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A year ago today near Brauneberg on the Middle Moselle. An imminent change in the weather gave me a fantastic morning sky with at least as beautiful a reflection.
Heute vor einem Jahr bei Brauneberg an der Mittelmosel. Eine bevorstehende Wetteränderung bescherte mir einen fantastischen Morgenhimmel mit einer mindestens so schönen Spiegelung.
I'm in the process of getting ready for my upcoming photo tour, which starts a week from today (actually a week from yesterday). No, it doesn't go to lake Hopfensee in the Allgäu Alps, which can be seen here, but to the High Tatras in Slovakia.
However, the current weather forecast looks something like what you see in the picture. On the one hand, this is of course not ideal, since I am traveling in the camper and it does not yet have heating (at night the temperatures are supposed to drop below zero).
On the other hand, such weather also holds a lot of potential for extraordinary moods and lighting conditions. Much more than a blue sky and bright sunshine. For this reason, the anticipation of the upcoming experience prevails in any case.
Ich bin gerade dabei mich auf meine bevorstehende Fototour vorzubereiten, welche heute in einer Woche startet (genau genommen schon gestern in einer Woche). Nein, sie geht nicht an den Hopfensee im Allgäu, der hier zu sehen ist sondern in die Hohe Tatra in der Slovakai.
Allerdings sehen die aktuellen Wetteraussichten ungefähr so aus, wie Ihr es auf dem Bild seht. Das ist auf der einen Seite natürlich nicht optimal, da ich im Camper unterwegs bin, und der noch keine Heizung hat (nachts sollen die Temperaturen durchaus unter null sinken).
Auf der anderen Seite birgt solches Wetter natürlich auch sehr viel Potential für außergewöhnliche Stimmungen und Lichtverhältnisse. Deutlich mehr als ein blauer Himmel und strahlender Sonnenschein. Aus diesem Grund überwiegt auf alle Fälle die Vorfreude auf das bevorstehende Erlebnis.
more of this on my website at: www.shoot-to-catch.de
Or: We Are Family
#macromondays
#Four
OK, let's say that sharpness isn't everything. At least not every time ;) I simply couldn't get this "inside view" any sharper, but I still like the result, because it reminds me of planets, or, more precisely, a planetary "group" consisting of four equally sized planetary siblings that are kept together (and also safely apart at always the same distance) by a special, gravity-defying magnetic field that only exists in "teaverse". Yes, this is a stainless steel tea egg, its holes are beautifully arranged in groups of four, and we are looking through one of those holes (diameter of each hole: 1 mm / 0,039 inches) right into the tea egg. In the upper "planet" you can see one of the aforementioned "hole quartets" on the opposite inner wall of the tea egg. I was surprised that it actually worked, and I assume it's because you can get extremely close to your subject with the 30 mm macro lens, in fact so close that its UV filter (highly recommended for this lens!) touched the tea egg.
The image is a single photo illuminated by a single LED lamp which I'd put inside of the tea egg. Processed in DXO PL5 and Analog Efex (with only the basic adjustments, no film preset, vignette, or anything else).
HMM, Everyone!
Sagen wir mal so: Schärfe ist nicht alles, jedenfalls nicht immer ;) Schärfer ging es hier nicht, aber ich finde, das Foto funktioniert trotzdem - irgendwie. Ich sehe hier eine Gruppe von vier Planeten, Planetengeschwister, die von einem sehr speziellen Magnetfeld mit ausreichendem, der Schwerkraft trotzenden Sicherheitsabstand zusammengehalten werden. Und das gibt es so wohl nur im "Tee-iversum". Richtig, dies ist ein Tee-Ei, dessen Löcher (jew. 1 mm im Durchmesser) in hübschen Vierergruppen angeordnet sind. Und durch eines dieser Löcher (bzw. durch vier, natürlich, aber nur der Blick durch das obere rechte Loch ist halbwegs scharf) schauen wir hier ins Innere des Tee-Eis. Im oberen "Planeten" könnt Ihr eine solche Vierer-Loch-Gruppe an der gegenüberliegenden Innenwand des Tee-Eis sehen.
Ich war überrascht, dass diese Innenansicht überhaupt so funktioniert hat. Allerdings kann man mit dem preiswerten 30-mm-Makro auch extrem nah ans Motiv herangehen. So nah, dass sich auf jeden Fall ein Schutzfilter empfiehlt, und so hatte auch hier der Filterrand bereits das Tee-Ei berührt. Nicht so günstig für viele Motive, hier aber ideal :)
Ich wünsche Euch eine schöne Woche, liebe Flickr-Freunde, kommt gut durch die bevorstehende Hitzewelle!
These easter eggs are handmade and self decorated -
they are a gift from an aunt (handicratfs teacher).
They will accompany us during the coming Easter.
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Diese Ostereier sind handgefertigt und selbst dekoriert -
das Geschenk eine Tante, die als Handarbeitslehrerin tätig war.
Sie werden uns durch das bevorstehende Osterfest begleiten!
Mit diesem Kinderspiel packen Luis und Bärbel für ihre bevorstehende Reise.
"Soll ich die weiße Tasche mitnehmen Luis ?"
"Ja freilich, aber welche der Kappen soll ich einpacken ... ?"
With this children's game, Luis and Bärbel pack for their upcoming trip.
"Should I take the white bag Luis ?"
"Yes of course, but which of the caps should I pack .... ?"
Ad inizio primavera del 2021 inizio a trattare uno dei temi caldi per l'anno in questione: la sostituzione imminente delle composizioni EW III con i RABe 528 sia in Simmental che sull'IR66. Sulla prima delle due linee trascorriamo una soleggiata giornata di marzo, che inizia a Garstatt con il treno 4065 Interlaken Ost - Zweisimmen.
Im Frühjahr 2021 beginne ich damit, mich mit einem der wichtigsten Themen des Jahres zu befassen: die bevorstehende Ersetzung von EW III-Kompositionen durch RABe 528 sowohl im Simmental als auch auf dem IR66. Auf der ersten der beiden Linien verbringen wir einen sonnigen Tag im März, beginnend in Garstatt mit dem Zug 4065 Interlaken Ost - Zweisimmen.
Der KTE 42529 von Rotterdam Waalhaven nach Verona Q. E. war am 29. Dezember 2020 mit der 193 310 bespannt. Normalerweise verkehrt dieser Zug bereits ab München Nord mit einem Vectron Tandem. Dafür waren gleich zwei Lokführer an Bord. Die tiefstehende Sonne leuchtete den Zug beim Passieren der ehemaligen Blockstelle bei Hilperting gut aus. Im Hintergrund deutete sich bereits der bevorstehende Wetterumschwung an.
The KTE 42529 from Rotterdam Waalhaven to Verona Q. E. was hauled by the 193 310 on December 29, 2020. Normally, this train runs already from Munich North with a Vectron tandem. However, there were two locomotive drivers on board. The low sun illuminated the train well when passing the former block station at Hilperting. In the background, the imminent weather change was already indicated.
Vipera berus
Wildlife, Lüneburger Heide (D)
Die trüben Augen weisen auf die bevorstehende Frühjahrs-häutung hin.
The cloudy eyes indicate the upcoming spring shedding.
On my penultimate day, I headed south again toward the sea, because we want to spend tomorrow's sunrise (my last one in Thailand for now) by the sea.
I admit that the impending farewell is taking its toll on me. And this applies even more to saying goodbye to the wonderful Jerapa than to saying goodbye to Thailand. The thought that I'll be back here in about six months only makes it a little easier. Oh well, that can't be helped.
Nevertheless, of course, I can't just drive past beautiful photo opportunities. This also applies to these beautiful palm trees growing in a lush green rice field.
An meinem vorletzten Tag ging es heute wieder nach Süden in Richtung Meer, denn am Meer wollen wir den morgigen (meinen vorerst letzten) Sonnenaufgang in Thailand verbringen.
Ich gebe zu, dass mich der bevorstehende Abschied schon ziemlich mit nimmt. Und dies gilt noch mehr für den Abschied von der wundervolle Jerapa als es für den Abschied von Thailand gilt. Auch der Gedanke, dass ich in ca. 6 Monaten wieder hier sein werde macht es nur ein wenig leichter. Nun ja lässt sich nicht ändern.
Trotzdem kann ich natürlich nicht einfach so an schönen Fotomotiven vorbei fahren. Dies galt auch für diese schönen Palmen, die in einem satt grünen Reisfeld wachsen.
Am 31. Juli 2024 bespannte die 193 328 den KLV-Zug KT 42152 von Verona Q.E. nach Rostock Seehafen. Die Beladung des Zuges wies schon sinnbildlich auf ein zum Aufnahmezeitpunkt kurz bevorstehendes Ereignis hin. Das dänische Transportunternehmen DSV übernahm die Logistik-Tochter der Deutschen Bahn, DB Schenker, für 14,3 Milliarden Euro. Mit dem erzielten Erlös soll die Bahn einen großen Teil ihres Schuldenbergs abbauen. Ob es allerdings tatsächlich auf lange Sicht klug war, den größten Gewinnbringer im Konzern abzustoßen, wird die Zukunft zeigen. Die hier gezeigte Aufnahme entstand in Breitenfurt im Altmühltal.
On 31 July 2024, 193 328 hauled the KLV train KT 42152 from Verona Q.E. to Rostock Seehafen. The loading of the train already symbolically pointed to an imminent event at the time the photo was taken. The Danish transport company DSV took over the logistics subsidiary of Deutsche Bahn, DB Schenker, for 14.3 billion euros. The proceeds are intended to help the DB reduce a large part of its mountain of debt. However, only time will tell whether it was actually wise in the long term to sell off the largest profit-maker in the Group. The photo shown here was taken in Breitenfurt in the Altmühl Valley.
Je suis fier et heureux de vous annoncer l'ouverture prochaine de la "Tza Tza Tzu Galerie" à Aubeterre-Sur-Dronne (16390), France. Un lieu d'expositions photographiques, d'échanges sur notre passion commune. Si vous souhaitez intégrer notre programmation , contactez nous par Flickr mail.
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I am proud and happy to announce the upcoming opening of the "Tza Tza Tzu Galerie" in Aubeterre-Sur-Dronne (16390), France. A place of photographic exhibitions, exchanges on our common passion. If you wish to integrate our programming, contact us by Flickr mail.
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Estoy orgulloso y feliz de anunciar la próxima apertura de la "Tza Tza Tzu Galerie" en Aubeterre-Sur-Dronne (16390), Francia. Un lugar de exposiciones fotográficas, intercambios sobre nuestra pasión común. Si desea integrar nuestra programación, contáctenos por correo de Flickr.
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Ich bin stolz und glücklich, die bevorstehende Eröffnung der "Tza Tza Tzu Galerie" in Aubeterre-Sur-Dronne (16390), Frankreich, bekannt zu geben. Ein Ort der Fotoausstellungen, des Austauschs über unsere gemeinsame Leidenschaft. Wenn Sie unsere Programmierung integrieren möchten, kontaktieren Sie uns per Flickr-Mail.
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Sono orgoglioso e felice di annunciare l'imminente apertura della "Tza Tza Tzu Galerie" ad Aubeterre-Sur-Dronne (16390), Francia. Un luogo di mostre fotografiche, di scambi sulla nostra passione comune. Se desideri integrare la nostra programmazione, contattaci tramite Flickr mail.
Of course, when you visit such a beautiful place like Moritzburg Castle, you don't just come back with one or two photos.
Especially when it's early in the morning and the sky and lighting conditions are constantly changing.
This photo, for example, was taken shortly after I arrived here. And as you can see, the impending sunrise can only be seen through the narrow strip of light behind the castle. There is nothing to suggest that the clouds themselves will soon begin to glow (even if only for a short time).
This shows once again that it makes sense to persevere anyway. Because nature is able (although not always) to provide big surprises.
And this one time with the big surprise easily makes up for 5 times of waiting in vain.
Wenn man einen solch schönen Ort wie das Schloß Moritzburg besucht, kommt man natürlich nicht nur mit ein oder zwei Fotos zurück.
Vor allem dann nicht, wenn es früh Morgens ist und der Himmel sowie die Lichtverhältnisse sich ununterbrochen verändern.
Dieses Foto zum Beispiel entstand kurz nachdem ich hier angekommen bin. Und wie Ihr sehen könnt, lässt sich der bevorstehende Sonnenaufgang nur durch den schmalen hellen Streifen hinter dem Schloß erahnen. Nichts deutet darauf hin, dass bald die Wolken selbst zu leuchten beginnen (wenn auch nur sehr kurz).
Hier zeigt sich ein weiteres Mal, dass es Sinn macht trotzdem auszuharren. Denn die Natur ist in der Lage (wenn auch bei Weitem nicht immer) für große Überraschungen zu sorgen.
Und dieses eine Mal mit der großen Überraschung macht leicht 5 Mal vergebliches Warten wieder wett
more of this on my website at: www.shoot-to-catch.de.
Current sales campaign at Hamburg's Binnenalster for the forthcoming Triathlon World Championship.
Aktuelle Werbeaktion auf der Binnenalster für die bevorstehende Triathlon-WM.
Impression aus dem Stadtpark von Wiener Neustadt. Der rosa blühende Baum zeigte an, dass es Frühling ist. Doch der bewölkte Himmel und die Wetterstation des Österreichischen Touristen-Klubs (ÖTK) Wiener Neustadt zeigten ein bevorstehendes Tief an, was die Frühlingslaune gleich wieder ein bisschen dämpfte.
Impression from the city park of Wiener Neustadt. The pink blossoming tree signalled that it is spring. But the cloudy sky and the weather station of the Austrian Tourist Club (ÖTK) Wiener Neustadt indicated an impending low, which immediately dampened the spring mood a little.
20.04.2025
Il secondo giorno in Repubblica Ceca sembra partire con un ciel sereno, contrariamente a quanto previsto dai servizi meteorologici, molto bene!
Abbandono di corsa l'hotel a Jihlava e senza perdere un attimo mi reco in treno a Horní Cerekev.
Sono finito qui per cercare di scattare le locomotive 242 di České dráhy ancora in vecchia livrea beige-arancione, che stanno pian piano scomparendo lasciando spazio al nuovo design biancoblu simile alle carrozze.
Fortunatamente si ha ancora occasione di vederle, ma non si sa quanto questo possa ancora durare, e così decido di camminare dalla stazione di arrivo sino a poco dopo il villaggio di Horní Ves, per raggiungere dei posti prestabiliti.
La nebbia è ancora molto bassa e il suolo presenta una quantità immensa di rugiada, contesto buono per l'imminente arrivo della 242.213 che da České Budějovice traina il treno R 653 sino a Jihlava per lasciarlo in seguito nelle mani della 754 che lo porterà fino a Brno.
20.04.2025
Der zweite Tag in der Tschechischen Republik scheint mit klarem Himmel zu beginnen, im Gegensatz zu dem, was der Wetterbericht vorhergesagt hat, sehr gut!
Ich verlasse eilig das Hotel in Jihlava und fahre mit dem Zug nach Horní Cerekev, ohne etwas zu verpassen.
Hier versuche ich, einen Blick auf die Lokomotive 242 der České dráhy zu erhaschen, die noch ihre alte beige-orangefarbene Lackierung trägt, die langsam verschwindet und dem neuen blau-weißen Design, das den Waggons ähnelt, Platz macht.
Glücklicherweise hat man noch die Chance, sie zu sehen, aber man weiß nicht, wie lange das noch so bleiben wird, und so beschließe ich, vom Bahnhof bis kurz hinter das Dorf Horní Ves zu laufen, um einige vorbestimmte Orte zu erreichen.
Der Nebel ist immer noch sehr tief und es liegt sehr viel Tau auf dem Boden, ein guter Rahmen für die bevorstehende Ankunft des 242.213, der von České Budějovice den Zug R 653 nach Jihlava zieht und ihn später in die Hände des 754 legt, der ihn nach Brno bringen wird.
Die RBB-Abendschau machte auf die bevorstehende Schließung des Glockenturms am Olympia-Stadion aufmerksam, das wollte ich dann doch noch vorher gesehen haben. Mit genug Tele hat man ganz Berlin, wobei der Blick zum Fernsehturm am meisten hergibt.
view from the tower near the Olympic Stadium of 1936 onto mainly East-Berlin with 365 m television tower
Vor 150 Jahren, am 21. Mai 1871, erklomm die erste Bergbahn Europas die Rigi. Mit einem klangvollen und hochrangig besuchten Auftaktevent läuteten die Rigi Bahnen am 21. Mai 2021 das bevorstehende Jubiläumswochenende ein. Im Fokus stand die Erstfahrt der frisch restaurierten Lok 7 – der 148-jährigen, weltweit einzigen fahrbaren Zahnraddampflok mit stehendem Kessel aus der Sammlung des Verkehrshauses der Schweiz.
150 years ago, on May 21, 1871, the first mountain railway in Europe climbed the Rigi. On May 21, 2021, the Rigi Bahnen heralded the forthcoming anniversary weekend with a sonorous and well-attended kick-off event. The focus was on the maiden run of the freshly restored Locomotive 7 - the 148-year-old, world's only drivable rack steam locomotive with an upright boiler from the collection of the Swiss Museum of Transport.
03.09.2025
Dopo circa tre ore dall’arrivo nella riserva naturale, il caldo inizia a farsi sentire in modo abbastanza prepotente, ma l’imminente passaggio del treno per Madrid mi trattiene sul posto, indeciso su quale inquadratura adottare.
È stato però interessante osservare il cambiamento dell’aspetto dell’acqua, alle 6:00 circa, con l’alba, appariva come uno specchio perfettamente riflettente. Più tardi, con il sole ormai alto, si è trasformata in una superficie di blu scuro priva di riflessi. Questo accade perché nelle prime ore del giorno la luce radente colpisce l’acqua con un angolo basso, esaltandone l’effetto specchio mentre con il sole più in alto l’incidenza dei raggi aumenta, la luce viene diffusa in più direzioni e i riflessi si riducono, lasciando prevalere il colore naturale dell’acqua.
03.09.2025
Etwa drei Stunden nach meiner Ankunft im Naturschutzgebiet macht sich die Hitze ziemlich stark bemerkbar, aber der bevorstehende Zug nach Madrid hält mich an Ort und Stelle, unentschlossen, welchen Bildausschnitt ich wählen soll.
Es war jedoch interessant, die Veränderung des Aussehens des Wassers zu beobachten: Um 6:00 Uhr, bei Sonnenaufgang, sah es aus wie ein perfekt reflektierender Spiegel. Später, als die Sonne schon hoch stand, verwandelte es sich in eine dunkelblaue Oberfläche ohne Reflexionen. Das liegt daran, dass in den frühen Morgenstunden das Licht in einem flachen Winkel auf das Wasser trifft und so den Spiegeleffekt verstärkt, während mit steigender Sonne der Einfallswinkel der Strahlen zunimmt, das Licht in mehrere Richtungen gestreut wird und die Reflexionen abnehmen, sodass die natürliche Farbe des Wassers überwiegt.
Die Stadt ist geschmückt und bereit für die bevorstehende "Landshuter Hochzeit". www.landshuter-hochzeit.de/
The town is decorated and ready for the forthcoming "Landshuter Hochzeit". www.landshuter-hochzeit.de/
Im Februar 2019 kündigte Mercedes-Benz eine "Final Edition" und das bevorstehende Produktionsende im März/April 2020 an, welches sich aufgrund von Werksschließungen bedingt durch die COVID-19-Pandemie auf Juni 2020 verschoben hat.
In February 2019 Mercedes-Benz announced a "Final Edition" and the upcoming end of production in March / April 2020, which has been postponed to June 2020 due to plant closings due to the COVID-19 pandemic.
Canary Wharf is an area of London, England, located near the Isle of Dogs in the London Borough of Tower Hamlets. Canary Wharf is defined by the Greater London Authority as being part of London's central business district, alongside Central London. Alongside the City of London, it constitutes one of the main financial centres in the United Kingdom and the world, containing many high-rise buildings including the third-tallest in the UK, One Canada Square, which opened on 26 August 1991.
Developed on the site of the former West India Docks in East London, Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space. It has many open areas and gardens, including Canada Square, Cabot Square, Westferry Circus, Jubilee Park, and Crossrail Place Roof Garden. Together with Heron Quays and Wood Wharf, it forms the Canary Wharf Estate, around 97 acres (39 ha) in area.
History
Canary Wharf is located on the West India Docks on the Isle of Dogs. As journalist José Luis Jiménez explains, the name of this location stems from its use during World War II as a storage area for agricultural exports—primarily tomatoes, cucumbers, and bananas—from the Canary Islands. Its remote position, far from the city center, even included the Canarian Docks on its outskirts.
West India Dock Company
From 1802 to the late 1980s, what would become the Canary Wharf Estate was a part of the Isle of Dogs (Millwall), Limehouse, and Poplar and was one of the busiest docks in the world. West India Docks was primarily developed by Robert Milligan (c. 1746–1809) who set up the West India Dock Company.
Port of London Authority
The Port of London Authority was established in 1909 and took control of West India Dock. The enterprise of Sir Alfred Lewis Jones, a Welsh shipping magnate who was a prominent figure in the Canary Islands, Spain, led to a constant stream of ships arriving into London's South Quay Dock and the naming of Canary Wharf, after the ships' origin. It was named after No. 32 berth of the West Wood Quay of the Import Dock. This was built in 1936 for Fruit Lines Ltd, a subsidiary of Fred Olsen Lines for the Mediterranean and Canary Islands fruit trade. It is located on the Isle of Dogs, the quay and warehouse were given the name Canary Wharf.
London Docklands Development Corporation
After the 1960s, when cargo became containerised, port industry began to decline, leading to all the docks being closed by 1980. After the docks closed in 1980, the British Government adopted policies to stimulate redevelopment of the area, including the creation of the London Docklands Development Corporation (LDDC) in 1981 and the granting of Urban Enterprise Zone status to the Isle of Dogs in 1982.
The Canary Wharf of today began when Michael von Clemm, former chairman of Credit Suisse First Boston (CSFB), came up with the idea to convert Canary Wharf into a back office. Further discussions with G Ware Travelstead led to proposals for a new business district and included the LDDC developing an inexpensive light metro scheme, the Docklands Light Railway, to make use of a large amount of redundant railway infrastructure and to improve access.
The project was sold to the Canadian company Olympia & York and construction began in 1988, master-planned by Skidmore, Owings & Merrill with Yorke Rosenberg Mardall as their UK advisors, and subsequently by Koetter Kim. The first buildings were completed in 1991, including One Canada Square, which became the UK's tallest building at the time and a symbol of the regeneration of Docklands. By the time it opened, the London commercial property market had collapsed, and Olympia and York Canary Wharf Limited filed for bankruptcy in May 1992.
Initially, the City of London saw Canary Wharf as an existential threat. It modified its planning laws to expand the provision of new offices in the City of London, for example, creating offices above railway stations (Blackfriars) and roads (Alban Gate). The resulting oversupply of office space contributed to the failure of the Canary Wharf project.
Canary Wharf Group
In October 1995, an international consortium that included investors such as Alwaleed, bought control for $1.2 billion. Paul Reichmann, of Olympia & York, was named chairman, and Canary Wharf went public in 1999. The new company was called Canary Wharf Limited, and later became Canary Wharf Group.
In 1997, some residents living on the Isle of Dogs launched a lawsuit against Canary Wharf Ltd for private nuisance because the tower interfered with TV signals. The residents lost the case.
Recovery in the property market generally, coupled with continuing demand for large floorplate Grade A office space, slowly improved the level of interest. A critical event in the recovery was the much-delayed start of work on the Jubilee Line Extension, which the government wanted ready for the Millennium celebrations.
In March 2004, Canary Wharf Group plc. was taken over by a consortium of investors, backed by its largest shareholder Glick Family Investments and led by Morgan Stanley using a vehicle named Songbird Estates plc.
