by 83.8 percent between 1960 and 1970 — a rate that roughly followed the wage increases in industry. At the same time, however, increased agricultural labor costs led to the end of countless minifundios. The 1982 agrarian census recorded the disappearance of about one-half million small farms between 1962 and 1982. The resulting lack of a ready labor supply was an incentive, particularly for large landed estates, to mechanize. The number of farm tractors expanded more than tenfold between 1960 and 1983, from 52,000 to 593,000. The number of combine harvester-threshers increased almost tenfold over the same period, from 4,600 to 44,000. The process of mechanization caused agricultural productivity to grow by 3.5 percent per year between 1960 and 1978, and the productivity of farm workers grew even faster. Nonetheless, Spain's output per agricultural worker remained low. It was about half the EC average in 1985, and it surpassed only those of Greece and Portugal.
During the mid-1980s, Spanish agriculture was roughly self-sufficient in years when there were good harvests, and in nearly every year there were sizable surpluses of olive oil, citrus fruits, and wine that could be exported in quantities large enough to make it the EC's third-largest food supplier. In years of poor or average harvests, the country was obliged to import grains for use as animal fodder, but on the whole Spain was a net exporter of foodstuffs.
Spanish agriculture varied considerably with regard to regional differences in output. Some regions were distinguished by a highly inefficient variety of farming. Specialists estimated that areas dominated by minifundios would have to lose an estimated three-fourths of their farming population if they were to compete effectively with foreign producers. The variety of agriculture practiced along the Mediterranean coast or in the Rio Ebro Valley was, however, highly efficient and capable of keeping up with foreign competition.
Opinion was not united as to what EC membership would eventually mean for Spanish farmers. The EC's Common Agricultural Policy (CAP), which aimed at supporting most of each member state's farming sector, was expensive, and by the 1980s it was consuming well over half of the organization's revenues. If the CAP were continued, it would not be likely to have a considerable effect on Spanish agriculture, for a system of domestic price supports had long protected the weaker parts of the nation's farm sector. A change of EC policy that encouraged a single community-wide agricultural system might allow those parts of the Spanish agricultural sector that outperformed their rivals in the EC to prosper, while backward branches would probably disappear.

Regional variation
Because the interior of Spain is dominated by semiarid plateaus and mountains subject to temperature extremes, the most productive agricultural areas in the late 1980s tend to be the coastal regions. Thus the north and the northwest, where there is a relatively mild, humid climate were the principal cornproducing and cattle-raising areas. Apples and pears were the main orchard crops in this area, and potatoes were another of its leading products.
Galicia, which consists of Spain's four westernmost provinces directly north of Portugal, had a concentrated farm population living on intensely fragmented plots. Accordingly, per capita farm income was low, compared with that of the northern provinces lying to the east, where there were fewer people and higher per capita income levels because of a more diversified economy that included industry, mining, and tourism.
Catalonia, on the northeast coast, also has a climate that permits diversified agriculture. At the end of the 1980s, livestock particularly the expanding poultry industry was important in the area. Modern farming methods, including the use of tractors, were more advanced here than they were in the rest of the country. South of Catalonia, along the narrow Mediterranean coast, or Levante, was Spain's principal area of intensive, irrigated horticulture. Orange trees, orchard fruits, rice, and vegetables were produced in this region, and farther to the south, fig trees and nut trees were grown.
Andalusia, which includes all of tillable southern Spain, was another major agricultural area in the late 1980s. It was also the target of several agricultural planning programs. Although olive trees grow throughout the Mediterranean coastal region, as well as in parts of the Meseta Central (Central Plateau), they constituted the most important crop in Andalusia, particularly in the province of Jaén. Other warm-weather crops, such as cotton, tobacco, and sugarcane, were also produced in Andalusia, as were wine and table grapes.
The vast dry plateau region of central Spain contrasted sharply with the country's relatively productive areas. The production of agricultural commodities was particularly difficult in central Spain because of a lack of rainfall, a scarcity of trees and other vegetation, extremes of temperature, and harsh, rocky soil. Nevertheless, the farmers of the region grew wheat and other grains, raised sheep and goats, maintained vineyards, and carried on other agricultural activities.
An important irrigation system lies just northwest of the northern Meseta and south of the Pyrenees in the Ebro Basin, where Spain's best known vineyard district is located in the autonomous community of La Rioja. Because of its irrigation, corn, sugar beets, and orchard fruits were grown in this area, and the Ebro Delta was one of Spain's principal rice-growing regions.
In the Balearic Islands (Spanish: Islas Baleares), the uncertain, sparse rainfall and the lack of permanent fresh water streams were somewhat compensated for by good supplies of underground water. Irrigation permitted the production of a wide range of temperate and semitropical tree crops for export, as well as enough cereals, legumes, wines, and vegetables for local consumption. Sheep, goats, pigs, and poultry were also raised on the islands.
Agriculture in the Canary Islands (Spanish: Islas Canarias) was limited by water shortages and mountainous terrain. Nevertheless, a variety of vegetable and fruit crops were produced for local consumption, and there was a significant and exportable surplus of tomatoes and bananas.


