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Accelerating hard from the BNSF yard in Bakersfield this manifest freight is approaching the curves at Bena on its way to the Tehachapi Pass and beyond.
Sermon Graphic for new "Accelerate" series at Daystar Church.
Purpose was to illustrate recent momentum and growth in our church.
Resources include stock photo from Pexels, stock speedometer image and League Gothic font.
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.
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.
This is Zhah-DarrrLaaahh. She's trained for an Off-World kick murder squad. Talk about Beauty and the Beast - she's both.
After a brief slow order by a work zone, PT-98 notches it up as it approaches the Main St. crossing in Gouldsboro.
United Nations Headquarters
New York, New York
10:18 A.M. EDT
PRESIDENT OBAMA: Mr. President, Mr. Secretary General, fellow delegates, ladies and gentlemen: Seventy years after the founding of the United Nations, it is worth reflecting on what, together, the members of this body have helped to achieve.
Out of the ashes of the Second World War, having witnessed the unthinkable power of the atomic age, the United States has worked with many nations in this Assembly to prevent a third world war -- by forging alliances with old adversaries; by supporting the steady emergence of strong democracies accountable to their people instead of any foreign power; and by building an international system that imposes a cost on those who choose conflict over cooperation, an order that recognizes the dignity and equal worth of all people.
That is the work of seven decades. That is the ideal that this body, at its best, has pursued. Of course, there have been too many times when, collectively, we have fallen short of these ideals. Over seven decades, terrible conflicts have claimed untold victims. But we have pressed forward, slowly, steadily, to make a system of international rules and norms that are better and stronger and more consistent.
It is this international order that has underwritten unparalleled advances in human liberty and prosperity. It is this collective endeavor that’s brought about diplomatic cooperation between the world’s major powers, and buttressed a global economy that has lifted more than a billion people from poverty. It is these international principles that helped constrain bigger countries from imposing our will on smaller ones, and advanced the emergence of democracy and development and individual liberty on every continent.
This progress is real. It can be documented in lives saved, and agreements forged, and diseases conquered, and in mouths fed. And yet, we come together today knowing that the march of human progress never travels in a straight line, that our work is far from complete; that dangerous currents risk pulling us back into a darker, more disordered world.
Today, we see the collapse of strongmen and fragile states breeding conflict, and driving innocent men, women and children across borders on an epic scale. Brutal networks of terror have stepped into the vacuum. Technologies that empower individuals are now also exploited by those who spread disinformation, or suppress dissent, or radicalize our youth. Global capital flows have powered growth and investment, but also increased risk of contagion, weakened the bargaining power of workers, and accelerated inequality.
How should we respond to these trends? There are those who argue that the ideals enshrined in the U.N. charter are unachievable or out of date -- a legacy of a postwar era not suited to our own. Effectively, they argue for a return to the rules that applied for most of human history and that pre-date this institution: the belief that power is a zero-sum game; that might makes right; that strong states must impose their will on weaker ones; that the rights of individuals don’t matter; and that in a time of rapid change, order must be imposed by force.
On this basis, we see some major powers assert themselves in ways that contravene international law. We see an erosion of the democratic principles and human rights that are fundamental to this institution’s mission; information is strictly controlled, the space for civil society restricted. We’re told that such retrenchment is required to beat back disorder; that it’s the only way to stamp out terrorism, or prevent foreign meddling. In accordance with this logic, we should support tyrants like Bashar al-Assad, who drops barrel bombs to massacre innocent children, because the alternative is surely worse.
The increasing skepticism of our international order can also be found in the most advanced democracies. We see greater polarization, more frequent gridlock; movements on the far right, and sometimes the left, that insist on stopping the trade that binds our fates to other nations, calling for the building of walls to keep out immigrants. Most ominously, we see the fears of ordinary people being exploited through appeals to sectarianism, or tribalism, or racism, or anti-Semitism; appeals to a glorious past before the body politic was infected by those who look different, or worship God differently; a politics of us versus them.
The United States is not immune from this. Even as our economy is growing and our troops have largely returned from Iraq and Afghanistan, we see in our debates about America’s role in the world a notion of strength that is defined by opposition to old enemies, perceived adversaries, a rising China, or a resurgent Russia; a revolutionary Iran, or an Islam that is incompatible with peace. We see an argument made that the only strength that matters for the United States is bellicose words and shows of military force; that cooperation and diplomacy will not work.
