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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.
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
Holly Fernandez Lynch
Assistant Professor of Medical Ethics and Law, University of Pennsylvania
Michael McCaughan
Founder, Prevision Policy
Frank Sasinowski
Director, Hyman, Phelps & McNamara
mischer'traxler studio (Katharina Mischer, Thomas Traxler)
Sitzbank "The idea of a Tree"
Wien, 2013
Ausführung: mischer'traxler studio
Baumwollfaden, Glasfaser
Bench "The idea of a Tree"
Vienna, 2013
Execution: mischer'traxler studio
Cotton yarn, fiberglass
Leihgabe Loan from mischer'traxler studio
mischer'traxler studio (Katharina Mischer, Thomas Traxler)
"The idea of a Tree - Recorder One"
Solarbetriebene Produktionsanlage für Kleinmöbel
Wien, 2008/09
Ausführung: mischer'traxler studio
Holz, Metall, Baumwollfaden, elektronische Bauteile
"The idea of a Tree - Recorder One"
Solar-powered Production Plant for Small Furniture
Vienna, 2008/09
Execution: mischer'traxler studio
Wood, metal, cotton yarn, electronic components
Leihgabe Loan from mischer'traxler studio
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.
accelerating hard past violet hill farm Ryther with 1Z46 08:45 London Kings Cross-Edinburgh. November 27th 2025.
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After the crews of the two trains exchange greetings, the engineer of the coal train hits the throttle and accelerates out of Fairbury, Illinois on August 11, 1988.
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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.
Leaders, social innovators, and decision makers from large and small businesses, corporations, higher education institutions, government, non-profits, social enterprises, social venture capital firms, and more joined in exploring how we can effectively collaborate to create a sustainable future as part of the Accelerate Collaborating for Sustainability Conference in Guelph ON, June 10-11, 2013.
Great night spent with Klockwork1 this was our first attempts of this type of photography.
This is one of a set of shots taken during a creative evening with in Rainham in Kent. The location is Bloors Wharf. Many old maps of this area show that a small wharf has always been here. Originally a place where fishermen put to sea, it was recently a scrap yard that specialised in breaking up fishing boats. Today it has been cleared of buildings, leaving a large area of concrete with a steel fence along the waterfront.
Please view my photo stream and leave a comment of the suite of images.
As 37218 accelerates under the Carberry Road bridge in Inveresk Village, we see the rear loco 66432 on the end of 6M50. This is the weekly Torness - Sellafield Flask train. Seen on an overcast 28th March 2017 at 1541
With Amtrak No. 338 clear of the platforms, Metra train accelerates into the station, on October 13, 2016.
Same picture as yesterday's image but this time without the motion blur photoshop effect, no postprocessing at all in fact except my name tag and the white border.
Peter Moons immediately saw it...there was no movement in the wheels (you can almost read the text) and the shutter time was way too short. He commented on my image...and then withdrew his comment...he did not want to spoil the fun I was having.
Nice guy...it seems to me!
Check out his photostream www.flickr.com/photos/petermoons/ or his website www.petermoons.com
Great and special images...that I like!
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.
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.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Alexander Martin Lippisch (November 2, 1894 – February 11, 1976) was a German aeronautical engineer, a pioneer of aerodynamics who made important contributions to the understanding of flying wings, delta wings and the ground effect.
After working intially for the Zeppelin company, Reichsluftfahrtsministerium (RLM, Reich Aviation Ministry) transferred Lippisch and his team in 1939 to work at the Messerschmitt factory, in order to design a high-speed fighter aircraft around the rocket engines then under development by Hellmuth Walter. The team quickly adapted their most recent design, the DFS 194, to rocket power, the first example successfully flying in early 1940. This successfully demonstrated the technology for what would become the Messerschmitt Me 163 Komet, his most famous design.
In 1943, Lippisch transferred to Vienna’s Aeronautical Research Institute (Luftfahrtforschungsanstalt Wien, LFW), to concentrate on the problems of high-speed flight.That same year, he was awarded a doctoral degree in engineering by the University of Heidelberg. However, his research work did not stop Lippisch from designing further, mostly jet-powered and tailless fighter aircraft, e. g. for Henschel.