Spain has long been Western Europe's leading producer, and the world's foremost exporter, of oranges and mandarins. In the early 1960s, the production of these commodities averaged 1.8 million tons a year, and by the 1980s the annual yield averaged about 3 million tons. Grapefruit, lemons, and limes were also grown in quantity, but Spain was second to Italy among West European producers of these fruits. Spain's citrus groves, all under irrigation, were concentrated in Mediterranean coastal provinces, the Levante, primarily in a narrow coastal strip 500 kilometers in length extending from the province of Castellón to the province of Almería. Some citrus fruit production also was found in Andalusia.
Spain's other significant orchard crops were apples, bananas, pears, peaches, apricots, plums, cherries, figs, and nuts. Except for bananas, which were grown only in the Canary Islands, and figs, which were grown mostly in the Balearic Islands, orchard crops were produced primarily in the Levante and in Catalonia. The Catalan province of Lérida was the leading producer of apples and pears, and it ranked second to Murcia in the production of peaches. Almonds, grown along the southern and the eastern coasts, emerged as another important Spanish cash crop. Almost half of the 1985 crop was exported, approximately 70 to 75 percent of it to EC countries.
The principal vegetable crops were potatoes, tomatoes, onions, cabbages, peppers, and string beans. Spain was the leading producer of onions in Western Europe, and it was second only to Italy in the production of tomatoes. These crops were concentrated in Andalusia and in the intensively cultivated and largely irrigated Mediterranean coastal areas, where small garden plots known as huertas were common. The Canary Islands also produced a significant proportion of Spain's tomatoes. Potatoes were a prominent garden crop in the northwest.
Spain was the world's leading producer and exporter of olives and olive oil, although in some years Italy showed higher production levels because Spanish harvests were notably vulnerable to insects, frost, and storm damage. Andalusia, where about one-half of the olive groves were found, is generally free of these hazards, but olives were grown in virtually every province except the humid north and the northwest. In the 1980s, olive production fluctuated wildly, ranging from 1.2 million to 3.3 million tons per year. Olive oil production was also volatile. Spain's olive production is affected by European Community quotas, and past efforts to control overproduction have included the destruction of olive groves.
Though Spain boasted the world's largest area of land devoted to vineyards, much of the wine it produced was of mediocre quality. Vineyards were usually located on poor land, and good wine-making technology was often lacking. In the past, government-guaranteed prices for wine tended to encourage quantity rather than quality and alcoholic content, but programs were instituted in the 1980s to upgrade production, and surpluses of poor-quality white wine were more regularly distilled into industrial alcohol. Supported by the restructuring and reconversion program initiated by the government in 1984 and by an EC assistance program, Spain's vineyard acreage continued to decline, and it was expected to fall to 100,000 hectares by 1990. Spain's 1986 wine production was estimated at 36.7 million hectoliters.
Grains covered about 10 percent of Spain's cultivated lands, and about 10 percent of that area was irrigated. Wheat and barley were generally grown in the dry areas because corn tends to crowd such crops out of areas with more abundant rainfall or irrigation. Although most of the wheat was grown in dry upland areas, some of it also was grown on valuable irrigated land. Rice was dependent on plentiful water supplies and, accordingly, was produced in the irrigated areas of the Levante, in Andalusia, and at the mouth of the Rio Ebro. Spanish farmers also grew rye, oats, and sorghum.
During the mid-1980s, the grain crop usually hit record highs of about 20 million tons, compared to 13 million tons in 1983. This meant that Spain, long a grain-importing nation, now produced a surplus of cereals. Barley had come to account for about one-half of the grain harvest and corn for about one-sixth of it, as the government encouraged production of these crops in order to reduce imports of animal feed grains. Although the wheat crop was subject to wide fluctuations because of variable weather conditions, it generally provided about one-fourth of Spain's total grain production, which exceeded the country's needs. Rice and oats constituted the rest of the national total. Some rice and wheat were exported with the help of subsidies, and analysts expected the surplus of wheat and the deficit of corn to continue into the 1990s.
To make up for the shortage of domestic feed grains, Spain became one of the world's largest importers of soybeans, and it developed a modern oilseed-crushing industry of such high productivity that surplus soybean oil became one of Spain's most important agricultural export commodities. The government encouraged domestic production of soybeans to lessen the heavy dependence on soybean imports. To limit the impact of this production on the important, labor-intensive, olive oil industry, which provided work for many field hands in southern Spain, a domestic tax system was established that maintained a two-to-one olive oil-soybean oil price ratio. The revenues derived from this system subsidized large exports of surplus soybean oil. The United States, once the main source of soybean imports, lodged protests against this policy, both bilaterally and internationally, but with little effect as of 1988.
As a further step in reducing Spanish dependence on imported soybeans, the government encouraged sunflower production. Especially favorable growing conditions, coupled with generous government support, caused sunflower seed output to expand spectacularly, and the amount of land used for its cultivation went from virtually nothing in 1960 to approximately 1 million hectares in the 1980s. Sunflower-seed meal was not the most desirable livestock feed, and therefore was not used in this way, but by the 1980s most Spanish households used the cooking oil it provided because it was less expensive than olive oil.
About 8 percent of the cultivated land in Spain was devoted to legumes and to industrial crops. Edible legumes were grown in virtually every province; French beans and kidney beans predominated in the wetter regions; and chick peas (garbanzos) and lentils, in the arid regions. However, Spain was a net importer of legumes. Although consumption of these crops declined as the standard of living improved, domestic production also fell.
Sugar beets were Spain's most important industrial crop. Annual production in the mid-1980s averaged about 7 million tons. Cultivation was widely scattered, but the heaviest production was found in the Guadalquivir Basin, in the province of León, and around Valladolid. A small amount of sugarcane was grown in the Guadalquivir Basin. Sugar production, controlled to meet EC quotas, was usually sufficient to meet domestic needs.
Although small quantities of tobacco, cotton, flax, and hemp were also cultivated, they were not adequate to fulfill Spain's needs. But esparto grass, a native Mediterranean fiber used in making paper, rope, and basketry, grew abundantly in the southeastern part of the country.

