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Accelerating Digital Trade
Geneva - Switzerland, 25-29 January 2021.
Copyright ©️ World Economic Forum/Pascal Bitz
Hanzade Dogan Boyner, Chairwoman, Hepsiburada, Turkey
Al Kelly Jr, Chief Executive Officer and Chairman, Visa, USA; International Business Council
Eric Yuan, Founder and Chief Executive Officer, Zoom, USA
Moderated by
Richard Quest, Anchor, Quest Means Business, CNN International, USA
Facilitated by
Sean Doherty, Head, International Trade and Investment, World Economic Forum
With
Mukhisa Kituyi, Secretary-General, United Nations Conference on Trade and Development (UNCTAD), Geneva
Accelerating Net-Zero Carbon Markets
Tim Christophersen, Vice-President, Climate Action, Salesforce, USA; Antonia Gawel, Head, Climate Action; Deputy Head, Platform for Public Goods, World Economic Forum
Copyright: World Economic Forum/Jeffery Jones
Sustainable Development Impact Meetings, New York, USA 19 - 23 September
After a brief slow order by a work zone, PT-98 notches it up as it approaches the Main St. crossing in Gouldsboro.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Mercedes SLS AMG Coupe Electric Drive
With the new Mercedes-Benz SLS AMG Coupé Electric Drive, Mercedes-AMG is entering a new era: the locally emission-free super sports car featuring advanced technology from the world of Formula 1 is the most exclusive and dynamic way in which to drive an electric car. The most powerful AMG high-performance vehicle of all time has four electric motors producing a total output of 552 kW and a maximum torque of 1000 Nm. As a result, the gullwing model has become the world's fastest electrically-powered series production vehicle: the Mercedes-Benz SLS AMG Coupé Electric Drive accelerates from zero to 100 km/h in 3.9 seconds.
A new dimension of driving performance - a convincing synonym for the AMG brand promise are the outstanding driving dynamics which come courtesy of AMG Torque Dynamics as well as torque distribution to individual wheels, which is made possible by means of wheel-selective all-wheel drive. The most "electrifying" gullwing model ever has been developed in-house by Mercedes-AMG GmbH. The high-voltage battery for the SLS AMG Coupé Electric Drive is the result of cooperation between Mercedes-AMG and Mercedes AMG High Performance Powertrains in Brixworth (GB). This is an area in which the British Formula 1 experts were able to contribute their extensive know-how with KERS hybrid concepts.
"The SLS AMG Coupé Electric Drive is setting new standards for cars with electric drives. As the most powerful gullwing model ever, it is also representative of the enduring innovational strength of Mercedes-AMG. Our vision of the most dynamic electric vehicle has become a reality. With the help of our colleagues at Mercedes AMG High Performance Powertrains in Brixworth, we are bringing exciting advanced technology from the world of Formula 1 to the road", according to Ola Källenius, Chairman of the Board of Management of Mercedes-AMG GmbH.
Mercedes SLS AMG Coupe Electric Drive (2014)
2014 Mercedes-Benz SLS AMG Coupe Electric Drive
Pioneering, visionary, electrifying: the powerful and locally emission-free super sports car with electric drive also embodies the development competence of Mercedes-AMG GmbH. With this innovative and unique drive solution, AMG - as the performance brand of Mercedes-Benz - is demonstrating its technological leadership in this segment. The Mercedes-Benz SLS AMG Coupé Electric Drive is aimed at technology-minded super sports car fans who are open to new ideas and enthusiastic about ambitious high-tech solutions for the future of motoring.
Enormous thrust thanks to 1000 Nm of torque
The pioneering drive package in the SLS AMG Coupé Electric Drive is impressive and guarantees a completely innovative and electrifying driving experience: enormous thrust comes courtesy of four synchronous electric motors providing a combined maximum output of 552 kW and maximum torque of 1000 Nm. The very special gullwing model accelerates from zero to 100 km/h in 3.9 seconds, and can reach a top speed of 250 km/h (electronically limited). The agile response to accelerator pedal input and the linear power output provide pure excitement: unlike with a combustion engine, the build-up of torque is instantaneous with electric motors - maximum torque is effectively available from a standstill. The spontaneous build-up of torque and the forceful power delivery without any interruption of tractive power are combined with completely vibration-free engine running characteristics.
The four compact permanent-magnet synchronous electric motors, each weighing 45 kg, achieve a maximum individual speed of 13,000 rpm and in each case drive the 4 wheels selectively via a axially-arranged transmission design. This enables the unique distribution of torque to individual wheels, which would normally only be possible with wheel hub motors which have the disadvantage of generating considerable unsprung masses.
Powerful, voluminous, dynamic, emotional and authentic: the characteristic sound of the Mercedes-Benz SLS AMG Coupé Electric Drive embodies the sound of the 21st century. After an elaborate series of tests as well as numerous test drives, the AMG experts have created a sound which captures the exceptional dynamism of this unique super sports car with electric drive. Starting with a characteristic start-up sound, which rings out on pressing the "Power" button on the AMG DRIVE UNIT, the occupants can experience a tailor-made driving sound for each driving situation: incredibly dynamic when accelerating, subdued when cruising and as equally characteristic during recuperation. The sound is not only dependent on road speed, engine speed and load conditions, but also reflects the driving situation and the vehicle's operating state with a suitable driving noise. Perfect feedback for the driver is guaranteed thanks to a combination of the composed sound, the use of the vehicle's existing inherent noises and the elimination of background noise - this is referred to by the experts as "sound cleaning". The impressive sound comes courtesy of the standard sound system with eleven loudspeakers.
Advanced Formula 1 technology: high-voltage lithium-ion battery
Battery efficiency, performance and weight: in all three areas Mercedes-AMG is setting new standards. The high-voltage battery in the SLS AMG Coupé Electric Drive boasts an energy content of 60 kWh, an electric load potential of 600 kW and weighs 548 kg - all of which are absolute best values in the automotive sector. The liquid-cooled lithium-ion high-voltage battery features a modular design and a maximum voltage of 400 V.
Advanced technology and know-how from the world of Formula 1 have been called on during both the development and production stages: the battery is the first result of the cooperation between Mercedes-AMG GmbH in Affalterbach and Mercedes AMG High Performance Powertrains Ltd. Headquartered in Brixworth in England, the company has been working closely with Mercedes-AMG for a number of years. F1 engine experts have benefited from its extensive expertise with the KERS hybrid concept, which made its debut in the 2009 Formula 1 season. At the Hungarian Grand Prix in 2009, Lewis Hamilton achieved the first historic victory for a Formula 1 vehicle featuring KERS hybrid technology in the form of the Mercedes-Benz KER System. Mercedes AMG High Performance Powertrains supplies the Formula 1 teams MERCEDES AMG PETRONAS, Vodafone McLaren Mercedes and Sahara Force India with Mercedes V8 engines and the KERS.
The high-voltage battery consists of 12 modules each comprising 72 lithium-ion cells. This optimised arrangement of a total of 864 cells has benefits not only in terms of best use of the installation space, but also in terms of performance. One technical feature is the intelligent parallel circuit of the individual battery modules - this helps to maximise the safety, reliability and service life of the battery. As in Formula 1, the battery is charged by means of targeted recuperation during deceleration whilst the car is being driven.
High-performance control as well as effective cooling of all components
A high-performance electronic control system converts the direct current from the high-voltage battery into the three-phase alternating current which is required for the synchronous motors and regulates the energy flow for all operating conditions. Two low-temperature cooling circuits ensure that the four electric motors and the power electronics are maintained at an even operating temperature. A separate low-temperature circuit is responsible for cooling the high-voltage lithium-ion battery. In low external temperatures, the battery is quickly brought up to optimum operating temperature with the aid of an electric heating element. In extremely high external temperatures, the cooling circuit for the battery can be additionally boosted with the aid of the air conditioning. This also helps to preserve the overall service life of the battery system.
Quick charge function via special wall box
Ideally the Mercedes-Benz SLS AMG Coupé Electric Drive is charged with the aid of a so-called wall box. Installed in a home garage, this technology provides a 22 kW quick-charge function, which is the same as the charging performance available at a public charging station. A high-voltage power cable is used to connect the vehicle to the wall box, and enables charging to take place in around three hours. Without the wall box, charging takes around 20 hours. The wall box is provided as an optional extra from Mercedes-AMG in cooperation with SPX and KEBA, two suppliers of innovative electric charging infrastructures for the automotive industry.