In early 1944, the RLM became aware of Allied jet developments and the high altitude B-29 in the Pacific TO, which was expected to appear soon over Europe, too. In response, the RLM instituted the Emergency Fighter Program, which took effect on July 3, 1944, ending production of most bomber and multi-role aircraft in favour of fighters, especially jet fighters. Additionally, they accelerated the development of experimental designs that would guarantee a performance edge over the Allied opponents, and designs that would replace the first generation of the German jet fighters, namely the Messerschmitt Me 262 and Heinkel He 162.
One of these advanced designs was the Ta 183 fighter, built by Focke Wulf and developed by Kurt Tank. The Ta 183 had a short fuselage with the air intake passing under the cockpit and proceeding to the rear where the single engine was located. The wings were swept back at 40° and were mounted in the mid-fuselage position. The pilot sat in a pressurized cockpit with a bubble canopy, which provided excellent vision. The primary armament of the aircraft consisted of four 30 mm (1.18 in) MK 108 cannons arranged around the air intake. The Ta 183 had a planned speed of about 1,000 km/h (620 mph) at 7,000 m (22,970 ft) and was powered by a 2nd generation jet engine, the Heinkel HeS 011 turbojet with 13 kN (2,700 lbf) of thrust. Several, steadily improved variants of the Ta 183 entered service from mid 1945 onwards, and the type was also the basis for more thorough derivatives - including a high altitude jet fighter proposed by Alexander Lippisch.
The resulting aircraft mated the structural basis of the proven Ta 183 with advanced aerodynamics, namely a tailless design with a much increased wing and fin area, and the machine was also powered by the new BMW 018 jet engine which delivered at this early stage 25kN (5.200 lb) of thrust and was expected to achieve more than 36 kN (7.500 lb) soon, without bigger dimensions than the widely used HeS 011 at the time.
The resulting machine, designated Li 383 in order to honor the developer, sacrificed some of the Ta 183' agility and speed for sheer altitude and climb performance, and the new wings were mostly built from non-strategic material, what increased weight considerably - the Li 383 was 1.5 times as heavy as the nimble Ta 183 fighter, but the new wing was more than twice as large.
Nevertheless, the modifications were effective and the RLM quickly accepted the radical re-design, since no better options were available on short notice. While the Ta 183 fighter was able to reach 14.000m (45,935 ft) in a zoom climb, the Li 383 could easily operate at 16.000m (52.500 ft) and even above that. However, Alexander Lippisch's original design, the Li 383A, had, despite positive wind tunnel tests, turned out to be unstable and prone to spinning. The reason was quickly found to be a lack of latitudal surfaces, and this was quickly fixed with a bigger tail fin and a characteristic gull wing that gave it the inofficial nickname for the serial Li 383B, "Sturmvogel".
When the Allied Forces eventually added the high-flying B-29 bombers to their air raids over Germany in late 1945, the Li 383 B-1 serial production variant was just ready for service. The new machines were quickly delivered to front line units, primarily fighter squadrons that defended vital centers like Berlin, Munich or the Ruhrgebiet. However, even though the Li 383 B-1's performance was sufficient, the type suffered from an inherent weakness against the well-armed Allied bombers: the range of the MK 108 cannon. While this weapon was relatively light and compact, and the four guns delivered an impressive weight of fire, a close attack against massive bomber formations was highly hazardous for the pilots. As a consequence, since bigger guns could not be mounted in the compact Ta 183 airframe, several weapon sets for filed modifications (so-called Rüstsätze) were offered that added a variety of weapons with a longer range and a bigger punch to the Li 383 B-1's arsenal, including unguided and guided air-to-air missiles.
Anyway, the Li 383's overall impact was not significant. Production numbers remained low, and all in all, only a total of 80-100 machines were completed and made operational when the hostilities ended.