Livestock
Spanish meat production in 1986 totalled 2,497,000 tons. The country's farmers produced 137,000 tons of lamb and mutton, 435,000 tons of beef and veal, 765,000 tons of poultry, and 1,160,000 tons of pork. With some fluctuations, these figures were representative of Spain's meat production during the 1980s. Spanish livestock industries had experienced significant growth and modernization since the 1950s, but their output remained well behind the levels of efficiency and productivity of European Community (EC) countries. The EC states' generous subsidies and their experience in the use of expensive feed grains gave their livestock industries a decided competitive advantage. As the Spanish livestock sector was increasingly concentrated in northern Spain, where minifundio agriculture predominated, many Spanish cattleraising farms were too small fully to exploit the efficiencies of modern technology. Domestic meat production failed to meet demand, making Spain a net importer of farm animals and meat products.
Pork was Spain's most important meat product, and the number of pigs grew from 7.6 million in 1970 to 11.4 million in 1985. Pigs were raised unpenned in the central uplands, but they were generally pen-fed in the northern regions. At times African swine fever was a serious impediment to pork exports. Poultry raising had also expanded rapidly, and the number of chickens had doubled between 1970 and 1985, when it reached 54 million. The emphasis was on poultry production for meat rather than for eggs, because poultry, previously a minor item in the Spanish diet, had become much more popular. The most important areas for poultry raising were in the maize-growing provinces of the north and the northwest, but Catalonia, Valencia, and Andalusia were also important.
The principal cattle areas were in the north, the northwest, and, to a lesser degree, in Extremadura, Andalusia, the Rio Duero Basin, and the Murcia-Valencia lowlands. These regions provided the suitable pastures that were available only in areas with humid climates or with irrigated land. In 1986 Spain had 5 million cattle, including 1.9 million dairy cows. About 25 percent of the cattle were raised as oxen for draft purposes, and about 2 percent were bred for the bullring. The ranches of Extremadura and Andalusia specialized in raising animals of bullring quality.
The dairy industry had grown rapidly. Milk production from cows, sheep, and goats, which had stood at 5.4 million tons in 1974, reached 6.4 million tons in 1986 — well over double the production level of the early 1960s. The bulk of milk products came from Galicia, Asturias, and Santander. In 1982 the government launched a program designed to modernize milk production, to improve its quality, and to concentrate it in the northern provinces. The dairy industry was not seriously hurt by Spain's entry into the European Community, although the 3 percent quota reduction for each of the years 1987 and 1988 and the 5.5 percent voluntary cutback hampered development.
Spain's sheep population remained almost unchanged at about 17 million between 1970 and 1985. Sheep rearing predominated in central Spain and the Ebro Basin. Goats were kept in much the same area, but they were more prevalent in the higher, less grassy elevations because they can survive on poorer pasture. Merino sheep, the best known breed, were probably imported from North Africa, and they were well adapted to semiarid conditions. Merino sheep, noted for their fine wool, were widely used as stock for new breeds. Other prominent breeds were the churro and the manchegan. Although raised primarily for wool, milk, and cheese, Spanish farm animals, particularly sheep, were increasingly used to satisfy the country's meat consumption needs.