Corporations and agencies
Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space, of which around 7,900,000 sq ft (730,000 m2) (about 49%) is owned by Canary Wharf Group. Around 105,000 people work in Canary Wharf,[95] and it is home to the world or European headquarters of numerous major banks, professional services firms, and media organisations, including Barclays, Citigroup, Clifford Chance, Credit Suisse, Ernst & Young, Fitch Ratings, HSBC, Infosys, JPMorgan Chase, KPMG, MetLife, Moody's, Morgan Stanley, Royal Bank of Canada, Deutsche Bank, S&P Global, Skadden, Arps, Slate, Meagher & Flom, State Street, The Economist Group and Thomson Reuters. Until 2018, Canary Wharf also hosted two European Union agencies, European Medicines Agency and European Banking Authority, that moved to Amsterdam and Paris respectively due to Brexit.
Leisure
Marina
West India Quays and Poplar Dock are two marinas that are used as moorings for barges and private leisure river craft and is owned by the Canal & River Trust.
Library
A local public library, called Idea Store Canary Wharf, is in Churchill Place shopping mall and run by Tower Hamlets Council which opened on Thursday 16 March 2006 as part of the Idea Store project and is the borough fourth Idea Store.
Cinema
Canary Wharf hosts two multiplexes (cinemas), one on West India Quay run by Cineworld. and another at Crossrail Place called Everyman Cinema.
Go Karting
An over 800m long electric karting facility exists within Cabot Square. The facility can accommodate up to 20 drivers at a single time. Karts can reach speeds of up to 45 mph.
Squares and public areas
Canada Square
Canada Square is one of the central squares at Canary Wharf. It is a large open space with grass, except during the winter when it is converted into an ice rink. The square is named after Canada, because the original developers of modern Canary Wharf, Olympia & York, wanted to reflect their heritage. Underneath the square is Canada Place shopping mall.
Westferry Circus
Westferry Circus is on the west side of Canary Wharf. It is a garden at ground level, and below is a roundabout allowing traffic to flow through. The garden is enclosed by bespoke hand-crafted ornamental railings and entrance gates by artist Giuseppe Lund. The area has a long history, dating back to 1812, when the Poplar and Greenwich Roads Company operated a horse ferry between Greenwich and the Isle of Dogs. It operated on the West Ferry and East Ferry Roads, which the names survived. Westferry Circus was chosen as the name for the roundabout and park by virtue of its proximity to Westferry Road.
Cabot Square
Cabot Square is one of the biggest squares at Canary Wharf, with a large fountain at the centre. The inner perimeter has additional fountains covered by trees. The square has large circular glass ventilation holes to allow gases to escape from the underground car park. The square is named after John Cabot and his son Sebastian, who were Italian explorers who settled in England in 1484.
Churchill Place
Churchill Place is an area on the east side of Canary Wharf. It is named after Winston Churchill.
Columbus Courtyard
A small square on the west side of Canary Wharf named after Christopher Columbus. The first phase of Canary Wharf was completed in 1992, 500 years after Columbus arrived in America.
Chancellor Passage
A passageway south of Cabot Square. Named after Richard Chancellor who sailed with Sir John Willoughby from Greenwich on their voyage through the White Sea to Moscow.
Wren Landing
Small area north of Cabot Square. Leads to North Dock footbridge towards Port East. Named after British architect Christopher Wren.
Montgomery Square
Located at the east end of Jubilee Park, Montgomery Square is an outdoor location for socialising. Events include street food markets, beach volleyball tournaments, padel tennis competition, and minigolf.
Parks and green spaces
Canary Wharf Group is enthusiastic about adding more green spaces and gardens to the dense urban environment. A total of 20 acres of landscaped parks, gardens and verdant squares complete with 1,000 trees, 4,000 shrubs and 70,000 seasonal plants are added each year.[110] Visitors are welcome to explore these parks and green spaces, which are ideal places for relaxation, social gatherings, performances, viewing outdoor public art, as well as hosting outdoor events and festivities.
Jubilee Park
Jubilee Park is a 10,000m² roof garden located above Jubilee Place, a shopping mall, and Canary Wharf Jubilee Station, an underground railway station. The park, opened in 2002 and was named in honour of the Golden Jubilee of Elizabeth II. Jubilee Park is located in the financial district of Canary Wharf. The park's central feature is a raised serpentine water channel with rough stone walls. The curvilinear design of the water channel is intended to contrast to the scale and straightness of the surrounding buildings. In 2023, Jubilee Park won the Green Flag Award, recognising Jubilee Park as one of the United Kingdom's best parks
Crossrail Place Roof Garden
A 4,160 m2 (44,800 sq ft) roof garden, one of London's largest, houses on the top of seven-storey Crossrail Place structure, which contains the Elizabeth line Canary Wharf station. Opened to public in 2015, it lies almost exactly on the Meridian line splitting eastern and western hemispheres. The plants originating from the eastern hemisphere are planted to the East of the Meridian line in the garden, with those from the Western hemisphere on the opposite side. The design and development of Crossrail Place Roof Garden was honored by winning numerous prestigious international and United Kingdom awards. Selected notable awards include: "Best Urban Regeneration Project" at 2016 MIPIM awards in France, the first prize for the best "Innovative Design of a Contemporary Garden" at the 2017 European Garden Awards in Berlin, and a Highly Commended accolade at the 2016 Landscape Institute Awards in the category 'Design for a Small-Scale Development'.
Harbour Quay Garden
A newly opened garden, located at the strand of Wood Wharf, features a boardwalk for waterside wandering. The garden also offers family-friendly picnic spots and outdoor fitness equipment on the green lawn, where visitors can relax, view outdoor public art, and watch the water. Just around the corner, it has access to a new garden square, Harbord Square Park.
Harbord Square Park
Harbord Square Park, the newest garden square in Wood Wharf, continues the great London tradition of garden squares. It is open 24/7 and offers green space available for mindfulness activities and to support nearby residents' general wellbeing.
Eden Dock
In Oct 2024, in partnership with the Eden Project, the Canary Wharf group opened Eden dock. The waterfront green space can be accessed via Jubilee Plaza or Mackenzie Walk. It includes floating islands which are designed to encourage biodiversity.
Shopping malls
Canary Wharf shopping centre, ranked as one of the best in London, has five interconnected shopping malls: Canada Place, Cabot Place, Jubilee Place, Crossrail Place, and Churchill Place. The malls provide over 102,193 m2 (1,100,000 sq ft) of retail space, more than 310 shops from beauty, fashion, lifestyle, luxurious brands, health, and homeware, as well as 70 cafés, bars, and restaurants, eight grocery stores, five health clubs and a cinema. There are also numerous bars, restaurants, and food halls at street level, alongside plenty of outdoor seating enabling visitors to see the stunning wharf and riverside views.
Museums and archives
Opened in a Grade I listed Georgian warehouse by Queen Elizabeth II in June 2003, the Museum of London Docklands is one of the main attractions in the area. It is dedicated to the history of London's river, port, and people from Roman settlement to the present day. The museum offers a range of activities for children and families, including interactive displays and immersive activities.
Pokémon Go
Canary Wharf has been reported since 2017 as part of the Pokémon Go augmented reality game to being the home for the most wanted Pokémon gyms in London including Canary Wharf DLR station and Montgomery Square.
Canary Wharf Group published an official Pokémon map for PokéStops and Pokémon Gyms, the managing director for retail Camille Waxer said in 2016 that Pokémon Go has serious potential to attract new audiences to the area, particularly food and drink outlets which saw an increase in foot traffic.
(Wikipedia)
Canary Wharf (dt. „Kanaren-Kai“) ist ein Bürogebäudekomplex auf der Isle of Dogs im Londoner Stadtbezirk Tower Hamlets. Er befindet sich im Herzen der Docklands, dem ehemaligen Hafengebiet der britischen Hauptstadt. Canary Wharf steht in Konkurrenz zum historisch gewachsenen Finanzzentrum in der City of London. Hier stehen drei der höchsten Gebäude des Vereinigten Königreichs, One Canada Square, HSBC Tower und Citigroup Centre.
Wirtschaftszentrum
Zu den Unternehmen, die sich in Canary Wharf niedergelassen haben, gehören Finanzinstitute wie Credit Suisse, HSBC, Citigroup, Morgan Stanley, Bank of America und Barclays. Auch bedeutende Medienunternehmen haben hier ihre Hauptsitze, darunter The Daily Telegraph, The Independent, Thomson Reuters und der Daily Mirror. Ebenfalls hier vertreten sind der Europa-Hauptsitz von Texaco, der Hauptsitz von Clifford Chance, eine der weltweit größten Anwaltssozietäten, sowie das Wirtschaftsprüfungsunternehmen KPMG. Bis zum Brexit war hier auch der Sitz der Europäischen Bankenaufsichtsbehörde (EBA).
Zu Beginn des Jahres betrug die offizielle Zahl der hier arbeitenden Angestellten 78.000, wovon 25 Prozent in den fünf umliegenden Stadtbezirken leben. Canary Wharf entwickelt sich auch immer mehr zu einem teuren und exklusiven Einkaufsviertel, insbesondere nach der Eröffnung des Jubilee-Place-Einkaufszentrums im Jahr 2004. Es gibt über 200 Läden mit mehr als 4.500 Verkaufsangestellten. Jede Woche gehen rund 500.000 Personen hierhin zum Einkaufen.
Canary Wharf verfügt über eine ausgezeichnete Anbindung an das Netz des öffentlichen Nahverkehrs. Seit 1991 hält an der Station Canary Wharf (DLR) die vollautomatische Stadtbahn Docklands Light Railway. 1999 wurde die Jubilee Line der London Underground eröffnet, die in der gleichnamigen, aber räumlich getrennten Station Canary Wharf (London Underground) hält, und 2022 wurde der Verkehr auf der neuen Elizabeth Line (Crossrail) aufgenommen. Der Flughafen London City liegt nur ein paar Kilometer östlich und kann mit regelmäßig verkehrenden Bussen, Taxis und mit der DLR in unter 15 Minuten erreicht werden. Vom Canary Wharf Pier aus stellen Schiffe auf der Themse weitere Verbindungen in Richtung Innenstadt her; die Thames Clippers verkehren unter der Woche alle 20 Minuten.
Geschichte
Canary Wharf war einst der Standort von Lagerhäusern inmitten der Docks. Der Name leitet sich ab vom Seehandel mit den Kanarischen Inseln, der von hier aus abgewickelt wurde. Während des 19. Jahrhunderts lagen hier die West India Docks, einer der verkehrsreichsten Häfen der Welt. In den 1960er Jahren setzte der Verfall der Hafen- und Industrieanlagen ein. Nachdem im Jahr 1980 das letzte Dock geschlossen worden war, beschloss die britische Regierung im Jahr 1981 ein Programm, mit dem ein 21 km² großes Gebiet neu belebt werden sollte. Um das Projekt zu koordinieren, wurde die Entwicklungsgesellschaft „London Docklands Development Corporation“ gegründet. In den ersten Jahren ließen sich hier Betriebe der Leichtindustrie nieder, der größte Mieter in Canary Wharf war ein TV-Produktionsstudio.
1984 besuchte Michael von Clemm, der Vorsitzende der Investmentbank Credit Suisse, im Auftrag eines Kunden die Docklands, um nach einem Standort für einen Lebensmittelverarbeitungsbetrieb Ausschau zu halten. Er war sich auch bewusst, dass die Büros der Bank in der City of London zu klein waren, vor allem im Hinblick auf die bevorstehende Deregulierung der Finanzmärkte im Jahr 1986. Von Clemm hatte die Idee, das Gebiet für Bürobauten zu nutzen. Allerdings war eine kritische Masse notwendig, um das ganze Vorhaben überhaupt rentabel werden zu lassen. Entsprechende Pläne wurden zusammen mit dem Unternehmen Morgan Stanley präsentiert, später allerdings wieder zu den Akten gelegt. Als 1987 die Docklands Light Railway eröffnet wurde, hatte man in Canary Wharf keine Station errichtet, da man nicht mit einer Entwicklung des Gebiets rechnete.
1988 übernahm das vom Immobilienunternehmer Paul Reichmann geleitete kanadische Unternehmen Olympia and York (O&Y) das Projekt und brachte es zur Baureife. Die Bauarbeiten begannen im selben Jahr, die erste Phase war 1992 abgeschlossen. O&Y, das auch das World Financial Center in New York gebaut hatte, verpflichtete sich, die Hälfte der Kosten für die geplante Verlängerung der Jubilee Line zu übernehmen. Zu Beginn der 1990er Jahre brach der weltweite Immobilienmarkt ein. Die Nachfrage nach Büroräumlichkeiten ging stark zurück und O&Y ging 1992 bankrott. Die obere Hälfte des Wolkenkratzers One Canada Square blieb ohne Mieter, Canary Wharf wurde zum Symbol der Immobilienkrise.
Im Februar 1996 explodierte in der Nähe von Canary Wharf an der Station South Quay der DLR eine Autobombe der IRA. Zwei Menschen wurden getötet, 39 verletzt. Es entstand dabei ein Sachschaden von 85 Millionen Pfund.
Im Dezember 1995 kaufte ein internationales Konsortium unter Vorsitz von Paul Reichmann[3] das Gelände. Damals waren hier rund 13.000 Arbeitsplätze angesiedelt, doch noch immer stand über die Hälfte der vorhandenen Büroliegenschaften leer. Ein wichtiges Ereignis für die Wiederbelebung des Projekts Canary Wharf war der Baubeginn der Jubilee Line, der mehrmals verschoben worden war. Von da an betrachteten Unternehmen das Gebiet zunehmend als Alternative zu den traditionellen Geschäftszentren. Die zunehmende Nachfrage ermöglichte neben der Fertigstellung der zurückgestellten Bauabschnitte auch die Realisierung zusätzlicher Projekte. Im März 2004 wurde die Betriebsgesellschaft Canary Wharf Group plc durch das von Morgan Stanley angeführte Investorenkonsortium Songbird Estates übernommen. Im Jahr 2004 belegten 70 Prozent der Büroflächen in Canary Wharf Banken.
Im Jahr 2014 wurde die erste bauliche Erweiterung seit der Finanzkrise 2008 genehmigt. Das am östlichen Ende der Canary Wharf befindliche Projekt Wood Wharf umfasst eine Fläche von 4,9 Millionen Quadratfuß[7], worauf insgesamt 30 Gebäude entstehen sollen. Als Herzstück soll der vom Schweizer Architekturbüro Herzog & de Meuron entworfene, 211 Meter und 57 Stockwerke hohe zylinderförmige Wohnturm errichtet werden.
Stand 2020 ist die Canary Wharf Group im Besitz des katarischen Staatsfonds und der kanadischen Immobiliengesellschaft Brookfield Properties.
Im Zuge der COVID-19-Pandemie zu Beginn des 2020er Jahrzehnts verkleinerten auch die in Canary Wharf ansässigen Unternehmen ihre Bürofleichen und lagerten Arbeiten und Mitarbeiter ins Homeoffice aus. In den 2020er Jahren kündigten viele große Unternehmen (darunter die Großbank HSBC, Moody’s, Clifford Chance) an, aus Canary Wharf auszuziehen. Der Exodus führt dazu, dass viele Gebäude enorm an Wert verloren. Gleichzeitig siedelten sich vermehrt Bars, Restaurants, Clubs, Fitness- und Freizeitcenter und andere kleinere Unternehmen wie Start-Ups in Canary Wharf an. In Wood Wharf wurden und werden Stand 2024 Appartmentkomplexe für mehr als 7000 Menschen gebaut.
Vorkommen in der Popkultur
In der Serie Doctor Who befindet sich im Bürokomplex das fiktive Torchwood-Institut, das im Finale der zweiten Staffel im Kampf gegen die Daleks und Cybermen zerstört wird. Die Ereignisse nach dieser Schlacht werden im Spin Off Torchwood erzählt.
(Wikipedia)
(EN) The Slovenian railcar 813 041 has in the afternoon of 05/01/2015. just as transboundary regional 7810 from Djurmanec (HR) to Rogatec (SLO) just reached its final destination Rogatec and now waits idle on the upcoming in a half hour return to Croatia.
(DE) Der slowenische Triebwagen 813 041 hat am Nachmittag des 05.01.2015. soeben als grenzüberschreitender Regionalzug 71810 von Djurmanec (HR) nach Rogatec (SLO) seine Endstation Rogatec erreicht und wartet nun im Leerlauf auf die in eineinhalb Stunden bevorstehende Rückkehr nach Kroatien.
Reuters Plaza
Canary Wharf is an area of London, England, located near the Isle of Dogs in the London Borough of Tower Hamlets. Canary Wharf is defined by the Greater London Authority as being part of London's central business district, alongside Central London. Alongside the City of London, it constitutes one of the main financial centres in the United Kingdom and the world, containing many high-rise buildings including the third-tallest in the UK, One Canada Square, which opened on 26 August 1991.
Developed on the site of the former West India Docks in East London, Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space. It has many open areas and gardens, including Canada Square, Cabot Square, Westferry Circus, Jubilee Park, and Crossrail Place Roof Garden. Together with Heron Quays and Wood Wharf, it forms the Canary Wharf Estate, around 97 acres (39 ha) in area.
History
Canary Wharf is located on the West India Docks on the Isle of Dogs. As journalist José Luis Jiménez explains, the name of this location stems from its use during World War II as a storage area for agricultural exports—primarily tomatoes, cucumbers, and bananas—from the Canary Islands. Its remote position, far from the city center, even included the Canarian Docks on its outskirts.
West India Dock Company
From 1802 to the late 1980s, what would become the Canary Wharf Estate was a part of the Isle of Dogs (Millwall), Limehouse, and Poplar and was one of the busiest docks in the world. West India Docks was primarily developed by Robert Milligan (c. 1746–1809) who set up the West India Dock Company.
Port of London Authority
The Port of London Authority was established in 1909 and took control of West India Dock. The enterprise of Sir Alfred Lewis Jones, a Welsh shipping magnate who was a prominent figure in the Canary Islands, Spain, led to a constant stream of ships arriving into London's South Quay Dock and the naming of Canary Wharf, after the ships' origin. It was named after No. 32 berth of the West Wood Quay of the Import Dock. This was built in 1936 for Fruit Lines Ltd, a subsidiary of Fred Olsen Lines for the Mediterranean and Canary Islands fruit trade. It is located on the Isle of Dogs, the quay and warehouse were given the name Canary Wharf.
London Docklands Development Corporation
After the 1960s, when cargo became containerised, port industry began to decline, leading to all the docks being closed by 1980. After the docks closed in 1980, the British Government adopted policies to stimulate redevelopment of the area, including the creation of the London Docklands Development Corporation (LDDC) in 1981 and the granting of Urban Enterprise Zone status to the Isle of Dogs in 1982.
The Canary Wharf of today began when Michael von Clemm, former chairman of Credit Suisse First Boston (CSFB), came up with the idea to convert Canary Wharf into a back office. Further discussions with G Ware Travelstead led to proposals for a new business district and included the LDDC developing an inexpensive light metro scheme, the Docklands Light Railway, to make use of a large amount of redundant railway infrastructure and to improve access.
The project was sold to the Canadian company Olympia & York and construction began in 1988, master-planned by Skidmore, Owings & Merrill with Yorke Rosenberg Mardall as their UK advisors, and subsequently by Koetter Kim. The first buildings were completed in 1991, including One Canada Square, which became the UK's tallest building at the time and a symbol of the regeneration of Docklands. By the time it opened, the London commercial property market had collapsed, and Olympia and York Canary Wharf Limited filed for bankruptcy in May 1992.
Initially, the City of London saw Canary Wharf as an existential threat. It modified its planning laws to expand the provision of new offices in the City of London, for example, creating offices above railway stations (Blackfriars) and roads (Alban Gate). The resulting oversupply of office space contributed to the failure of the Canary Wharf project.
Canary Wharf Group
In October 1995, an international consortium that included investors such as Alwaleed, bought control for $1.2 billion. Paul Reichmann, of Olympia & York, was named chairman, and Canary Wharf went public in 1999. The new company was called Canary Wharf Limited, and later became Canary Wharf Group.
In 1997, some residents living on the Isle of Dogs launched a lawsuit against Canary Wharf Ltd for private nuisance because the tower interfered with TV signals. The residents lost the case.
Recovery in the property market generally, coupled with continuing demand for large floorplate Grade A office space, slowly improved the level of interest. A critical event in the recovery was the much-delayed start of work on the Jubilee Line Extension, which the government wanted ready for the Millennium celebrations.
In March 2004, Canary Wharf Group plc. was taken over by a consortium of investors, backed by its largest shareholder Glick Family Investments and led by Morgan Stanley using a vehicle named Songbird Estates plc.
Corporations and agencies
Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space, of which around 7,900,000 sq ft (730,000 m2) (about 49%) is owned by Canary Wharf Group. Around 105,000 people work in Canary Wharf,[95] and it is home to the world or European headquarters of numerous major banks, professional services firms, and media organisations, including Barclays, Citigroup, Clifford Chance, Credit Suisse, Ernst & Young, Fitch Ratings, HSBC, Infosys, JPMorgan Chase, KPMG, MetLife, Moody's, Morgan Stanley, Royal Bank of Canada, Deutsche Bank, S&P Global, Skadden, Arps, Slate, Meagher & Flom, State Street, The Economist Group and Thomson Reuters. Until 2018, Canary Wharf also hosted two European Union agencies, European Medicines Agency and European Banking Authority, that moved to Amsterdam and Paris respectively due to Brexit.
Leisure
Marina
West India Quays and Poplar Dock are two marinas that are used as moorings for barges and private leisure river craft and is owned by the Canal & River Trust.
Library
A local public library, called Idea Store Canary Wharf, is in Churchill Place shopping mall and run by Tower Hamlets Council which opened on Thursday 16 March 2006 as part of the Idea Store project and is the borough fourth Idea Store.
Cinema
Canary Wharf hosts two multiplexes (cinemas), one on West India Quay run by Cineworld. and another at Crossrail Place called Everyman Cinema.
Go Karting
An over 800m long electric karting facility exists within Cabot Square. The facility can accommodate up to 20 drivers at a single time. Karts can reach speeds of up to 45 mph.
Squares and public areas
Canada Square
Canada Square is one of the central squares at Canary Wharf. It is a large open space with grass, except during the winter when it is converted into an ice rink. The square is named after Canada, because the original developers of modern Canary Wharf, Olympia & York, wanted to reflect their heritage. Underneath the square is Canada Place shopping mall.
Westferry Circus
Westferry Circus is on the west side of Canary Wharf. It is a garden at ground level, and below is a roundabout allowing traffic to flow through. The garden is enclosed by bespoke hand-crafted ornamental railings and entrance gates by artist Giuseppe Lund. The area has a long history, dating back to 1812, when the Poplar and Greenwich Roads Company operated a horse ferry between Greenwich and the Isle of Dogs. It operated on the West Ferry and East Ferry Roads, which the names survived. Westferry Circus was chosen as the name for the roundabout and park by virtue of its proximity to Westferry Road.
Cabot Square
Cabot Square is one of the biggest squares at Canary Wharf, with a large fountain at the centre. The inner perimeter has additional fountains covered by trees. The square has large circular glass ventilation holes to allow gases to escape from the underground car park. The square is named after John Cabot and his son Sebastian, who were Italian explorers who settled in England in 1484.
Churchill Place
Churchill Place is an area on the east side of Canary Wharf. It is named after Winston Churchill.
Columbus Courtyard
A small square on the west side of Canary Wharf named after Christopher Columbus. The first phase of Canary Wharf was completed in 1992, 500 years after Columbus arrived in America.
Chancellor Passage
A passageway south of Cabot Square. Named after Richard Chancellor who sailed with Sir John Willoughby from Greenwich on their voyage through the White Sea to Moscow.
Wren Landing
Small area north of Cabot Square. Leads to North Dock footbridge towards Port East. Named after British architect Christopher Wren.
Montgomery Square
Located at the east end of Jubilee Park, Montgomery Square is an outdoor location for socialising. Events include street food markets, beach volleyball tournaments, padel tennis competition, and minigolf.
Parks and green spaces
Canary Wharf Group is enthusiastic about adding more green spaces and gardens to the dense urban environment. A total of 20 acres of landscaped parks, gardens and verdant squares complete with 1,000 trees, 4,000 shrubs and 70,000 seasonal plants are added each year.[110] Visitors are welcome to explore these parks and green spaces, which are ideal places for relaxation, social gatherings, performances, viewing outdoor public art, as well as hosting outdoor events and festivities.