Eight-stage design for maximum safety
To ensure maximum safety, the SLS AMG Coupé Electric Drive makes use of an eight-stage safety design. This comprises the following features:
•all high-voltage cables are colour-coded in orange to prevent confusion
•comprehensive contact protection for the entire high-voltage system
•the lithium-ion battery is liquid-cooled and accommodated in a high-strength aluminium housing within the carbon-fibre zero-intrusion cell
•conductive separation of the high-voltage and low-voltage networks within the vehicle and integration of an interlock switch
•active and passive discharging of the high-voltage system when the ignition is switched to "off"
•in the event of an accident, the high-voltage system is switched off within fractions of a second
•continuous monitoring of the high-voltage system for short circuits with potential compensation and insulation monitors
•redundant monitoring function for the all-wheel drive system with torque control for individual wheels, via several control units using a variety of software
By using this design, Mercedes-AMG ensures maximum safety during production of the vehicle and also during maintenance and repair work. Of course the Mercedes-Benz SLS AMG Coupé Electric Drive also meets all of the statutory and internal Mercedes crash test requirements.
All-wheel drive with AMG Torque Dynamics enables new levels of freedom
Four motors, four wheels - the intelligent and permanent all-wheel drive of the SLS AMG Coupé Electric Drive guarantees driving dynamics at the highest level, while at the same time providing the best possible active safety. Optimum traction of the four driven wheels is therefore ensured, whatever the weather conditions. According to the developers, the term "Torque Dynamics" refers to individual control of the electric motors, something which enables completely new levels of freedom to be achieved. The AMG Torque Dynamics feature is permanently active and allows for selective distribution of forces for each individual wheel. The intelligent distribution of drive torque greatly benefits driving dynamics, handling, driving safety and ride comfort. Each individual wheel can be both electrically driven and electrically braked, depending on the driving conditions, thus helping to
•optimise the vehicle's cornering properties,
•reduce the tendency to oversteer/understeer,
•increase the yaw damping of the basic vehicle,
•reduce the steering effort and steering angle required,
•increase traction,
•and minimise ESP® and ASR intervention.
The AMG Torque Dynamics feature boasts a great deal of variability and individuality by offering three different transmission modes:
•Comfort (C): comfortable, forgiving driving characteristics
•Sport (S): sporty, balanced driving characteristics
•Sport plus (S+): sporty, agile driving characteristics
AMG Torque Dynamics enables optimum use of the adhesion potential between the tyres and the road surface in all driving conditions. The technology allows maximum levels of freedom and as such optimum use of the critical limits of the vehicle's driving dynamics. Outstanding handling safety is always assured thanks to the two-stage Electronic Stability Program ESP®.
"AMG Lightweight Performance" design strategy
The trailblazing body shell structure of the Mercedes-Benz SLS AMG Coupé Electric Drive is part of the ambitious "AMG Lightweight Performance" design strategy. The battery is located within a carbon-fibre monocoque which forms an integral part of the gullwing model and acts as its "spine". The monocoque housing is firmly bolted and bonded to the aluminium spaceframe body. The fibre composite materials have their roots in the world of Formula 1, among other areas. The advantages of CFRP (carbon-fibre reinforced plastic) were exploited by the Mercedes-AMG engineers in the design of the monocoque. These include their high strength, which makes it possible to create extremely rigid structures in terms of torsion and bending, excellent crash performance and low weight. Carbon-fibre components are up to 50 percent lighter than comparable steel ones, yet retain the same level of stability. Compared with aluminium, the weight saving is still around 30 percent, while the material is considerably thinner. The weight advantages achieved through the carbon-fibre battery monocoque are reflected in the agility of the SLS AMG Coupé Electric Drive and, in conjunction with the wheel-selective four-wheel drive system, ensure true driving enjoyment. The carbon-fibre battery monocoque is, in addition, conceived as a "zero intrusion cell" in order to meet the very highest expectations in terms of crash safety. It protects the battery modules inside the vehicle from deformation or damage in the event of a crash.
The basis for CFRP construction is provided by fine carbon fibres, ten times thinner than a human hair. A length of this innovative fibre reaching from here to the moon would weigh a mere 25 grams. Between 1000 and 24,000 of these fibres are used to form individual strands. Machines then weave and sew them into fibre mats several layers thick, which can be moulded into three-dimensional shapes. When injected with liquid synthetic resin, this hardens to give the desired structure its final shape and stability.
Optimum weight distribution and low centre of gravity
The purely electric drive system was factored into the equation as early as the concept phase when the super sports car was being developed. It is ideally packaged for the integration of the high-performance, zero-emission technology: by way of example, the four electric motors and the two transmissions can be positioned as close to the four wheels as possible and very low down in the vehicle. The same applies to the modular high-voltage battery. Advantages of this solution include the vehicle's low centre of gravity and balanced weight distribution - ideal conditions for optimum handling, which the electrically-powered gullwing model shares with its petrol-driven sister model.
New front axle design with pushrod damper struts
The additional front-wheel drive called for a newly designed front axle: unlike the series production vehicle with AMG V8 engine, which has a double wishbone axle, the SLS AMG Coupé Electric Drive features an independent multi-link suspension with pushrod damper struts. This is because the vertically-arranged damper struts had to make way for the additional drive shafts. As is usual in a wide variety of racing vehicles, horizontal damper struts are now used, which are operated via separate push rods and transfer levers. Thanks to this sophisticated front-axle design, which has already been tried and tested in the world of motorsport, the agility and driving dynamics of the Mercedes-Benz SLS AMG Coupé Electric Drive attain the same high levels as the V8 variant. Another distinguishing feature is the speed-sensitive power steering with rack-and-pinion steering gear: the power assistance is implemented electrohydraulically rather than just hydraulically.
AMG ceramic composite brakes for perfect deceleration
The SLS AMG Coupé Electric Drive is slowed with the aid of AMG high-performance ceramic composite brakes, which boast direct brake response, a precise actuation point and outstanding fade resistance, even in extreme operating conditions. The over-sized discs - measuring 402 x 39 mm at the front and 360 x 32 mm at the rear - are made of carbon fibre-strengthened ceramic, feature an integral design all round and are connected to an aluminium bowl in a radially floating arrangement.
The ceramic brake discs are 40 percent lighter in weight than the conventional, grey cast iron brake discs. The reduction in unsprung masses not only improves handling dynamics and agility, but also ride comfort and tyre grip. The lower rotating masses at the front axle also ensure a more direct steering response - which is particularly noticeable when taking motorway bends at high speed.
Exclusive, high-quality design and appointments
Visually, the multi-award-winning design of the SLS AMG is combined with a number of specific features which are exclusive to the Electric Drive variant. The front apron has a striking carbon-look CFRP front splitter which generates downforce on the front axle. The radiator grille and adjacent air intakes adorn special areas painted in the vehicle colour and with bionic honeycomb-shaped openings. They are not only a visual highlight but, thanks to their aerodynamically optimised design, also improve air flow over the cooling modules mounted behind them. Darkened headlamps also impart a sense of independence to the front section. Viewed from the side, the "Electric Drive" lettering stands out on the vehicle side, as do the AMG 5-twin-spoke light-alloy wheels with their specific paint design. The SLS AMG Electric Drive comes as standard with 265/35 R 19 tyres on the front and 295/30 R 20 tyres on the rear. The overall look is rounded off to dynamic effect by the new diffuser-look rear apron, and the darkened rear lamps. One feature reserved exclusively for the SLS AMG Coupé Electric Drive is the "AMG electricbeam magno" matt paint finish. A choice of five other colours is available at no extra cost.
When the exterior colour AMG electricbeam magno is chosen, the high-quality, sporty interior makes use of this body colour for the contrasting stitching - the stitching co-ordinates perfectly with designo black Exclusive leather appointments. AMG sports seats and numerous carbon-fibre trim elements in the interior underscore the exclusive and dynamic character of what is currently the fastest electric car. Behind the new AMG Performance steering wheel there is a newly designed AMG instrument cluster: instead of a rev counter, there is a power display providing information on the power requirements, recuperation status, transmission modes and battery charge.
AMG Performance Media as standard
The AMG DRIVE UNIT comprises the electronic rotary switch for selecting the three transmission modes of "C" (Controlled Efficiency), "S" (Sport) and "S+" (Sport plus), which the driver can use to specify different performance levels from the electric motors, which in turn also changes the top speed and accelerator pedal response. Behind the buttons for "power" and "ESP On/Off", there are also buttons for AMG Torque Dynamics and AMG Setup.
In addition to carbon-fibre exterior mirrors, AMG carbon-fibre engine compartment cover, COMAND APS, Media Interface, Blind Spot Assist and reversing camera, the standard equipment also includes the AMG Performance Media system. Besides full high-speed mobile internet access, the system provides information on engine performance, lateral and longitudinal acceleration, tyre pressure, vehicle setup and lap times, as well displaying a variety of additional information such as:
•vehicle energy flow
•battery charge status
•burrent range
•AMG Torque Dynamics
•temperatures of the battery and motors
•energy consumption kWh/100 km
The Mercedes-Benz SLS AMG Coupé Electric Drive will be celebrating its market launch in 2013. The price in Germany (incl. 19% VAT) will be 416,500 EUR.