Forestry
Most of the natural forests of the Iberian Peninsula had long since disappeared because of erosion and uncontrolled harvesting for firewood, timber, or the creation of pastureland. In the 1980s, about 7 million hectares, or 14 percent of the land in Spain, could be considered usable forest, although another 3.5 million hectares of scrub growth were often included in forestland statistics.
A reforestation program had been under way in Spain since 1940. The aims of the program included meeting market demand for forest products, controlling erosion, and providing seasonal employment in rural areas. Eucalyptus trees, Lombardy poplars, and a variety of conifers were emphasized because of their fast growth.
Lumber output was approximately 12.3 million cubic meters in 1986, compared with 11.8 million cubic meters in 1985. Output could conceivably triple if 5.8 million hectares of the best forestland, which accounted for 50 percent of the total woodlands area, were properly developed and managed. Existing forestation programs were inadequate, however. For example, in the 1975-84 period, the balance between reforestation and the loss of forestland as a result of fires favored the latter by about 148,000 hectares. A report issued by the Forest Progress Association reported that, by the year 2000, Spain's wood deficit could reach between 8.5 and 16.9 million cubic meters.
The value of Spain's forest products in 1985 was US$302 million. Pine trees grown in the north and the northwest as well as oak and beech trees grown in the Pyrenees accounted for most of the total. Commercial forestry products produced in Spain included cork, turpentine, and resins.
Spain was the world's second largest producer of cork after Portugal. The best quality of cork, used for bottle stoppers, was grown in Catalonia. More plentiful lower grades, which went into linoleum, insulating materials, and other industrial products, came primarily from Andalusia and Extremadura. Cork production was declining, after reaching a high in the 1970s of 97,000 tons per year; only 46,000 tons were produced in 1985, as the widening use of plastics and other cork substitutes reduced demand.

Fishing
Spain was Western Europe's leading fishing nation, and it had the world's fourth largest fishing fleet. Spaniards ate more fish per capita than any other European people, except the Scandinavians. In the mid-1980s, Spain's fishing catch averaged about 1.3 million tons a year, and the fishing industry accounted for about 1 percent of GDP. Sardines, mussels, cephalopods, cod, mackerel, and tuna, most of which came from the Atlantic Ocean, were the principal components of the catch. Fishing was particularly important in the economic life of Galicia, the principal fishing ports of which were Vigo and La Coruna on the northwest coast. Also important were Huelva, Cádiz, and Algeciras in the south, and Las Palmas de Gran Canaria and Santa Cruz de Tenerife in the Canary Islands.
In the mid-1980s, the fishing fleet numbered between 13,800 and 17,500 vessels, most of which were old and small. Deep-sea vessels numbered about 2,000. Spain's 100,000 fishermen made up one-third of all European Community manpower in the fishing sector, and a further 700,000 Spanish jobs depended on fishing. Prior to its admission into the EC, the undisciplined behavior of Spanish fishermen was a constant problem for the government and for other European countries. Spanish vessels were frequently charged with fishing violations in the Atlantic and the North Sea. Entry into the EC brought access to most of its waters, but it also meant catches would be sharply restricted until 1995.

Tuesday, 24 July 2012

Apeiron Hotel – Dubai, UAE





The Apeiron Hotel Dubai - Statistics

Total Floors: 28 above ground
Total Suites: 438
Suite Sizes: 180m² - 750m²
Bbuilding Height: 185m
Gross Floor Area: 300,000m²
Site Footprint Area: 26,500m²
Passenger Lifts: 14
Service Lifts: 8
Distance off shore: 300m (building design as powerful within a landlocked site)
Wind Load Factor: 350km per hour
Construction Cost: $350m US Dollars est.
Structure: Steel, Reinforced Concrete
Hotel Rating: 5 Star Deluxe (7 Star Unofficially)


The Aperion - Floor Description & Breakdown

Level -3 Parking (optional road access via bridge or tunnel)
Level -2 Mechanical & Electrical Plant, Waste, Fire Pumps, Laundry, Parking
Level -1 Spa, Health Club, Sculpture Gallery, Restaurants, Bars, Club
(all double height spaces - views into arrival jetty, lagoon & pools)
Level 0 Ground Floor, Double Height Lobby & Luxury Boutiques
Level 1 Void from double height space below
Level 2 Luxury Boutiques & Bar
Level 3 - 7 16 Suites
Level 8 14 Suites, Double height Cinema & Bar
Level 9 14 Suites, Helipad + Sky Reception
Level 10 Mechanical & Electrical Plant, Restaurants & Art Gallery (under pools)
Level 11 16 Suites, Garden, Swimming Pools & Juice Bar
Level 12 - 19 24 Suites
Level 20 22 Suites
Level 21 20 Suites
Level 22 - 23 18 Suites
Level 24 12 Suites
Level 25 10 Suites
Level 26 8 Suites
Level 27 Restaurant & Bar
Level 28 Butterfly Jungle & Bar
  

The Apeiron Dubai - Key Facilities

Crescent Lagoon
An underwater sculpted landscape with colourful corals & sea water plant life cultivated to create a unique & surreal world. Fish and crustaceans will be introduced to complete the array of life and colours. At night, the lagoon will be lit with concealed underwater light sources to create a dramatic & different experience for the diver or snorkeller.