Jubilee Park
Jubilee Park is a 10,000m² roof garden located above Jubilee Place, a shopping mall, and Canary Wharf Jubilee Station, an underground railway station. The park, opened in 2002 and was named in honour of the Golden Jubilee of Elizabeth II. Jubilee Park is located in the financial district of Canary Wharf. The park's central feature is a raised serpentine water channel with rough stone walls. The curvilinear design of the water channel is intended to contrast to the scale and straightness of the surrounding buildings. In 2023, Jubilee Park won the Green Flag Award, recognising Jubilee Park as one of the United Kingdom's best parks
Crossrail Place Roof Garden
A 4,160 m2 (44,800 sq ft) roof garden, one of London's largest, houses on the top of seven-storey Crossrail Place structure, which contains the Elizabeth line Canary Wharf station. Opened to public in 2015, it lies almost exactly on the Meridian line splitting eastern and western hemispheres. The plants originating from the eastern hemisphere are planted to the East of the Meridian line in the garden, with those from the Western hemisphere on the opposite side. The design and development of Crossrail Place Roof Garden was honored by winning numerous prestigious international and United Kingdom awards. Selected notable awards include: "Best Urban Regeneration Project" at 2016 MIPIM awards in France, the first prize for the best "Innovative Design of a Contemporary Garden" at the 2017 European Garden Awards in Berlin, and a Highly Commended accolade at the 2016 Landscape Institute Awards in the category 'Design for a Small-Scale Development'.
Harbour Quay Garden
A newly opened garden, located at the strand of Wood Wharf, features a boardwalk for waterside wandering. The garden also offers family-friendly picnic spots and outdoor fitness equipment on the green lawn, where visitors can relax, view outdoor public art, and watch the water. Just around the corner, it has access to a new garden square, Harbord Square Park.
Harbord Square Park
Harbord Square Park, the newest garden square in Wood Wharf, continues the great London tradition of garden squares. It is open 24/7 and offers green space available for mindfulness activities and to support nearby residents' general wellbeing.
Eden Dock
In Oct 2024, in partnership with the Eden Project, the Canary Wharf group opened Eden dock. The waterfront green space can be accessed via Jubilee Plaza or Mackenzie Walk. It includes floating islands which are designed to encourage biodiversity.
Shopping malls
Canary Wharf shopping centre, ranked as one of the best in London, has five interconnected shopping malls: Canada Place, Cabot Place, Jubilee Place, Crossrail Place, and Churchill Place. The malls provide over 102,193 m2 (1,100,000 sq ft) of retail space, more than 310 shops from beauty, fashion, lifestyle, luxurious brands, health, and homeware, as well as 70 cafés, bars, and restaurants, eight grocery stores, five health clubs and a cinema. There are also numerous bars, restaurants, and food halls at street level, alongside plenty of outdoor seating enabling visitors to see the stunning wharf and riverside views.
Museums and archives
Opened in a Grade I listed Georgian warehouse by Queen Elizabeth II in June 2003, the Museum of London Docklands is one of the main attractions in the area. It is dedicated to the history of London's river, port, and people from Roman settlement to the present day. The museum offers a range of activities for children and families, including interactive displays and immersive activities.
Pokémon Go
Canary Wharf has been reported since 2017 as part of the Pokémon Go augmented reality game to being the home for the most wanted Pokémon gyms in London including Canary Wharf DLR station and Montgomery Square.
Canary Wharf Group published an official Pokémon map for PokéStops and Pokémon Gyms, the managing director for retail Camille Waxer said in 2016 that Pokémon Go has serious potential to attract new audiences to the area, particularly food and drink outlets which saw an increase in foot traffic.
(Wikipedia)
Canary Wharf (dt. „Kanaren-Kai“) ist ein Bürogebäudekomplex auf der Isle of Dogs im Londoner Stadtbezirk Tower Hamlets. Er befindet sich im Herzen der Docklands, dem ehemaligen Hafengebiet der britischen Hauptstadt. Canary Wharf steht in Konkurrenz zum historisch gewachsenen Finanzzentrum in der City of London. Hier stehen drei der höchsten Gebäude des Vereinigten Königreichs, One Canada Square, HSBC Tower und Citigroup Centre.
Wirtschaftszentrum
Zu den Unternehmen, die sich in Canary Wharf niedergelassen haben, gehören Finanzinstitute wie Credit Suisse, HSBC, Citigroup, Morgan Stanley, Bank of America und Barclays. Auch bedeutende Medienunternehmen haben hier ihre Hauptsitze, darunter The Daily Telegraph, The Independent, Thomson Reuters und der Daily Mirror. Ebenfalls hier vertreten sind der Europa-Hauptsitz von Texaco, der Hauptsitz von Clifford Chance, eine der weltweit größten Anwaltssozietäten, sowie das Wirtschaftsprüfungsunternehmen KPMG. Bis zum Brexit war hier auch der Sitz der Europäischen Bankenaufsichtsbehörde (EBA).
Zu Beginn des Jahres betrug die offizielle Zahl der hier arbeitenden Angestellten 78.000, wovon 25 Prozent in den fünf umliegenden Stadtbezirken leben. Canary Wharf entwickelt sich auch immer mehr zu einem teuren und exklusiven Einkaufsviertel, insbesondere nach der Eröffnung des Jubilee-Place-Einkaufszentrums im Jahr 2004. Es gibt über 200 Läden mit mehr als 4.500 Verkaufsangestellten. Jede Woche gehen rund 500.000 Personen hierhin zum Einkaufen.
Canary Wharf verfügt über eine ausgezeichnete Anbindung an das Netz des öffentlichen Nahverkehrs. Seit 1991 hält an der Station Canary Wharf (DLR) die vollautomatische Stadtbahn Docklands Light Railway. 1999 wurde die Jubilee Line der London Underground eröffnet, die in der gleichnamigen, aber räumlich getrennten Station Canary Wharf (London Underground) hält, und 2022 wurde der Verkehr auf der neuen Elizabeth Line (Crossrail) aufgenommen. Der Flughafen London City liegt nur ein paar Kilometer östlich und kann mit regelmäßig verkehrenden Bussen, Taxis und mit der DLR in unter 15 Minuten erreicht werden. Vom Canary Wharf Pier aus stellen Schiffe auf der Themse weitere Verbindungen in Richtung Innenstadt her; die Thames Clippers verkehren unter der Woche alle 20 Minuten.
Geschichte
Canary Wharf war einst der Standort von Lagerhäusern inmitten der Docks. Der Name leitet sich ab vom Seehandel mit den Kanarischen Inseln, der von hier aus abgewickelt wurde. Während des 19. Jahrhunderts lagen hier die West India Docks, einer der verkehrsreichsten Häfen der Welt. In den 1960er Jahren setzte der Verfall der Hafen- und Industrieanlagen ein. Nachdem im Jahr 1980 das letzte Dock geschlossen worden war, beschloss die britische Regierung im Jahr 1981 ein Programm, mit dem ein 21 km² großes Gebiet neu belebt werden sollte. Um das Projekt zu koordinieren, wurde die Entwicklungsgesellschaft „London Docklands Development Corporation“ gegründet. In den ersten Jahren ließen sich hier Betriebe der Leichtindustrie nieder, der größte Mieter in Canary Wharf war ein TV-Produktionsstudio.
1984 besuchte Michael von Clemm, der Vorsitzende der Investmentbank Credit Suisse, im Auftrag eines Kunden die Docklands, um nach einem Standort für einen Lebensmittelverarbeitungsbetrieb Ausschau zu halten. Er war sich auch bewusst, dass die Büros der Bank in der City of London zu klein waren, vor allem im Hinblick auf die bevorstehende Deregulierung der Finanzmärkte im Jahr 1986. Von Clemm hatte die Idee, das Gebiet für Bürobauten zu nutzen. Allerdings war eine kritische Masse notwendig, um das ganze Vorhaben überhaupt rentabel werden zu lassen. Entsprechende Pläne wurden zusammen mit dem Unternehmen Morgan Stanley präsentiert, später allerdings wieder zu den Akten gelegt. Als 1987 die Docklands Light Railway eröffnet wurde, hatte man in Canary Wharf keine Station errichtet, da man nicht mit einer Entwicklung des Gebiets rechnete.
1988 übernahm das vom Immobilienunternehmer Paul Reichmann geleitete kanadische Unternehmen Olympia and York (O&Y) das Projekt und brachte es zur Baureife. Die Bauarbeiten begannen im selben Jahr, die erste Phase war 1992 abgeschlossen. O&Y, das auch das World Financial Center in New York gebaut hatte, verpflichtete sich, die Hälfte der Kosten für die geplante Verlängerung der Jubilee Line zu übernehmen. Zu Beginn der 1990er Jahre brach der weltweite Immobilienmarkt ein. Die Nachfrage nach Büroräumlichkeiten ging stark zurück und O&Y ging 1992 bankrott. Die obere Hälfte des Wolkenkratzers One Canada Square blieb ohne Mieter, Canary Wharf wurde zum Symbol der Immobilienkrise.
Im Februar 1996 explodierte in der Nähe von Canary Wharf an der Station South Quay der DLR eine Autobombe der IRA. Zwei Menschen wurden getötet, 39 verletzt. Es entstand dabei ein Sachschaden von 85 Millionen Pfund.
Im Dezember 1995 kaufte ein internationales Konsortium unter Vorsitz von Paul Reichmann[3] das Gelände. Damals waren hier rund 13.000 Arbeitsplätze angesiedelt, doch noch immer stand über die Hälfte der vorhandenen Büroliegenschaften leer. Ein wichtiges Ereignis für die Wiederbelebung des Projekts Canary Wharf war der Baubeginn der Jubilee Line, der mehrmals verschoben worden war. Von da an betrachteten Unternehmen das Gebiet zunehmend als Alternative zu den traditionellen Geschäftszentren. Die zunehmende Nachfrage ermöglichte neben der Fertigstellung der zurückgestellten Bauabschnitte auch die Realisierung zusätzlicher Projekte. Im März 2004 wurde die Betriebsgesellschaft Canary Wharf Group plc durch das von Morgan Stanley angeführte Investorenkonsortium Songbird Estates übernommen. Im Jahr 2004 belegten 70 Prozent der Büroflächen in Canary Wharf Banken.
Im Jahr 2014 wurde die erste bauliche Erweiterung seit der Finanzkrise 2008 genehmigt. Das am östlichen Ende der Canary Wharf befindliche Projekt Wood Wharf umfasst eine Fläche von 4,9 Millionen Quadratfuß[7], worauf insgesamt 30 Gebäude entstehen sollen. Als Herzstück soll der vom Schweizer Architekturbüro Herzog & de Meuron entworfene, 211 Meter und 57 Stockwerke hohe zylinderförmige Wohnturm errichtet werden.
Stand 2020 ist die Canary Wharf Group im Besitz des katarischen Staatsfonds und der kanadischen Immobiliengesellschaft Brookfield Properties.
Im Zuge der COVID-19-Pandemie zu Beginn des 2020er Jahrzehnts verkleinerten auch die in Canary Wharf ansässigen Unternehmen ihre Bürofleichen und lagerten Arbeiten und Mitarbeiter ins Homeoffice aus. In den 2020er Jahren kündigten viele große Unternehmen (darunter die Großbank HSBC, Moody’s, Clifford Chance) an, aus Canary Wharf auszuziehen. Der Exodus führt dazu, dass viele Gebäude enorm an Wert verloren. Gleichzeitig siedelten sich vermehrt Bars, Restaurants, Clubs, Fitness- und Freizeitcenter und andere kleinere Unternehmen wie Start-Ups in Canary Wharf an. In Wood Wharf wurden und werden Stand 2024 Appartmentkomplexe für mehr als 7000 Menschen gebaut.
Vorkommen in der Popkultur
In der Serie Doctor Who befindet sich im Bürokomplex das fiktive Torchwood-Institut, das im Finale der zweiten Staffel im Kampf gegen die Daleks und Cybermen zerstört wird. Die Ereignisse nach dieser Schlacht werden im Spin Off Torchwood erzählt.
(Wikipedia)
Zu Beginn hatte ich mal gar keine Lust auf die bevorstehende 18 km- Wanderung... Aber anders kommt man schlecht in Schottlands "schönstes Tal". Und es hat sich gelohnt! :)
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Well I was not very happy at the beginning of the 18 km-walk. But there are not so many other possibilities to get to Scotland's "most scenic" valley. And it was worthwhile! :)
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View from Empire State Building towards Chrysler Building.
Blick vom Empire State Building Richtung Chryler Building.
The Chrysler Building is an Art Deco skyscraper on the East Side of Manhattan in New York City, at the intersection of 42nd Street and Lexington Avenue in Midtown Manhattan. At 1,046 ft (319 m), it is the tallest brick building in the world with a steel framework, and it was the world's tallest building for 11 months after its completion in 1930. As of 2019, the Chrysler is the 12th-tallest building in the city, tied with The New York Times Building.
Originally a project of real estate developer and former New York State Senator William H. Reynolds, the building was commissioned by Walter Chrysler, the head of the Chrysler Corporation. The construction of the Chrysler Building, an early skyscraper, was characterized by a competition with 40 Wall Street and the Empire State Building to become the world's tallest building. The Chrysler Building was designed and funded by Walter Chrysler personally as a real estate investment for his children, but it was not intended as the Chrysler Corporation's headquarters. An annex was completed in 1952, and the building was sold by the Chrysler family the next year, with numerous subsequent owners.
When the Chrysler Building opened, there were mixed reviews of the building's design, some calling it inane and unoriginal, others hailing it as modernist and iconic. Reviewers in the late 20th and early 21st centuries regarded the building as a paragon of the Art Deco architectural style. In 2007, it was ranked ninth on the American Institute of Architects' list of America's Favorite Architecture. The facade and interior became New York City designated landmarks in 1978, and the structure was added to the National Register of Historic Places as a National Historic Landmark in 1976.
Site
The Chrysler Building is on the eastern side of Lexington Avenue between 42nd and 43rd streets in Midtown Manhattan in New York City. The land was donated to The Cooper Union for the Advancement of Science and Art in 1902. The site is roughly a trapezoid with a 201-foot-long (61 m) frontage on Lexington Avenue; a 167-foot-long (51 m) frontage on 42nd Street; and a 205-foot-long (62 m) frontage on 43rd Street. The site bordered the old Boston Post Road, which predated, and ran aslant of, the Manhattan street grid established by the Commissioners' Plan of 1811. As a result, the east side of the building's base is similarly aslant. The building is assigned its own ZIP Code, 10174. It is one of 41 buildings in Manhattan that have their own ZIP Codes, as of 2019.
The Grand Hyatt New York hotel and the Graybar Building are across Lexington Avenue, while the Socony–Mobil Building is across 42nd Street. In addition, the Chanin Building is to the southwest, diagonally across Lexington Avenue and 42nd Street.
Architecture
The Chrysler Building was designed by William Van Alen in the Art Deco style and is named after one of its original tenants, automotive executive Walter Chrysler. With a height of 1,046 feet (319 m), the Chrysler is the 12th-tallest building in the city as of 2019, tied with The New York Times Building. The building is constructed of a steel frame infilled with masonry, with areas of decorative metal cladding. The structure contains 3,862 exterior windows. Approximately fifty metal ornaments protrude at the building's corners on five floors reminiscent of gargoyles on Gothic cathedrals. The 31st-floor contains gargoyles[26] as well as replicas of the 1929 Chrysler radiator caps, and the 61st-floor is adorned with eagles as a nod to America's national bird.
The design of the Chrysler Building makes extensive use of bright "Nirosta" stainless steel, an austenitic alloy developed in Germany by Krupp. It was the first use of this "18-8 stainless steel" in an American project, composed of 18% chromium and 8% nickel. Nirosta was used in the exterior ornaments, the window frames, the crown, and the needle. The steel was an integral part of Van Alen's design, as E.E. Thum explains: "The use of permanently bright metal was of greatest aid in the carrying of rising lines and the diminishing circular forms in the roof treatment, so as to accentuate the gradual upward swing until it literally dissolves into the sky...." Stainless steel producers used the Chrysler Building to evaluate the durability of the product in architecture. In 1929, the American Society for Testing Materials created an inspection committee to study its performance, which regarded the Chrysler Building as the best location to do so; a subcommittee examined the building's panels every five years until 1960, when the inspections were canceled because the panels had shown minimal deterioration.
Form
The Chrysler Building's height and legally mandated setbacks influenced Van Alen in his design. The walls of the lowermost sixteen floors rise directly from the sidewalk property lines, except for a recess on one side that gives the building a U-shaped floor plan above the fourth floor. There are setbacks on floors 16, 18, 23, 28, and 31, making the building compliant with the 1916 Zoning Resolution. This gives the building the appearance of a ziggurat on one side and a U-shaped palazzo on the other. Above the 31st floor, there are no more setbacks until the 60th floor, above which the structure is funneled into a Maltese cross shape that "blends the square shaft to the finial", according to author and photographer Cervin Robinson.
The floor plans of the first sixteen floors were made as large as possible to optimize the amount of rental space nearest ground level, which was seen as most desirable. The U-shaped cut above the fourth floor served as a shaft for air flow and illumination. The area between floors 28 and 31 added "visual interest to the middle of the building, preventing it from being dominated by the heavy detail of the lower floors and the eye-catching design of the finial. They provide a base to the column of the tower, effecting a transition between the blocky lower stories and the lofty shaft."
Facade
Base and shaft
The ground floor exterior is covered in polished black granite from Shastone, while the three floors above it are clad in white marble from Georgia. There are two main entrances, on Lexington Avenue and on 42nd Street, each three floors high with Shastone granite surrounding each proscenium-shaped entryway. At some distance into each main entryway, there are revolving doors "beneath intricately patterned metal and glass screens", designed so as to embody the Art Deco tenet of amplifying the entrance's visual impact. A smaller side entrance on 43rd Street is one story high. There are storefronts consisting of large Nirosta-steel-framed windows at ground level. Office windows penetrate the second through fourth floors.
The west and east elevations contain the air shafts above the fourth floor, while the north and south sides contain the receding setbacks. Below the 16th floor, the facade is clad with white brick, interrupted by white-marble bands in a manner similar to basket weaving. The inner faces of the brick walls are coated with a waterproof grout mixture measuring about 1⁄16 inch (1.6 mm) thick. The windows, arranged in grids, do not have window sills, the frames being flush with the facade. Between the 16th and 24th floors, the exterior exhibits vertical white brick columns that are separated by windows on each floor. This visual effect is made possible by the presence of aluminum spandrels between the columns of windows on each floor. There are abstract reliefs on the 20th through 22nd-floor spandrels, while the 24th floor contains 9-foot (2.7 m) decorative pineapples.
Above the third setback, consisting of the 24th through 27th floors, the facade contains horizontal bands and zigzagged gray-and-black brick motifs. The section above the fourth setback, between the 27th and 31st floors, serves as a podium for the main shaft of the building. There are Nirosta-steel decorations above the setbacks. At each corner of the 31st floor, large car-hood ornaments were installed to make the base look larger. These corner extensions help counter a common optical illusion seen in tall buildings with horizontal bands, whose taller floors would normally look larger. The 31st floor also contains a gray and white frieze of hubcaps and fenders, which both symbolize the Chrysler Corporation and serves as a visual signature of the building's Art Deco design. The bonnet embellishments take the shape of Mercury's winged helmet and resemble hood ornaments installed on Chrysler vehicles at the time.
The shaft of the tower was designed to emphasize both the horizontal and vertical: each of the tower's four sides contains three columns of windows, each framed by bricks and an unbroken marble pillar that rises along the entirety of each side. The spandrels separating the windows contain "alternating vertical stripes in gray and white brick", while each corner contains horizontal rows of black brick.
Crown and spire
The Chrysler Building is renowned for, and recognized by its terraced crown, which is an extension of the main tower. Composed of seven radiating terraced arches, Van Alen's design of the crown is a cruciform groin vault of seven concentric members with transitioning setbacks. The entire crown is clad with Nirosta steel, ribbed and riveted in a radiating sunburst pattern with many triangular vaulted windows, reminiscent of the spokes of a wheel. The windows are repeated, in smaller form, on the terraced crown's seven narrow setbacks. Due to the curved shape of the dome, the Nirosta sheets had to be measured on site, so most of the work was carried out in workshops on the building's 67th and 75th floors. According to Robinson, the terraced crown "continue[s] the wedding-cake layering of the building itself. This concept is carried forward from the 61st floor, whose eagle gargoyles echo the treatment of the 31st, to the spire, which extends the concept of 'higher and narrower' forward to infinite height and infinitesimal width. This unique treatment emphasizes the building's height, giving it an other worldly atmosphere reminiscent of the fantastic architecture of Coney Island or the Far East."
Television station WCBS-TV (Channel 2) originated its transmission from the top of the Chrysler Building in 1938. WCBS-TV transmissions were shifted to the Empire State Building in 1960 in response to competition from RCA's transmitter on that building. For many years WPAT-FM and WTFM (now WKTU) also transmitted from the Chrysler Building, but their move to the Empire State Building by the 1970s ended commercial broadcasting from the structure.
The crown and spire are illuminated by a combination of fluorescent lights framing the crown's distinctive triangular windows and colored floodlights that face toward the building, allowing it to be lit in a variety of schemes for special occasions.The V-shaped fluorescent "tube lighting" – hundreds of 480V 40W bulbs framing 120 window openings – was added in 1981, although it had been part of the original design. Until 1998, the lights were turned off at 2 a.m., but The New York Observer columnist Ron Rosenbaum convinced Tishman Speyer to keep the lights on until 6 a.m. Since 2015, the Chrysler Building and other city skyscrapers have been part of the Audubon Society's Lights Out program, turning off their lights during bird migration seasons.
History
In the mid-1920s, New York's metropolitan area surpassed London's as the world's most populous metropolitan area and its population exceeded ten million by the early 1930s. The era was characterized by profound social and technological changes. Consumer goods such as radio, cinema, and the automobile became widespread. In 1927, Walter Chrysler's automotive company, the Chrysler Corporation, became the third-largest car manufacturer in the United States, behind Ford and General Motors. The following year, Chrysler was named Time magazine's "Person of the Year".
The economic boom of the 1920s and speculation in the real estate market fostered a wave of new skyscraper projects in New York City. The Chrysler Building was built as part of an ongoing building boom that resulted in the city having the world's tallest building from 1908 to 1974. Following the end of World War I, European and American architects came to see simplified design as the epitome of the modern era and Art Deco skyscrapers as symbolizing progress, innovation, and modernity. The 1916 Zoning Resolution restricted the height that street-side exterior walls of New York City buildings could rise before needing to be setback from the street. This led to the construction of Art Deco structures in New York City with significant setbacks, large volumes, and striking silhouettes that were often elaborately decorated. Art Deco buildings were constructed for only a short period of time; but because that period was during the city's late-1920s real estate boom, the numerous skyscrapers built in the Art Deco style predominated in the city skyline, giving it the romantic quality seen in films and plays.[The Chrysler Building project was shaped by these circumstances.
Development
Originally, the Chrysler Building was to be the Reynolds Building, a project of real estate developer and former New York state senator William H. Reynolds. Prior to his involvement in planning the building, Reynolds was best known for developing Coney Island's Dreamland amusement park. When the amusement park was destroyed by a fire in 1911, Reynolds turned his attention to Manhattan real estate, where he set out to build the tallest building in the world.
Planning
In 1921, Reynolds rented a large plot of land at the corner of Lexington Avenue and 42nd Street with the intention of building a tall building on the site. Reynolds did not develop the property for several years, prompting the Cooper Union to try to increase the assessed value of the property in 1924. The move, which would force Reynolds to pay more rent, was unusual because property owners usually sought to decrease their property assessments and pay fewer taxes. Reynolds hired the architect William Van Alen to design a forty-story building there in 1927. Van Alen's original design featured many Modernist stylistic elements, with glazed, curved windows at the corners.