General characteristics:
Crew: one
Length: 7.78 m (25 ft 5 1/2 in)
Wingspan: 12.67 m (41 ft 6 in)
Height: 3.86 m (12 ft 8 in)
Wing area: 46.8 m² (502.1 ft²)
Empty weight: 4,600 kg (10,141 lb)
Loaded weight: 6,912 kg (15,238 lb)
Max. takeoff weight: 8,100 kg (17,857 lb)
Powerplant:
1× BMW 018A turbojet, 25kN (5.200 lb)
Performance:
Maximum speed: 977 km/h (estimated) (607 mph) at 12,000 meters (39,000 ft)
Service ceiling: 16,000 m (estimated) (52,000 ft)
Rate of climb: 22 m/s (estimated) (4,330 ft/min)
Wing loading: 147.7 kg/m² (20.2 lb/ft²)
Thrust/weight: 0.34
Armament:
4× 30 mm (1.18 in) MK 108 cannons around the air intake with 75 RPG
2x underwing hardpoints for two 300l drop tanks or 2x 250 kg (550 lb) bombs;
alternatively, various weapon sets (Rüstsätze) were available, including racks for 8× (R1) or 12× (R3)
R 65 “Föhn” or for 24x R4M unguided missiles (R2), or for 2× Ruhrstahl X-4 Wire Guided AAMs (R4)
The kit and its assembly:
This fictional Luft ’46 aircraft was inspired by the question what a further developed Ta 183 could have looked like, and it was also influenced by the many tailless Lippisch designs that never left the drawing board.
From the hardware perspective, the design is more or less the salvage of the most useable parts of the PM Model Horten IX/Go 229 kit – namely the outer wing sections. The PM Model Ta 183 is only marginally “better”, and I had one of these in the stash (Revell re-boxing), too. So, why not combine two dreadful kits into something …new?
Well, that was the plan, and building was rather straightforward. In the cockpit, I added simple side consoles, a dashboard, some oxygen flasks, a different seat and a pilot figure (seatbelts simulated with tape strips) – the kit would be finished with closed canopy.
An exhaust pipe was integrated and the air intake filled with a better compressor fan (from an Airfix D.H. Venom, IIRC, fits perfectly). The inner walls of the landing gear wells (well, they are not existent) were cut away and replaced with leftover jet engine parts, so that there was some structure and depth. The landing gear was taken OOB, though, I just used slightly bigger wheels, since the “new” aircraft would have considerably more mass than the Ta 183.
The highly swept, long Ta 183 tail was cut off and replaced by a surplus Me 262 fin and tail section (Matchbox). Despite the different shape and size, and the resulting side view profile reminds strangely of the Saab 29?
The original Ta 183 wings were not mounted and their attachment points on the fuselage cut/sanded away. Instead, I used the outer wing sections from the Go 229, with clipped wing tips for a different shape.
When I held the wings to the fuselage, the whole thing looked …boring. Something was missing, hard to pinpoint. After consulting some Luft ’46 literature I adapted a trick for better stability: a gull wing shape. This was achieved through simple cuts to the wings’ upper halves. Then the wings were bent down, the gap filled with a styrene strip, and finally PSRed away. Looks very dynamic, and also much better!
Another late addition was the underwing armament. I was about to start painting when I again found that something was missing… The new wings made the aircraft pretty large, so I considered some underwing ordnance. Anyway, I did not want to disrupt the relatively clean lines with ugly bombs or drop tanks, so I installed a pair of racks with six launch tubes for R 65 “Föhn” unguided AAMs into the lower wing surfaces, in a semi-recessed position and with a deflector plate for the rocket exhausts.
Painting and markings:
As a high altitude interceptor and late war design, this one was to receive a simple and relatively light livery, even though I stuck with classic RLM tones. The Li 383 was basically painted all-over RLM 76 (Humbrol 247), onto which RLM 75 (from Modelmaster) was added, in the form of highly thinned enamel paint for a cloudy and improvised effect, applied with a big and soft brush. On top of the wings, a typical two-tone scheme was created, while on the fuselage’s upper sides only some thin mottles were added.
In order to lighten the scheme up and add a unique twist, I added further mottles to the flanks and the fin, but this time with RLM 77. This is a very light grey – originally reserved for tactical markings, but also “abused” in the field for camouflage mods, e. g. on high-flying He 177 bombers. I used Humbrol 195 (RAL 7035), again applied with a brush and highly thinned for a rather cloudy finish.