Level 00
Boat jetty in building atrium & access to private beach, gardens, fresh water pools & crescent lagoon. Building atrium is over 50m high.

Level 00 & -01 (under the beach)
A Health Club & Spa containing private saunas, steam rooms, treatment rooms, massage rooms, several fresh water pools at different temperatures located outside as well as inside with different lighting at night. Large windows from Level -01 Spa offer the opportunity to look into the lagoon and see the coral & fish; day and night.
Sculpture & art gallery lit by natural refracted light through pools above.

Level 09 
Helipad located 55m above the Arabian Gulf with bridge access across to the ninth floor of the hotel.

Level 11
Outdoor garden with views down the atrium through the building to the sea below & boat jetty as well as views out to sea. Dramatic surroundings with the remainder of the building lifting from the garden level, full size palm trees & fresh water pools. Pools in turn light the restaurant & art gallery below.

Level 28
Double height rooftop Butterfly Jungle level with a unique backdrop of the Arabian Gulf nearly 200m below. The temperature & humidity would be artificially controlled to make it a very relaxing & unique space. The introduction of colourful butterflies would add to the surreal surroundings.

Entertainment
The hotel will also contain a number of private clubs, private cinemas, luxury boutiques, conference rooms, restaurants with menus from all around the world. Restaurants & bars (alcoholic & non alcoholic) distributed throughout building from Level 28 to the underwater restaurant at Level -01.


Hotel Apeiron – DubaiAcesta will be the second (self-declared) 7 star hotel in Dubai, which is still under design. Apeiron Hotel will be built on an island that was located approximately 400 m from the coast of Dubai, he will be able to reach only boats and helicopters. The two towers in the shape of Apeiron’s wings can accommodate 350 luxury suites and first two floors above will contain a thicket of butterflies and other insects. The total area of ​​200,000 square meters will be the hotel and its height is 185 m. Apeiron’s going to be a luxurious resort, equipped with private lagoons and beaches, shops, cinemas, art galleries and a restaurant, spa and an underwater gym.

Status: Concept
Estimated cost of project: $ 400,000,000

Atomium – Brussels, Belgium


The Atomium is a monument in Brussels, originally built for Expo '58, the 1958 Brussels World's Fair. Designed by André Waterkeyn, it stands 102 metres (335 ft) tall. It has nine steel spheres connected so that the whole forms the shape of a unit cell of an iron crystal magnified 165 billion times.
Tubes connect the spheres along the 12 edges of the cube and all eight vertices to the centre. They enclose escalators connecting the spheres containing exhibit halls and other public spaces. The top sphere provides a panoramic view of Brussels. Each sphere is 18 metres in diameter. Four spheres are currently (as of 2012) closed to visitors; others can be reached easily by escalators. The vertical vertex contains a lift which was very fast and advanced at the time of building (the speed is 5 m/s).

File:Minimundus117.jpg

Renovation
Renovation on the Atomium began in March 2004; it was closed to the public in October, and remained closed until February 18 2006. The renovations included replacing the faded aluminium sheets on the spheres with stainless steel. To help pay for renovations, the old aluminium was sold to the public as souvenirs. A triangular piece about 2 m long sold for €1,000.
The renovation includes revamped exhibition spaces, a restaurant, and a dormitory for visiting schoolchildren called "Kids Sphere Hotel" which features suspended plastic sphere towers. A €2 commemorative coin depicting the sculpture was issued in March 2006 to celebrate the renovation.

File:Atomium FlickR ctsnow.jpg

Post renovation
The Atomium is one of the most visited attractions in Brussels today. In 2008, the Atomium celebrated its 50th anniversary, with activities planned all year, including free admission for those turning 50 between April and October.


Location
The Atomium is located at 50°53′41″N 4°20′28″E, on Boulevard du Centenaire, beside the King Baudouin Stadium in Heysel Park. Just next to it are the Mini-Europe park and the Heysel/Heizel metro station.

Atomium (Brussels, Belgium)

Safety features
Three of the four uppermost spheres lack vertical support and hence are not open to the public for safety reasons, although the sphere at the pinnacle is open to the public. The original design called for no supports; the structure was simply to rest on the spheres. Wind tunnel tests proved that the structure would have toppled in an 80 km/h wind (140 km/h winds have been recorded in Belgium). Support columns were added to achieve enough resistance against overturning.