Van Alen was respected in his field for his work on the Albemarle Building at Broadway and 24th Street, designing it in collaboration with his partner H. Craig Severance. Van Alen and Severance complemented each other, with Van Alen being an original, imaginative architect and Severance being a shrewd businessperson who handled the firm's finances. The relationship between them became tense over disagreements on how best to run the firm. A 1924 article in the Architectural Review, praising the Albemarle Building's design, had mentioned Van Alen as the designer in the firm and ignored Severance's role. The architects' partnership dissolved acrimoniously several months later, with lawsuits over the firm's clients and assets lasting over a year. The rivalry influenced the design of the future Chrysler Building, since Severance's more traditional architectural style would otherwise have restrained Van Alen's more modern outlook.
Refinement of designs
By February 2, 1928, the proposed building's height had been increased to 54 stories, which would have made it the tallest building in Midtown. The proposal was changed again two weeks later, with official plans for a 63-story building. A little more than a week after that, the plan was changed for the third time, with two additional stories added. By this time, 42nd Street and Lexington Avenue were both hubs for construction activity, due to the removal of the Third Avenue Elevated's 42nd Street spur, which was seen as a blight on the area. The adjacent 56-story Chanin Building was also under construction. Because of the elevated spur's removal, real estate speculators believed that Lexington Avenue would become the "Broadway of the East Side", causing a ripple effect that would spur developments farther east.
In April 1928, Reynolds signed a 67-year lease for the plot and finalized the details of his ambitious project. Van Alen's original design for the skyscraper called for a base with first-floor showroom windows that would be triple-height, and above would be 12 stories with glass-wrapped corners, to create the impression that the tower was floating in mid-air. Reynolds's main contribution to the building's design was his insistence that it have a metallic crown, despite Van Alen's initial opposition; the metal-and-crystal crown would have looked like "a jeweled sphere" at night. Originally, the skyscraper would have risen 808 feet (246 m), with 67 floors. These plans were approved in June 1928. Van Alen's drawings were unveiled in the following August and published in a magazine run by the American Institute of Architects (AIA).
Reynolds ultimately devised an alternate design for the Reynolds Building, which was published in August 1928. The new design was much more conservative, with an Italianate dome that a critic compared to Governor Al Smith's bowler hat, and a brick arrangement on the upper floors that simulated windows in the corners, a detail that remains in the current Chrysler Building. This design almost exactly reflected the shape, setbacks, and the layout of the windows of the current building, but with a different dome.
Final plans and start of construction
With the design complete, groundbreaking for the Reynolds Building took place on September 19, 1928, but by late 1928, Reynolds did not have the means to carry on construction. Walter Chrysler offered to buy the building in early October 1928, and Reynolds sold the plot, lease, plans, and architect's services to Chrysler on October 15, 1928, for more than $2.5 million. That day, the Goodwin Construction Company began demolition of what had been built. A contract was awarded on October 28, and demolition was completed on November 9. Chrysler's initial plans for the building were similar to Reynolds's, but with the 808-foot building having 68 floors instead of 67. The plans entailed a ground-floor pedestrian arcade; a facade of stone below the fifth floor and brick-and-terracotta above; and a three-story bronze-and-glass "observation dome" at the top. However, Chrysler wanted a more progressive design, and he worked with Van Alen to redesign the skyscraper to be 925 ft (282 m) tall. At the new height, Chrysler's building would be taller than the 792-foot (241 m) Woolworth Building, a building in lower Manhattan that was the world's tallest at the time. At one point, Chrysler had requested that Van Alen shorten the design by ten floors, but reneged on that decision after realizing that the increased height would also result in increased publicity.
From late 1928 to early 1929, modifications to the design of the dome continued. In March 1929, the press published details of an "artistic dome" that had the shape of a giant thirty-pointed star, which would be crowned by a sculpture five meters high. The final design of the dome included several arches and triangular windows. Lower down, various architectural details were modeled after Chrysler automobile products, such as the hood ornaments of the Plymouth (see § Designs between setbacks). The building's gargoyles on the 31st floor and the eagles on the 61st floor, were created to represent flight, and to embody the machine age of the time. Even the topmost needle was built using a process similar to one Chrysler used to manufacture his cars, with precise "hand craftmanship". In his autobiography, Chrysler says he suggested that his building be taller than the Eiffel Tower.
Meanwhile, excavation of the new building's 69-foot-deep (21 m) foundation began in mid-November 1928 and was completed in mid-January 1929, when bedrock was reached. A total of 105,000,000 pounds (48,000,000 kg) of rock and 36,000,000 pounds (16,000,000 kg) of soil were excavated for the foundation, equal to 63% of the future building's weight. Construction of the building proper began on January 21, 1929. The Carnegie Steel Company provided the steel beams, the first of which was installed on March 27; and by April 9, the first upright beams had been set into place. The steel structure was "a few floors" high by June 1929, 35 floors high by early August, and completed by September. Despite a frantic steelwork construction pace of about four floors per week, no workers died during the construction of the skyscraper's steelwork. Chrysler lauded this achievement, saying, "It is the first time that any structure in the world has reached such a height, yet the entire steel construction was accomplished without loss of life". In total, 391,881 rivets were used, and approximately 3,826,000 bricks were laid to create the non-loadbearing walls of the skyscraper. Walter Chrysler personally financed the construction with his income from his car company. The Chrysler Building's height officially surpassed the Woolworth's on October 16, 1929, thereby becoming the world's tallest structure.
Completion
In January 1930, it was announced that the Chrysler Corporation would maintain satellite offices in the Chrysler Building during Automobile Show Week. The skyscraper was never intended to become the Chrysler Corporation's headquarters, which remained in Detroit. The first leases by outside tenants were announced in April 1930, before the building was officially completed. The building was formally opened on May 27, 1930, in a ceremony that coincided with the 42nd Street Property Owners and Merchants Association's meeting that year. In the lobby of the building, a bronze plaque that read "in recognition of Mr. Chrysler's contribution to civic advancement" was unveiled. Former Governor Smith, former Assemblyman Martin G. McCue, and 42nd Street Association president George W. Sweeney were among those in attendance. By June, it was reported that 65% of the available space had been leased. By August, the building was declared complete, but the New York City Department of Construction did not mark it as finished until February 1932.
The added height of the spire allowed the Chrysler Building to surpass 40 Wall Street as the tallest building in the world and the Eiffel Tower as the tallest structure. The Chrysler Building was thus the first man-made structure to be taller than 1,000 feet (300 m); and as one newspaper noted, the tower was also taller than the highest points of five states. The tower remained the world's tallest for 11 months after its completion. The Chrysler Building was appraised at $14 million, but was exempt from city taxes per an 1859 law that gave tax exemptions to sites owned by the Cooper Union. The city had attempted to repeal the tax exemption, but Cooper Union had opposed that measure. Because the Chrysler Building retains the tax exemption, it has paid Cooper Union for the use of their land since opening. While the Chrysler Corporation was a tenant, it was not involved in the construction or ownership of the Chrysler Building; rather, the tower was a project of Walter P. Chrysler for his children. In his autobiography, Chrysler wrote that he wanted to erect the building "so that his sons would have something to be responsible for".
Van Alen's satisfaction at these accomplishments was likely muted by Walter Chrysler's later refusal to pay the balance of his architectural fee. Chrysler alleged that Van Alen had received bribes from suppliers, and Van Alen had not signed any contracts with Walter Chrysler when he took over the project. Van Alen sued and the courts ruled in his favor, requiring Chrysler to pay Van Alen $840,000, or six percent of the total budget of the building. However, the lawsuit against Chrysler markedly diminished Van Alen's reputation as an architect, which, along with the effects of the Great Depression and negative criticism, ended up ruining his career. Van Alen ended his career as professor of sculpture at the nearby Beaux-Arts Institute of Design and died in 1954. According to author Neal Bascomb, "The Chrysler Building was his greatest accomplishment, and the one that guaranteed his obscurity."
The Chrysler Building's distinction as the world's tallest building was short-lived. John Raskob realized the 1,050-foot Empire State Building would only be 4 feet (1.2 m) taller than the Chrysler Building, and Raskob was afraid that Walter Chrysler might try to "pull a trick like hiding a rod in the spire and then sticking it up at the last minute." Another revision brought the Empire State Building's roof to 1,250 feet (380 m), making it the tallest building in the world by far when it opened on May 1, 1931. However, the Chrysler Building is still the world's tallest steel-supported brick building. The Chrysler Building fared better commercially than the Empire State Building did: by 1935, the Chrysler had already rented 70 percent of its floor area. By contrast, Empire State had only leased 23 percent of its space and was popularly derided as the "Empty State Building".
Impact
Reception
The completed Chrysler Building garnered mixed reviews in the press. Van Alen was hailed as the "Doctor of Altitude" by Architect magazine, while architect Kenneth Murchison called Van Alen the "Ziegfeld of his profession", comparing him to popular Broadway producer Florenz Ziegfeld Jr. The building was praised for being "an expression of the intense activity and vibrant life of our day", and for "teem[ing] with the spirit of modernism, ... the epitome of modern business life, stand[ing] for progress in architecture and in modern building methods." An anonymous critic wrote in Architectural Forum's October 1930 issue: "The Chrysler...stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambitions and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards."
The journalist George S. Chappell called the Chrysler's design "distinctly a stunt design, evolved to make the man in the street look up". Douglas Haskell stated that the building "embodies no compelling, organic idea", and alleged that Van Alen had abandoned "some of his best innovations in behalf of stunts and new 'effects'". Others compared the Chrysler Building to "an upended swordfish", or claimed it had a "Little Nemo"-like design. Lewis Mumford, a supporter of the International Style and one of the foremost architectural critics of the United States at the time, despised the building for its "inane romanticism, meaningless voluptuousness, [and] void symbolism". The public also had mixed reviews of the Chrysler Building, as Murchison wrote: "Some think it's a freak; some think it's a stunt."
Later reviews were more positive. Architect Robert A. M. Stern wrote that the Chrysler Building was "the most extreme example of the [1920s and 1930s] period's stylistic experimentation", as contrasted with 40 Wall Street and its "thin" detailing. George H. Douglas wrote in 2004 that the Chrysler Building "remains one of the most appealing and awe-inspiring of skyscrapers". Architect Le Corbusier called the building "hot jazz in stone and steel". Architectural critic Ada Louise Huxtable stated that the building had "a wonderful, decorative, evocative aesthetic", while Paul Goldberger noted the "compressed, intense energy" of the lobby, the "magnificent" elevators, and the "magical" view from the crown. Anthony W. Robins said the Chrysler Building was "one-of-a-kind, staggering, romantic, soaring, the embodiment of 1920s skyscraper pizzazz, the great symbol of Art Deco New York".
The LPC said that the tower "embodies the romantic essence of the New York City skyscraper". Pauline Frommer, in the travel guide Frommer's, gave the building an "exceptional" recommendation, saying: "In the Chrysler Building we see the roaring-twenties version of what Alan Greenspan called 'irrational exuberance'—a last burst of corporate headquarter building before stocks succumbed to the thudding crash of 1929."
As icon
The Chrysler Building appears in several films set in New York and is widely considered one of the most positively acclaimed buildings in the city. A 1996 survey of New York architects revealed it as their favorite, and The New York Times described it in 2005 as "the single most important emblem of architectural imagery on the New York skyline". In mid-2005, the Skyscraper Museum in Lower Manhattan asked 100 architects, builders, critics, engineers, historians, and scholars, among others, to choose their 10 favorites among 25 of the city's towers. The Chrysler Building came in first place, with 90 respondents placing it on their ballots. In 2007, the building ranked ninth among 150 buildings in the AIA's List of America's Favorite Architecture.
The Chrysler Building is widely heralded as an Art Deco icon. Fodor's New York City 2010 described the building as being "one of the great art deco masterpieces" which "wins many a New Yorker's vote for the city's most iconic and beloved skyscraper". Frommer's states that the Chrysler was "one of the most impressive Art Deco buildings ever constructed". Insight Guides' 2016 edition maintains that the Chrysler Building is considered among the city's "most beautiful" buildings. Its distinctive profile has inspired similar skyscrapers worldwide, including One Liberty Place in Philadelphia, Two Prudential Plaza in Chicago, and the Al Kazim Towers in Dubai. In addition, the New York-New York Hotel and Casino in Paradise, Nevada, contains the "Chrysler Tower", a replica of the Chrysler Building measuring 35 or 40 stories tall. A portion of the hotel's interior was also designed to resemble the Chrysler Building's interior.
In media
While seen in many films, the Chrysler Building almost never appears as a main setting in them, prompting architect and author James Sanders to quip it should win "the Award for Best Supporting Skyscraper". The building was supposed to be featured in the 1933 film King Kong, but only makes a cameo at the end thanks to its producers opting for the Empire State Building in a central role. The Chrysler Building notably appears in the background of The Wiz (1978); as the setting of much of Q - The Winged Serpent (1982); in the initial credits of The Shadow of the Witness (1987); and during or after apocalyptic events in Independence Day (1996), Armageddon (1998), Deep Impact (1998), Godzilla (1998), and A.I. Artificial Intelligence (2001). The building also appears in other films, such as Spider-Man (2002), Fantastic Four: Rise of the Silver Surfer (2007), Two Weeks Notice (2002), The Sorcerer's Apprentice (2010), The Avengers (2012) and Men in Black 3 (2012). The building is mentioned in the number "It's the Hard Knock Life" for the musical Annie, and it is the setting for the post-game content in the Squaresoft video game Parasite Eve.
The Chrysler Building is frequently a subject of photographs. In December 1929, Walter Chrysler hired Margaret Bourke-White to take publicity images from a scaffold 400 feet (120 m) high. She was deeply inspired by the new structure and especially smitten by the massive eagle's-head figures projecting off the building. In her autobiography, Portrait of Myself, Bourke-White wrote, "On the sixty-first floor, the workmen started building some curious structures which overhung 42nd Street and Lexington Avenue below. When I learned these were to be gargoyles à la Notre Dame, but made of stainless steel as more suitable for the twentieth century, I decided that here would be my new studio. There was no place in the world that I would accept as a substitute."
According to one account, Bourke-White wanted to live in the building for the duration of the photo shoot, but the only person able to do so was the janitor, so she was instead relegated to co-leasing a studio with Time Inc. In 1930, several of her photographs were used in a special report on skyscrapers in the then-new Fortune magazine. Bourke-White worked in a 61st-floor studio designed by John Vassos until she was evicted in 1934. In 1934, Bourke-White's partner Oscar Graubner took a famous photo called "Margaret Bourke-White atop the Chrysler Building", which depicts her taking a photo of the city's skyline while sitting on one of the 61st-floor eagle ornaments. On October 5, 1998, Christie's auctioned the photograph for $96,000. In addition, during a January 1931 dance organized by the Society of Beaux-Arts, six architects, including Van Alen, were photographed while wearing costumes resembling the buildings that each architect designed.
(Wikipedia)
Das Chrysler Building ist ein 1930 fertiggestellter Wolkenkratzer im Stil des Art déco in Manhattan in New York City und zählt zu den Wahrzeichen der Metropole.
Der Büroturm befindet sich im Viertel Turtle Bay an der Lexington Avenue, Ecke 42nd Street in Midtown Manhattan. Er steht auf einem Grundstück der privaten Hochschule Cooper Union, hat die Adresse „405 Lexington Avenue“ und ist nur einen Block vom Grand Central Terminal entfernt. Schräg gegenüber steht mit dem Chanin Building ein weiterer bekannter Wolkenkratzer im Art-déco-Stil.
Das Chrysler Building ist 318,8 Meter (1046 Fuß) hoch und damit zusammen mit dem 2007 erbauten New York Times Tower auf Rang 13 der höchsten Gebäude in New York City. Unter den höchsten Gebäuden der Vereinigten Staaten nehmen beide Gebäude den 21. Rang ein (jeweils Stand 2023). Auftraggeber war Walter Percy Chrysler, der es ursprünglich für die Chrysler Corporation zwischen 1928 und 1930 bauen ließ. Für die Planung des Wolkenkratzers im Art-déco-Stil war der Architekt William Van Alen verantwortlich. Das Gebäude zählt zu den schönsten Wolkenkratzern jener Epoche.
Geschichte
Entstehungsbedingungen
Das Chrysler Building im Stadtkontext, gesehen vom Empire State Building aus. Weiter rechts der Trump World Tower
Paradoxerweise entstanden viele Wolkenkratzer in der Zeit der Weltwirtschaftskrise. Das liegt zum einen an der Hochphase vor der Krise: Das Bruttosozialprodukt der USA war nach dem Ersten Weltkrieg innerhalb von acht Jahren um 50 % gestiegen, und dieser Konjunktursprung führte zu zahlreichen Neubauten und Planungen von Geschäftshäusern. Zum anderen kamen den Bauherren bei der anschließenden Ausführung während der Krise die radikal gesunkenen Arbeitslöhne nach dem Börsencrash 1929 zugute. Sie konnten für das gleiche Geld wesentlich mehr Arbeiter einstellen als geplant. Die Macht der Gewerkschaften war gebrochen, die Arbeitslöhne waren niedrig, Arbeiter standen in Massen zur Verfügung. Ein Gebäude dieses Ausmaßes hätte unter normalen Verhältnissen in dieser kurzen Bauzeit nicht errichtet werden können. Pro Woche wurden durchschnittlich vier Stockwerke errichtet, für die damaligen Verhältnisse ein Rekord. (Ähnliche Effekte konnte man auch später beobachten: Das höchste Gebäude der Welt, der Burj Khalifa in Dubai, wurde 2010, in der Zeit der Finanzkrise, fertig. Geplant wurde er jedoch vor dem Wirtschaftsabschwung.)
Baugeschichte
Obwohl das Gebäude speziell für den Autohersteller Chrysler konstruiert und gebaut wurde, bezahlte die Firma weder für den Bau, noch besaß sie es jemals. Walter P. Chrysler hatte entschieden, privat dafür aufzukommen, um es an seine Kinder weitergeben zu können.
Die Grundsteinlegung für das Gebäude fand am 19. September 1928 statt. Am 27. Mai 1930 wurde es feierlich eingeweiht. Mit 319 Metern war es bei der Eröffnung das höchste Gebäude der Welt und auch das erste, das die 1000-Fuß-Marke (305 Meter) durchbrach. Bis zum Dach misst es 282 Meter; da die Metallspitze aber zur Grundstruktur des Gebäudes gehört, wird sie zur offiziellen Höhe mitgezählt.
Während der Erbauung hatte es bis in die letzten Tage einen Wettlauf mit dem Turm der Bank of Manhattan (heute 40 Wall Street oder The Trump Building) gegeben, den das Chrysler Building für sich entschied. Der Architekt William Van Alen hatte 1930 die 56 Meter hohe Spitze bis zum letzten Moment geheim gehalten, damit der Konkurrent, die Bank of Manhattan, deren Gebäude gerade 283 Meter Höhe erreicht hatte, nicht mehr reagieren konnte. Die einzelnen Bestandteile dieser Metallspitze waren im Heizungsschacht des Gebäudes zunächst gelagert und vormontiert worden. Dann wurden die riesigen Stahlplatten heimlich auf das 65. Geschoss gebracht, dort zusammengeschraubt und anschließend in einem Stück mit einem Drehkran auf das Gebäude aufgesetzt, das damit 319 Meter Höhe erreichte und die Konkurrenz deutlich übertrumpfte. Dieses Unterfangen dauerte weniger als 1½ Stunden. Dieser Stahlaufbau, genannt „Vortex“ (lat. Wirbel, Drehung), dient lediglich als Dekoration, wiegt 30 Tonnen und ist ein Beispiel des Art déco.
Allerdings blieb das Chrysler Building nur kurz das höchste Gebäude der Welt. 1931 wurde in Midtown Manhattan das Empire State Building mit einer Höhe von 381 Metern fertiggestellt und war damit deutlich höher als alle anderen Gebäude. Bis zum Jahr 1969 blieb das Chrysler Building jedoch der zweithöchste Wolkenkratzer der Welt und gehörte noch bis in die späten 1990er Jahre zu den „Top Ten“ der weltweit höchsten Gebäude.
Spätere Entwicklung
Im 67. Stockwerk befand sich eine besonders während der Prohibition bekannte Restaurant-Bar, der so genannte Cloud Club, in der ehemaligen ‚Wohnung‘ des Firmengründers Walter P. Chrysler.
Lediglich die Lobby des Chrysler Building ist der Öffentlichkeit zur Besichtigung zugänglich (inkl. eigenem Subway-Zugang, jedoch nur werktags). Um zu den noch im Stil des Art déco gehaltenen Aufzügen zu gelangen, braucht man einen speziellen Ausweis oder einen Termin bei einer der dort ansässigen Firmen.
Nach dem Tod von Walter P. Chrysler 1940 kam das Gebäude zur W.P Chrysler Building Corporation, die es zusammen mit der Erbenfamilie 1953 für 18 Millionen US-Dollar an den Immobilienmakler William Zeckendorf verkaufte. 1960 erwarben die Immobilieninvestoren Sol Goldman und Alex DiLorenzo mittels Finanzierung durch die Massachusetts Mutual Life Insurance Company (MassMutual) das Gebäude. Die wiederum übernahm 1975 die Anteile für 35 Millionen US-Dollar. Im Dezember 1976 wurde das Hochhaus zur National Historic Landmark erklärt.
Bis 1979 wurde das Gebäude für rund 23 Millionen US-Dollar komplett renoviert. Im September 1979 wurde es von Jack Kent Cooke übernommen. Nach dem Tod von Cooke 1997 übernahm das Immobilienunternehmen Tishman Speyer Properties zusammen mit The Travelers Companies, Inc. (ab 1998 Teil der Citigroup) das Gebäude für eine geschätzte Summe von 210 bis 250 Millionen US-Dollar (187 bis 223 Millionen Euro). Im März 2001 übernahm die deutsche Investmentgesellschaft TMW Immobilien AG[5] aus München über ihre US-amerikanische Tochter für rund 390 Millionen US-Dollar rund 75 Prozent des Gebäudes. Zu den größten Anteilseignern der TMW gehörten der Ergo Trust der Ergo Group, die Provinzial Versicherung sowie drei deutsche Privatbanken.
Zwischen Herbst 2001 und Juli 2008 befand sich das Gebäude im Besitz der zur Ergo Group gehörenden GVP Gesellschaft für Vertriebs- und Produktmanagement AG (heute Ideenkapital Financial Service AG) aus Düsseldorf, die hierfür einen geschlossenen Immobilienfonds (ProVictor) auflegte. Sie verkaufte das Gebäude zu einem Anteil von 90 Prozent am 9. Juli 2008 an den Staatsfonds Abu Dhabi Investment Council (Mubadala) für 800 Millionen US-Dollar (713 Millionen Euro).
Reuters-Informationen zufolge wurde im März 2019 das sanierungsbedürftige Chrysler Building für lediglich 150 Millionen US-Dollar an ein Unternehmen verkauft, das je zur Hälfte der österreichischen Signa Holding und dem amerikanisch-deutschen Unternehmen RFR Group der deutschstämmigen Immobilieninvestoren Aby Rosen und Michael Fuchs gehört.[1] Weiteren Medienberichten zur Folge waren der Grund für den extrem niedrigen Verkaufspreis des Chrysler Gebäudes an das Gemeinschaftsunternehmen von Signa und RFR der bevorstehende extrem hohe Bodenpachtanstieg von 7,75 Millionen Dollar im Jahr 2018 auf 31,5 Millionen US-Dollar im Jahr 2023. Bis 2028 soll die Pacht weiter auf 41 Millionen US-Dollar steigen und 2029 auf 67 Millionen US-Dollar. Eigentümer des Bodengrundes unter dem Gebäude ist seit 1902 die Cooper Union, die wiederum – als eine Stiftung – die Pacht steuerfrei einnimmt.
Nutzer des Gebäudes
Die Chrysler Corporation bezog das Gebäude 1930 als dessen Ankermieter und nutzte die Räumlichkeiten bis in die 1950er Jahre als Abteilungshauptquartier. Weitere Mieter der ersten Stunde waren Time und Texaco. Weil Time Bedarf an mehr Büroräumen hatte, zog es 1937 ins Rockefeller Center um. Texaco zog 1967 nach Purchase, New York, weil das Unternehmen die Arbeitsplätze in eine Vorortumgebung verlegen wollte.