IT-Academy, a software development training business based at ololoHaus, Osh. For IT-Academy, a project of the Kyrgyz Software and Services Developers Association (KSSDA), whose slogan is “Live in Kyrgyzstan, work with the world”, ololo's regional expansion was a reason to change its office to a space in ololohausOsh to join a community sharing its values. Young people study programming and after graduating earn up to US $500, which is 2.3 times more than the average salary in the country.
“IT-Academy's goal is to educate 50,000 programmers in Kyrgyzstan by the end of 2030. When ololo opened a space in Osh we moved here from another place as we share the same values”, says KSSDA chairman, Azis Abakirov.
Accelerate Prosperity is a new global initiative of the Aga Khan Development Network (AKDN) in Central and South Asia and provides technical expertise, creative financing solutions and market connections for small and growing businesses.
AP aims to inspire rising entrepreneurs in emerging regions to grow new markets, create sustainable employment, and strengthen communities.
AP’s first project in Kyrgyzstan in 2018 was the establishment of one of Osh’s first co-working space, ololoHaus, Osh. Supported by USAID grant of $35,000, AP worked with a local entrepreneur to create a new space to help incubate and grow small to medium sized enterprises. ololoHaus, Osh, currently houses a software development training business called IT-Academy, a dentistry design business amongst others, and Som.kg, a local version of Craigslist amongst others.
Scientists attribute the universe's accelerating expansion to "dark energy," something today they understand very little about. Work is underway among nearly 40 institutions and companies collaborating to build the Large Synoptic Survey Telescope (LSST), which will enable them to see the far reaches of the universe to learn more about dark energy by observing its effects in deep space. Outfitted with world's largest-ever digital camera—including a 3,200 megapixel sensor being developed at Brookhaven Lab—the LSST will capture light from stars 100 million times dimmer than the dimmest star visible to the naked eye and with a wide-angle view, so the entire night sky can be surveyed far more quickly than what's possible with other advanced telescopes today.
Shown here is scientist Paul O'Connor with the "camera pathfinder" apparatus he and collaborators use to test, debug, and optimize integrated sensors, electronics, and cooling modules in a configuration similar to the yet-to-be-built final 3,200 megapixel LSST camera.
From left to right: Accelerator Physicist Alex Bogacz, Old Dominion University Graduate Student Alex Coxe, and Staff Scientist II Ryan Bodenstein pose for a photograph inside the Department of Energy's Thomas Jefferson National Accelerator Facility SRF Test Lab on Thursday, Sept. 8, 2022. (Photo by Aileen Devlin | Jefferson Lab)
Bogacz and his research team worked on a design that would allow the lab to double the maximum energy of the Continuous Electron Beam Accelerator Facility (CEBAF) to offer new experimental possibilities — from 12 GeV to around 24 GeV.
From reception areas to open environments, Accelerate is a complete system solution with a focus on maximizing time, quality and style. The concise and versatile product selection simplifies ordering, expedites delivery and leads to a more affordable workspace solution. Accelerate your speed of business, and be ready for anything. Learn more hon.com/products/workstations/accelerate.aspx
Accelerating Climate Action through Philanthropic-Public-Private-Collaboration
Gim Huay Neo, Managing Director, Centre for Nature and Climate, World Economic Forum; Ray Dalio, Founder, Co-Chairman and Co-Chief Investment Officer, Bridgewater Associates, USA; Frans Timmermans, Executive Vice-President for the European Green Deal, European Commission; Klaus Schwab, Founder and Executive Chairman, World Economic Forum
Copyright: World Economic Forum/Jeffery Jones
Sustainable Development Impact Meetings, New York, USA 19 - 23 September
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Our family friend, John, has what he calls his funeral suit. I suppose we are now reaching the point where I need one too. In fact, I have lost several friends, former colleagues from The Mob, something that will accelerate as the years pass.
Last week, I noticed that a friend of mine on Flickr, Günter, had not commented on any shots for a few weeks. He used to leave funny one sentence comments that almost always brought a smile.
The latest shot on his photostream was of a fresh grave.
His.
Sadly, Günter passed away on New Year's Day, and his family posted this last shot to let the world know. Or his friends, anyway.
We had visited his and his wife in Bonn, and he had come to stay with us too, we share interests in railways, photography and beer.
It came quite a shock I can tell you.
Online, people come and go, mostly without fanfare or announcement. One day they are there, and then they're not. Did they just get fed up, or something more terminal?
Most of the time, we'll never know.
I am lucky in that I have met many online friends in real life, sometimes here in Kent, but also in the US too, so know they are more than screen names and photos, but real people with lives, who are pretty much as wonderful as their online presence would have you believe.
Life goes on, of course, but I will miss Günter, and sad for the fact we will not raise beers in a friendly toast to each other.
We woke at half six, I went to the bathroom and looked out the window. Still too early for birds, but there wasn't a breath of wind either, nor any cars to be seen moving. So it looked like someone had paused time.
Cleo is perpetual motion, however, and coming downstairs revealed her to be always on the move until her food is placed just where she wants it.
I went to Tesco by myself, with a list as long as a long thing, while Jools stayed behind and fed the hungry washing machine two loads of dirty laundry. Good news is that Tesco was fully stocked with fresh produce, including raspberries from Spain. We like them for breakfast at weekends, its a hard habit to break.
Back home to unload and make breakfast; fruit and yogurt followed by warmed croissants.
Jools said she had been sitting all week, so would not come with me to go churchcrawling, so I go on me tod, driving up the M20 to Maidstone, to revisit All Saints church, where I had not been for over 12 years. I had checked Google, and it said the church would be open from 10:00.
I timed it to arrive dead on ten. I parked the car opposite, and dodged traffic to get over the main road, I went to the first door only to find it locked. But a sign suggested there were two more possible ways in, so walked round, checked the north door, and that was locked too. That only left the west door, under the tower, to try. That was ajar, so my hopes lifted. Only to find the inner door locked.
Maybe I was too early?
A lady came in, I asked about the church. She said she was a bellringer, and disappeared up the steps to the ringing loft, where sounds of poorly rung bells could be heard.
I went round the church one more time, ending back at the west door, and again all way in were locked.
Sigh.
But there was a runners up prize; a church on the edge of town, in what used to be a village, at Bearsted. THe sat nav told me it was just a ten minute drive away.
So, I drove across town, through the crazy one-ways system, out the other side and along to Bearsted, where there were ancient timber framed houses, so old they had settled over the centuries into strange angles, none of which were right ones.
I found church lane, which wound its way through a modern housing estate, parked outside the churchyard, and I could see a nice "church open" sign before I got out.
Although it looked splendid from the outside, inside it had been reordered at least twice, so that any ancient features were well hidden indeed. Even the glass, usually a rescuing act for over restored churches, were either just average or poor here. But it was my first visit here, so another tick in the box.
I now had to get home, as Jools is joining the speaking circuit, as a lady has asked Jools to lead classes in beaded jewellery making.
I hightailed it back to the motorway, and once on, settled down to cruise back down to Dover and home, getting back at half twelve, with an hour to spare before Jools had to leave for the class.
So, it was just me an the cats for a few hours. There was football to entertain me, so I sat beside Scully on the sofa and watched the Championship game while she dozed beside me.
At three, it was time to concentrate on Norwich away at Millwall, one of six teams above us, and a win here would put us back in the play-offs. It was an exciting game, Millwall took the lead, only for City to level before half time, and then score two more early in the 2nd half. Millwall pulled one back in the last ten minutes, but we hung on to win 3-2.
Not perfect, but a win at the New Den where they had been unbeaten since September. And then, along came Nodge.
Dinner was a rushed one of pizza and iced squash, as we were going out to a gig.
Lawrence was the singer in an indie band in the 80s called Felt. He then formed Denim, an ironic pop band for the 90s, which also stiffed. He now fronts Mozart Estate, which does a fine line in ironic pop. Still.
We drive over th Ramsgate, to a small venue called The Music Hall. We were early, but got in, and went to the bar where we chatted to a couple about our age about music. In fact, most folks were about "our age".
First up was a young female singer/songwriter, who strummed her guitar along to her 6th form poetry.
The hall, which was barley bigger than our living room was about 50% full, but comfortable. We went to find somewhere to sit, thinking that the bar would be empty, only to find it rammed with more people than when we left it half an hour before.
We went to get some air, and finding nowhere to sit, went to the car.
Jools was shattered and fell asleep, and I really did not feel like being rammed into that room unable to see the band, and not able to lean against a wall to rest my back.
I said we'd go home.
So we did.
I don't regret it.
We got back at ten, Jools went to bed, while I had a glass of sloe port.