As President of the United States, I am mindful of the dangers that we face; they cross my desk every morning. I lead the strongest military that the world has ever known, and I will never hesitate to protect my country or our allies, unilaterally and by force where necessary.
But I stand before you today believing in my core that we, the nations of the world, cannot return to the old ways of conflict and coercion. We cannot look backwards. We live in an integrated world -- one in which we all have a stake in each other’s success. We cannot turn those forces of integration. No nation in this Assembly can insulate itself from the threat of terrorism, or the risk of financial contagion; the flow of migrants, or the danger of a warming planet. The disorder we see is not driven solely by competition between nations or any single ideology. And if we cannot work together more effectively, we will all suffer the consequences. That is true for the United States, as well.
No matter how powerful our military, how strong our economy, we understand the United States cannot solve the world’s problems alone. In Iraq, the United States learned the hard lesson that even hundreds of thousands of brave, effective troops, trillions of dollars from our Treasury, cannot by itself impose stability on a foreign land. Unless we work with other nations under the mantle of international norms and principles and law that offer legitimacy to our efforts, we will not succeed. And unless we work together to defeat the ideas that drive different communities in a country like Iraq into conflict, any order that our militaries can impose will be temporary.
Just as force alone cannot impose order internationally, I believe in my core that repression cannot forge the social cohesion for nations to succeed. The history of the last two decades proves that in today’s world, dictatorships are unstable. The strongmen of today become the spark of revolution tomorrow. You can jail your opponents, but you can’t imprison ideas. You can try to control access to information, but you cannot turn a lie into truth. It is not a conspiracy of U.S.-backed NGOs that expose corruption and raise the expectations of people around the globe; it’s technology, social media, and the irreducible desire of people everywhere to make their own choices about how they are governed.
Indeed, I believe that in today’s world, the measure of strength is no longer defined by the control of territory. Lasting prosperity does not come solely from the ability to access and extract raw materials. The strength of nations depends on the success of their people -- their knowledge, their innovation, their imagination, their creativity, their drive, their opportunity -- and that, in turn, depends upon individual rights and good governance and personal security. Internal repression and foreign aggression are both symptoms of the failure to provide this foundation.
A politics and solidarity that depend on demonizing others, that draws on religious sectarianism or narrow tribalism or jingoism may at times look like strength in the moment, but over time its weakness will be exposed. And history tells us that the dark forces unleashed by this type of politics surely makes all of us less secure. Our world has been there before. We gain nothing from going back.
Instead, I believe that we must go forward in pursuit of our ideals, not abandon them at this critical time. We must give expression to our best hopes, not our deepest fears. This institution was founded because men and women who came before us had the foresight to know that our nations are more secure when we uphold basic laws and basic norms, and pursue a path of cooperation over conflict. And strong nations, above all, have a responsibility to uphold this international order.
Let me give you a concrete example. After I took office, I made clear that one of the principal achievements of this body -- the nuclear non-proliferation regime -- was endangered by Iran’s violation of the NPT. On that basis, the Security Council tightened sanctions on the Iranian government, and many nations joined us to enforce them. Together, we showed that laws and agreements mean something.
But we also understood that the goal of sanctions was not simply to punish Iran. Our objective was to test whether Iran could change course, accept constraints, and allow the world to verify that its nuclear program will be peaceful. For two years, the United States and our partners -- including Russia, including China -- stuck together in complex negotiations. The result is a lasting, comprehensive deal that prevents Iran from obtaining a nuclear weapon, while allowing it to access peaceful energy. And if this deal is fully implemented, the prohibition on nuclear weapons is strengthened, a potential war is averted, our world is safer. That is the strength of the international system when it works the way it should.
That same fidelity to international order guides our responses to other challenges around the world. Consider Russia’s annexation of Crimea and further aggression in eastern Ukraine. America has few economic interests in Ukraine. We recognize the deep and complex history between Russia and Ukraine. But we cannot stand by when the sovereignty and territorial integrity of a nation is flagrantly violated. If that happens without consequence in Ukraine, it could happen to any nation gathered here today. That’s the basis of the sanctions that the United States and our partners impose on Russia. It's not a desire to return to a Cold War.
Now, within Russia, state-controlled media may describe these events as an example of a resurgent Russia -- a view shared, by the way, by a number of U.S. politicians and commentators who have always been deeply skeptical of Russia, and seem to be convinced a new Cold War is, in fact, upon us. And yet, look at the results. The Ukrainian people are more interested than ever in aligning with Europe instead of Russia. Sanctions have led to capital flight, a contracting economy, a fallen ruble, and the emigration of more educated Russians.