Zu den Nutzern des Gebäudes in der Gegenwart gehören: Regus, Creative Artists Agency, Blank Rome, Clyde & Co, InterMedia Partners, Troutman Sanders Reprieve und YES Network.
Baustil
Das Gebäude wurde im Stil des Art déco errichtet. Am Gebäude finden sich Zierelemente aus rostfreiem Stahl, die an Wasserspeier (Gargoylen) erinnern, Flügelhelm-artige Figuren, die den Chrysler-Kühlerfiguren von 1926 nachempfunden sind,[23] und Adlerköpfe – das Wappentier der Vereinigten Staaten. Außerdem wurden am 31. Stockwerk Zierelemente in Form von Chrysler-Motorhauben und Kachelfriese in Form von Chrysler-Radkappen als Zierrat an der Fassade verwendet. Auch die Kuppel des Gebäudes ist aus nichtrostendem Stahl gefertigt.[2] Die Spitze bildet eine sich pyramidenhaft verjüngende Turmkrone aus Kacheln und Nickeltafeln, aus der eine 27 Tonnen schwere Nickelstahlnadel ragt.[24]
Die für die New Yorker Skyline so unverwechselbare Beleuchtung kommt durch unscheinbare Leuchtstofflampen zustande, die an den Fensterrahmen angebracht sind. Die Fenster sind als Schiebefenster gestaltet und lassen sich in allen Etagen öffnen.
Höhe
Bei seiner Fertigstellung im Jahr 1930 war das Chrysler Building mit 319 Metern Höhe das höchste Gebäude der Erde und übertraf das 283 Meter hohe Bank of Manhattan Company Building (heute 40 Wall Street). Auch überrundete es als erstes Bauwerk den Eiffelturm, der aufgrund kaum vorhandener Nutzflächen nicht als Gebäude, sondern lediglich als Bauwerk gewertet wird. Doch schon ein Jahr nach der Fertigstellung, im Mai 1931, wurde es vom Empire State Building um 62 Meter (381 Meter hoch) überholt. Fortan war es noch bis zur Fertigstellung des 344 Meter hohen John Hancock Center in Chicago im Jahr 1969 das zweithöchste Gebäude der Welt.
Innerhalb New Yorks wurde es 1972 und 1973 durch die Türme des World Trade Center (417 Meter und 415 Meter) erneut übertroffen. Nach deren Zerstörung 2001 wurde es zeitweise wieder zum zweithöchsten Gebäude New York Citys, bis 2009 der 366 Meter hohe Bank of America Tower fertig wurde (bereits 2007 erreichte der New York Times Tower dieselbe Höhe wie das Chrysler Building). Seit 2014 ist auch das Gebäude 432 Park Avenue höher. Inzwischen rangiert das Chrysler Building zusammen mit dem New York Times Tower nur noch auf Platz zwölf der höchsten Gebäude in New York. Unter Berücksichtigung seiner 2003 fertiggestellten Antenne ist auch das Conde Nast Building höher als das Chrysler Building. Seitdem der Eiffelturm über eine Fernseh- und Funkturmantenne verfügt, ist auch dieser wieder höher als das Chrysler Building (aktuell misst der Eiffelturm 330 Meter).
Ähnliche Gebäude
Im Laufe der Zeit sind in den USA, wie auch weltweit, eine Reihe von Wolkenkratzern entstanden, bei denen man sich in der Planung und Konzeption am Chrysler Building orientierte. Dies gilt insbesondere für die Spitze des Gebäudes. Besonders bekannt sind diesbezüglich Bauten wie der One Liberty Place in Philadelphia oder die Al Kazim Towers in Dubai, die jedoch beide niedriger als das Chrysler Building sind. Das New York-New York Hotel & Casino in Las Vegas zitiert unter anderem auch das Chrysler Building.
Schutzausweisung
Das Gebäude kam 1976 als National Historic Landmark ins National Register of Historic Places und wurde 1978 von der Landmarks Preservation Commission als New York City Landmark ausgewiesen.
Daten
Etagen: 77
Höhe: 318,92 m
Höhe Dach: 282 m
Höchstes Stockwerk: 274 m
Höchste Aussichtsetage: 238,66 m
Fenster: 3.750
Stahl: 21.000 t
Ziegelsteine: 4.000.000
Wasserrohre: 50 km
Elektrokabel: 1000 km
(Wikipedia)
Bad Nenndorf interrogation centre
The Bad Nenndorf interrogation centre was a British Combined Services Detailed Interrogation Centre in the town of Bad Nenndorf, Germany, which operated from June 1945 to July 1947. Allegations of mistreatment of detainees by British troops resulted in a police investigation, a public controversy in both Britain and Germany and the camp's eventual closure. Four of the camp's officers were brought before courts-martial in 1948 and one of the four was convicted on charges of neglect.
The British authorities opened No. 74 Combined Services Detailed Interrogation Centre (CSDIC) in June 1945. The camp was based in the Schlammbad (mud bath) complex in Bad Nenndorf, with the former bathing chambers being converted into prison cells. It was the successor to an earlier camp at Diest in Belgium and was run by a combination of military and intelligence officers under War Office authority. Several other CSDIC camps had existed during the war, in the UK at Ham in London and Huntercombe near Henley-on-Thames and in the Mediterranean [CMF]:Rome at Cinecittà, Middle East [MEF] Camp Ma'adi near Cairo, and South Asia, but these had closed by the time No. 74 CSDIC had opened.
The camp was originally intended to hold former Nazis for interrogation, but its remit was expanded to include a number of people suspected of carrying out espionage for the Soviet Union. As well as Germans, these included Russians, Czechs and Hungarians. During the camp's two years of operation, a total of 372 men and 44 women were held there. From the outset, the camp appears to have had organisational problems. The commanding officer, Lt Col Robin Stephens, noted that its staffing "was generous, but in practice was never filled. Later there was a reduction to the bone. That was inevitable owing to Treasury requirements. Then trouble began. Work was on the increase, demobilisation took [a] heavy toll and replacements were inexperienced."
In January and February 1947, a number of prisoners from No. 74 CSDIC were taken to a civilian hospital in Rotenburg, near Bremen, suffering from frostbite, malnutrition and a variety of physical injuries. Two of the prisoners subsequently died. British medical and military personnel at the hospital were shocked at the poor condition of the prisoners and complained to their superiors, prompting senior Army officers to commission an investigation by Inspector Thomas Hayward of the Metropolitan Police.
In March 1947, the British Labour Party Member of Parliament Richard Stokes visited the camp to perform an apparently ad hoc inspection as part of a long-running effort on his part to promote the welfare of prisoners of war and other post-war detainees. He told the House of Commons that "in cross-examining some of these [prisoners] it may be necessary to indulge in forms of verbal persecution which we do not like, but there is no physical torture, starvation or ill-treatment of that kind." However, he criticised the poor conditions at the camp. The 65 men and four women being held there were mostly in solitary confinement, in unheated cells at temperatures of -10°C; the camp had no coal for heating, so the prisoners had instead been given seven blankets each.
The report caused dismay among British government officials, who recognised the serious damage that the case could do to Britain's international image. The Chancellor of the Duchy of Lancaster, Frank Pakenham, noted that "we are alleged to have treated internees in a manner reminiscent of the German concentration camps." The junior Foreign Office minister, Hector McNeil, told Foreign Secretary Ernest Bevin: "I doubt if I can put too strongly the parliamentary consequences of publicity. Whenever we have any allegations to make about the political police methods in Eastern European states it will be enough to call out in the House 'Bad Nenndorf', and no reply is left to us."
The camp's highly secret nature was another complicating factor. The Army cautioned against allowing the Soviets to discover "how we apprehended and treated their agents", not least because it might deter future defectors. However, the affair was still brought before Army courts-martial, though some of the evidence was heard behind closed doors to ensure that security was safeguarded. The camp was closed down in July 1947.
Three months after the closure of the camp at Bad Nenndorf, a new custom-built interrogation centre with cells for 30 men and 10 women was opened at Gütersloh. Most of the interrogators were said to have served at Bad Nenndorf, causing disquiet in the Government. Foreign Office Minister Frank Pakenham demanded that "drastic methods" should not be employed. However, the Army insisted that the standards applied in British prisons should not be applied to Army interrogation centres in Germany. According to the German newspaper Die Zeit, the failings exposed at Bad Nenndorf resulted in the conditions of prisoners elsewhere in Germany being improved to the point that they were better treated than the civilian population.
***Deutsche Beschreibung***
Das Verhörzentrum Bad Nenndorf wurde unmittelbar nach dem Zweiten Weltkrieg von Juni 1945 bis Juli 1947 im Wincklerbad in Bad Nenndorf innerhalb der britischen Besatzungszone von der britischen Rheinarmee betrieben.
Das Internierungslager richtete der britische militärische Geheimdienst als streng abgeschirmtes Geheimgefängnis unter der Bezeichnung No. 74 Combined Services Detailed Interrogation Centre ein. Es befand sich im Badehaus von Bad Nenndorf, dem Wincklerbad, und angrenzenden Gebäuden. Das Badehaus ist nach Axel Winckler, einem führenden Balneologen und Dirigierenden Brunnenarzt in Bad Nenndorf benannt. Das Gefängnis unterstand dem Geheimdienst, der britischen Rheinarmee und der britischen Militärregierung gemeinsam. Vorwiegend solche Personen wurden hier interniert und verhört, die als höchste Sicherheitsgefahr angesehen wurden. Neben hohen und höchsten Funktionären der NSDAP, Diplomaten, Offizieren der Abwehr und aller Wehrmachtteile saßen auch „kleine Fische“ ein, Grenzgänger, die der Spionage für die Sowjetunion bezichtigt wurden. Insgesamt wurden im Internierungslager Bad Nenndorf 372 Männer und 44 Frauen inhaftiert und verhört, oft unter Folter. Opfer waren zunächst meist ehemalige Angehörige der SS, der SA, der Gestapo oder der Abwehr sowie Funktionäre der NSDAP oder der Hitlerjugend. Die Briten befürchteten Aufstände gegen die Besatzungsherrschaft sowie Terroranschläge des Werwolfs. Sie versuchten mit brutalen Befragungsmethoden Informationen über bevorstehende und geplante Aktionen zu bekommen. In mindestens einem Fall sollen sie auch Folterwerkzeuge der Gestapo (wie Daumen- und Schienbeinschrauben) benutzt haben, die sie sich aus dem Hamburger KZ Neuengamme beschafft hatten. Als Internierte im Frühjahr 1947 in das Internierungslager Fallingbostel verlegt wurden, sickerte durch, dass in Bad Nenndorf katastrophale Zustände herrschten. Nach Interventionen der katholischen Kirche, eines britischen Kardinals und des Labour-Abgeordneten Richard Stokes wurde das Internierungslager geschlossen.
Als im Jahr 2005 bekannt wurde, dass britische Soldaten im Irak folterten, wurde das Thema von englischen und deutschen Medien wieder aufgegriffen. Nach diesen Reportagen sei zumindest ein Teil der in Bad Nenndorf Internierten von britischen Truppen systematisch misshandelt worden, einige zu Tode gefoltert worden. Ursprüngliches Ziel des Lagers sei die Inhaftierung von Mitgliedern der Waffen-SS gewesen. Später seien allerdings auch Industrielle, Waldbesitzer oder selbst Mitglieder linker Gruppierungen in diesem Lager interniert worden. Der englische Journalist Ian Cobain berichtete, dass sogar ein deutscher Jude, der Buchenwald überlebt hatte, in diesem Internierungslager inhaftiert wurde. Dem letzten Überlebenden Gerhard Menzel zufolge handelte es sich dabei um Hans Habermann.
Das Internierungslager Bad Nenndorf ist wie beispielsweise auch die Rheinwiesenlager in Deutschland ein politisches Thema. <b<Laut dem Historiker Heiner Wember „behaupten Neonazis [heute noch], die Briten hätten in den regulären Internierungslagern für Nazis nach dem Krieg Methoden angewandt wie die Nazis selber… Doch das ist reiner Quatsch.“ Er wertete als erster Historiker die englischen Internierungsakten aus und beschrieb die britische Internierungspolitik und die Prozesse gegen 19.000 Internierte.
Seit dem Jahre 2006 führen sogenannte „Freie Kräfte“ der <b<Neonaziszene jährlich jeweils im August in Bad Nenndorf sogenannte Trauermärsche zum Wincklerbad durch, die später in Marsch der Ehre umbenannt wurden. Tenor dabei ist das Gedenken an die „Opfer des alliierten Folterlagers im Wincklerbad“. Bis zum Jahre 2030 sind derartige Veranstaltungen jährlich in Bad Nenndorf angekündigt worden. Bürger in Bad Nenndorf gründeten aus Besorgnis, dass sich Bad Nenndorf zu einem Treffpunkt der rechten Szene entwickelt, das Bündnis Bad Nenndorf ist bunt. Die Vereinigung organisiert zu den jährlichen Demonstrationen der rechten Szene jeweils Gegendemonstrationen, an denen sich bis zu 1000 Personen beteiligen. Da zum Schutze der Versammlungen mehrere tausend Polizeibeamte eingesetzt werden, herrscht an zwei Tagen Ausnahmezustand im Ort.
Quelle: Wikipedia
The Chrysler Building is an Art Deco skyscraper on the East Side of Manhattan in New York City, at the intersection of 42nd Street and Lexington Avenue in Midtown Manhattan. At 1,046 ft (319 m), it is the tallest brick building in the world with a steel framework, and it was the world's tallest building for 11 months after its completion in 1930. As of 2019, the Chrysler is the 12th-tallest building in the city, tied with The New York Times Building.
Originally a project of real estate developer and former New York State Senator William H. Reynolds, the building was commissioned by Walter Chrysler, the head of the Chrysler Corporation. The construction of the Chrysler Building, an early skyscraper, was characterized by a competition with 40 Wall Street and the Empire State Building to become the world's tallest building. The Chrysler Building was designed and funded by Walter Chrysler personally as a real estate investment for his children, but it was not intended as the Chrysler Corporation's headquarters. An annex was completed in 1952, and the building was sold by the Chrysler family the next year, with numerous subsequent owners.
When the Chrysler Building opened, there were mixed reviews of the building's design, some calling it inane and unoriginal, others hailing it as modernist and iconic. Reviewers in the late 20th and early 21st centuries regarded the building as a paragon of the Art Deco architectural style. In 2007, it was ranked ninth on the American Institute of Architects' list of America's Favorite Architecture. The facade and interior became New York City designated landmarks in 1978, and the structure was added to the National Register of Historic Places as a National Historic Landmark in 1976.
Site
The Chrysler Building is on the eastern side of Lexington Avenue between 42nd and 43rd streets in Midtown Manhattan in New York City. The land was donated to The Cooper Union for the Advancement of Science and Art in 1902. The site is roughly a trapezoid with a 201-foot-long (61 m) frontage on Lexington Avenue; a 167-foot-long (51 m) frontage on 42nd Street; and a 205-foot-long (62 m) frontage on 43rd Street. The site bordered the old Boston Post Road, which predated, and ran aslant of, the Manhattan street grid established by the Commissioners' Plan of 1811. As a result, the east side of the building's base is similarly aslant. The building is assigned its own ZIP Code, 10174. It is one of 41 buildings in Manhattan that have their own ZIP Codes, as of 2019.
The Grand Hyatt New York hotel and the Graybar Building are across Lexington Avenue, while the Socony–Mobil Building is across 42nd Street. In addition, the Chanin Building is to the southwest, diagonally across Lexington Avenue and 42nd Street.
Architecture
The Chrysler Building was designed by William Van Alen in the Art Deco style and is named after one of its original tenants, automotive executive Walter Chrysler. With a height of 1,046 feet (319 m), the Chrysler is the 12th-tallest building in the city as of 2019, tied with The New York Times Building. The building is constructed of a steel frame infilled with masonry, with areas of decorative metal cladding. The structure contains 3,862 exterior windows. Approximately fifty metal ornaments protrude at the building's corners on five floors reminiscent of gargoyles on Gothic cathedrals. The 31st-floor contains gargoyles[26] as well as replicas of the 1929 Chrysler radiator caps, and the 61st-floor is adorned with eagles as a nod to America's national bird.
The design of the Chrysler Building makes extensive use of bright "Nirosta" stainless steel, an austenitic alloy developed in Germany by Krupp. It was the first use of this "18-8 stainless steel" in an American project, composed of 18% chromium and 8% nickel. Nirosta was used in the exterior ornaments, the window frames, the crown, and the needle. The steel was an integral part of Van Alen's design, as E.E. Thum explains: "The use of permanently bright metal was of greatest aid in the carrying of rising lines and the diminishing circular forms in the roof treatment, so as to accentuate the gradual upward swing until it literally dissolves into the sky...." Stainless steel producers used the Chrysler Building to evaluate the durability of the product in architecture. In 1929, the American Society for Testing Materials created an inspection committee to study its performance, which regarded the Chrysler Building as the best location to do so; a subcommittee examined the building's panels every five years until 1960, when the inspections were canceled because the panels had shown minimal deterioration.
Form
The Chrysler Building's height and legally mandated setbacks influenced Van Alen in his design. The walls of the lowermost sixteen floors rise directly from the sidewalk property lines, except for a recess on one side that gives the building a U-shaped floor plan above the fourth floor. There are setbacks on floors 16, 18, 23, 28, and 31, making the building compliant with the 1916 Zoning Resolution. This gives the building the appearance of a ziggurat on one side and a U-shaped palazzo on the other. Above the 31st floor, there are no more setbacks until the 60th floor, above which the structure is funneled into a Maltese cross shape that "blends the square shaft to the finial", according to author and photographer Cervin Robinson.
The floor plans of the first sixteen floors were made as large as possible to optimize the amount of rental space nearest ground level, which was seen as most desirable. The U-shaped cut above the fourth floor served as a shaft for air flow and illumination. The area between floors 28 and 31 added "visual interest to the middle of the building, preventing it from being dominated by the heavy detail of the lower floors and the eye-catching design of the finial. They provide a base to the column of the tower, effecting a transition between the blocky lower stories and the lofty shaft."
Facade
Base and shaft
The ground floor exterior is covered in polished black granite from Shastone, while the three floors above it are clad in white marble from Georgia. There are two main entrances, on Lexington Avenue and on 42nd Street, each three floors high with Shastone granite surrounding each proscenium-shaped entryway. At some distance into each main entryway, there are revolving doors "beneath intricately patterned metal and glass screens", designed so as to embody the Art Deco tenet of amplifying the entrance's visual impact. A smaller side entrance on 43rd Street is one story high. There are storefronts consisting of large Nirosta-steel-framed windows at ground level. Office windows penetrate the second through fourth floors.
The west and east elevations contain the air shafts above the fourth floor, while the north and south sides contain the receding setbacks. Below the 16th floor, the facade is clad with white brick, interrupted by white-marble bands in a manner similar to basket weaving. The inner faces of the brick walls are coated with a waterproof grout mixture measuring about 1⁄16 inch (1.6 mm) thick. The windows, arranged in grids, do not have window sills, the frames being flush with the facade. Between the 16th and 24th floors, the exterior exhibits vertical white brick columns that are separated by windows on each floor. This visual effect is made possible by the presence of aluminum spandrels between the columns of windows on each floor. There are abstract reliefs on the 20th through 22nd-floor spandrels, while the 24th floor contains 9-foot (2.7 m) decorative pineapples.
Above the third setback, consisting of the 24th through 27th floors, the facade contains horizontal bands and zigzagged gray-and-black brick motifs. The section above the fourth setback, between the 27th and 31st floors, serves as a podium for the main shaft of the building. There are Nirosta-steel decorations above the setbacks. At each corner of the 31st floor, large car-hood ornaments were installed to make the base look larger. These corner extensions help counter a common optical illusion seen in tall buildings with horizontal bands, whose taller floors would normally look larger. The 31st floor also contains a gray and white frieze of hubcaps and fenders, which both symbolize the Chrysler Corporation and serves as a visual signature of the building's Art Deco design. The bonnet embellishments take the shape of Mercury's winged helmet and resemble hood ornaments installed on Chrysler vehicles at the time.
The shaft of the tower was designed to emphasize both the horizontal and vertical: each of the tower's four sides contains three columns of windows, each framed by bricks and an unbroken marble pillar that rises along the entirety of each side. The spandrels separating the windows contain "alternating vertical stripes in gray and white brick", while each corner contains horizontal rows of black brick.
Crown and spire
The Chrysler Building is renowned for, and recognized by its terraced crown, which is an extension of the main tower. Composed of seven radiating terraced arches, Van Alen's design of the crown is a cruciform groin vault of seven concentric members with transitioning setbacks. The entire crown is clad with Nirosta steel, ribbed and riveted in a radiating sunburst pattern with many triangular vaulted windows, reminiscent of the spokes of a wheel. The windows are repeated, in smaller form, on the terraced crown's seven narrow setbacks. Due to the curved shape of the dome, the Nirosta sheets had to be measured on site, so most of the work was carried out in workshops on the building's 67th and 75th floors. According to Robinson, the terraced crown "continue[s] the wedding-cake layering of the building itself. This concept is carried forward from the 61st floor, whose eagle gargoyles echo the treatment of the 31st, to the spire, which extends the concept of 'higher and narrower' forward to infinite height and infinitesimal width. This unique treatment emphasizes the building's height, giving it an other worldly atmosphere reminiscent of the fantastic architecture of Coney Island or the Far East."
Television station WCBS-TV (Channel 2) originated its transmission from the top of the Chrysler Building in 1938. WCBS-TV transmissions were shifted to the Empire State Building in 1960 in response to competition from RCA's transmitter on that building. For many years WPAT-FM and WTFM (now WKTU) also transmitted from the Chrysler Building, but their move to the Empire State Building by the 1970s ended commercial broadcasting from the structure.
The crown and spire are illuminated by a combination of fluorescent lights framing the crown's distinctive triangular windows and colored floodlights that face toward the building, allowing it to be lit in a variety of schemes for special occasions.The V-shaped fluorescent "tube lighting" – hundreds of 480V 40W bulbs framing 120 window openings – was added in 1981, although it had been part of the original design. Until 1998, the lights were turned off at 2 a.m., but The New York Observer columnist Ron Rosenbaum convinced Tishman Speyer to keep the lights on until 6 a.m. Since 2015, the Chrysler Building and other city skyscrapers have been part of the Audubon Society's Lights Out program, turning off their lights during bird migration seasons.
History
In the mid-1920s, New York's metropolitan area surpassed London's as the world's most populous metropolitan area and its population exceeded ten million by the early 1930s. The era was characterized by profound social and technological changes. Consumer goods such as radio, cinema, and the automobile became widespread. In 1927, Walter Chrysler's automotive company, the Chrysler Corporation, became the third-largest car manufacturer in the United States, behind Ford and General Motors. The following year, Chrysler was named Time magazine's "Person of the Year".
The economic boom of the 1920s and speculation in the real estate market fostered a wave of new skyscraper projects in New York City. The Chrysler Building was built as part of an ongoing building boom that resulted in the city having the world's tallest building from 1908 to 1974. Following the end of World War I, European and American architects came to see simplified design as the epitome of the modern era and Art Deco skyscrapers as symbolizing progress, innovation, and modernity. The 1916 Zoning Resolution restricted the height that street-side exterior walls of New York City buildings could rise before needing to be setback from the street. This led to the construction of Art Deco structures in New York City with significant setbacks, large volumes, and striking silhouettes that were often elaborately decorated. Art Deco buildings were constructed for only a short period of time; but because that period was during the city's late-1920s real estate boom, the numerous skyscrapers built in the Art Deco style predominated in the city skyline, giving it the romantic quality seen in films and plays.[The Chrysler Building project was shaped by these circumstances.
Development
Originally, the Chrysler Building was to be the Reynolds Building, a project of real estate developer and former New York state senator William H. Reynolds. Prior to his involvement in planning the building, Reynolds was best known for developing Coney Island's Dreamland amusement park. When the amusement park was destroyed by a fire in 1911, Reynolds turned his attention to Manhattan real estate, where he set out to build the tallest building in the world.