The air intake section and the intake duct were painted in aluminum, while the engine exhaust section as well as the missile racks and the areas around the gun ports were painted with Revell 99 (Iron Metallic) and Steel Metallizer.
The cockpit interior became dark grey (RLM 66) while the landing gear, the wells and the visible engine parts inside became RLM 02.
The kit was lightly weathered with a thin black ink wash and some dry-brushing.
The markings were puzzled together; due to the light basic tones of the model, the upper crosses became black, with only a very small cross on the flanks due to the lack of space, and for the wings’ undersides I used “old school” full color markings in black and white. The red color for the tactical code was basically chosen because it would be a nice contrast to the bluish-grey overall livery.
Finally the kit was sealed with matt acrylic varnish and some gun soot stains added with grinded graphite, as well as some traces of flaked paint on the wings’ leading edges and around the cockpit.
Well, the attempt to bash two mediocre (at best) kits into something else and hopefully better worked out well – the Li 383 does not look totally out of place, even though it turned out to become a bigger aircraft than expected. However, the aircraft has this certain, futuristic Luft ’46 look – probably thanks to the gull wings, which really change the overall impression from a simple kitbash to a coherent design which-could-have-been. The livery also fits well and looks better than expected. Overall, a positive surprise.
Adria Airways Bombardier Canadair Regional Jet CRJ-900 S5-AAK is accelerating on runway 18 in Frankfurt.
c/n 15128 was delivered to Adria Airways on 24.05.07.
The jet is powered by 2x General Electric CF34-8C5 turbofans and has a variable cabin layout with 86x Business and Economy Class seats.
This is flight JP117 to Ljubljana (LJU).
Please join my Facebook fan page:
www.facebook.com/pages/Thomas-Becker-Aviation-Photography...
...and there is a Plane Spotting group on Facebook you should visit:
www.facebook.com/groups/planespotting/
Flickr has done some major design changes (which I deeply regret). Are you missing collections in Flickr? Me, too!
But they are not lost, just hidden - you can go there by using one of the following links:
Special Aviation Photos
www.flickr.com/photos/thomasbecker/collections/7215762339...
Airlines of the World
www.flickr.com/photos/thomasbecker/collections/7215760571...
Aviation by Date
www.flickr.com/photos/thomasbecker/collections/7215760307...
Airline Alliances of the World
www.flickr.com/photos/thomasbecker/collections/7215762573...
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
Agnes Callamard, Secretary-General, Amnesty International, United Kingdom
Patrick Chappatte, Editorial Cartoonist; President, Freedom Cartoonists Foundation, Switzerland; Cultural Leader
Christophe Deloire, Secretary-General, Reporters Without Borders, France
Kenneth Roth, Executive Director, Human Rights Watch, USA
Edward Felsenthal, Editor-in-Chief and Chief Executive Officer, TIME, USA
speaking in the Freedom of the Press
at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 26 May. Congress Centre – Aspen 2, Copyright: World Economic Forum/Walter Duerst
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
Tesla Charging Station, Fashion Island, Newport Beach, California.
The AC induction motor and single speed gear box create instant torque from 0 rpm. Up to 295 lbs-ft of torque and 300 horsepower are produced as the car smoothly accelerates from 0 to 60 mph in 3.7 seconds.
UNFPA, the United Nations Population Fund, jointly with UNICEF, lead the largest global programme to accelerate the abandonment of Female Genital Mutilation (FGM). In line with Zero Tolerance Day for FGM on 6 February 2017, UNFPA lead a mission to Kenya's Narok County to document UNFPA’s active participation to encourage the abandonment of the practice. Female Genital Mutilation, FGM, involves altering or injuring the female genitalia for non-medical reasons. It negatively impacts a girl’s psychological, emotional and physical well-being, education, health and gender equality rights, and is internationally recognized as a human rights violation. Maasai culture, often praised and used as a tourist attraction, encourages FGM which is views as the key to success in all aspects of life. Many Maasai families cannot afford to give their children formal schooling, so to protect their daughters from lives of poverty, they choose to marry them off at a young age. Because Maasai girls are traditionally considered children until they are circumcised, it is seen as imperative for a Maasai girl to undergo the circumcision rite before she is married making FGM a precursor to child marriage. This strongly ingrained cultural belief propels families to go to great lengths to complete the circumcision. Both FGM and child marriage negatively impact long-term poverty reduction and development outcomes. In collaboration with World Vision Kenya as an implementing partner UNFPA identify Narok County in Maasailand as one of eight targeted counties in Kenya where UNFPA-supported interventions are transforming and saving lives of women and girls in the county.