Imagine if, instead, Russia had engaged in true diplomacy, and worked with Ukraine and the international community to ensure its interests were protected. That would be better for Ukraine, but also better for Russia, and better for the world -- which is why we continue to press for this crisis to be resolved in a way that allows a sovereign and democratic Ukraine to determine its future and control its territory. Not because we want to isolate Russia -- we don't -- but because we want a strong Russia that’s invested in working with us to strengthen the international system as a whole.
Similarly, in the South China Sea, the United States makes no claim on territory there. We don't adjudicate claims. But like every nation gathered here, we have an interest in upholding the basic principles of freedom of navigation and the free flow of commerce, and in resolving disputes through international law, not the law of force. So we will defend these principles, while encouraging China and other claimants to resolve their differences peacefully.
I say this, recognizing that diplomacy is hard; that the outcomes are sometimes unsatisfying; that it's rarely politically popular. But I believe that leaders of large nations, in particular, have an obligation to take these risks -- precisely because we are strong enough to protect our interests if, and when, diplomacy fails.
I also believe that to move forward in this new era, we have to be strong enough to acknowledge when what you’re doing is not working. For 50 years, the United States pursued a Cuba policy that failed to improve the lives of the Cuban people. We changed that. We continue to have differences with the Cuban government. We will continue to stand up for human rights. But we address these issues through diplomatic relations, and increased commerce, and people-to-people ties. As these contacts yield progress, I’m confident that our Congress will inevitably lift an embargo that should not be in place anymore. (Applause.) Change won’t come overnight to Cuba, but I’m confident that openness, not coercion, will support the reforms and better the life the Cuban people deserve, just as I believe that Cuba will find its success if it pursues cooperation with other nations.
Now, if it’s in the interest of major powers to uphold international standards, it is even more true for the rest of the community of nations. Look around the world. From Singapore to Colombia to Senegal, the facts shows that nations succeed when they pursue an inclusive peace and prosperity within their borders, and work cooperatively with countries beyond their borders.
That path is now available to a nation like Iran, which, as of this moment, continues to deploy violent proxies to advance its interests. These efforts may appear to give Iran leverage in disputes with neighbors, but they fuel sectarian conflict that endangers the entire region, and isolates Iran from the promise of trade and commerce. The Iranian people have a proud history, and are filled with extraordinary potential. But chanting “Death to America” does not create jobs, or make Iran more secure. If Iran chose a different path, that would be good for the security of the region, good for the Iranian people, and good for the world.
Of course, around the globe, we will continue to be confronted with nations who reject these lessons of history, places where civil strife, border disputes, and sectarian wars bring about terrorist enclaves and humanitarian disasters. Where order has completely broken down, we must act, but we will be stronger when we act together.
In such efforts, the United States will always do our part. We will do so mindful of the lessons of the past -- not just the lessons of Iraq, but also the example of Libya, where we joined an international coalition under a U.N. mandate to prevent a slaughter. Even as we helped the Libyan people bring an end to the reign of a tyrant, our coalition could have and should have done more to fill a vacuum left behind. We’re grateful to the United Nations for its efforts to forge a unity government. We will help any legitimate Libyan government as it works to bring the country together. But we also have to recognize that we must work more effectively in the future, as an international community, to build capacity for states that are in distress, before they collapse.
And that’s why we should celebrate the fact that later today the United States will join with more than 50 countries to enlist new capabilities -- infantry, intelligence, helicopters, hospitals, and tens of thousands of troops -- to strengthen United Nations peacekeeping. (Applause.) These new capabilities can prevent mass killing, and ensure that peace agreements are more than words on paper. But we have to do it together. Together, we must strengthen our collective capacity to establish security where order has broken down, and to support those who seek a just and lasting peace.
Nowhere is our commitment to international order more tested than in Syria. When a dictator slaughters tens of thousands of his own people, that is not just a matter of one nation’s internal affairs -- it breeds human suffering on an order of magnitude that affects us all. Likewise, when a terrorist group beheads captives, slaughters the innocent and enslaves women, that’s not a single nation’s national security problem -- that is an assault on all humanity.
I’ve said before and I will repeat: There is no room for accommodating an apocalyptic cult like ISIL, and the United States makes no apologies for using our military, as part of a broad coalition, to go after them. We do so with a determination to ensure that there will never be a safe haven for terrorists who carry out these crimes. And we have demonstrated over more than a decade of relentless pursuit of al Qaeda, we will not be outlasted by extremists.