Planning
In 1921, Reynolds rented a large plot of land at the corner of Lexington Avenue and 42nd Street with the intention of building a tall building on the site. Reynolds did not develop the property for several years, prompting the Cooper Union to try to increase the assessed value of the property in 1924. The move, which would force Reynolds to pay more rent, was unusual because property owners usually sought to decrease their property assessments and pay fewer taxes. Reynolds hired the architect William Van Alen to design a forty-story building there in 1927. Van Alen's original design featured many Modernist stylistic elements, with glazed, curved windows at the corners.
Van Alen was respected in his field for his work on the Albemarle Building at Broadway and 24th Street, designing it in collaboration with his partner H. Craig Severance. Van Alen and Severance complemented each other, with Van Alen being an original, imaginative architect and Severance being a shrewd businessperson who handled the firm's finances. The relationship between them became tense over disagreements on how best to run the firm. A 1924 article in the Architectural Review, praising the Albemarle Building's design, had mentioned Van Alen as the designer in the firm and ignored Severance's role. The architects' partnership dissolved acrimoniously several months later, with lawsuits over the firm's clients and assets lasting over a year. The rivalry influenced the design of the future Chrysler Building, since Severance's more traditional architectural style would otherwise have restrained Van Alen's more modern outlook.
Refinement of designs
By February 2, 1928, the proposed building's height had been increased to 54 stories, which would have made it the tallest building in Midtown. The proposal was changed again two weeks later, with official plans for a 63-story building. A little more than a week after that, the plan was changed for the third time, with two additional stories added. By this time, 42nd Street and Lexington Avenue were both hubs for construction activity, due to the removal of the Third Avenue Elevated's 42nd Street spur, which was seen as a blight on the area. The adjacent 56-story Chanin Building was also under construction. Because of the elevated spur's removal, real estate speculators believed that Lexington Avenue would become the "Broadway of the East Side", causing a ripple effect that would spur developments farther east.
In April 1928, Reynolds signed a 67-year lease for the plot and finalized the details of his ambitious project. Van Alen's original design for the skyscraper called for a base with first-floor showroom windows that would be triple-height, and above would be 12 stories with glass-wrapped corners, to create the impression that the tower was floating in mid-air. Reynolds's main contribution to the building's design was his insistence that it have a metallic crown, despite Van Alen's initial opposition; the metal-and-crystal crown would have looked like "a jeweled sphere" at night. Originally, the skyscraper would have risen 808 feet (246 m), with 67 floors. These plans were approved in June 1928. Van Alen's drawings were unveiled in the following August and published in a magazine run by the American Institute of Architects (AIA).
Reynolds ultimately devised an alternate design for the Reynolds Building, which was published in August 1928. The new design was much more conservative, with an Italianate dome that a critic compared to Governor Al Smith's bowler hat, and a brick arrangement on the upper floors that simulated windows in the corners, a detail that remains in the current Chrysler Building. This design almost exactly reflected the shape, setbacks, and the layout of the windows of the current building, but with a different dome.
Final plans and start of construction
With the design complete, groundbreaking for the Reynolds Building took place on September 19, 1928, but by late 1928, Reynolds did not have the means to carry on construction. Walter Chrysler offered to buy the building in early October 1928, and Reynolds sold the plot, lease, plans, and architect's services to Chrysler on October 15, 1928, for more than $2.5 million. That day, the Goodwin Construction Company began demolition of what had been built. A contract was awarded on October 28, and demolition was completed on November 9. Chrysler's initial plans for the building were similar to Reynolds's, but with the 808-foot building having 68 floors instead of 67. The plans entailed a ground-floor pedestrian arcade; a facade of stone below the fifth floor and brick-and-terracotta above; and a three-story bronze-and-glass "observation dome" at the top. However, Chrysler wanted a more progressive design, and he worked with Van Alen to redesign the skyscraper to be 925 ft (282 m) tall. At the new height, Chrysler's building would be taller than the 792-foot (241 m) Woolworth Building, a building in lower Manhattan that was the world's tallest at the time. At one point, Chrysler had requested that Van Alen shorten the design by ten floors, but reneged on that decision after realizing that the increased height would also result in increased publicity.
From late 1928 to early 1929, modifications to the design of the dome continued. In March 1929, the press published details of an "artistic dome" that had the shape of a giant thirty-pointed star, which would be crowned by a sculpture five meters high. The final design of the dome included several arches and triangular windows. Lower down, various architectural details were modeled after Chrysler automobile products, such as the hood ornaments of the Plymouth (see § Designs between setbacks). The building's gargoyles on the 31st floor and the eagles on the 61st floor, were created to represent flight, and to embody the machine age of the time. Even the topmost needle was built using a process similar to one Chrysler used to manufacture his cars, with precise "hand craftmanship". In his autobiography, Chrysler says he suggested that his building be taller than the Eiffel Tower.
Meanwhile, excavation of the new building's 69-foot-deep (21 m) foundation began in mid-November 1928 and was completed in mid-January 1929, when bedrock was reached. A total of 105,000,000 pounds (48,000,000 kg) of rock and 36,000,000 pounds (16,000,000 kg) of soil were excavated for the foundation, equal to 63% of the future building's weight. Construction of the building proper began on January 21, 1929. The Carnegie Steel Company provided the steel beams, the first of which was installed on March 27; and by April 9, the first upright beams had been set into place. The steel structure was "a few floors" high by June 1929, 35 floors high by early August, and completed by September. Despite a frantic steelwork construction pace of about four floors per week, no workers died during the construction of the skyscraper's steelwork. Chrysler lauded this achievement, saying, "It is the first time that any structure in the world has reached such a height, yet the entire steel construction was accomplished without loss of life". In total, 391,881 rivets were used, and approximately 3,826,000 bricks were laid to create the non-loadbearing walls of the skyscraper. Walter Chrysler personally financed the construction with his income from his car company. The Chrysler Building's height officially surpassed the Woolworth's on October 16, 1929, thereby becoming the world's tallest structure.
Completion
In January 1930, it was announced that the Chrysler Corporation would maintain satellite offices in the Chrysler Building during Automobile Show Week. The skyscraper was never intended to become the Chrysler Corporation's headquarters, which remained in Detroit. The first leases by outside tenants were announced in April 1930, before the building was officially completed. The building was formally opened on May 27, 1930, in a ceremony that coincided with the 42nd Street Property Owners and Merchants Association's meeting that year. In the lobby of the building, a bronze plaque that read "in recognition of Mr. Chrysler's contribution to civic advancement" was unveiled. Former Governor Smith, former Assemblyman Martin G. McCue, and 42nd Street Association president George W. Sweeney were among those in attendance. By June, it was reported that 65% of the available space had been leased. By August, the building was declared complete, but the New York City Department of Construction did not mark it as finished until February 1932.
The added height of the spire allowed the Chrysler Building to surpass 40 Wall Street as the tallest building in the world and the Eiffel Tower as the tallest structure. The Chrysler Building was thus the first man-made structure to be taller than 1,000 feet (300 m); and as one newspaper noted, the tower was also taller than the highest points of five states. The tower remained the world's tallest for 11 months after its completion. The Chrysler Building was appraised at $14 million, but was exempt from city taxes per an 1859 law that gave tax exemptions to sites owned by the Cooper Union. The city had attempted to repeal the tax exemption, but Cooper Union had opposed that measure. Because the Chrysler Building retains the tax exemption, it has paid Cooper Union for the use of their land since opening. While the Chrysler Corporation was a tenant, it was not involved in the construction or ownership of the Chrysler Building; rather, the tower was a project of Walter P. Chrysler for his children. In his autobiography, Chrysler wrote that he wanted to erect the building "so that his sons would have something to be responsible for".
Van Alen's satisfaction at these accomplishments was likely muted by Walter Chrysler's later refusal to pay the balance of his architectural fee. Chrysler alleged that Van Alen had received bribes from suppliers, and Van Alen had not signed any contracts with Walter Chrysler when he took over the project. Van Alen sued and the courts ruled in his favor, requiring Chrysler to pay Van Alen $840,000, or six percent of the total budget of the building. However, the lawsuit against Chrysler markedly diminished Van Alen's reputation as an architect, which, along with the effects of the Great Depression and negative criticism, ended up ruining his career. Van Alen ended his career as professor of sculpture at the nearby Beaux-Arts Institute of Design and died in 1954. According to author Neal Bascomb, "The Chrysler Building was his greatest accomplishment, and the one that guaranteed his obscurity."
The Chrysler Building's distinction as the world's tallest building was short-lived. John Raskob realized the 1,050-foot Empire State Building would only be 4 feet (1.2 m) taller than the Chrysler Building, and Raskob was afraid that Walter Chrysler might try to "pull a trick like hiding a rod in the spire and then sticking it up at the last minute." Another revision brought the Empire State Building's roof to 1,250 feet (380 m), making it the tallest building in the world by far when it opened on May 1, 1931. However, the Chrysler Building is still the world's tallest steel-supported brick building. The Chrysler Building fared better commercially than the Empire State Building did: by 1935, the Chrysler had already rented 70 percent of its floor area. By contrast, Empire State had only leased 23 percent of its space and was popularly derided as the "Empty State Building".
Impact
Reception
The completed Chrysler Building garnered mixed reviews in the press. Van Alen was hailed as the "Doctor of Altitude" by Architect magazine, while architect Kenneth Murchison called Van Alen the "Ziegfeld of his profession", comparing him to popular Broadway producer Florenz Ziegfeld Jr. The building was praised for being "an expression of the intense activity and vibrant life of our day", and for "teem[ing] with the spirit of modernism, ... the epitome of modern business life, stand[ing] for progress in architecture and in modern building methods." An anonymous critic wrote in Architectural Forum's October 1930 issue: "The Chrysler...stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambitions and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards."
The journalist George S. Chappell called the Chrysler's design "distinctly a stunt design, evolved to make the man in the street look up". Douglas Haskell stated that the building "embodies no compelling, organic idea", and alleged that Van Alen had abandoned "some of his best innovations in behalf of stunts and new 'effects'". Others compared the Chrysler Building to "an upended swordfish", or claimed it had a "Little Nemo"-like design. Lewis Mumford, a supporter of the International Style and one of the foremost architectural critics of the United States at the time, despised the building for its "inane romanticism, meaningless voluptuousness, [and] void symbolism". The public also had mixed reviews of the Chrysler Building, as Murchison wrote: "Some think it's a freak; some think it's a stunt."
Later reviews were more positive. Architect Robert A. M. Stern wrote that the Chrysler Building was "the most extreme example of the [1920s and 1930s] period's stylistic experimentation", as contrasted with 40 Wall Street and its "thin" detailing. George H. Douglas wrote in 2004 that the Chrysler Building "remains one of the most appealing and awe-inspiring of skyscrapers". Architect Le Corbusier called the building "hot jazz in stone and steel". Architectural critic Ada Louise Huxtable stated that the building had "a wonderful, decorative, evocative aesthetic", while Paul Goldberger noted the "compressed, intense energy" of the lobby, the "magnificent" elevators, and the "magical" view from the crown. Anthony W. Robins said the Chrysler Building was "one-of-a-kind, staggering, romantic, soaring, the embodiment of 1920s skyscraper pizzazz, the great symbol of Art Deco New York".
The LPC said that the tower "embodies the romantic essence of the New York City skyscraper". Pauline Frommer, in the travel guide Frommer's, gave the building an "exceptional" recommendation, saying: "In the Chrysler Building we see the roaring-twenties version of what Alan Greenspan called 'irrational exuberance'—a last burst of corporate headquarter building before stocks succumbed to the thudding crash of 1929."
As icon
The Chrysler Building appears in several films set in New York and is widely considered one of the most positively acclaimed buildings in the city. A 1996 survey of New York architects revealed it as their favorite, and The New York Times described it in 2005 as "the single most important emblem of architectural imagery on the New York skyline". In mid-2005, the Skyscraper Museum in Lower Manhattan asked 100 architects, builders, critics, engineers, historians, and scholars, among others, to choose their 10 favorites among 25 of the city's towers. The Chrysler Building came in first place, with 90 respondents placing it on their ballots. In 2007, the building ranked ninth among 150 buildings in the AIA's List of America's Favorite Architecture.
The Chrysler Building is widely heralded as an Art Deco icon. Fodor's New York City 2010 described the building as being "one of the great art deco masterpieces" which "wins many a New Yorker's vote for the city's most iconic and beloved skyscraper". Frommer's states that the Chrysler was "one of the most impressive Art Deco buildings ever constructed". Insight Guides' 2016 edition maintains that the Chrysler Building is considered among the city's "most beautiful" buildings. Its distinctive profile has inspired similar skyscrapers worldwide, including One Liberty Place in Philadelphia, Two Prudential Plaza in Chicago, and the Al Kazim Towers in Dubai. In addition, the New York-New York Hotel and Casino in Paradise, Nevada, contains the "Chrysler Tower", a replica of the Chrysler Building measuring 35 or 40 stories tall. A portion of the hotel's interior was also designed to resemble the Chrysler Building's interior.
In media
While seen in many films, the Chrysler Building almost never appears as a main setting in them, prompting architect and author James Sanders to quip it should win "the Award for Best Supporting Skyscraper". The building was supposed to be featured in the 1933 film King Kong, but only makes a cameo at the end thanks to its producers opting for the Empire State Building in a central role. The Chrysler Building notably appears in the background of The Wiz (1978); as the setting of much of Q - The Winged Serpent (1982); in the initial credits of The Shadow of the Witness (1987); and during or after apocalyptic events in Independence Day (1996), Armageddon (1998), Deep Impact (1998), Godzilla (1998), and A.I. Artificial Intelligence (2001). The building also appears in other films, such as Spider-Man (2002), Fantastic Four: Rise of the Silver Surfer (2007), Two Weeks Notice (2002), The Sorcerer's Apprentice (2010), The Avengers (2012) and Men in Black 3 (2012). The building is mentioned in the number "It's the Hard Knock Life" for the musical Annie, and it is the setting for the post-game content in the Squaresoft video game Parasite Eve.
The Chrysler Building is frequently a subject of photographs. In December 1929, Walter Chrysler hired Margaret Bourke-White to take publicity images from a scaffold 400 feet (120 m) high. She was deeply inspired by the new structure and especially smitten by the massive eagle's-head figures projecting off the building. In her autobiography, Portrait of Myself, Bourke-White wrote, "On the sixty-first floor, the workmen started building some curious structures which overhung 42nd Street and Lexington Avenue below. When I learned these were to be gargoyles à la Notre Dame, but made of stainless steel as more suitable for the twentieth century, I decided that here would be my new studio. There was no place in the world that I would accept as a substitute."
According to one account, Bourke-White wanted to live in the building for the duration of the photo shoot, but the only person able to do so was the janitor, so she was instead relegated to co-leasing a studio with Time Inc. In 1930, several of her photographs were used in a special report on skyscrapers in the then-new Fortune magazine. Bourke-White worked in a 61st-floor studio designed by John Vassos until she was evicted in 1934. In 1934, Bourke-White's partner Oscar Graubner took a famous photo called "Margaret Bourke-White atop the Chrysler Building", which depicts her taking a photo of the city's skyline while sitting on one of the 61st-floor eagle ornaments. On October 5, 1998, Christie's auctioned the photograph for $96,000. In addition, during a January 1931 dance organized by the Society of Beaux-Arts, six architects, including Van Alen, were photographed while wearing costumes resembling the buildings that each architect designed.
(Wikipedia)
Das Chrysler Building ist ein 1930 fertiggestellter Wolkenkratzer im Stil des Art déco in Manhattan in New York City und zählt zu den Wahrzeichen der Metropole.
Der Büroturm befindet sich im Viertel Turtle Bay an der Lexington Avenue, Ecke 42nd Street in Midtown Manhattan. Er steht auf einem Grundstück der privaten Hochschule Cooper Union, hat die Adresse „405 Lexington Avenue“ und ist nur einen Block vom Grand Central Terminal entfernt. Schräg gegenüber steht mit dem Chanin Building ein weiterer bekannter Wolkenkratzer im Art-déco-Stil.
Das Chrysler Building ist 318,8 Meter (1046 Fuß) hoch und damit zusammen mit dem 2007 erbauten New York Times Tower auf Rang 13 der höchsten Gebäude in New York City. Unter den höchsten Gebäuden der Vereinigten Staaten nehmen beide Gebäude den 21. Rang ein (jeweils Stand 2023). Auftraggeber war Walter Percy Chrysler, der es ursprünglich für die Chrysler Corporation zwischen 1928 und 1930 bauen ließ. Für die Planung des Wolkenkratzers im Art-déco-Stil war der Architekt William Van Alen verantwortlich. Das Gebäude zählt zu den schönsten Wolkenkratzern jener Epoche.
Geschichte
Entstehungsbedingungen
Das Chrysler Building im Stadtkontext, gesehen vom Empire State Building aus. Weiter rechts der Trump World Tower
Paradoxerweise entstanden viele Wolkenkratzer in der Zeit der Weltwirtschaftskrise. Das liegt zum einen an der Hochphase vor der Krise: Das Bruttosozialprodukt der USA war nach dem Ersten Weltkrieg innerhalb von acht Jahren um 50 % gestiegen, und dieser Konjunktursprung führte zu zahlreichen Neubauten und Planungen von Geschäftshäusern. Zum anderen kamen den Bauherren bei der anschließenden Ausführung während der Krise die radikal gesunkenen Arbeitslöhne nach dem Börsencrash 1929 zugute. Sie konnten für das gleiche Geld wesentlich mehr Arbeiter einstellen als geplant. Die Macht der Gewerkschaften war gebrochen, die Arbeitslöhne waren niedrig, Arbeiter standen in Massen zur Verfügung. Ein Gebäude dieses Ausmaßes hätte unter normalen Verhältnissen in dieser kurzen Bauzeit nicht errichtet werden können. Pro Woche wurden durchschnittlich vier Stockwerke errichtet, für die damaligen Verhältnisse ein Rekord. (Ähnliche Effekte konnte man auch später beobachten: Das höchste Gebäude der Welt, der Burj Khalifa in Dubai, wurde 2010, in der Zeit der Finanzkrise, fertig. Geplant wurde er jedoch vor dem Wirtschaftsabschwung.)
Baugeschichte
Obwohl das Gebäude speziell für den Autohersteller Chrysler konstruiert und gebaut wurde, bezahlte die Firma weder für den Bau, noch besaß sie es jemals. Walter P. Chrysler hatte entschieden, privat dafür aufzukommen, um es an seine Kinder weitergeben zu können.
Die Grundsteinlegung für das Gebäude fand am 19. September 1928 statt. Am 27. Mai 1930 wurde es feierlich eingeweiht. Mit 319 Metern war es bei der Eröffnung das höchste Gebäude der Welt und auch das erste, das die 1000-Fuß-Marke (305 Meter) durchbrach. Bis zum Dach misst es 282 Meter; da die Metallspitze aber zur Grundstruktur des Gebäudes gehört, wird sie zur offiziellen Höhe mitgezählt.
Während der Erbauung hatte es bis in die letzten Tage einen Wettlauf mit dem Turm der Bank of Manhattan (heute 40 Wall Street oder The Trump Building) gegeben, den das Chrysler Building für sich entschied. Der Architekt William Van Alen hatte 1930 die 56 Meter hohe Spitze bis zum letzten Moment geheim gehalten, damit der Konkurrent, die Bank of Manhattan, deren Gebäude gerade 283 Meter Höhe erreicht hatte, nicht mehr reagieren konnte. Die einzelnen Bestandteile dieser Metallspitze waren im Heizungsschacht des Gebäudes zunächst gelagert und vormontiert worden. Dann wurden die riesigen Stahlplatten heimlich auf das 65. Geschoss gebracht, dort zusammengeschraubt und anschließend in einem Stück mit einem Drehkran auf das Gebäude aufgesetzt, das damit 319 Meter Höhe erreichte und die Konkurrenz deutlich übertrumpfte. Dieses Unterfangen dauerte weniger als 1½ Stunden. Dieser Stahlaufbau, genannt „Vortex“ (lat. Wirbel, Drehung), dient lediglich als Dekoration, wiegt 30 Tonnen und ist ein Beispiel des Art déco.
Allerdings blieb das Chrysler Building nur kurz das höchste Gebäude der Welt. 1931 wurde in Midtown Manhattan das Empire State Building mit einer Höhe von 381 Metern fertiggestellt und war damit deutlich höher als alle anderen Gebäude. Bis zum Jahr 1969 blieb das Chrysler Building jedoch der zweithöchste Wolkenkratzer der Welt und gehörte noch bis in die späten 1990er Jahre zu den „Top Ten“ der weltweit höchsten Gebäude.
Spätere Entwicklung
Im 67. Stockwerk befand sich eine besonders während der Prohibition bekannte Restaurant-Bar, der so genannte Cloud Club, in der ehemaligen ‚Wohnung‘ des Firmengründers Walter P. Chrysler.
Lediglich die Lobby des Chrysler Building ist der Öffentlichkeit zur Besichtigung zugänglich (inkl. eigenem Subway-Zugang, jedoch nur werktags). Um zu den noch im Stil des Art déco gehaltenen Aufzügen zu gelangen, braucht man einen speziellen Ausweis oder einen Termin bei einer der dort ansässigen Firmen.
Nach dem Tod von Walter P. Chrysler 1940 kam das Gebäude zur W.P Chrysler Building Corporation, die es zusammen mit der Erbenfamilie 1953 für 18 Millionen US-Dollar an den Immobilienmakler William Zeckendorf verkaufte. 1960 erwarben die Immobilieninvestoren Sol Goldman und Alex DiLorenzo mittels Finanzierung durch die Massachusetts Mutual Life Insurance Company (MassMutual) das Gebäude. Die wiederum übernahm 1975 die Anteile für 35 Millionen US-Dollar. Im Dezember 1976 wurde das Hochhaus zur National Historic Landmark erklärt.
Bis 1979 wurde das Gebäude für rund 23 Millionen US-Dollar komplett renoviert. Im September 1979 wurde es von Jack Kent Cooke übernommen. Nach dem Tod von Cooke 1997 übernahm das Immobilienunternehmen Tishman Speyer Properties zusammen mit The Travelers Companies, Inc. (ab 1998 Teil der Citigroup) das Gebäude für eine geschätzte Summe von 210 bis 250 Millionen US-Dollar (187 bis 223 Millionen Euro). Im März 2001 übernahm die deutsche Investmentgesellschaft TMW Immobilien AG[5] aus München über ihre US-amerikanische Tochter für rund 390 Millionen US-Dollar rund 75 Prozent des Gebäudes. Zu den größten Anteilseignern der TMW gehörten der Ergo Trust der Ergo Group, die Provinzial Versicherung sowie drei deutsche Privatbanken.
Zwischen Herbst 2001 und Juli 2008 befand sich das Gebäude im Besitz der zur Ergo Group gehörenden GVP Gesellschaft für Vertriebs- und Produktmanagement AG (heute Ideenkapital Financial Service AG) aus Düsseldorf, die hierfür einen geschlossenen Immobilienfonds (ProVictor) auflegte. Sie verkaufte das Gebäude zu einem Anteil von 90 Prozent am 9. Juli 2008 an den Staatsfonds Abu Dhabi Investment Council (Mubadala) für 800 Millionen US-Dollar (713 Millionen Euro).
Reuters-Informationen zufolge wurde im März 2019 das sanierungsbedürftige Chrysler Building für lediglich 150 Millionen US-Dollar an ein Unternehmen verkauft, das je zur Hälfte der österreichischen Signa Holding und dem amerikanisch-deutschen Unternehmen RFR Group der deutschstämmigen Immobilieninvestoren Aby Rosen und Michael Fuchs gehört.[1] Weiteren Medienberichten zur Folge waren der Grund für den extrem niedrigen Verkaufspreis des Chrysler Gebäudes an das Gemeinschaftsunternehmen von Signa und RFR der bevorstehende extrem hohe Bodenpachtanstieg von 7,75 Millionen Dollar im Jahr 2018 auf 31,5 Millionen US-Dollar im Jahr 2023. Bis 2028 soll die Pacht weiter auf 41 Millionen US-Dollar steigen und 2029 auf 67 Millionen US-Dollar. Eigentümer des Bodengrundes unter dem Gebäude ist seit 1902 die Cooper Union, die wiederum – als eine Stiftung – die Pacht steuerfrei einnimmt.