Accelerating Europe’s Green & Digital Industrial Future.
www.clustercollaboration.eu/content/clusters-meet-regions...
Organised by the European Cluster Collaboration Platform (ECCP) on behalf of the European Commission, in partnership with Merinova, the Regional Council of Ostrobothnia and the University of Vaasa.
Vaasa University and Energy Week. www.uwasa.fi/en
Photos and videos courtesy by Lars Ling. linktr.ee/larsling
© 2025 Lars Ling / CleanTech Region Group. All rights reserved.
Farewell Lunch at the Schatzalp
Lunch at the Schatzalp Hotel, situated in a stunning location high above Davos. at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 26 May. Davos Schatzalp, Copyright: World Economic Forum/Walter Duerst
a few weeks ago i borrowed my sisters car and drove to yorkshire and back. the journey up was fairly slow and boring, so i put some music on, drank a can of red bull and took some pictures. the journey home was far less boring, or at least it became that way when the rain started falling and my windscreen wipers stopped working. that happened somewhere near nottingham when i had around 100 miles remaining to drive. my first tactic was to focus my eyes past the spots of water on the glass and onto the road in front. it worked for a while, however as the rain became heavier the spots of water grew so i switched to moving my head around to look for the waterless gaps. i slowed down and tried to drive with the largest possible gap to the vehicle in front. the consequence of this meant that whenever a lorry or other large vehicle overtook me the tyre spray covered so much of the windscreen that my vision resembled a monet painting. if you looked at a monet painting whilst squirting water in your eyes. i told myself it would be ok as long as i made it down the motorway, for some reason not considering that the end of my journey would involve navigating through the busiest city in europe. i suppose i just hoped that the rain would eventually stop, or i'd find a garage who could fix the static wipers. neither of these things happened so pedestrians, junctions and road signs were soon thrown into the mix. the final 10 miles through central london were a figurative and literal blur.
here's the original
During the early morning hours of August 6, 2011, well before the morning rush begins, both I-93 and Riverside Avenue were open to traffic after another successful, ahead-of-schedule bridge replacement.
This photo illustrates the rapid nature of the work being performed during a typical weekend in Medford on the 93 Fast 14 project. On Friday night, the bridge demolition begins. Twelve hours later, the new bridge, made of prefabricated units, is being erected. Twenty four hours later, concrete is in place and curing. By Monday morning, the bridge and all area roads are open for use.
To date, all the bridges in the 93 Fast 14 have been demolished and replaced ahead of schedule, making the ‘most ambitious bridge replacement project in the country’ one of the most successful. The final bridge is scheduled to be replaced between August 12 and August 15.
This project is a wonderful example of how the Patrick-Murray Administration’s Accelerated Bridge Program is doing business differently by pioneering the use of innovative construction methods in Massachusetts— all with the goal of providing the best possible customer service to the people of the Commonwealth.
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 lastest 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 thei 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 rapsberries from Spain. We like them for breakfast at weekends, its a hard habit to break.
Back home to unload and makaid 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 tood, 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 didged 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 chuchyard, and I could see a nice "church open" sign before I got out.
Although it looked spendid 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 ciruit, 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 plled 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 unbeated 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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Holy Cross church stands to the south of the village green at the end of a cul de sac. Its noble tower is crowned with queer sculptures, slightly reminiscent of Alnwick Castle. The exterior has a nicely textured effect, but this leads to an unexpectedly clean interior - the result of much care and attention and recent reordering. Whilst it cannot pretend to be in the top league of Kent churches it offers a fine selection of 19th and 20th century glass and some fine wall tablets. West tower, nave, chancel, north aisle and chapel, south porch.
www.kentchurches.info/church.asp?p=Bearsted
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BERSTED.