Worldwide copyright claims
SABAM, Belgium's society for collecting copyrights, has claimed worldwide intellectual property rights on all reproductions of the image via the United States Artists Rights Society (ARS) . For example SABAM issued a demand that a United States website remove all images of them from its pages. The website responded by replacing all such images with a warning not to take photographs of the Atomium, and that Asbl Atomium will sue if you show them to anyone. Sabam confirmed that permission is required.
Ralf Ziegermann remarked on the complicated copyright instructions on Atomium's website specific to "private pictures". The organisers of Belgian heritage, Anno Expo (planning the 50th anniversary celebrations of Expo '58), in the city of Mechelen announced a "cultural guerrilla strike" by asking people to send in their old photographs of the Atomium and requested 100 photoshoppers to paint over the balls. SABAM responded that they would make an exception for 2008 and that people could publish private photographs for one year only on condition they were for non-commercial purposes.
Anno Expo later announced they had censored part of their own report due to "complications" and referred to a meeting they had with SABAM. Mechelen's Mayor, Bart Somers, called the Atomium copyright rules absurd.
On February 23, 2009 Axel Addington, Web Content Manager for Atomium, e-mailed a clarification to the Glass Steel and Stone web site, which some years earlier redacted its photographs of the Atomium after being threatened. He stated, "The royalties are perceived (sic) by the descendants of Andre Waterkeyn, the engineer who conceived Atomium in 1955, and not by the A.S.B.L Atomium. So, you've probably been sued by the SABAM (Belgian Copyright Company) because of the Waterkeyn Family."
From the Atomium's website, the current copyright restrictions exempt private individuals under the following conditions,
There are some cases however where use of the image of the Atomium is not restricted by any rights. This is the case where photographs are taken by private individuals and shown on private websites for no commercial purpose (the current trend for photo albums), as long as these pictures are displayed at a low resolution (600 pixels maximum, resolution of 72dpi) to avoid abusive usage and downloads. However, the words "© www.atomium.be - SABAM 2010 - photographers name" must be included next to the image.


The Atomium by night, Brussels

The Atomium by night, Brussels

The Atomium in Brussels

The Atomium is located next to Mini-Europe park (which has miniatures of the famous monuments of EU at a scale of 1:25) beside the King Baudouin Stadium. It is a structure which represents a unit cell of an iron crystal. True to its representation, it has nine spheres made of steel (earlier it was made of aluminum) connected by tubes along the twelve edges of the cube. The structure is 334.6 ft. high with the spheres having diameter of 59 ft. Its stability is ensured by three bipods. The details of the spheres and the locations of the various attractions within the spheres are given in the image here. Please click on the image to enlarge.

The Atomium was built for Expo’1958 – the 1958 Brussels World fair in Belgium. It was designed by Andre Waterkeyn. (the central sphere has been named after him after his demise). The architects were Andre and Jean Polak. It was meant to last just for the Expo (from 17th April to 19th October 1958) but its popularity resulted in it being made permanent.  The structure is quite impressive. 
It is all the more impressive since the skyline is not spoiled by other tall structures. Inside, the tubes which connect the spheres contain escalators, exhibit halls et al. The top sphere affords an excellent panoramic view of the city including an aerial view of the stadium. Three of the upper spheres are closed to public for safety reasons – since they lack the requisite vertical support.


About the Spheres-
The top and central spheres are accessible only by lift. The others spheres can be accessed by the steep escalators and these cannot be accessed by people on wheelchairs. The base sphere (called Henri Storck sphere) has permanent exhibition dedicated to the fifties.  The central sphere has a bar. The kids sphere is meant for sleep overs for children from school. This is not open to the public. 
The Atomium was closed for nearly two years between 2004 and 2006 for renovation. This was when the aluminium sheets were replaced with steel ones. The interiors were also redone.


More about the Atomium (Atomium Statistics):
DIMENSION OF ATOMIUM:
Height – 102 metres
Weight – 2400 tons
SPHERES:
Surface – 1082 sq. metres / 240 sq. metres per level
Diametre – 18m
TUBES BETWEEN SPHERES:
20 Tubes
Diameter – 3m
Length – 18m or 23m
BIPODS:
Height – 35m
Steps -200
GROUNDFOOR:
Diameter – 26m
STEPS:
Steps up – 84
Steps Down – 187
Lift Speed – 5m/sec
Construction – 1958
Renovation – 2003-2006
How to get to the Atomium in Brussels –
By metro (subway) –  Get down at the Haysel/Heizal metro station on line 1A. This can taken from Station Brussels Central.
By Coach – Take the Brussels Ring Road, then to exit 8 and then follow the direction to Atomium. It’s well marked.
By car –  For GPS – Eeuwfeestlaan/Blvd. de Centenaire or Atomium Square
                                     B-1020 Brussels (Laken-Laeken)
Information about getting around in Brussels can be obtained from the following Link. 
Opening Hours – Open daily from 10 A.M to  6 P.M.
                              Atomium and Pavilion of Happiness – April – Oct. timings – 10 A.M to 7 P.M. (Thursdays – open till 10 P.M)
The 50th anniversary celebrations of Expo 58 will take place between April – October 2008.
Ticket Price – Ranges from Free (for Children less than 12 years, Bus drivers & Disabled persons) to € 9 for Adults. Seniors (over 65 years) – €  6.  The rates differ for groups. Minimum persons required to qualify as a group is 20. Pavilion of Happiness rate is € 5 for everyone. Combo tickets are also available for Pavilion of Temporary Happiness and Atomium.
For the 50th year commemoration of Expo’58, a number of activities based on the Theme “Brussels Happiness” is taking place.
 Atomium address – Atomium Square
                                          B-1020 Brussel (Laken)
                                          Tel. +32 (0) 2/475-47-75
Related Article: Pavilion of Temporary  Happiness ;
Tourist info and Transportation in Brussels, Belgium ;
Tourist spots in Bruges
Reference: Official site