Nutzer des Gebäudes
Die Chrysler Corporation bezog das Gebäude 1930 als dessen Ankermieter und nutzte die Räumlichkeiten bis in die 1950er Jahre als Abteilungshauptquartier. Weitere Mieter der ersten Stunde waren Time und Texaco. Weil Time Bedarf an mehr Büroräumen hatte, zog es 1937 ins Rockefeller Center um. Texaco zog 1967 nach Purchase, New York, weil das Unternehmen die Arbeitsplätze in eine Vorortumgebung verlegen wollte.
Zu den Nutzern des Gebäudes in der Gegenwart gehören: Regus, Creative Artists Agency, Blank Rome, Clyde & Co, InterMedia Partners, Troutman Sanders Reprieve und YES Network.
Baustil
Das Gebäude wurde im Stil des Art déco errichtet. Am Gebäude finden sich Zierelemente aus rostfreiem Stahl, die an Wasserspeier (Gargoylen) erinnern, Flügelhelm-artige Figuren, die den Chrysler-Kühlerfiguren von 1926 nachempfunden sind,[23] und Adlerköpfe – das Wappentier der Vereinigten Staaten. Außerdem wurden am 31. Stockwerk Zierelemente in Form von Chrysler-Motorhauben und Kachelfriese in Form von Chrysler-Radkappen als Zierrat an der Fassade verwendet. Auch die Kuppel des Gebäudes ist aus nichtrostendem Stahl gefertigt.[2] Die Spitze bildet eine sich pyramidenhaft verjüngende Turmkrone aus Kacheln und Nickeltafeln, aus der eine 27 Tonnen schwere Nickelstahlnadel ragt.[24]
Die für die New Yorker Skyline so unverwechselbare Beleuchtung kommt durch unscheinbare Leuchtstofflampen zustande, die an den Fensterrahmen angebracht sind. Die Fenster sind als Schiebefenster gestaltet und lassen sich in allen Etagen öffnen.
Höhe
Bei seiner Fertigstellung im Jahr 1930 war das Chrysler Building mit 319 Metern Höhe das höchste Gebäude der Erde und übertraf das 283 Meter hohe Bank of Manhattan Company Building (heute 40 Wall Street). Auch überrundete es als erstes Bauwerk den Eiffelturm, der aufgrund kaum vorhandener Nutzflächen nicht als Gebäude, sondern lediglich als Bauwerk gewertet wird. Doch schon ein Jahr nach der Fertigstellung, im Mai 1931, wurde es vom Empire State Building um 62 Meter (381 Meter hoch) überholt. Fortan war es noch bis zur Fertigstellung des 344 Meter hohen John Hancock Center in Chicago im Jahr 1969 das zweithöchste Gebäude der Welt.
Innerhalb New Yorks wurde es 1972 und 1973 durch die Türme des World Trade Center (417 Meter und 415 Meter) erneut übertroffen. Nach deren Zerstörung 2001 wurde es zeitweise wieder zum zweithöchsten Gebäude New York Citys, bis 2009 der 366 Meter hohe Bank of America Tower fertig wurde (bereits 2007 erreichte der New York Times Tower dieselbe Höhe wie das Chrysler Building). Seit 2014 ist auch das Gebäude 432 Park Avenue höher. Inzwischen rangiert das Chrysler Building zusammen mit dem New York Times Tower nur noch auf Platz zwölf der höchsten Gebäude in New York. Unter Berücksichtigung seiner 2003 fertiggestellten Antenne ist auch das Conde Nast Building höher als das Chrysler Building. Seitdem der Eiffelturm über eine Fernseh- und Funkturmantenne verfügt, ist auch dieser wieder höher als das Chrysler Building (aktuell misst der Eiffelturm 330 Meter).
Ähnliche Gebäude
Im Laufe der Zeit sind in den USA, wie auch weltweit, eine Reihe von Wolkenkratzern entstanden, bei denen man sich in der Planung und Konzeption am Chrysler Building orientierte. Dies gilt insbesondere für die Spitze des Gebäudes. Besonders bekannt sind diesbezüglich Bauten wie der One Liberty Place in Philadelphia oder die Al Kazim Towers in Dubai, die jedoch beide niedriger als das Chrysler Building sind. Das New York-New York Hotel & Casino in Las Vegas zitiert unter anderem auch das Chrysler Building.
Schutzausweisung
Das Gebäude kam 1976 als National Historic Landmark ins National Register of Historic Places und wurde 1978 von der Landmarks Preservation Commission als New York City Landmark ausgewiesen.
Daten
Etagen: 77
Höhe: 318,92 m
Höhe Dach: 282 m
Höchstes Stockwerk: 274 m
Höchste Aussichtsetage: 238,66 m
Fenster: 3.750
Stahl: 21.000 t
Ziegelsteine: 4.000.000
Wasserrohre: 50 km
Elektrokabel: 1000 km
(Wikipedia)
Canary Wharf is an area of London, England, located near the Isle of Dogs in the London Borough of Tower Hamlets. Canary Wharf is defined by the Greater London Authority as being part of London's central business district, alongside Central London. Alongside the City of London, it constitutes one of the main financial centres in the United Kingdom and the world, containing many high-rise buildings including the third-tallest in the UK, One Canada Square, which opened on 26 August 1991.
Developed on the site of the former West India Docks in East London, Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space. It has many open areas and gardens, including Canada Square, Cabot Square, Westferry Circus, Jubilee Park, and Crossrail Place Roof Garden. Together with Heron Quays and Wood Wharf, it forms the Canary Wharf Estate, around 97 acres (39 ha) in area.
History
Canary Wharf is located on the West India Docks on the Isle of Dogs. As journalist José Luis Jiménez explains, the name of this location stems from its use during World War II as a storage area for agricultural exports—primarily tomatoes, cucumbers, and bananas—from the Canary Islands. Its remote position, far from the city center, even included the Canarian Docks on its outskirts.
West India Dock Company
From 1802 to the late 1980s, what would become the Canary Wharf Estate was a part of the Isle of Dogs (Millwall), Limehouse, and Poplar and was one of the busiest docks in the world. West India Docks was primarily developed by Robert Milligan (c. 1746–1809) who set up the West India Dock Company.
Port of London Authority
The Port of London Authority was established in 1909 and took control of West India Dock. The enterprise of Sir Alfred Lewis Jones, a Welsh shipping magnate who was a prominent figure in the Canary Islands, Spain, led to a constant stream of ships arriving into London's South Quay Dock and the naming of Canary Wharf, after the ships' origin. It was named after No. 32 berth of the West Wood Quay of the Import Dock. This was built in 1936 for Fruit Lines Ltd, a subsidiary of Fred Olsen Lines for the Mediterranean and Canary Islands fruit trade. It is located on the Isle of Dogs, the quay and warehouse were given the name Canary Wharf.
London Docklands Development Corporation
After the 1960s, when cargo became containerised, port industry began to decline, leading to all the docks being closed by 1980. After the docks closed in 1980, the British Government adopted policies to stimulate redevelopment of the area, including the creation of the London Docklands Development Corporation (LDDC) in 1981 and the granting of Urban Enterprise Zone status to the Isle of Dogs in 1982.
The Canary Wharf of today began when Michael von Clemm, former chairman of Credit Suisse First Boston (CSFB), came up with the idea to convert Canary Wharf into a back office. Further discussions with G Ware Travelstead led to proposals for a new business district and included the LDDC developing an inexpensive light metro scheme, the Docklands Light Railway, to make use of a large amount of redundant railway infrastructure and to improve access.
The project was sold to the Canadian company Olympia & York and construction began in 1988, master-planned by Skidmore, Owings & Merrill with Yorke Rosenberg Mardall as their UK advisors, and subsequently by Koetter Kim. The first buildings were completed in 1991, including One Canada Square, which became the UK's tallest building at the time and a symbol of the regeneration of Docklands. By the time it opened, the London commercial property market had collapsed, and Olympia and York Canary Wharf Limited filed for bankruptcy in May 1992.
Initially, the City of London saw Canary Wharf as an existential threat. It modified its planning laws to expand the provision of new offices in the City of London, for example, creating offices above railway stations (Blackfriars) and roads (Alban Gate). The resulting oversupply of office space contributed to the failure of the Canary Wharf project.
Canary Wharf Group
In October 1995, an international consortium that included investors such as Alwaleed, bought control for $1.2 billion. Paul Reichmann, of Olympia & York, was named chairman, and Canary Wharf went public in 1999. The new company was called Canary Wharf Limited, and later became Canary Wharf Group.
In 1997, some residents living on the Isle of Dogs launched a lawsuit against Canary Wharf Ltd for private nuisance because the tower interfered with TV signals. The residents lost the case.
Recovery in the property market generally, coupled with continuing demand for large floorplate Grade A office space, slowly improved the level of interest. A critical event in the recovery was the much-delayed start of work on the Jubilee Line Extension, which the government wanted ready for the Millennium celebrations.
In March 2004, Canary Wharf Group plc. was taken over by a consortium of investors, backed by its largest shareholder Glick Family Investments and led by Morgan Stanley using a vehicle named Songbird Estates plc.
Corporations and agencies
Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space, of which around 7,900,000 sq ft (730,000 m2) (about 49%) is owned by Canary Wharf Group. Around 105,000 people work in Canary Wharf,[95] and it is home to the world or European headquarters of numerous major banks, professional services firms, and media organisations, including Barclays, Citigroup, Clifford Chance, Credit Suisse, Ernst & Young, Fitch Ratings, HSBC, Infosys, JPMorgan Chase, KPMG, MetLife, Moody's, Morgan Stanley, Royal Bank of Canada, Deutsche Bank, S&P Global, Skadden, Arps, Slate, Meagher & Flom, State Street, The Economist Group and Thomson Reuters. Until 2018, Canary Wharf also hosted two European Union agencies, European Medicines Agency and European Banking Authority, that moved to Amsterdam and Paris respectively due to Brexit.
Leisure
Marina
West India Quays and Poplar Dock are two marinas that are used as moorings for barges and private leisure river craft and is owned by the Canal & River Trust.
Library
A local public library, called Idea Store Canary Wharf, is in Churchill Place shopping mall and run by Tower Hamlets Council which opened on Thursday 16 March 2006 as part of the Idea Store project and is the borough fourth Idea Store.
Cinema
Canary Wharf hosts two multiplexes (cinemas), one on West India Quay run by Cineworld. and another at Crossrail Place called Everyman Cinema.
Go Karting
An over 800m long electric karting facility exists within Cabot Square. The facility can accommodate up to 20 drivers at a single time. Karts can reach speeds of up to 45 mph.
Squares and public areas
Canada Square
Canada Square is one of the central squares at Canary Wharf. It is a large open space with grass, except during the winter when it is converted into an ice rink. The square is named after Canada, because the original developers of modern Canary Wharf, Olympia & York, wanted to reflect their heritage. Underneath the square is Canada Place shopping mall.
Westferry Circus
Westferry Circus is on the west side of Canary Wharf. It is a garden at ground level, and below is a roundabout allowing traffic to flow through. The garden is enclosed by bespoke hand-crafted ornamental railings and entrance gates by artist Giuseppe Lund. The area has a long history, dating back to 1812, when the Poplar and Greenwich Roads Company operated a horse ferry between Greenwich and the Isle of Dogs. It operated on the West Ferry and East Ferry Roads, which the names survived. Westferry Circus was chosen as the name for the roundabout and park by virtue of its proximity to Westferry Road.
Cabot Square
Cabot Square is one of the biggest squares at Canary Wharf, with a large fountain at the centre. The inner perimeter has additional fountains covered by trees. The square has large circular glass ventilation holes to allow gases to escape from the underground car park. The square is named after John Cabot and his son Sebastian, who were Italian explorers who settled in England in 1484.
Churchill Place
Churchill Place is an area on the east side of Canary Wharf. It is named after Winston Churchill.
Columbus Courtyard
A small square on the west side of Canary Wharf named after Christopher Columbus. The first phase of Canary Wharf was completed in 1992, 500 years after Columbus arrived in America.
Chancellor Passage
A passageway south of Cabot Square. Named after Richard Chancellor who sailed with Sir John Willoughby from Greenwich on their voyage through the White Sea to Moscow.
Wren Landing
Small area north of Cabot Square. Leads to North Dock footbridge towards Port East. Named after British architect Christopher Wren.
Montgomery Square
Located at the east end of Jubilee Park, Montgomery Square is an outdoor location for socialising. Events include street food markets, beach volleyball tournaments, padel tennis competition, and minigolf.
Parks and green spaces
Canary Wharf Group is enthusiastic about adding more green spaces and gardens to the dense urban environment. A total of 20 acres of landscaped parks, gardens and verdant squares complete with 1,000 trees, 4,000 shrubs and 70,000 seasonal plants are added each year.[110] Visitors are welcome to explore these parks and green spaces, which are ideal places for relaxation, social gatherings, performances, viewing outdoor public art, as well as hosting outdoor events and festivities.
Jubilee Park
Jubilee Park is a 10,000m² roof garden located above Jubilee Place, a shopping mall, and Canary Wharf Jubilee Station, an underground railway station. The park, opened in 2002 and was named in honour of the Golden Jubilee of Elizabeth II. Jubilee Park is located in the financial district of Canary Wharf. The park's central feature is a raised serpentine water channel with rough stone walls. The curvilinear design of the water channel is intended to contrast to the scale and straightness of the surrounding buildings. In 2023, Jubilee Park won the Green Flag Award, recognising Jubilee Park as one of the United Kingdom's best parks
Crossrail Place Roof Garden
A 4,160 m2 (44,800 sq ft) roof garden, one of London's largest, houses on the top of seven-storey Crossrail Place structure, which contains the Elizabeth line Canary Wharf station. Opened to public in 2015, it lies almost exactly on the Meridian line splitting eastern and western hemispheres. The plants originating from the eastern hemisphere are planted to the East of the Meridian line in the garden, with those from the Western hemisphere on the opposite side. The design and development of Crossrail Place Roof Garden was honored by winning numerous prestigious international and United Kingdom awards. Selected notable awards include: "Best Urban Regeneration Project" at 2016 MIPIM awards in France, the first prize for the best "Innovative Design of a Contemporary Garden" at the 2017 European Garden Awards in Berlin, and a Highly Commended accolade at the 2016 Landscape Institute Awards in the category 'Design for a Small-Scale Development'.
Harbour Quay Garden
A newly opened garden, located at the strand of Wood Wharf, features a boardwalk for waterside wandering. The garden also offers family-friendly picnic spots and outdoor fitness equipment on the green lawn, where visitors can relax, view outdoor public art, and watch the water. Just around the corner, it has access to a new garden square, Harbord Square Park.
Harbord Square Park
Harbord Square Park, the newest garden square in Wood Wharf, continues the great London tradition of garden squares. It is open 24/7 and offers green space available for mindfulness activities and to support nearby residents' general wellbeing.
Eden Dock
In Oct 2024, in partnership with the Eden Project, the Canary Wharf group opened Eden dock. The waterfront green space can be accessed via Jubilee Plaza or Mackenzie Walk. It includes floating islands which are designed to encourage biodiversity.
Shopping malls
Canary Wharf shopping centre, ranked as one of the best in London, has five interconnected shopping malls: Canada Place, Cabot Place, Jubilee Place, Crossrail Place, and Churchill Place. The malls provide over 102,193 m2 (1,100,000 sq ft) of retail space, more than 310 shops from beauty, fashion, lifestyle, luxurious brands, health, and homeware, as well as 70 cafés, bars, and restaurants, eight grocery stores, five health clubs and a cinema. There are also numerous bars, restaurants, and food halls at street level, alongside plenty of outdoor seating enabling visitors to see the stunning wharf and riverside views.
Museums and archives
Opened in a Grade I listed Georgian warehouse by Queen Elizabeth II in June 2003, the Museum of London Docklands is one of the main attractions in the area. It is dedicated to the history of London's river, port, and people from Roman settlement to the present day. The museum offers a range of activities for children and families, including interactive displays and immersive activities.
Pokémon Go
Canary Wharf has been reported since 2017 as part of the Pokémon Go augmented reality game to being the home for the most wanted Pokémon gyms in London including Canary Wharf DLR station and Montgomery Square.
Canary Wharf Group published an official Pokémon map for PokéStops and Pokémon Gyms, the managing director for retail Camille Waxer said in 2016 that Pokémon Go has serious potential to attract new audiences to the area, particularly food and drink outlets which saw an increase in foot traffic.
(Wikipedia)
Canary Wharf (dt. „Kanaren-Kai“) ist ein Bürogebäudekomplex auf der Isle of Dogs im Londoner Stadtbezirk Tower Hamlets. Er befindet sich im Herzen der Docklands, dem ehemaligen Hafengebiet der britischen Hauptstadt. Canary Wharf steht in Konkurrenz zum historisch gewachsenen Finanzzentrum in der City of London. Hier stehen drei der höchsten Gebäude des Vereinigten Königreichs, One Canada Square, HSBC Tower und Citigroup Centre.
Wirtschaftszentrum
Zu den Unternehmen, die sich in Canary Wharf niedergelassen haben, gehören Finanzinstitute wie Credit Suisse, HSBC, Citigroup, Morgan Stanley, Bank of America und Barclays. Auch bedeutende Medienunternehmen haben hier ihre Hauptsitze, darunter The Daily Telegraph, The Independent, Thomson Reuters und der Daily Mirror. Ebenfalls hier vertreten sind der Europa-Hauptsitz von Texaco, der Hauptsitz von Clifford Chance, eine der weltweit größten Anwaltssozietäten, sowie das Wirtschaftsprüfungsunternehmen KPMG. Bis zum Brexit war hier auch der Sitz der Europäischen Bankenaufsichtsbehörde (EBA).
Zu Beginn des Jahres betrug die offizielle Zahl der hier arbeitenden Angestellten 78.000, wovon 25 Prozent in den fünf umliegenden Stadtbezirken leben. Canary Wharf entwickelt sich auch immer mehr zu einem teuren und exklusiven Einkaufsviertel, insbesondere nach der Eröffnung des Jubilee-Place-Einkaufszentrums im Jahr 2004. Es gibt über 200 Läden mit mehr als 4.500 Verkaufsangestellten. Jede Woche gehen rund 500.000 Personen hierhin zum Einkaufen.
Canary Wharf verfügt über eine ausgezeichnete Anbindung an das Netz des öffentlichen Nahverkehrs. Seit 1991 hält an der Station Canary Wharf (DLR) die vollautomatische Stadtbahn Docklands Light Railway. 1999 wurde die Jubilee Line der London Underground eröffnet, die in der gleichnamigen, aber räumlich getrennten Station Canary Wharf (London Underground) hält, und 2022 wurde der Verkehr auf der neuen Elizabeth Line (Crossrail) aufgenommen. Der Flughafen London City liegt nur ein paar Kilometer östlich und kann mit regelmäßig verkehrenden Bussen, Taxis und mit der DLR in unter 15 Minuten erreicht werden. Vom Canary Wharf Pier aus stellen Schiffe auf der Themse weitere Verbindungen in Richtung Innenstadt her; die Thames Clippers verkehren unter der Woche alle 20 Minuten.
Geschichte
Canary Wharf war einst der Standort von Lagerhäusern inmitten der Docks. Der Name leitet sich ab vom Seehandel mit den Kanarischen Inseln, der von hier aus abgewickelt wurde. Während des 19. Jahrhunderts lagen hier die West India Docks, einer der verkehrsreichsten Häfen der Welt. In den 1960er Jahren setzte der Verfall der Hafen- und Industrieanlagen ein. Nachdem im Jahr 1980 das letzte Dock geschlossen worden war, beschloss die britische Regierung im Jahr 1981 ein Programm, mit dem ein 21 km² großes Gebiet neu belebt werden sollte. Um das Projekt zu koordinieren, wurde die Entwicklungsgesellschaft „London Docklands Development Corporation“ gegründet. In den ersten Jahren ließen sich hier Betriebe der Leichtindustrie nieder, der größte Mieter in Canary Wharf war ein TV-Produktionsstudio.
1984 besuchte Michael von Clemm, der Vorsitzende der Investmentbank Credit Suisse, im Auftrag eines Kunden die Docklands, um nach einem Standort für einen Lebensmittelverarbeitungsbetrieb Ausschau zu halten. Er war sich auch bewusst, dass die Büros der Bank in der City of London zu klein waren, vor allem im Hinblick auf die bevorstehende Deregulierung der Finanzmärkte im Jahr 1986. Von Clemm hatte die Idee, das Gebiet für Bürobauten zu nutzen. Allerdings war eine kritische Masse notwendig, um das ganze Vorhaben überhaupt rentabel werden zu lassen. Entsprechende Pläne wurden zusammen mit dem Unternehmen Morgan Stanley präsentiert, später allerdings wieder zu den Akten gelegt. Als 1987 die Docklands Light Railway eröffnet wurde, hatte man in Canary Wharf keine Station errichtet, da man nicht mit einer Entwicklung des Gebiets rechnete.
1988 übernahm das vom Immobilienunternehmer Paul Reichmann geleitete kanadische Unternehmen Olympia and York (O&Y) das Projekt und brachte es zur Baureife. Die Bauarbeiten begannen im selben Jahr, die erste Phase war 1992 abgeschlossen. O&Y, das auch das World Financial Center in New York gebaut hatte, verpflichtete sich, die Hälfte der Kosten für die geplante Verlängerung der Jubilee Line zu übernehmen. Zu Beginn der 1990er Jahre brach der weltweite Immobilienmarkt ein. Die Nachfrage nach Büroräumlichkeiten ging stark zurück und O&Y ging 1992 bankrott. Die obere Hälfte des Wolkenkratzers One Canada Square blieb ohne Mieter, Canary Wharf wurde zum Symbol der Immobilienkrise.
Im Februar 1996 explodierte in der Nähe von Canary Wharf an der Station South Quay der DLR eine Autobombe der IRA. Zwei Menschen wurden getötet, 39 verletzt. Es entstand dabei ein Sachschaden von 85 Millionen Pfund.
Im Dezember 1995 kaufte ein internationales Konsortium unter Vorsitz von Paul Reichmann[3] das Gelände. Damals waren hier rund 13.000 Arbeitsplätze angesiedelt, doch noch immer stand über die Hälfte der vorhandenen Büroliegenschaften leer. Ein wichtiges Ereignis für die Wiederbelebung des Projekts Canary Wharf war der Baubeginn der Jubilee Line, der mehrmals verschoben worden war. Von da an betrachteten Unternehmen das Gebiet zunehmend als Alternative zu den traditionellen Geschäftszentren. Die zunehmende Nachfrage ermöglichte neben der Fertigstellung der zurückgestellten Bauabschnitte auch die Realisierung zusätzlicher Projekte. Im März 2004 wurde die Betriebsgesellschaft Canary Wharf Group plc durch das von Morgan Stanley angeführte Investorenkonsortium Songbird Estates übernommen. Im Jahr 2004 belegten 70 Prozent der Büroflächen in Canary Wharf Banken.
Im Jahr 2014 wurde die erste bauliche Erweiterung seit der Finanzkrise 2008 genehmigt. Das am östlichen Ende der Canary Wharf befindliche Projekt Wood Wharf umfasst eine Fläche von 4,9 Millionen Quadratfuß[7], worauf insgesamt 30 Gebäude entstehen sollen. Als Herzstück soll der vom Schweizer Architekturbüro Herzog & de Meuron entworfene, 211 Meter und 57 Stockwerke hohe zylinderförmige Wohnturm errichtet werden.
Stand 2020 ist die Canary Wharf Group im Besitz des katarischen Staatsfonds und der kanadischen Immobiliengesellschaft Brookfield Properties.
Im Zuge der COVID-19-Pandemie zu Beginn des 2020er Jahrzehnts verkleinerten auch die in Canary Wharf ansässigen Unternehmen ihre Bürofleichen und lagerten Arbeiten und Mitarbeiter ins Homeoffice aus. In den 2020er Jahren kündigten viele große Unternehmen (darunter die Großbank HSBC, Moody’s, Clifford Chance) an, aus Canary Wharf auszuziehen. Der Exodus führt dazu, dass viele Gebäude enorm an Wert verloren. Gleichzeitig siedelten sich vermehrt Bars, Restaurants, Clubs, Fitness- und Freizeitcenter und andere kleinere Unternehmen wie Start-Ups in Canary Wharf an. In Wood Wharf wurden und werden Stand 2024 Appartmentkomplexe für mehr als 7000 Menschen gebaut.