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One of the widest churches in Kent, dating from the late fourteenth century when it was granted a College of Canons whose buildings still exist nearby. The tower, which stands to the south of the nave, originally had a tall spire, but this was struck by lightning in 1730 and not replaced. The breathtaking scale of the interior - an aisled nave of six bays, chancel and chapels, is somewhat compromised by the severe wooden roofs inserted by John Loughborough Pearson who restored the church in 1886. A good set of Victorian stained glass includes work by Clayton and Bell, Wailes (1861) and Capronnier (1872). The twenty stalls have excellent misericords, mostly showing coats of arms of those associated with the college. Archbishop William Courtenay (d. 1396) is possibly buried in the chancel, and a brass indent to him survives. Set into the fine sedilia is the tomb of John Wotton (d. 1417), the first master of the college. It incorporates a painting of Wotton being presented to Our Lady. Nearby are graffiti associated with the game of noughts and crosses! There are many other monuments including one to John Astley (d. 1639) by court sculptor Edward Marshall. It depicts two men and women in their shrouds. Astley was Master of the Revels to King James and King Charles. There is also a memorial to Sir Charles Booth (d. 1795) signed by Nollekens.
www.kentchurches.info/church.asp?p=Maidstone+1
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THE TOWN AND PARISH OF MAIDSTONE.
SOUTH-WESTWARD from Gillingham, the parish of Boxley only intervening, lies the parish and town of Maidstone, concerning the antient name which writers have greatly differed.
Nennius, in his catalogue of the cities of Britain, tells us, this place was called by the Britons, Caer Meguiad, or as others have it, Megwad, no doubt corruptly for Medwag. Camden, (fn. 1) Burton, (fn. 2) Gale, and some few other historians, have supposed it to have been the Roman station, called by Antonine in his Itinerary, Vagniacœ; a name taken from the river here, at that time called Vaga; for this purpose they read the distances of the second iter of Antonine A Vallo ad portum Ritupis, as follows: A Londinio, Noviomago, M. P. X. Vagniacis, M. P. XVIII. Durobrovi M. P. IX. If this place was the Vagniacæ of the Romans, and the above numbers are right, it is situated much about the above distance from Keston, and not quite so much from Crayford, both which have been conjectured to have been the antient Noviomagus; the distance of it from Durobrovis, or Rochester, will ansswer tolerably well. The word Vagniacœ, is supposed by a learned etymologist, (fn. 3) to have been corrupt written in the Itinerary for Maduicœ, which is the same as Med-wœge in the Saxon, and Madüogüiso, in the British tongue; hence in process of time it can to be called Madis and ad Madum, (fn. 4) the river being called Mada and Madus. The Saxons afterwards called led it Medwegston and Medweaggeston; i.e. Maduiacis oppidum, according to Baxter; in English, Medway's town, which name is written, by contraction, in Domesday, Meddestane, as it is at present Maidstone.
THE PARISH of Maidstone is most advantageously situated near the banks of the river Medway, which directs its course through it, being navigable by the contrivance of locks here and for many miles higher up, as far as Tunbridge town. Over the river here there is an unsightly ancient stone bridge of seven arches, supposed to have been first erected by some of the archbishops, lords of the manor. It was repaired in king James I.'s reign by an assessment on the town and parish, but it still remains both narrow and inconvenient. The town is built on the two opposite hills, rising immediately from the banks of the river, but the principal part is on the eastern one, beyond which the hill rises still further to Pinenden heath, part of which is within this parish, which there joins to those of Boxley and Detling. The soil is exceedingly fertile, being in general a loam, thinly spread over an entire bed of quarry stone, commonly called Kentish rag-stone, excepting towards the eastern parts of it, where it becomes a deep sand; in the south east part of it, about Sheppard's-street and Gould's, there is some coppice wood, beyond which are the hamlets of Broadway, Willington-street, and part of Maginford, within the bounds of this parish. The meadows, on the banks of the Medway, are much subject to be flooded by the sudden risings of it, after heavy rains, to the height of several feet perpendicular, but which as suddenly subside. Above the town the course of the river, though it narrows considerably above the lock, just above the bridge, is yet beautiful, and retains a depth of water of near from twelve to fourteen feet; about a mile above the town, near the hamlets of Upper and Lower Tovil, the stream, which rises at Langley, having supplied a chain of mills, flows into the Medway; the former hamlet is situated on an eminence, commanding a pleasing view; the Ana baptists have, in this romantic and rocky situation, made a burial place for their fraternity. At a small distance higher up the river, though on the opposite bank, is the hamlet of Fant, the principal house of which, called Fant house, is the property of Mr. Fowle, who resides in it; and near it a pleasant seat, close to the river, which belongs to Robert Salmon, esq. of Eyhorne-street. In all this vicinity the banks of the river continue highly ornamented with spread ing oaks, while the country round wears an appearance equal to that of a garden, in its highest state of cultivation. The soil, not only adjoining the town, but throughout the neighbourhood of it, is remarkably kind for hops, orchards of fruit, and plantations of filberds, consequently those, especially of the former round it, are very large, and the crops of them abundant, owing to the peculiar nourishment and warmth afforded to the roots of the plants, from the fibres of them penetrating the crevices of the rock. Great part of the wealth and prosperity of Maidstone has arisen from the hop trade, most of the inhabitants of every degree having some hop ground, and many estates have been raised by them from this commodity, which is supposed to have been planted here about the time of the Reformation; sooner than in any other part of this county.
THE TOWN of Maidstone is pleasantly situated, about the middle of the county, thirty-five miles from London, and somewhat more from Dover. It is happily screened by the surrounding hills, arising from the beautiful vale, through which the Medway runs beneath. It is justly noticed for the dryness of its soil and its excellent water, and consequently for its healthiness, its ascent keeping it continually clean and dry. The state of this town, in queen Elizabeth's reign, may be known by the return made to her in the 8th year of it, of the several places in this county where there were any boats, shipping, &c. by which it appears, that there were then here a mayor and aldermen, houses inhabited, 294; landing places, 4; ships and hoys, 5; one of 30 tons, one of 32, one of 40, and one of 50; and persons wholly occupied in the trade of merchandize, 22; since which this town has been continually increasing in size, inhabitants, and wealth, owing to the introduction of the hop-plant, as has been already noticed, the several charters which have been granted to it, and the navigation of the river Medway; insomuch that the houses are now computed to be in number fifteen hundred, and the population of it is said to have increased at this time to upwards of six thousand inhabitants, near one half of which are non-conformists to the established church, both Presbyterians and Anabaptists, each of whom have their respective meeting houses of worship in the town, which dissension in matters of religion unhappily extends to politics, and from the heat of parties, destroys much of that social intercourse and harmony which would otherwise unite the inhabitants of this flourishing town. The principal parts of it stand on the side of a hill, declining towards the west and south; it extends about a mile from north to south, and not quite three quarters from east to west. It was new paved, lighted, and otherwise improved in 1792, in consequence of an act passed the year before for that purpose; though the buildings in it are in general antient, yet there are several handsome modern ones, inhabited by genteel families; and the spacious breadth of the High-street carries with it a grand and at the same time a lightsome and cheerful appearance. The town consists of four principal streets, which intersect each other at the market cross, having several smaller ones leading out of them. The cross, on the top of this building, which is an octagon, though the name still remains, has been some time since taken down. It is now used for a fishmarket, and was formerly called the Corn cross, hav ing been made use of as a corn market till the upper court-house was built for that purpose about the year 1608, by an assessment on the town.
On account of its convenient situation for transacting the public business of the county, it has long been reputed the county or shire town. Near the upper end of the High-street, which is remarkably spacious, leading down to the bridge, besides the upper court hall above mentioned, is a more modern one, a handsome building of stone and brick, built not many years ago at the joint expence of the corporation and the justices of the western division of the county; the former making use of it to transact their public business in, as the latter do whenever the public business of the county requires the use of it. In it are likewise held the assizes for the county, the general quarter sessions for the western parts of Kent, the county meetings for the choice of candidates, to represent the county in parliament, and every other public business relating to it; which right of the justices and inhabitants of the county, to hold their meetings, &c. in it, was settled at the building of it, by an indenture made between them and the corporation. The street, leading towards Coxheath and the Weald of Kent, is called Stone-street, a name which sufficiently proves the antiquity of this town, and its consequence in the time of the Romans. There are three principal conduits, which are supplied with excellent water, conveyed in pipes from a place called Rocky-hill, in the West Borough, on the opposite side of the Medway, at the charge of the corporation. These are placed very conveniently for the service of the inhabitants, one at the upper end of the High-street, near the market cross; a second lower down, being a high octagon stone building with a clock and dial, having a turret at the top of it, and what is called a fish-bell, which is always rung when any fish is brought to market; the third is placed at the lower end of the town. At a small distance from the south side of this street, about the middle of it, on an eminence close to the Medway, stands the church, the antient archiepiscopal palace, and the remains of the college, each forming conspicuous objects to the neighbouring country westward.
Adjoining to the last mentioned court-hall is the prison belonging to the corporation, formerly called the Brambles. (fn. 5) This prison appears to have belonged antiently to the archbishops of Canterbury, and continued so till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged the prison house of this town with that king. (fn. 6) In king Charles I.'s reign it remained in the king's hands; for by his letters patent, in 1631, he granted the office of keeper of it, and the custody of all prisoners there, to John Collins for his life; who, by his will, in 1644, gave his patent of the king's gaol in Maidstone, with all the irons, implements, fees, and appurtenances to his son of the same name.