BERSTED lies the next parish north-westward from Leeds. It was antiently written Bergestede, and most probably took its name from its situation, Berg, in Saxon, signifying a hill, and stede, a place or village.
THE PARISH lies mostly on what may be called high ground, a pleasant, and the greatest part of it a dry situation; the soil is in general a deep sand, though towards the south-west part it partakes of the quarry rock, and on the south side of the Lenham river a black moorish soil of fertile meadow ground. This river parts it towards the south from Osham, another smaller stream, which rises near Boxley, separates it on the western side from that parish and Maidstone, leaving within the bounds of it a part of the hamlet of Maginford. Besides the above, this parish is watered by two or three other smaller rivulets, which rise northward, and run here into the Lenham river, the easternmost of them separating it from Hollingborne and Leeds. The high road from Ashford and Lenham towards Maidstone, runs along the northern boundaries of it, passing over Bersted-green, the houses round which form the parish village, near it stands the church; besides this there are two other hamlets, called Ware and Roseacre-streets. In the south-east part of the parish is the seat of Milgate, pleasantly situated and wellcloathed with trees, at the back of which the ground descends to the river, and at a small distance that of Lower Milgate, so called from its lower situation still nearer the river.
A fair used to be held here on Holy Cross day, September 14, now by the alteration of the style, changed to Sept. 25, for pedlary, toys, &c.
The noble family of Bertie own this parish to have been their most antient habitation in this kingdom, for they are said to have possessed lands in it near the parsonage, at Strutton-street, and elsewhere in this neighbourhood, as early as the reign of king Henry II. and among the Harleian MSS. there is a grant of arms, anno 2 Henry VI. to Bartie, of Berested, in Kent; they continued here in king Henry the VIIth.'s reign, as appears by an antient rental of that time, and there are still lands, called Barty lands, in this parish and Thurnham; and from those of this name settled here, in a direct line was descended the dukes of Ancaster, now extinct, and from them the lady Willbughbye, of Eresbye; the earls of Abingdon, and other distinguished branches of this family claim their descent.
The manors of Leeds, Moathall, and Thurnham, extend over this parish, in which there is an estate belonging to the former of them, which has constantly passed through the same succession of owners, from the family of Crevequer, who were proprietors of it in the reign of William the Conqueror, to the Rev. Dr. Denny Martin Fairfax, of Leeds-castle, who is at present in the possession of it.
MILGATE is an eminent seat, situated in the southeast part of this parish, which was formerly esteemed a manor, though it has long since lost the reputation of ever having been one.
The family of Coloigne antiently possessed this estate; one of whom, Robert de Coloigne, died possessed of it in the 35th year of king Edward III. In process of time, his descendants came to be called Coluney; one of whom, Thomas Coluney, as appears by an old survey of Bersted, possessed it in the 14th year of Edward IV. Soon after which, that is, in the beginning of king Henry VII.'s reign, it was become the property of the family of Stonehouse, whose antient seat was at Haslewood, in Boughton Malherbe.