But while military power is necessary, it is not sufficient to resolve the situation in Syria. Lasting stability can only take hold when the people of Syria forge an agreement to live together peacefully. The United States is prepared to work with any nation, including Russia and Iran, to resolve the conflict. But we must recognize that there cannot be, after so much bloodshed, so much carnage, a return to the pre-war status quo.
Let’s remember how this started. Assad reacted to peaceful protests by escalating repression and killing that, in turn, created the environment for the current strife. And so Assad and his allies cannot simply pacify the broad majority of a population who have been brutalized by chemical weapons and indiscriminate bombing. Yes, realism dictates that compromise will be required to end the fighting and ultimately stamp out ISIL. But realism also requires a managed transition away from Assad and to a new leader, and an inclusive government that recognizes there must be an end to this chaos so that the Syrian people can begin to rebuild.
We know that ISIL -- which emerged out of the chaos of Iraq and Syria -- depends on perpetual war to survive. But we also know that they gain adherents because of a poisonous ideology. So part of our job, together, is to work to reject such extremism that infects too many of our young people. Part of that effort must be a continued rejection by Muslims of those who distort Islam to preach intolerance and promote violence, and it must also a rejection by non-Muslims of the ignorance that equates Islam with terror. (Applause.)
This work will take time. There are no easy answers to Syria. And there are no simple answers to the changes that are taking place in much of the Middle East and North Africa. But so many families need help right now; they don’t have time. And that’s why the United States is increasing the number of refugees who we welcome within our borders. That’s why we will continue to be the largest donor of assistance to support those refugees. And today we are launching new efforts to ensure that our people and our businesses, our universities and our NGOs can help as well -- because in the faces of suffering families, our nation of immigrants sees ourselves.
Of course, in the old ways of thinking, the plight of the powerless, the plight of refugees, the plight of the marginalized did not matter. They were on the periphery of the world’s concerns. Today, our concern for them is driven not just by conscience, but should also be drive by self-interest. For helping people who have been pushed to the margins of our world is not mere charity, it is a matter of collective security. And the purpose of this institution is not merely to avoid conflict, it is to galvanize the collective action that makes life better on this planet.
The commitments we’ve made to the Sustainable Development Goals speak to this truth. I believe that capitalism has been the greatest creator of wealth and opportunity that the world has ever known. But from big cities to rural villages around the world, we also know that prosperity is still cruelly out of reach for too many. As His Holiness Pope Francis reminds us, we are stronger when we value the least among these, and see them as equal in dignity to ourselves and our sons and our daughters.
We can roll back preventable disease and end the scourge of HIV/AIDS. We can stamp out pandemics that recognize no borders. That work may not be on television right now, but as we demonstrated in reversing the spread of Ebola, it can save more lives than anything else we can do.
Together, we can eradicate extreme poverty and erase barriers to opportunity. But this requires a sustained commitment to our people -- so farmers can feed more people; so entrepreneurs can start a business without paying a bribe; so young people have the skills they need to succeed in this modern, knowledge-based economy.
We can promote growth through trade that meets a higher standard. And that’s what we’re doing through the Trans-Pacific Partnership -- a trade agreement that encompasses nearly 40 percent of the global economy; an agreement that will open markets, while protecting the rights of workers and protecting the environment that enables development to be sustained.
We can roll back the pollution that we put in our skies, and help economies lift people out of poverty without condemning our children to the ravages of an ever-warming climate. The same ingenuity that produced the Industrial Age and the Computer Age allows us to harness the potential of clean energy. No country can escape the ravages of climate change. And there is no stronger sign of leadership than putting future generations first. The United States will work with every nation that is willing to do its part so that we can come together in Paris to decisively confront this challenge.
And finally, our vision for the future of this Assembly, my belief in moving forward rather than backwards, requires us to defend the democratic principles that allow societies to succeed. Let me start from a simple premise: Catastrophes, like what we are seeing in Syria, do not take place in countries where there is genuine democracy and respect for the universal values this institution is supposed to defend. (Applause.)
I recognize that democracy is going to take different forms in different parts of the world. The very idea of a people governing themselves depends upon government giving expression to their unique culture, their unique history, their unique experiences. But some universal truths are self-evident. No person wants to be imprisoned for peaceful worship. No woman should ever be abused with impunity, or a girl barred from going to school. The freedom to peacefully petition those in power without fear of arbitrary laws -- these are not ideas of one country or one culture. They are fundamental to human progress. They are a cornerstone of this institution.