The public gaol of the western division of the county of Kent was formerly placed most inconveniently in the very middle of the town, to its great annoyance, where it remained till 1736, when on a petition of its inconvenient situation, near the market place, of its being much decayed, and that there was no gaol for debtors, an act was obtained for erecting another in the room of it, together with a bridewell, in another part of the town. This, after some intermission, was accomplished, and a capacious strong building of stone, with large outlets and conveniences for this purpose, has been erected near the out parts of the town, in East-lane, which has been lately still further strengthened and enlarged at a large expence, at the charge of the western division of the county.
THE MARKET, which was first granted to archbibishop Boniface, by king Henry III. in his 45th year, to be held weekly at his manor here, has been confirmed by the several charters to this town, and is now held weekly on a Thursday, for the sale of all kind of provisions, corn, and hops, toll free, with which the town and its neighbourhood for miles round is most plentifully supplied at a very reasonable rate. The mayor is clerk of the market, and when admitted into his office, is sworn duly to execute that part of it. King George II. by letters patent in 1751, granted to the corporation a market, to be held the second Tuesday in every month yearly, for the buying and selling of all manner of sheep and other cattle whatsoever, which continues to be so held at this time; and there is another market held likewise for the sale of hops yearly, at the time of Michaelmas.
THE FAIRS of this town are held four times yearly, viz. Feb. 13, May 12, June 20, and Oct. 27, for horses, bullocks, and other cattle, as well as for wares, haberdashery, and pedlary; but the last is by far the greatest of them, being resorted to by the country for many miles round. The principal part of these fairs is held on a piece of ground, on the bank of the Medway, called the meadow, though the High-street is covered with them likewise. The above piece of ground formerly belonged to the abbot and convent of Boxley, and on the dissolution of that house, coming to the crown, was granted by king Henry VIII. to Sir Thomas Wyatt, who in a great exchange of land, made by him with that king, in his 32d year, sold to him, among other estates in this parish, the piece of land called Caring, containing sixteen acres, and the profits of the fair yearly there, for standing upon it, in Maidstone. In the parliament of the 11th of king Henry VII. the custody of weights and measures, which were then renewed and appointed according to the standard in the exchequer, was com mitted to this town for the county of Kent, and they have continued to be preserved here to the present time.
There are two considerable manufactories of linen thread carried on in this town, a trade introduced here by the Walloons in the 11th year of queen Elizabeth's reign, at the time they fled from the persecution of the duke d'Alva, and took refuge in England. The Walloon families here in 1634, were about fifty, they are now quite worn out, though there are some names remaining, which seem to have derived their origin from them, though the persons that bear them are ignorant whence they had them. The only remembrance of these Walloons now left is the term which the common people give to the flax spun for the threadmen, which at this day they call Dutch work.
Besides which there has been within these few years a Distillery, erected and carried on here to a very large extent, by Mr. George Bishop, from which is produced the well-known Maidstone Geneva, being of such a magnitude, that no less than seven hundred hogs are kept from the surplus of the grains from it.
There is a department of the customs and an office of excise in this town.
Besides the free grammar school, of which a particular account will be given hereafter, there are two boarding-schools for the education of young ladies, all of them of good repute.
¶The navigation of the river Medway is of the greatest advantage to this town, as a considerable traffic is carried on by it from hence to Rochester, Chatham, and so on to London, and from the several large cornmills here abundance of meal and flour is shipped off for the use of those towns, the dock and navy there, as well as great quantities sent weekly to London. The fulling and paper mills in and near this town, of the latter of which, late Mr. Whatman's, at Boxley, is perhaps equal to any in the kingdom, send all their manufacture hither to be transported from hence by water to London. The vast quantities of timber brought hither from the Weald of Kent and its neighbourhood, by land carriage, as well as water, are conveyed from hence by the navigation of the Medway to the dock at Chatham, and other more distant parts. Besides which there are several large hoys, of fifty tons burthen and upwards, which sail weekly to and from London, for the convenience of this town and the adjacent country.
MAIDSTONE is within the diocese of Canterbury and deanry of Sutton, and is exempt from the jurisdiction of the archdeacon.
The church stands at the western part of the town, on the bank of the river Medway. It was at first dedicated to the Virgin Mary, but when archbishop Courtney had rebuilt the chancel, and refitted the rest of it, on his having obtained a licence in the 19th year of king Richard II. to make it collegiate, he dedicated it anew to All Saints.
The stalls for the master and fellows of the college are still remaining in the chancel, in which the arms of archbishop Courtney appear in several places, but no where in the body of the church, which makes it probable the latter was part of the old parish church of St. Mary, and not rebuilt by the archbishop. The church is a large handsome building, consisting of a nave, great chancel, and two side isles; the roof is lofty, and is covered throughout with lead. At the west end it has a handsome well built tower, on which there was a spire covered with lead, near eighty feet high, which was burnt down by lightning, on Nov. 2, 1730. In the tower were eight bells, a clock, and chimes; the bells, in 1784, were new cast into ten, by Chapman and Mears of London.
In the year 1700, the body of the church was neatly and regularly pewed; on each side is a commodious gallery, one of which was built at the expence of Sir Robert Marsham, bart. then one of the repretatives for this town, and afterwards created lord Romney.
There were antiently in this church numbers of inscriptions on brass plates, as well on the monuments as grave stones, which are now almost torn away. In the middle of the great chancel there is a tomb-stone, raised a little above the pavement, with the marks of the portraiture of a bishop, in his mitre and robes, and of an inscription round it, but the brass of the whole is torn away. This is supposed to be the cenotaph of archbishop Courtney, the founder of this church, for it was the custom in those times for persons of eminent rank and quality to have tombs erected to their memory in more places than one.
The archbishop was son of Hugh Courtney, earl of Devonshire, by Margaret, daughter of Humphry Bohun, earl of Essex and Hereford, accordingly the arms of Courtney and Bohun impaled, are in several parts of this chancel. The archbishop died at his palace in Maidstone, in 1396, and in the first part of his will directed his body to be buried in the cathedral church of Exeter, where he had formerly been a prebendary; afterwards, lying on his death bed, he changed his mind in this point, and holding his body unworthy of burial in his metropolitical, or any other cathedral or collegiate church, he wills to be buried in the church yard of his collegiate church at Maidstone, in the place designed for John Boteler, his esquire; but it appears by a leiger book of Christ church, Canterbury, that king Richard II. happening to be then at Canterbury, when the archbishop was to be buried, perhaps at the request of the monks, overruled the archbishops intention, and commanded his body to be there entombed, where he lies, under a fair monument of alabaster, with his portraiture on it, at the feet of the Black Prince. Thus Somner, Godwin, M. Parker, and Camden; but Weever thinks, notwithstanding the above, that he was buried under his tomb in this chancel of Maidstone.
The rectory of this church, with the chapels of Loose and Detling annexed, was appropriated by archbishop Courtney, by the bull of pope Boniface IX. (fn. 11) with the king's licence, in the 19th year of king Richard II. to his new founded college here, but the patronage of the advowson, it seems, he reserved to himself and his successors; in which state it remained till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged the advowson and patronage of the college and church with the king. (fn. 12)
Upon the dissolution of the college, in the 1st year of king Edward VI. the rectory and advowson became both vested in the crown, and the church was left, through the king's favour, to the inhabitants of this town and parish, as it had been before it was made collegiate, the grant of it, together with the church yard being confirmed to them by the charter granted by king James I. in his 2d year, for their parish church and church yard, for the purpose of divine service, burying the dead, &c. as the same was then used.
Whilst the college remained, the parish found no ill effects from the appropriation of the rectory, as the master and fellows caused divine service to be constantly performed in the church, and the cure of the parish to be properly served; but when the college was dissolved, and the great and small tithes appropriated to it were granted away by the crown, the parishioners suffered much from the scantiness of the provision remaining for a person properly qualified to undertake the cure of so large and populous a parish, a small stipend only with the oblations, obventions, &c. being all that was left for the officiating minister, under the title of perpetual curate. King Edward VI. in his 4th year, granted to Sir Thomas Wyatt, among other premises, this rectory of Maidstone, to (fn. 13) hold in capite by knight's service; but he engaging in a rebellion in the 1st year of queen Mary, forfeited it, with the rest of his estates, to the crown, whence the patronage of the curacy was granted by that queen, in her 6th year, to archbishop cardinal Pool, and she demised the rectory of this church for a term of years to Christopher Roper, esq. (fn. 14) the same being then of the value of 81l. (fn. 15)
Queen Elizabeth, in her 3d year, granted the reversion of this rectory in exchange, among other premises, to Matthew, archbishop of Canterbury, at which time it was valued as follows:
The rectory of Maidstone, with the tenths of the chapels of Loose and Detling, the tenths of Loddington and in Estrey were worth yearly 74l. out of which there was paid to the chief priest of Maidstone, 20l. to his two assistants each, 6l. 13s. 4d. to the curates of Loose and Detling each, 2l. 13s. 4d. in all, 38l. 14s. 4d. notwithstanding these deductions, it does not appear that there was after this more than one appointed to officiate here, to whom the archbishop paid a salary of 10l. per annum.