Robert Stonehouse, esq. was of Bersted, at the latter end of king Henry VIII.'s reign. His son, George Stonehouse, esq. was clerk of the green cloth to queen Elizabeth, and resided at West Peckham, where he died in 1575, whose eldest son William was created a baronet anno 4 Charles I. and Nicholas, the second, was of Boxley, in this county. He bore for his arms, Argent, on a fess sable, between three hawks volant, azure, a leopard's face, between two mullets, or. (fn. 1) In the beginning of the reign of queen Elizabeth he alienated this seat to Thomas Fludd, esq. afterwards knighted, who was son of John Fludd, esq. of Morton, in Shropshire, and bore for his arms, Vert, a chevron between three wolves heads, erased, argent; which coat, with his quarterings, was confirmed to him by Robert Cook, clarencieux, in 1572. He resided at Milgate, where he died in 1607, and was buried in this church, having considerably improved and augmented this seat. His son Thomas Fludd, esq. afterwards of Otham, succeeded him in this estate, which he alienated in 1624, to William Cage, of Farringdon, in Hampshire, barrister-at law, who resided here. He was bred at Lincoln's-inn, an utter barrister, and was descended from Richard Cage, of Packenham, in Suffolk. He bore for his arms, Per pale, gules and azure, a saltier, or, and a chief, ermine, which was an alteration from the antient arms of this family, viz. Azure and gules, over all a saltier, or; and, together with an addition to the crest, was granted to him by St. George, clarencieux, in 1624, (fn. 2) and in his descendants it continued down to Wm. Cage, esq. who was likewise of Milgate, and was sheriff in 1695, and represented the city of Rochester in several parliaments during queen Anne's reign. Of his sons, William died s. p. Lewis will be mentioned hereafter; and John was of Lower Milgate, esq. Lewis Cage, the second son, became at length possessed of Milgate, where he resided, and left one son Lewis, and a daughter Catherine, who married first, Mr. George Eastchurch, of Maidstone; and secondly Christopher Hull, esq. but died s. p. On his death, Lewis Cage, esq. his son, succeeded him in this seat, where he now resides.
He married Annetta, second daughter and coheir of Edward Coke, esq. of the White Friars, in Canterbury, by whom he had four sons; Lewis Cage, esq. of Lower Milgate, who married Fanny, eldest daughter of Sir Brook Bridges, bart. the Rev. Edward Cage, rector of Easling, who married Jane, second daughter of Charles Van, esq. of Monmouthshire; John, who died in the West-Indies unmarried in 1789, and the Rev. Charles Cage, of Cristmell, vicar of Bersted, who married Elizabeth, daughter of colonel Graham, and one daughter Catherine, as yet unmarried.
AT A SMALL DISTANCE westward from Milgate, there is a good house, called COMBES, alias LOWER MILGATE, which on the death of William Cage, esq. came to his youngest son John Cage, as before-mentioned, who died s. p. It is now the property of Mrs. Brander, the widow of Gustavus Brander, esq. and daughter of Francis Gulston, esq. by a daughter of William Cage, esq. Lewis Cage, esq. junior, at present resides in it.
MOAT-HALL is a manor in this parish, the mansion of which, from the materials with which it was built, was called Stonehouse. It antiently belonged to the neighbouring priory of Leeds, as appears by several old boundaries and papers, and was most probably part of those demesnes given to it at its first foundation, by Robert de Crevequer, in the reign of king Henry I. These demesnes appear by a rental of the time of king Henry VII. to have been held of the manor of Leeds, though they have been long since accounted parcel of this manor of Moat-hall.
On the dissolution of the priory in the reign of king Henry VIII. this manor, among the rest of the possessions of it, was surrendered into the king's hands, who afterwards, by his dotation-charter, in his 33d year, settled this manor, among other premises, on his new founded dean and chapter of Rochester, with whom it remains at this time.
The present lessee of it, under the dean and chapter, is Mr. William Usborne. There is a court baron held for this manor.
AT A SMALL DISTANCE southward from the church lies an estate called OTTERIDGE, formerly Oterashe, which in the reign of king Henry VIII. belonged to Simon Bertyn, one of the brethren of St. Bartholomew's hospital, beside Sandwich, who by will in 1530, devised it to Jeffry Merchant, of Rainham.
It afterwards came into the possession of the family of Munns, who continued possessors of it for several generations, till at length one of them sold it, with Aldington, in the adjoining parish of Thurnham, to William Sheldon, esq. whose descendant Richard Sheldon, esq. at his death, bequeathed it to his widow, and she re-marrying with William Jones, M. D. entitled him to it. He died in 1780, leaving by her two daughters; Mary, married to Lock Rollinson, esq. of Oxfordshire, and Anne, to Thomas Russell, esq. and they in right of their wives, are respectively entitled to it.
Charities.
SIMON BERTYN, one of the brethren of St. Bartholomew's hospital, near Sandwich, owner of Otteridge, in this parish, which he devised, together with his messuage called Buds, with its lands and appurtenances, in Allyngton, beside Thurnham, by his will in 1530, to Jeffry Marchant, ordered that the said Jeffry and his heirs male, should for ever yearly distribute, on the first Sunday of Lent, in the church of Berghsted, to the parish clerk there, and to other poor people, four bushels of green peas; that is to say, to every one of them, one peck.