I realize that in many parts of the world there is a different view -- a belief that strong leadership must tolerate no dissent. I hear it not only from America’s adversaries, but privately at least I also hear it from some of our friends. I disagree. I believe a government that suppresses peaceful dissent is not showing strength; it is showing weakness and it is showing fear. (Applause.) History shows that regimes who fear their own people will eventually crumble, but strong institutions built on the consent of the governed endure long after any one individual is gone.
That's why our strongest leaders -- from George Washington to Nelson Mandela -- have elevated the importance of building strong, democratic institutions over a thirst for perpetual power. Leaders who amend constitutions to stay in office only acknowledge that they failed to build a successful country for their people -- because none of us last forever. It tells us that power is something they cling to for its own sake, rather than for the betterment of those they purport to serve.
I understand democracy is frustrating. Democracy in the United States is certainly imperfect. At times, it can even be dysfunctional. But democracy -- the constant struggle to extend rights to more of our people, to give more people a voice -- is what allowed us to become the most powerful nation in the world. (Applause.)
It's not simply a matter of principle; it's not an abstraction. Democracy -- inclusive democracy -- makes countries stronger. When opposition parties can seek power peacefully through the ballot, a country draws upon new ideas. When a free media can inform the public, corruption and abuse are exposed and can be rooted out. When civil society thrives, communities can solve problems that governments cannot necessarily solve alone. When immigrants are welcomed, countries are more productive and more vibrant. When girls can go to school, and get a job, and pursue unlimited opportunity, that’s when a country realizes its full potential. (Applause.)
That is what I believe is America’s greatest strength. Not everybody in America agrees with me. That's part of democracy. I believe that the fact that you can walk the streets of this city right now and pass churches and synagogues and temples and mosques, where people worship freely; the fact that our nation of immigrants mirrors the diversity of the world -- you can find everybody from everywhere here in New York City -- (applause) -- the fact that, in this country, everybody can contribute, everybody can participate no matter who they are, or what they look like, or who they love -- that's what makes us strong.
And I believe that what is true for America is true for virtually all mature democracies. And that is no accident. We can be proud of our nations without defining ourselves in opposition to some other group. We can be patriotic without demonizing someone else. We can cherish our own identities -- our religion, our ethnicity, our traditions -- without putting others down. Our systems are premised on the notion that absolute power will corrupt, but that people -- ordinary people -- are fundamentally good; that they value family and friendship, faith and the dignity of hard work; and that with appropriate checks and balances, governments can reflect this goodness.
I believe that’s the future we must seek together. To believe in the dignity of every individual, to believe we can bridge our differences, and choose cooperation over conflict -- that is not weakness, that is strength. (Applause.) It is a practical necessity in this interconnected world.
And our people understand this. Think of the Liberian doctor who went door-to-door to search for Ebola cases, and to tell families what to do if they show symptoms. Think of the Iranian shopkeeper who said, after the nuclear deal, “God willing, now we’ll be able to offer many more goods at better prices.” Think of the Americans who lowered the flag over our embassy in Havana in 1961 -- the year I was born -- and returned this summer to raise that flag back up. (Applause.) One of these men said of the Cuban people, “We could do things for them, and they could do things for us. We loved them.” For 50 years, we ignored that fact.
Think of the families leaving everything they’ve known behind, risking barren deserts and stormy waters just to find shelter; just to save their children. One Syrian refugee who was greeted in Hamburg with warm greetings and shelter, said, “We feel there are still some people who love other people.”
The people of our United Nations are not as different as they are told. They can be made to fear; they can be taught to hate -- but they can also respond to hope. History is littered with the failure of false prophets and fallen empires who believed that might always makes right, and that will continue to be the case. You can count on that. But we are called upon to offer a different type of leadership -- leadership strong enough to recognize that nations share common interests and people share a common humanity, and, yes, there are certain ideas and principles that are universal.
That's what those who shaped the United Nations 70 years ago understood. Let us carry forward that faith into the future -- for it is the only way we can assure that future will be brighter for my children, and for yours.
Thank you very much. (Applause.)
END 11:00 A.M. EDT
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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.
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AP aims to inspire rising entrepreneurs in emerging regions to grow new markets, create sustainable employment, and strengthen communities.