Archbishop Whitgift, in 1583, augmented the curate's salary 10l. per annum. (fn. 16) Archbishop Juxon, in obedience to the directions of king Charles II. in 1660, for augmenting the maintenance of vicars and curates, made an addition of 37l. 6s. 8d. per annum. (fn. 17) Archbishop Sancroft, among other acts of pious beneficence, granted by lease, in 1677, to Humphry Lynd, curate and preacher of Maidstone, for augmentation of his maintenance, all the small tithes of the borough of Week (fn. 18) and Stone within this parish, the commodities of the church-yard, and one moiety of all the small tithes within the town and borough of Maidstone;h notwithstanding which he has a maintenance by no means proportionable to the greatness of his cure and labour.
Upon a trial in the exchequer in 1707, concerning the curate's right to the vicarage tithes of Lodington, it was suggested, that this curacy was worth three hundred pounds per annum; to which it was replied, that the legal dues were not more than one hundred and sixty pounds per ann. (fn. 19) Lodington is situated between three and four miles from Maidstone, and separated by other parishes intervening; it is said, there was once a chapel in it, situated in a spot now called Glover's garden, where of late years some stones and foundations have been dug up. I believe the curates have not enjoyed these tithes for some time.
The rectory is still part of the revenues of the archbishop, who nominates the perpetual curate of this town and parish.
The curacy is not in charge in the king's books.
In the 37th year of queen Elizabeth, Levin Bufkin was farmer of the rectory, under the archbishop. In 1643, Sir Edward Henden, one of the barons of the exchequer, was lessee of it. In 1741, Thomas Bliss, esq. held the lease of it of the archbishop. It afterwards came into the possession of William Horsmonden Turner, by virtue of the limitation of whose will his interest in it is now vested in William Baldwin, esq. of Harrietsham.
THERE WAS ANOTHER CHURCH, or rather a FREE CHAPEL, dedicated to St. Faith, situated in the northernmost part of the town from that above mentioned, being most probably erected for the use of those inhabitants of this parish, who lived at too great a distance to frequent the other. It seems to have been surrendered up into the king's hands, in conformity to the act of the 1st year of king Edward VI. and, with the church-yard, to have been purchased of the crown afterwards by the inhabitants; but whether then used for religious worship does not appear. Some time afterwards it became part of the estate of the Maplesdens, of whom it was purchased in the reign of king James I. by Arthur Barham, esq. who possessed the manor of Chillington, at which time he acknowledged the right of the corporation to use the chapel of St. Faith for divine service, and the chapelyard for burials, if they thought fit; at present only the chancel is standing, which for many years was used for a place of public worship by the Walloons: upon the dispersing of this congregation, by archbishop Laud in 1634, this chapel was shut up for some small time, when it was again made use of by a congregation of Presbyterians, who continued to meet there till about 1735, when they built themselves a meeting house elsewhere. Part of it is now a dwelling house, and the rest of it was some years converted into an assembly room; it is now made use of as a boarding school for young ladies.
The scite and what remains of this fabric was lately the property of the heirs of Sir Tho. Taylor, bart. of the Park-house. It was afterwards purchased by Mr. Samuel Fullager, gent. the heir of whose son, Mr. Christopher Fullager, of this town, is proprietor of it.
THERE were TWO CHANTRIES founded in this church, one by Robert Vinter, in the reign of king Edward III. who gave two estates in this parish, called Goulds and Shepway, for the support of a priest performing certain divine offices in the church of Maidstone, whence it acquired the name of GOULD'S CHANTRY, a full account of which, and of the possessors of those estates, after its suppression to the present owner of them, the Rt. Hon. Charles lord Romney, has already been given in the description of them.
¶The other chantry was founded by Thomas Arundell, archbishop of Canterbury, in the year 1405, be ing the 7th of king Henry IV. who that year granted his licence to the archbishop, to found two chantries; one of which, of one chaplain, was in this collegiate church, at the altar of St. Thomas the Martyr, to celebrate daily service for his soul, &c. for which the archbishop granted, that he should have a yearly stipend of ten marcs out of Northfleet parsonage. The advowson or donation remained with the several archbishops of Canterbury till archbishop Cranmer, in the 29th year of king Henry VIII. conveyed his right in it to the king, in exchange for other premises. This chantry was dissolved by the act of the 1st year of king Edward VI. at the same time the college itself was suppressed.
Two class 37s accelerate their six coach ECS load away from Redhill to Tonbridge yard on the third day of a private nationwide charter. This saw the train run from Canterbury West to Staplehurst (break) then Penshurst (break) from where the ECS ran to Redhill for the locos to run round. The train then ran ECS back to Tonbridge and would later re-visit Penshurt to collect the passengers before heading to Crewe where it was scheduled to arrive at 0342! D6851 (37667) 'Flopsie' leads 37688. 'Flopsie' is perhaps the least appropriate name for a loco on the main line at the moment!
Lorena Dellagiovanna, CDIO and Acting CEO Hitachi at Italy, speaking at the Building Back Better: Accelerating Deep Collaboration in the Built Environment event at the SEC for COP26, Glasgow, 11/11/2021. Photograph: Justin Goff/ UK Government
The iconic fighter of World War II, the P-51 Mustang, came about as a result of the desperate need of the British for fighters in 1939, as the war started. British industry was at capacity producing the Hurricane and Spitfire, and of the American fighters being produced or planned, the RAF only saw the P-40 Warhawk as being able to fight German Bf 109s. With Curtiss itself at maximum output building P-40s, the British approached North American, who had been trying to sell the RAF the B-25 Mitchell, with an offer to license-build P-40s. North American’s president, James Kindleberger, had a better idea: design and build an entirely new fighter based around the P-40’s Allison V-1710 engine. The RAF was willing to fund a prototype, as long as it also cost less than $40,000 and could be delivered by January 1941: the contract was signed in April 1940. North American flew the first NA-73 prototype in October, only 178 days later.
Given the short time North American had gone from a blank sheet of paper to a flyable aircraft, one might expect that the NA-73 fell short of the requirement. It actually improved upon it. The RAF had only desired four .30 caliber machine guns; the NA-73 had that plus four .50 caliber machine guns (two in the wings with the .30s and two in the cowl). Despite its thin, highly aerodynamic fuselage, it had a large fuel capacity that could make it an escort fighter as well as an interceptor. Moreover, it incorporated two radical design features: one was mounting the radiator below the fuselage; besides saving space, it also allowed the pilot to force hot air out of the radiator to give a boost in speed. Most radical was the use of a laminar-flow wing. Compressibility, where air going over a wing would reach supersonic speeds and cause the aircraft to accelerate out of control in a dive, was a minor problem in the P-40 and notorious on the P-38 Lightning. With a laminar-flow wing, airspeed over the wing never reached supersonic speeds, preventing compressibility without sacrificing maneuverability. The RAF eagerly accepted the design as the Mustang Mk.I and it entered production in mid-1941.
When the RAF began operating the Mustang in combat, however, they found that the fighter, while able to maneuver with even the Focke-Wulf 190 and with plenty of range, was sluggish and slow above 15,000 feet. This was due to the V-1710 engine, which had never been designed for high altitude performance. North American had experienced misgivings about the V-1710, but it had been part of the specification. Mustang Mk. Is still were useful in low-level roles, especially reconnaissance, and the USAAF took interest in it as a ground-attack aircraft, ordering 500 as the A-36A Apache.
In April 1942, a Rolls-Royce technician got a chance to fly a Mustang Mk.I, and was suitably impressed by its manueverability. He was interested in if a bigger engine could be used on the aircraft, and five Mustangs were turned over to Rolls-Royce to be equipped with a Merlin engine and a propeller adapted from the Spitfire IX. The test pilots were stunned by the increase in performance: above 15,000 feet, the Merlin-engined Mustang not only retained its agility and range, speed was increased to 433 mph and the ceiling to 40,000 feet. North American learned of the tests and embarked on a redesign, culminating in the P-51B: this had a strengthened fuselage and wider radiator for the more powerful Merlin; the armament was reduced to save weight to four (later six) .50 caliber machine guns in the wings. With drop tanks fitted under the wings, the P-51B was capable of flying anywhere in Europe. The Mustang had at last realized its full potential, and the USAAF, which had been taking catastrophic losses to bombers over Germany due to the lack of long-range fighters, now had one.