Azadi Tower – Tehran, Iran


File:Azadi Monument.jpg

The Azadi Tower (Persian: برج آزادی‎, Borj-e Āzādi; translated: Freedom Tower), previously known as the Shahyād Āryāmehr (Persian: شهیاد آریامهر‎; English: King Memorial Tower), is the symbol of Tehran, the capital of Iran, and marks the entrance to the city.



Construction
The architect, Hossein Amanat, won a competition to design the monument, which combines elements of Sassanid and Islamic architecture. Amanat, a Baha'i, was driven from the country by the revolution against the Shah of Iran and the removal of religious pluralism. It is part of the Azadi cultural complex, located in Tehran's Azadi Square in an area of some 50,000 m². There are several fountains around the base of the tower and a museum underground. The iconic Monument des Martyrs in Algiers (built, 1982) shows a strong influence by this monument, in its general design as well as its details.
Built with white marble stone from the Esfahan region, there are eight thousand blocks of stone. The stones were all located and supplied by Ghanbar Rahimi, whose knowledge of the quarries was second to none and who was known as "Soltan-e Sang-e Iran" (Iran's Sultan of stone). The shape of each block was calculated by a computer, and programmed to include all the instructions for the building's work. The actual construction of the tower was carried out, and supervised by Iran's finest master stonemason, Ghaffar Davarpanah Varnosfaderani. The main financing was provided by a group of five hundred Iranian industrialists. The inauguration took place on October 16, 1971.


History
Built in 1971 in commemoration of the 2,500th anniversary of the Persian Empire, this "Gateway into Iran" was named the Shahyad Tower, meaning "Kings' Memorial", but was dubbed Azadi (Freedom) after the Iranian Revolution of 1979. It is 50 meters (148 ft) tall and completely clad in cut marble.


If you ever visit Iran then you must go and see the landmark of Iran’s capital -Tehran which is the Azadi Tower. It is situated at the entrance of the city and stands there like a watch tower that guards the whole city from above. It was designed by Hossein Amanat, a Canadian of Iranian origins who actually fled the country after the Revolution in 1979 and who won a contest organized for that occasion. The tower was supposed to be built in celebration of the 2500th anniversary of the Persian Empire, but it actually meant the end of the Pahlavi dynasty that was then ruling Iran. So the original name of the tower, “King’s memorial” changed into Azadi meaning Freedom.


The tower is 50 metres tall and it was finished in 1971, under the close surveillance of one of the best people in the field -Iran’s finest master stonemason, Ghaffar Davarpanah Varnosfaderani. The monument id made of huge blocks of white marble whose dimensions were calculated with the help of a computer, so that they could match perfectly. They used eight thousand blocks of marble that was brought from the Esfahan region, famous for its quarries.


File:1979 Iranian Revolution.jpg

File:Azadi tower.jpg

Baj Pomorski Theatre – Torun, Poland


History
The Baj Pomorski Theater was started thanks to Irena Pikiel-Samorewiczowa – an artist, painter, and repatriate from Vilnius who had come to Bydgoszcz in April 1945 possessing a document from The Ministry of Arts and Culture (dated April 1, 1945), entitling her to organize the first puppet theater in Pomerania. It was supposed to be a younger brother of Warsaw's Baj Theater, hence the name Baj Pomorski. The Bydgoszcz theater was situated in the city's slaughterhouse, which had functioned as a German marionette theater during Nazi occupation. On October 28, 1945 it performed its premiere for children – Ewa Szelburg-Zarembina's Little Wandering Taylor. The conditions of Bydgoszcz's stage did not, however, meet the needs of the young puppet theater. Therefore, I. Pikiel very willingly accepted the proposal for moving the headquarters of Baj Pomorski to Toruń. As early as April 1946 the Theater had been granted a building at 9 Piernikarska Street, which had previously belonged to the German Castle Theater during the war. It is in this beautiful location near the ruins of the Castle of The Teutonic Knights that the Theater has been performing till today – extending to the past sixty years.