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Wladimir Klitschko, Chairman, Klitschko Foundation, Ukraine
Vitaliy Klitschko, Mayor of Kyiv, Ukraine
Alois Zwinggi, Managing Director, World Economic Forum
Haslinda Amin, Chief International Correspondent, South-East Asia, Bloomberg News, Singapore,
speaking during the Session:
A Discussion with the Klitschkos
Join us for a discussion with Vitaliy and Wladimir Klitschko, who will share with us how the Russian invasion of Ukraine has affected them, Kyiv and their country. At the Annual Meeting 2022 of the World Economic Forum in Davos, 23 May, Copyright by World Economic Forum / Walter Duerst
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.
Sumant Sinha, Chairman and Chief Executive Officer, ReNew Power, India
Speaking during the Session: Clean Energy Superpowers
At the Annual Meeting 2022 of the World Economic Forum in Davos, Congress Centre - Aspen 2, 25 May, Copyright by World Economic Forum / Walter Duerst
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.
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.
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
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.
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.
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.
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
Ministerial Meeting: “Accelerating ICT Development in Africa”
ITU Headquarters, Geneva
29 March 20-19
©ITU/D. Woldu
Accelerating from Great Yarmouth on 7th July. Apologies for the bad quality photo, this was taken quickly from a moving car.
Roshni Nadar Malhotra, Chairperson, HCL Technologies, India in the Accelerating Corporate Investment in Nature session at the World Economic Forum Annual Meeting 2022 in Davos-Klosters, Switzerland, 24 May. Congress Center - Situation Room. Copyright: World Economic Forum/Ciaran McCrickard
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.
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
APRIL 14, 2023 WASHINGTON DC. WORLD BANK GROUP/INTERNATIONAL MONETARY FUND 2023 SPRING MEETINGS
Investing in Human Capital to Accelerate the Green Transition
Climate change is eroding human capital—the knowledge, skills, and health that people accumulate over their lives—with long-lasting implications for well-being and productivity. Speakers explore how governments, the private sector, and partners can build shock-resilient systems that improve people’s ability to adapt and prepare people to work in the green jobs that will help mitigate climate change.
Speakers: Axel van Trotsenburg, Managing Director of Operations, World Bank; Esther Duflo, Abdul Latif Jameel Professor of Poverty Alleviation and Development Economics, Massachusetts Institute of Technology; Andrew Steer, President and CEO, Bezos Earth Fund; Oulimata Sarr, Minister of Economy, Planning and Cooperation, Senegal. Moderator: Shakuntala Santhiran, International broadcast journalist. Photo: World Bank / Taylor Mickal
The 10:36 departure to Margate accelerates out of platform 3 at Stratford international, and down into the tunnel under East London.
A Metra MP36 led train accelerating out of the Roselle, IL Metra station en route to Elgin, IL. Shot from a downtown Roselle parking lot next to the Metra ROW
Featuring:
Matthew Hardcastle, Director, Client Development, DealCloud
Alexandre Motte, Managing Director & Head of Co-Investment, Ardian
Eric Deram, Managing Partner, Flexstone Partners (An affiliate of Natixis Investment Managers)
Francesco di Valmarana, Partner, Pantheon
Amanda Tonsgaard, Head of Investor Services and Communications, Triton Partners
Lila Tretikov, Chief Executive Officer, Terrawatt Initiative, France; Young Global Leader speaks at the press conference "Accelerating Energy Decarbonization." The World Economic Forum holds the Sustainable Development Impact Summit 2017 in New York, NY USA. Copyright by World Economic Forum / Ben Hider
Derry Road, Strabane, County Tyrone, Northern Ireland, UK
The famine years 1845-49 accelerated changes to the Irish Poor Laws and the
modification of the workhouses, a relief system never designed to cope with such
a widespread catastrophy.
During the famine years Strabane Workhouse, built to accommodate 800,
had 243 inmates in June 1845, by December that year 624 inmates, with the
numbers peaking in February 1848 at a total of 1079 inmates. As a response to
such overcrowding the government in June 1847, conceded to the granting of
Outdoor Relief
www.strabanedc.com/filestore/documents/dcal/tourism/Strab...
Nowadays this old workhouse is actually my home towns District councils base building, an extremely difficult building to capture right due to its close proximity to the road side and restricted angles due to overhanging trees & shadows etc, my new 14-24mm wide angle lens was essential here
(this scene was a great wee test for my new lens)
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