P-51Bs began reaching Europe in August 1943, and when they reached the 8th Air Force in numbers by late 1943, the situation in the air above Europe began to change. While P-51 pilots loved the responsiveness and speed of the Mustang, a few problems did crop up: the gunsight was difficult to use, the guns had a tendency to jam, the glycol cooling system for the engine was easy to hit and would doom the P-51 instantly, and the P-51B lacked vision to the rear. In response, North American designed the P-51D, which solved most of the problems: it had a cut-down rear fuselage and incorporated a bubble canopy, giving the P-51D the best visibility of any fighter of the war; the adoption of the K-14 gunsight was much easier to use and more accurate; the machine guns were set upright and spaced along the dihedral of the wing rather than along the path of flight, making them more accurate as well and mostly curing the jamming problem. Nothing could be done about the glycol system, and more P-51s would be lost to ground fire hitting the glycol tank than any other reason.
P-51s would bear much of the responsibility of sweeping the Luftwaffe from the air. It could outperform the Bf 109 in all respects and be even with a Fw 190 below 15,000 feet—above 20,000 feet, the Mustang had the advantage. Nearly 5000 German aircraft would be shot down by P-51s, the highest total claimed by any Allied fighter during World War II. Nearly a thousand more Japanese aircraft would be added to that total, as P-51Ds began reaching the Pacific in 1944 as escorts for B-29 bombers. It is generally considered by aviation historians as the finest fighter of World War II and by some to be the most pure fighter ever built.
Redesignated F-51 by the newly independent USAF in 1948, the Mustang’s combat duties were not yet over: though not really suited for the role, the availability of aircraft meant that the F-51 would be used as ground-attack fighters throughout the Korean War. The P-51 had been exported to 55 nations during and after the war, and it would see service in the Arab-Israeli conflicts, various brushfire wars in Central and South America, and in the Philippines. The last F-51 in US service (ironically, US Army service) did not leave until 1968, while the Dominican Republic operated P-51s as frontline fighters until 1984. Of 16,766 P-51s produced, over 250 survive to the present day, with nearly 140 flyable examples, making the P-51 the best preserved World War II-era aircraft.
Also taken at the Buckley ANGB airshow in 1981, this is another P-51D, 45-11636 "Stang Evil." This one is near to my heart, as it's painted in the colors of my favorite Mustang unit, the 4th Fighter Group of RAF Debden! The "Red Noses" of the 4th were a feared sight over Europe during World War II, as they became the highest scoring USAAF fighter group of World War II. This shows the 4th's late-war nose marking, in which the red is swept beneath the nose.
"Stang Evil" is still around. It was a former California ANG example that was bought as surplus in 1960 by legendary stunt pilot Frank Tallman before going to Flying Tiger Aviation of Lakewood, CO, and repainted. It still flies with them today.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Indian agriculture is dependent on Monsoon in such a way that any deviation in the onset or departure of the monsoon largely affects agricultural productivity in the entire Indian subcontinent by leaving farmers in the lurch.
Baldwin Wallace University’s Accelerated Bachelor of Science in Nursing Degree (ABSN) program "pinning ceremony" as part of a distinctive celebration of completion.The pinning ceremony in the John Patrick Theatre of the Kleist Center for Art and Drama, marking the culmination of an intense, one-year program that features a concept-based curriculum for Bachelor’s Degree holders seeking a second degree in nursing. The graduates each received a nursing pin designed especially for Baldwin Wallace University, featuring symbols of nursing and scholarship.
Clare Akamanzi, Chief Executive Officer, Rwanda Development Board (RDB)
Mazen S. Darwazeh, Executive Vice-Chairman; President, Middle East and North Africa, Hikma Pharmaceuticals, Jordan, Peter Maurer, President, International Committee of the Red Cross (ICRC), Geneva; Member of Board of Trustees of the World Economic Forum, Gelsomina Vigliotti, Vice-President, European Investment Bank, Luxembourg, Raj Kumar, President and Editor-in-Chief, Devex, USA
,speaking during the Session: Building Economies in Fragile Markets
Close to 2 billion people are likely to be impacted by the ongoing effects of the COVID-19 pandemic, threatening an already fragile social and economic system. With public spending alone unable to ensure the necessary capital, how can governments, humanitarian and development actors and investors ensure meaningful action to accelerate investment in fragile markets? At the Annual Meeting 2022 of the World Economic Forum in Davos, 23 May, Copyright by World Economic Forum / Walter Duerst
All of sudden she felt the need to accelerate.
Copenhagenize - Copenhagen Bike Culture Blog
Accelerating from Great Yarmouth on 7th July. Apologies for the bad quality photo, this was taken quickly from a moving car.
Primary school students attend a class at Boyna Primary School in Afar region, Dubti woreda on July 12th, 2022.
Boyna Primary School is one of the many schools supported by UNICEF. In partnership with EDUKANS Foundation, UNICEF is implementing the BETE project. ‘Bete’ meaning ‘My Home’ in Amharic, is a joint education and child protection initiative designed to provide a safe space for boys and girls living in humanitarian emergencies by integrating accelerated learning, child protection and skills development. ©UNICEF Ethiopia/2022/Mulugeta Ayene
On 12 May 2023, Ambassador Lindsay Skoll met UNIDO Director General Gerd Müller. The UK will provide £65.5m in funding for UNIDO's Accelerate to Demonstrate facility – part of the UK’s £1b Ayrton Fund commitment to accelerate the clean energy transition in developing countries.
The A2D Facility will provide grant finding to small and medium sized enterprises, research institutions and other business organisations.
Image: Alex Hammond / British Embassy Vienna
Accelerate Prosperity is a new global initiative of the Aga Khan Development Network (AKDN) in Central and South Asia and provides technical expertise, creative financing solutions and market connections for small and growing businesses.
AP aims to inspire rising entrepreneurs in emerging regions to grow new markets, create sustainable employment, and strengthen communities.
AP’s first project in Kyrgyzstan in 2018 was the establishment of one of Osh’s first co-working space, ololoHaus, Osh. Supported by USAID grant of $35,000, AP worked with a local entrepreneur to create a new space to help incubate and grow small to medium sized enterprises. ololoHaus, Osh, currently houses a software development training business called IT Academy, a dentistry design business amongst others, and Som.kg, a local version of Craigslist amongst others.
More recently, the AP team have started working with with UNICEF and the UK’s DFID to support water management and cross-border conflict resolution programme.
A dentistry design business based at ololoHaus, Osh.
Accelerate Prosperity is a new global initiative of the Aga Khan Development Network (AKDN) in Central and South Asia and provides technical expertise, creative financing solutions and market connections for small and growing businesses.
AP aims to inspire rising entrepreneurs in emerging regions to grow new markets, create sustainable employment, and strengthen communities.
AP’s first project in Kyrgyzstan in 2018 was the establishment of one of Osh’s first co-working space, ololoHaus, Osh. Supported by USAID grant of $35,000, AP worked with a local entrepreneur to create a new space to help incubate and grow small to medium sized enterprises. ololoHaus, Osh, currently houses a software development training business called IT Academy, a dentistry design business amongst others, and Som.kg, a local version of Craigslist amongst others.
Academia④SDGs: from research to innovative solutions to accelerate sustainable development
©ITU/E. DOMINGUEZ
Accelerated Development of Multi-Capable Airmen/Guardians
Maj. Caitlin Harris, 351st Special Warfare Training Squadron, Kirtland Air Force Base, New Mexico
Air Education and Training Command
The Special Warfare prototype project will provide linkages between human systems and operational tasks across a spectrum of skillsets that will accelerate training, learning, and retention while developing Airmen/Guardians in multiple competencies. This aggressive modernized training focuses on training the Airmen and Guardians in an efficient and dynamic way, preparing them for wartime situations requiring them to step outside their occupational specialty and operate as expert multi-disciplinarians.
Advanced Maintenance and Troubleshooting System
Master Sgt. Aaron Cordroch, 1st Special Operations Maintenance Group, Hurlburt Field, Florida
Air Force Special Operations Command
Imagine a world where we leverage cyber threat and intrusion/anomalies hardware detection and diagnostic mapping tools to take a snapshot of clean data and systems to build a picture of maintenance issues that can be monitored for changes.
Infrastructure in an Augmented Reality World
Tech. Sgt. Sarah Hubert and Tech. Sgt. Raymond Zgoda, 353rd Special Operations Wing and 374th Civil Engineer Squadron, Yokota Air Base, Japan
Pacific Air Forces
Realizing the potential of augmented reality enables precise determination of what and where our underground infrastructure is located without digging it up. Scanning installations and using Augmented Reality drastically reduces resources to repair after attack or natural disaster.
Project Kinetic Cargo Sustainment
Capt. Andrew Armor, Master Sgt. Brandon Allensworth, Master Sgt.
Peter Salinas, Master Sgt. Jet Nesle and Tech. Sgt. Justin Sprinkel, 18th Logistics Readiness Squadron, Kadena AB, Japan
Pacific Air Forces
Dramatically accelerate mobility cargo processing capacity and throughput by means of operating outside of analog mobility processes and tools for port operations.