EDWARD GODFREY, gent. of Thurnham, gave by his will in 1709, thirty shillings yearly out of lands in this parish, called Crouch field, for the schooling of poor children; half of them to be of this parish, and half of that of Thurnham. And he left 30s. yearly for the same use, to be paid out of an house called Rose acre, in this parish; the payment of which has been constantly refused, upon pretence, that he had no right to devise that charge on it.
The poor constantly relieved are about forty-five; casually twenty five.
BERSTED is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Sutton.
The church is situated on high ground, at a small distance southward of Bersted-green. It is dedicated to the Holy Cross, and is a handsome building, consisting of two isles and two chancels, with a square beacon tower at the west end of it. On three corners of the summit of the tower, are the figures of three dogs, or bears sejant, for they are so defaced by great length of time, that they can but be guessed at. If they represent the latter, they might have been placed there in allusion to the name of this parish: if not, these figures might perhaps be the crest of the founder of the church. In this church in the Milgate chancel, are monuments for the Cage family, and for Robert Fludd, M. D. A memorial for William Godfrey, jun. in 1690; and for Elizabeth, daughter of Henry Bosvile, esq. of Bradburne, justice and clerk of the court of wards, married first to Edward Mabb, gent. of this parish; and secondly, to William Godfrey, of Bersted, yeoman, obt. 1614. In the porch, against the east wall, is a small monument for Stephen Mason, of Boxley, citizen and vintner of London, obt. 1560, arms, A thevron, between three tuns, or barrels.
There were some lands and tenements in this parish, given by several persons, who stiled themselves the fraternity of the Holy Cross of Bersted, for a priest to sing mass yearly for one quarter of a year, in this church.
The church of Bergnestede, with all its rights and appurtenances, was given in the reign of Henry I. by Robert de Crevequer, son of Hamo de Crevequer, junior, to the priory of Leeds, then founded by him; which gift was confirmed by Baldwin, archbishop of Canterbury, in the reign of Henry II. who then appropriated this church to the canons there, towards the finding of lights and ornaments in their church. Archbishops Theobald and Hubert confirmed it likewise, as did John, prior, and the convent of Christ-church, in 1278, by the description of the church of Berghestede, with the tithes of Strutton. King Edward III. likewise confirmed it by his charter of inspeximus in his 41st year.
This church, together with the advowson of the vicarage, remained part of the possessions of the priory of Leeds till the dissolution of it, in the reign of king Henry VIII. when it was surrendered up into the king's hands, among other estates belonging to it.
After which, the king, by his dotation charter, in his 33d year, settled both the parsonage and advowson of the vicarage of this church on his new-founded dean and chapter of Rochester, with whom they now remain.
¶On the intended dissolution of deans and chapters, after the death of king Charles I. the possessions of the dean and chapter of Rochester, in this parish, were surveyed in 1649, by order of the state; when it was returned, that the parsonage or rectory of Bersted consisted of a messuage, barns, &c. which, with the tithes and glebe land of forty acres, were of the improved rent of 46l. 8s. per annum, which were let anno 13 Charles I. at the yearly rent of 9l. 13s. 4d. and four bushels of malt, for the term of twenty-one years; and the lessee covenanted to discharge the pension of forty shillings to the vicar, and to repair the chancel of the church. Out of which lease was excepted, the advowson of the vicarage, and the portion of tithes called Vintners Portion.
The vicarage is a discharged living in the king's books, of the clear yearly certified value of thirty pounds, the yearly tenths of which are 12s. 9d.
In 1649, the vicarage was valued in the abovementioned survey at twenty pounds per annum.
The parsonage is leased out by the dean and chapter to Mr. John Packman, but the advowson of the vicarage they reserve in their own hands.
The vicarage is endowed with all manner of tithes, except grain, and the vicar now enjoys the abovementioned pension of forty shillings from the lessee of the dean and chapter.