The first actors of Baj Pomorski were students from The University of Nicholas Copernicus who, under the guidance of experienced actors and directors, took part in theatrical clinics and thereby unearthed the arcana of puppet animation. Work conditions were not easy. The theater had humble equipment at its disposal, yet it was actively involved in on-the-road performances not only in Pomerania, but also throughout nearly all over Poland. By then Baj Pomorski had already achieved its first success. In 1947, Joanna Piekarska, an artist and director, became the theater's artistic manager. She directed the performance entitled She-Cat's House which received 3rd prize at the 1st Festival of Russian and Soviet Plays in Warsaw in 1950. This achievement, as well as the theater's extensive activity, contributed to the nationalization of Toruń's puppet stage. At that time this meant that, on one hand, the institution would gain financial stability, while on the other, certain liberties for creativity, so inherent in pioneering activities, would have to cease.

Theater in 1960-1990
All the directors have left their ineffaceable expressions upon Toruń's puppet stage. It was when Stapf was the theater's acting director that the days of Baj Pomorski's artistic adolescence occurred. He was the one responsible for helping modernize the theater, making it into one of the best equipped stages in Poland; he displayed a premiere for adults (the first of its kind for the theater – a Polish preview puppet show of William Shakespeare's A Midsummer Night's Dream; he initiated the North Poland Puppet Theater Festival held in Toruń -- Pomerania's first event of this caliber.
During the Sixties, under Śmigielski's management, a further change was brought about in Baj Pomorski's image, from that of a traditional puppet stage to one of a theater seeking new forms of expression, open to Toruń's artistic life. It was during this time that the largest numbers of preview shows within the history of the theater were staged; ambitious spectacles (influenced by traditional folk theater) were created, and innovatory stage productions by contemporary regional authors were shown. The Club of Creative Circles Azyl, formed during that time, was a unique artistic phenomenon in Poland, making Baj Pomorski the center of cultural life and the venue for many a theatric initiative.


Thanks to Tadeusz Petrykowski the theater reanimated its cooperation with theater groups abroad, including those from the Czech Republic and Romania; it also increased its participation in Polish puppet festivals.
Konrad Szachnowski made his name in Baj's past by coming up with a modern concept for staging theatrical classics. His preview puppet show of Fernando de Rojas’ Celestine found its place in Polish puppet theater's historic lore by using an amazingly creative theatrical idea involving supermarionnette and trashy theater.
The eight years of Antoni Słociński's management resulted in the development of theatrical education programs for children; besides this the theater began to mark its presence at international festivals, with cooperation with German (mainly in Göttingen – one of Toruń's partner cities) and Czech theaters, growing stronger in the process.
The following directors – Krzysztof Arciszewski and Wojciech Olejnik – presumably continued to expand upon programs based upon previously developed images of the theater. An important modification introduced during that time was the transformation of the theater into an institution financed by the City of Toruń.


Theater after 1990
Further development of Baj Pomorski occurred under the management of Czesław Sieńko. This was the era democracy being stabilized in Poland, the executive branch of the government undergoing structural changes, and transformation sweeping throughout all areas of economy, culture and social life. The repertoire included stage productions of the most interesting novels for children and teenagers which had up until then been absent from thespian arts. The theater took its first steps in promoting new European literature for children. Innovatory scenographic suggestions taught audiences based on one's involvement in the performance. Never before in its history had Baj Pomorski spectacles received so many awards and honors. In 1994 Sieńko initiated Toruń's Meetings of Puppet Theaters. In 1999 this evolved to become Toruń's International Meetings of Puppet Theaters which has become a perpetual event in Toruń's puppet stage activity. Toruń's International Meetings of Puppet Theaters is one of the few events of this type and size in Poland. It is held in October on a yearly basis. Throughout this week of contests and challenges one can see the most interesting theaters from around the world--masters of puppetry, artists nurturing the tradition of the puppet theater, and groups searching and experimenting within the nature of the loosely termed animation theater. Eleven events have been held thus far, confirming the high rank of the festival from a list of theatrical events both within and beyond Poland.
The present director of Baj Pomorski has since made Toruń's puppet stage into an open theater, vividly responding to the city's needs and present-day trends. Its message, though targeted mostly at children and teenagers, is intended to reach every student and adult. Hopes for the coming years are for the modernization and development of the theater's main building. Planned on a wide scale it will change its look, making it one of Poland's most modern and interesting stages, and not only from the architectural point of view. By giving the building the characteristics of an enormous, magical, theatrical wardrobe it will be transformed into a place where, for both Toruń's residents and tourists alike, it can serve as the locale for interplay, wherein the mysteries of its theater and the beauty of its architecture enwrap together the Old and New Town settings.

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