Real-Time Asset Management System
Michael Dolan, Space Base Delta 3, Los Angeles AFB, California
Space Systems Command
Imagine leaders and employees optimizing office space, minimizing modernization construction costs and enable tracking and evolution continuity of every location and asset from unclassified to Special Access Programs. This Space Management tool provides real-time assessment and data mining capability for every square foot of buildings and every office space to include IT configurations down to the chip level.
Project Oregon Trail
Staff Sgt. Michael Sturtevant, 353th Special Operations Support Squadron, Kadena Air Base, Japan
Air Force Special Operations Command
Reimagined and reduced Time-Phased Force and Deployment Data are afforded because there are smaller, lighter, and faster-to-deploy mechanisms to move cargo and equipment wherever needed, on the spot without the need for pallet jacks or forklifts.
Photo by Mike Tsukamoto/Air & Space Forces Magazine
Participant during the Workshop: "Accelerating Agile Governance in the Fourth Industrial Revolution" at the World Economic Forum, Annual Meeting of the Global Future Councils 2017. Copyright by World Economic Forum / Benedikt von Loebell
One the first day of class in Wake Forest's new undergraduate engineering program, the students break up into pairs and go through an accelerated design process for a new method of carrying belongings, starting with determining the requirements, then brainstorming, and ending with building a prototype during class, at Wake Downtown on Tuesday, August 29, 2017.
CSW63 Side Event - Launch of Strategy on #EqualityinLaw for Women and Girls by 2030 – A Multi-Stakeholder Strategy for Accelerated Action
Organized by UN Women, in collaboration with the African Union, Commonwealth, Inter-Parliamentary Union, Organisation Internationale de la Francophonie and Secretaría General Ibero-Americana. The event brings together government representatives, civil society organizations and UN partners to generate awareness and reinforce the important role of gender equal laws in the achievement of gender equality and the importance of eliminating discriminatory laws in all countries by 2030. Speakers include Phumzile Mlambo-Ngcuka, Executive Director, UN Women, the Secretary-General of the United Nations, and Jakomba Jabbie, young gender activist, The Gambia.
Photo: UN Women/ Amanda Voisard
CSW63 - Side Event - The Road to 2020 – Accelerating action on women, peace and security before the 20th Anniversary of Security Resolution 1325
This interactive session will offer space for participants to voice their ideas and concerns, as well as provide input to the priorities being shaped by key stakeholders and decision-makers. Speakers will explain their vision for 2020, including how to link the anniversary to the commemoration of Beijing+25 and the five-year review of the Sustainable Development Goals. Moderated by Mavic Cabrera-Balleza, Chief Executive Officer, The Global Network of Women Peacebuilders. Speakers include: Phumzile Mlambo-Ngcuka, Executive Director of UN Women; Jean-Pierre LaCroix, UN Under-Secretary-General for Peace Operations (TBC); Helen Kezie-Nwoha, Executive Director of Isis-WICCE; Sharon Bhagwan-Rolls, Chair of Board of the Global Partnership for the Prevention of Armed Conflict; Edita Tahiri, Former Deputy Prime Minister and Minister for Dialogue, Republic of Kosovo
Photo: UN Women/Ryan Brown
BOND in MOTION
50 Vehicles. 50 Years
GoldenEye - Pierce Brosnan
Caviga 600 W16
In the pre-title sequence of GoldenEye set in Russia's Arkangel facility, Bond is in trouble. He retrieves a Cagiva motorcycle from a dispatched guard and accelerates down a runway in pursuit of a pilot-less aeroplane - his only escape.
Driving the motorbike off the cliff he sky dives into the plummeting plane, gaining control metres from disaster.
The World of James Bond 007 is full of action, excitement, drama and danger. The high octane, all action car and vehicle chases are at the heart of the Bond franchise.
There is unique story behind every vehicle and every death defying stunt culminates in the exhilarating screen image. From speed boats leaping roads and cars submerging to exotic locations, ranging from tropical islands to the North Pole the action never ceases. Vehicles with gadgets and armouries add to the thrills with Bond having to be ever more resourceful in his battles with the increasingly technical and sophisticated villains.
BOND in MOTION is the story of the vehicles that keep the man behind the wheel moving and how the thrill a minute chase sequences pushed man and machine to the limit.
This new exhibition to Beaulieu is the world's largest official collection of original James Bond vehicles, on display for 2012 only, featuring 50 vehicles from the Bond films.
With fifty vehicles on display, BOND IN MOTION is the largest official collection of original Bond vehicles the world has ever seen. On display until the 6th January 2013 at the National Motor Museum, this could be your only chance to see these vehicles on display together.
2012 marks the 50th anniversary of the James Bond film series and the 40th anniversary of the National Motor Museum (and the 60th anniversary of Beaulieu opening its doors to the public) and what better way to celebrate than with the biggest exhibition of James Bond vehicles ever staged?
Cars used in films starring Sean Connery, George Lazenby, Roger Moore, Timothy Dalton, Pierce Brosnan and Daniel Craig all feature in the exhibition.
Lin Xueling, Executive Producer, Channel NewsAsia, Singapore, speaking in the China in the Global Energy Transition session at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 24 May. Congress Centre - Accelerate. World Economic Forum/Manuel Lopez
Accelerated Development of Multi-Capable Airmen/Guardians
Maj. Caitlin Harris, 351st Special Warfare Training Squadron, Kirtland Air Force Base, New Mexico
Air Education and Training Command
The Special Warfare prototype project will provide linkages between human systems and operational tasks across a spectrum of skillsets that will accelerate training, learning, and retention while developing Airmen/Guardians in multiple competencies. This aggressive modernized training focuses on training the Airmen and Guardians in an efficient and dynamic way, preparing them for wartime situations requiring them to step outside their occupational specialty and operate as expert multi-disciplinarians.
Advanced Maintenance and Troubleshooting System
Master Sgt. Aaron Cordroch, 1st Special Operations Maintenance Group, Hurlburt Field, Florida
Air Force Special Operations Command
Imagine a world where we leverage cyber threat and intrusion/anomalies hardware detection and diagnostic mapping tools to take a snapshot of clean data and systems to build a picture of maintenance issues that can be monitored for changes.
Infrastructure in an Augmented Reality World
Tech. Sgt. Sarah Hubert and Tech. Sgt. Raymond Zgoda, 353rd Special Operations Wing and 374th Civil Engineer Squadron, Yokota Air Base, Japan
Pacific Air Forces
Realizing the potential of augmented reality enables precise determination of what and where our underground infrastructure is located without digging it up. Scanning installations and using Augmented Reality drastically reduces resources to repair after attack or natural disaster.
Project Kinetic Cargo Sustainment
Capt. Andrew Armor, Master Sgt. Brandon Allensworth, Master Sgt.
Peter Salinas, Master Sgt. Jet Nesle and Tech. Sgt. Justin Sprinkel, 18th Logistics Readiness Squadron, Kadena AB, Japan
Pacific Air Forces
Dramatically accelerate mobility cargo processing capacity and throughput by means of operating outside of analog mobility processes and tools for port operations.
Real-Time Asset Management System
Michael Dolan, Space Base Delta 3, Los Angeles AFB, California
Space Systems Command
Imagine leaders and employees optimizing office space, minimizing modernization construction costs and enable tracking and evolution continuity of every location and asset from unclassified to Special Access Programs. This Space Management tool provides real-time assessment and data mining capability for every square foot of buildings and every office space to include IT configurations down to the chip level.
Project Oregon Trail
Staff Sgt. Michael Sturtevant, 353th Special Operations Support Squadron, Kadena Air Base, Japan
Air Force Special Operations Command
Reimagined and reduced Time-Phased Force and Deployment Data are afforded because there are smaller, lighter, and faster-to-deploy mechanisms to move cargo and equipment wherever needed, on the spot without the need for pallet jacks or forklifts.
Photo by Mike Tsukamoto/Air & Space Forces Magazine
The Natural Step Canada hosted the 2nd annual Accelerate: Collaborating for Sustainability Conference June 5-6, 2014, at the Evergreen Brick Works in Toronto, Ontario www.naturalstep.ca/.
Lufthansa Airbus A321-231 D-AISN Göppingen is accelerating on runway 18 in Frankfurt.
MSN 3592 has had its first flight on 11.07.08 with the test registration D-AZAA and was delivered to LH on 21.07.08.
The jet is powered by 2x IAE V2533-A5 turbofans and has a variable cabin layout with 190 Business and Economy Class seats.
This is flight LH1306 to Beirut (BEI).
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Airlines of the World
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Airline Alliances of the World
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Fall accelerates:
Another walk around one of the lakes here. I was surprised, fall colors were basically absent only few days ago, now there is obviously more to see. I hope color will build up a bit in the next weeks, and it's not gone before it really starts.
I did boost color in these a bit, it was a dull day.