Vorkommen in der Popkultur
In der Serie Doctor Who befindet sich im Bürokomplex das fiktive Torchwood-Institut, das im Finale der zweiten Staffel im Kampf gegen die Daleks und Cybermen zerstört wird. Die Ereignisse nach dieser Schlacht werden im Spin Off Torchwood erzählt.
(Wikipedia)
Canary Wharf is an area of London, England, located near the Isle of Dogs in the London Borough of Tower Hamlets. Canary Wharf is defined by the Greater London Authority as being part of London's central business district, alongside Central London. Alongside the City of London, it constitutes one of the main financial centres in the United Kingdom and the world, containing many high-rise buildings including the third-tallest in the UK, One Canada Square, which opened on 26 August 1991.
Developed on the site of the former West India Docks in East London, Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space. It has many open areas and gardens, including Canada Square, Cabot Square, Westferry Circus, Jubilee Park, and Crossrail Place Roof Garden. Together with Heron Quays and Wood Wharf, it forms the Canary Wharf Estate, around 97 acres (39 ha) in area.
History
Canary Wharf is located on the West India Docks on the Isle of Dogs. As journalist José Luis Jiménez explains, the name of this location stems from its use during World War II as a storage area for agricultural exports—primarily tomatoes, cucumbers, and bananas—from the Canary Islands. Its remote position, far from the city center, even included the Canarian Docks on its outskirts.
West India Dock Company
From 1802 to the late 1980s, what would become the Canary Wharf Estate was a part of the Isle of Dogs (Millwall), Limehouse, and Poplar and was one of the busiest docks in the world. West India Docks was primarily developed by Robert Milligan (c. 1746–1809) who set up the West India Dock Company.
Port of London Authority
The Port of London Authority was established in 1909 and took control of West India Dock. The enterprise of Sir Alfred Lewis Jones, a Welsh shipping magnate who was a prominent figure in the Canary Islands, Spain, led to a constant stream of ships arriving into London's South Quay Dock and the naming of Canary Wharf, after the ships' origin. It was named after No. 32 berth of the West Wood Quay of the Import Dock. This was built in 1936 for Fruit Lines Ltd, a subsidiary of Fred Olsen Lines for the Mediterranean and Canary Islands fruit trade. It is located on the Isle of Dogs, the quay and warehouse were given the name Canary Wharf.
London Docklands Development Corporation
After the 1960s, when cargo became containerised, port industry began to decline, leading to all the docks being closed by 1980. After the docks closed in 1980, the British Government adopted policies to stimulate redevelopment of the area, including the creation of the London Docklands Development Corporation (LDDC) in 1981 and the granting of Urban Enterprise Zone status to the Isle of Dogs in 1982.
The Canary Wharf of today began when Michael von Clemm, former chairman of Credit Suisse First Boston (CSFB), came up with the idea to convert Canary Wharf into a back office. Further discussions with G Ware Travelstead led to proposals for a new business district and included the LDDC developing an inexpensive light metro scheme, the Docklands Light Railway, to make use of a large amount of redundant railway infrastructure and to improve access.
The project was sold to the Canadian company Olympia & York and construction began in 1988, master-planned by Skidmore, Owings & Merrill with Yorke Rosenberg Mardall as their UK advisors, and subsequently by Koetter Kim. The first buildings were completed in 1991, including One Canada Square, which became the UK's tallest building at the time and a symbol of the regeneration of Docklands. By the time it opened, the London commercial property market had collapsed, and Olympia and York Canary Wharf Limited filed for bankruptcy in May 1992.
Initially, the City of London saw Canary Wharf as an existential threat. It modified its planning laws to expand the provision of new offices in the City of London, for example, creating offices above railway stations (Blackfriars) and roads (Alban Gate). The resulting oversupply of office space contributed to the failure of the Canary Wharf project.
Canary Wharf Group
In October 1995, an international consortium that included investors such as Alwaleed, bought control for $1.2 billion. Paul Reichmann, of Olympia & York, was named chairman, and Canary Wharf went public in 1999. The new company was called Canary Wharf Limited, and later became Canary Wharf Group.
In 1997, some residents living on the Isle of Dogs launched a lawsuit against Canary Wharf Ltd for private nuisance because the tower interfered with TV signals. The residents lost the case.
Recovery in the property market generally, coupled with continuing demand for large floorplate Grade A office space, slowly improved the level of interest. A critical event in the recovery was the much-delayed start of work on the Jubilee Line Extension, which the government wanted ready for the Millennium celebrations.
In March 2004, Canary Wharf Group plc. was taken over by a consortium of investors, backed by its largest shareholder Glick Family Investments and led by Morgan Stanley using a vehicle named Songbird Estates plc.
Corporations and agencies
Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space, of which around 7,900,000 sq ft (730,000 m2) (about 49%) is owned by Canary Wharf Group. Around 105,000 people work in Canary Wharf,[95] and it is home to the world or European headquarters of numerous major banks, professional services firms, and media organisations, including Barclays, Citigroup, Clifford Chance, Credit Suisse, Ernst & Young, Fitch Ratings, HSBC, Infosys, JPMorgan Chase, KPMG, MetLife, Moody's, Morgan Stanley, Royal Bank of Canada, Deutsche Bank, S&P Global, Skadden, Arps, Slate, Meagher & Flom, State Street, The Economist Group and Thomson Reuters. Until 2018, Canary Wharf also hosted two European Union agencies, European Medicines Agency and European Banking Authority, that moved to Amsterdam and Paris respectively due to Brexit.
Leisure
Marina
West India Quays and Poplar Dock are two marinas that are used as moorings for barges and private leisure river craft and is owned by the Canal & River Trust.
Library
A local public library, called Idea Store Canary Wharf, is in Churchill Place shopping mall and run by Tower Hamlets Council which opened on Thursday 16 March 2006 as part of the Idea Store project and is the borough fourth Idea Store.
Cinema
Canary Wharf hosts two multiplexes (cinemas), one on West India Quay run by Cineworld. and another at Crossrail Place called Everyman Cinema.
Go Karting
An over 800m long electric karting facility exists within Cabot Square. The facility can accommodate up to 20 drivers at a single time. Karts can reach speeds of up to 45 mph.
Squares and public areas
Canada Square
Canada Square is one of the central squares at Canary Wharf. It is a large open space with grass, except during the winter when it is converted into an ice rink. The square is named after Canada, because the original developers of modern Canary Wharf, Olympia & York, wanted to reflect their heritage. Underneath the square is Canada Place shopping mall.
Westferry Circus
Westferry Circus is on the west side of Canary Wharf. It is a garden at ground level, and below is a roundabout allowing traffic to flow through. The garden is enclosed by bespoke hand-crafted ornamental railings and entrance gates by artist Giuseppe Lund. The area has a long history, dating back to 1812, when the Poplar and Greenwich Roads Company operated a horse ferry between Greenwich and the Isle of Dogs. It operated on the West Ferry and East Ferry Roads, which the names survived. Westferry Circus was chosen as the name for the roundabout and park by virtue of its proximity to Westferry Road.
Cabot Square
Cabot Square is one of the biggest squares at Canary Wharf, with a large fountain at the centre. The inner perimeter has additional fountains covered by trees. The square has large circular glass ventilation holes to allow gases to escape from the underground car park. The square is named after John Cabot and his son Sebastian, who were Italian explorers who settled in England in 1484.
Churchill Place
Churchill Place is an area on the east side of Canary Wharf. It is named after Winston Churchill.
Columbus Courtyard
A small square on the west side of Canary Wharf named after Christopher Columbus. The first phase of Canary Wharf was completed in 1992, 500 years after Columbus arrived in America.
Chancellor Passage
A passageway south of Cabot Square. Named after Richard Chancellor who sailed with Sir John Willoughby from Greenwich on their voyage through the White Sea to Moscow.
Wren Landing
Small area north of Cabot Square. Leads to North Dock footbridge towards Port East. Named after British architect Christopher Wren.
Montgomery Square
Located at the east end of Jubilee Park, Montgomery Square is an outdoor location for socialising. Events include street food markets, beach volleyball tournaments, padel tennis competition, and minigolf.
Parks and green spaces
Canary Wharf Group is enthusiastic about adding more green spaces and gardens to the dense urban environment. A total of 20 acres of landscaped parks, gardens and verdant squares complete with 1,000 trees, 4,000 shrubs and 70,000 seasonal plants are added each year.[110] Visitors are welcome to explore these parks and green spaces, which are ideal places for relaxation, social gatherings, performances, viewing outdoor public art, as well as hosting outdoor events and festivities.
Jubilee Park
Jubilee Park is a 10,000m² roof garden located above Jubilee Place, a shopping mall, and Canary Wharf Jubilee Station, an underground railway station. The park, opened in 2002 and was named in honour of the Golden Jubilee of Elizabeth II. Jubilee Park is located in the financial district of Canary Wharf. The park's central feature is a raised serpentine water channel with rough stone walls. The curvilinear design of the water channel is intended to contrast to the scale and straightness of the surrounding buildings. In 2023, Jubilee Park won the Green Flag Award, recognising Jubilee Park as one of the United Kingdom's best parks
Crossrail Place Roof Garden
A 4,160 m2 (44,800 sq ft) roof garden, one of London's largest, houses on the top of seven-storey Crossrail Place structure, which contains the Elizabeth line Canary Wharf station. Opened to public in 2015, it lies almost exactly on the Meridian line splitting eastern and western hemispheres. The plants originating from the eastern hemisphere are planted to the East of the Meridian line in the garden, with those from the Western hemisphere on the opposite side. The design and development of Crossrail Place Roof Garden was honored by winning numerous prestigious international and United Kingdom awards. Selected notable awards include: "Best Urban Regeneration Project" at 2016 MIPIM awards in France, the first prize for the best "Innovative Design of a Contemporary Garden" at the 2017 European Garden Awards in Berlin, and a Highly Commended accolade at the 2016 Landscape Institute Awards in the category 'Design for a Small-Scale Development'.
Harbour Quay Garden
A newly opened garden, located at the strand of Wood Wharf, features a boardwalk for waterside wandering. The garden also offers family-friendly picnic spots and outdoor fitness equipment on the green lawn, where visitors can relax, view outdoor public art, and watch the water. Just around the corner, it has access to a new garden square, Harbord Square Park.
Harbord Square Park
Harbord Square Park, the newest garden square in Wood Wharf, continues the great London tradition of garden squares. It is open 24/7 and offers green space available for mindfulness activities and to support nearby residents' general wellbeing.
Eden Dock
In Oct 2024, in partnership with the Eden Project, the Canary Wharf group opened Eden dock. The waterfront green space can be accessed via Jubilee Plaza or Mackenzie Walk. It includes floating islands which are designed to encourage biodiversity.
Shopping malls
Canary Wharf shopping centre, ranked as one of the best in London, has five interconnected shopping malls: Canada Place, Cabot Place, Jubilee Place, Crossrail Place, and Churchill Place. The malls provide over 102,193 m2 (1,100,000 sq ft) of retail space, more than 310 shops from beauty, fashion, lifestyle, luxurious brands, health, and homeware, as well as 70 cafés, bars, and restaurants, eight grocery stores, five health clubs and a cinema. There are also numerous bars, restaurants, and food halls at street level, alongside plenty of outdoor seating enabling visitors to see the stunning wharf and riverside views.
Museums and archives
Opened in a Grade I listed Georgian warehouse by Queen Elizabeth II in June 2003, the Museum of London Docklands is one of the main attractions in the area. It is dedicated to the history of London's river, port, and people from Roman settlement to the present day. The museum offers a range of activities for children and families, including interactive displays and immersive activities.
Pokémon Go
Canary Wharf has been reported since 2017 as part of the Pokémon Go augmented reality game to being the home for the most wanted Pokémon gyms in London including Canary Wharf DLR station and Montgomery Square.
Canary Wharf Group published an official Pokémon map for PokéStops and Pokémon Gyms, the managing director for retail Camille Waxer said in 2016 that Pokémon Go has serious potential to attract new audiences to the area, particularly food and drink outlets which saw an increase in foot traffic.
(Wikipedia)
Canary Wharf (dt. „Kanaren-Kai“) ist ein Bürogebäudekomplex auf der Isle of Dogs im Londoner Stadtbezirk Tower Hamlets. Er befindet sich im Herzen der Docklands, dem ehemaligen Hafengebiet der britischen Hauptstadt. Canary Wharf steht in Konkurrenz zum historisch gewachsenen Finanzzentrum in der City of London. Hier stehen drei der höchsten Gebäude des Vereinigten Königreichs, One Canada Square, HSBC Tower und Citigroup Centre.
Wirtschaftszentrum
Zu den Unternehmen, die sich in Canary Wharf niedergelassen haben, gehören Finanzinstitute wie Credit Suisse, HSBC, Citigroup, Morgan Stanley, Bank of America und Barclays. Auch bedeutende Medienunternehmen haben hier ihre Hauptsitze, darunter The Daily Telegraph, The Independent, Thomson Reuters und der Daily Mirror. Ebenfalls hier vertreten sind der Europa-Hauptsitz von Texaco, der Hauptsitz von Clifford Chance, eine der weltweit größten Anwaltssozietäten, sowie das Wirtschaftsprüfungsunternehmen KPMG. Bis zum Brexit war hier auch der Sitz der Europäischen Bankenaufsichtsbehörde (EBA).
Zu Beginn des Jahres betrug die offizielle Zahl der hier arbeitenden Angestellten 78.000, wovon 25 Prozent in den fünf umliegenden Stadtbezirken leben. Canary Wharf entwickelt sich auch immer mehr zu einem teuren und exklusiven Einkaufsviertel, insbesondere nach der Eröffnung des Jubilee-Place-Einkaufszentrums im Jahr 2004. Es gibt über 200 Läden mit mehr als 4.500 Verkaufsangestellten. Jede Woche gehen rund 500.000 Personen hierhin zum Einkaufen.
Canary Wharf verfügt über eine ausgezeichnete Anbindung an das Netz des öffentlichen Nahverkehrs. Seit 1991 hält an der Station Canary Wharf (DLR) die vollautomatische Stadtbahn Docklands Light Railway. 1999 wurde die Jubilee Line der London Underground eröffnet, die in der gleichnamigen, aber räumlich getrennten Station Canary Wharf (London Underground) hält, und 2022 wurde der Verkehr auf der neuen Elizabeth Line (Crossrail) aufgenommen. Der Flughafen London City liegt nur ein paar Kilometer östlich und kann mit regelmäßig verkehrenden Bussen, Taxis und mit der DLR in unter 15 Minuten erreicht werden. Vom Canary Wharf Pier aus stellen Schiffe auf der Themse weitere Verbindungen in Richtung Innenstadt her; die Thames Clippers verkehren unter der Woche alle 20 Minuten.
Geschichte
Canary Wharf war einst der Standort von Lagerhäusern inmitten der Docks. Der Name leitet sich ab vom Seehandel mit den Kanarischen Inseln, der von hier aus abgewickelt wurde. Während des 19. Jahrhunderts lagen hier die West India Docks, einer der verkehrsreichsten Häfen der Welt. In den 1960er Jahren setzte der Verfall der Hafen- und Industrieanlagen ein. Nachdem im Jahr 1980 das letzte Dock geschlossen worden war, beschloss die britische Regierung im Jahr 1981 ein Programm, mit dem ein 21 km² großes Gebiet neu belebt werden sollte. Um das Projekt zu koordinieren, wurde die Entwicklungsgesellschaft „London Docklands Development Corporation“ gegründet. In den ersten Jahren ließen sich hier Betriebe der Leichtindustrie nieder, der größte Mieter in Canary Wharf war ein TV-Produktionsstudio.
1984 besuchte Michael von Clemm, der Vorsitzende der Investmentbank Credit Suisse, im Auftrag eines Kunden die Docklands, um nach einem Standort für einen Lebensmittelverarbeitungsbetrieb Ausschau zu halten. Er war sich auch bewusst, dass die Büros der Bank in der City of London zu klein waren, vor allem im Hinblick auf die bevorstehende Deregulierung der Finanzmärkte im Jahr 1986. Von Clemm hatte die Idee, das Gebiet für Bürobauten zu nutzen. Allerdings war eine kritische Masse notwendig, um das ganze Vorhaben überhaupt rentabel werden zu lassen. Entsprechende Pläne wurden zusammen mit dem Unternehmen Morgan Stanley präsentiert, später allerdings wieder zu den Akten gelegt. Als 1987 die Docklands Light Railway eröffnet wurde, hatte man in Canary Wharf keine Station errichtet, da man nicht mit einer Entwicklung des Gebiets rechnete.
1988 übernahm das vom Immobilienunternehmer Paul Reichmann geleitete kanadische Unternehmen Olympia and York (O&Y) das Projekt und brachte es zur Baureife. Die Bauarbeiten begannen im selben Jahr, die erste Phase war 1992 abgeschlossen. O&Y, das auch das World Financial Center in New York gebaut hatte, verpflichtete sich, die Hälfte der Kosten für die geplante Verlängerung der Jubilee Line zu übernehmen. Zu Beginn der 1990er Jahre brach der weltweite Immobilienmarkt ein. Die Nachfrage nach Büroräumlichkeiten ging stark zurück und O&Y ging 1992 bankrott. Die obere Hälfte des Wolkenkratzers One Canada Square blieb ohne Mieter, Canary Wharf wurde zum Symbol der Immobilienkrise.
Im Februar 1996 explodierte in der Nähe von Canary Wharf an der Station South Quay der DLR eine Autobombe der IRA. Zwei Menschen wurden getötet, 39 verletzt. Es entstand dabei ein Sachschaden von 85 Millionen Pfund.
Im Dezember 1995 kaufte ein internationales Konsortium unter Vorsitz von Paul Reichmann[3] das Gelände. Damals waren hier rund 13.000 Arbeitsplätze angesiedelt, doch noch immer stand über die Hälfte der vorhandenen Büroliegenschaften leer. Ein wichtiges Ereignis für die Wiederbelebung des Projekts Canary Wharf war der Baubeginn der Jubilee Line, der mehrmals verschoben worden war. Von da an betrachteten Unternehmen das Gebiet zunehmend als Alternative zu den traditionellen Geschäftszentren. Die zunehmende Nachfrage ermöglichte neben der Fertigstellung der zurückgestellten Bauabschnitte auch die Realisierung zusätzlicher Projekte. Im März 2004 wurde die Betriebsgesellschaft Canary Wharf Group plc durch das von Morgan Stanley angeführte Investorenkonsortium Songbird Estates übernommen. Im Jahr 2004 belegten 70 Prozent der Büroflächen in Canary Wharf Banken.
Im Jahr 2014 wurde die erste bauliche Erweiterung seit der Finanzkrise 2008 genehmigt. Das am östlichen Ende der Canary Wharf befindliche Projekt Wood Wharf umfasst eine Fläche von 4,9 Millionen Quadratfuß[7], worauf insgesamt 30 Gebäude entstehen sollen. Als Herzstück soll der vom Schweizer Architekturbüro Herzog & de Meuron entworfene, 211 Meter und 57 Stockwerke hohe zylinderförmige Wohnturm errichtet werden.
Stand 2020 ist die Canary Wharf Group im Besitz des katarischen Staatsfonds und der kanadischen Immobiliengesellschaft Brookfield Properties.
Im Zuge der COVID-19-Pandemie zu Beginn des 2020er Jahrzehnts verkleinerten auch die in Canary Wharf ansässigen Unternehmen ihre Bürofleichen und lagerten Arbeiten und Mitarbeiter ins Homeoffice aus. In den 2020er Jahren kündigten viele große Unternehmen (darunter die Großbank HSBC, Moody’s, Clifford Chance) an, aus Canary Wharf auszuziehen. Der Exodus führt dazu, dass viele Gebäude enorm an Wert verloren. Gleichzeitig siedelten sich vermehrt Bars, Restaurants, Clubs, Fitness- und Freizeitcenter und andere kleinere Unternehmen wie Start-Ups in Canary Wharf an. In Wood Wharf wurden und werden Stand 2024 Appartmentkomplexe für mehr als 7000 Menschen gebaut.
Vorkommen in der Popkultur
In der Serie Doctor Who befindet sich im Bürokomplex das fiktive Torchwood-Institut, das im Finale der zweiten Staffel im Kampf gegen die Daleks und Cybermen zerstört wird. Die Ereignisse nach dieser Schlacht werden im Spin Off Torchwood erzählt.
(Wikipedia)
Canary Wharf is an area of London, England, located near the Isle of Dogs in the London Borough of Tower Hamlets. Canary Wharf is defined by the Greater London Authority as being part of London's central business district, alongside Central London. Alongside the City of London, it constitutes one of the main financial centres in the United Kingdom and the world, containing many high-rise buildings including the third-tallest in the UK, One Canada Square, which opened on 26 August 1991.
Developed on the site of the former West India Docks in East London, Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space. It has many open areas and gardens, including Canada Square, Cabot Square, Westferry Circus, Jubilee Park, and Crossrail Place Roof Garden. Together with Heron Quays and Wood Wharf, it forms the Canary Wharf Estate, around 97 acres (39 ha) in area.
History
Canary Wharf is located on the West India Docks on the Isle of Dogs. As journalist José Luis Jiménez explains, the name of this location stems from its use during World War II as a storage area for agricultural exports—primarily tomatoes, cucumbers, and bananas—from the Canary Islands. Its remote position, far from the city center, even included the Canarian Docks on its outskirts.
West India Dock Company
From 1802 to the late 1980s, what would become the Canary Wharf Estate was a part of the Isle of Dogs (Millwall), Limehouse, and Poplar and was one of the busiest docks in the world. West India Docks was primarily developed by Robert Milligan (c. 1746–1809) who set up the West India Dock Company.
Port of London Authority
The Port of London Authority was established in 1909 and took control of West India Dock. The enterprise of Sir Alfred Lewis Jones, a Welsh shipping magnate who was a prominent figure in the Canary Islands, Spain, led to a constant stream of ships arriving into London's South Quay Dock and the naming of Canary Wharf, after the ships' origin. It was named after No. 32 berth of the West Wood Quay of the Import Dock. This was built in 1936 for Fruit Lines Ltd, a subsidiary of Fred Olsen Lines for the Mediterranean and Canary Islands fruit trade. It is located on the Isle of Dogs, the quay and warehouse were given the name Canary Wharf.
London Docklands Development Corporation
After the 1960s, when cargo became containerised, port industry began to decline, leading to all the docks being closed by 1980. After the docks closed in 1980, the British Government adopted policies to stimulate redevelopment of the area, including the creation of the London Docklands Development Corporation (LDDC) in 1981 and the granting of Urban Enterprise Zone status to the Isle of Dogs in 1982.
The Canary Wharf of today began when Michael von Clemm, former chairman of Credit Suisse First Boston (CSFB), came up with the idea to convert Canary Wharf into a back office. Further discussions with G Ware Travelstead led to proposals for a new business district and included the LDDC developing an inexpensive light metro scheme, the Docklands Light Railway, to make use of a large amount of redundant railway infrastructure and to improve access.
The project was sold to the Canadian company Olympia & York and construction began in 1988, master-planned by Skidmore, Owings & Merrill with Yorke Rosenberg Mardall as their UK advisors, and subsequently by Koetter Kim. The first buildings were completed in 1991, including One Canada Square, which became the UK's tallest building at the time and a symbol of the regeneration of Docklands. By the time it opened, the London commercial property market had collapsed, and Olympia and York Canary Wharf Limited filed for bankruptcy in May 1992.
Initially, the City of London saw Canary Wharf as an existential threat. It modified its planning laws to expand the provision of new offices in the City of London, for example, creating offices above railway stations (Blackfriars) and roads (Alban Gate). The resulting oversupply of office space contributed to the failure of the Canary Wharf project.
Canary Wharf Group
In October 1995, an international consortium that included investors such as Alwaleed, bought control for $1.2 billion. Paul Reichmann, of Olympia & York, was named chairman, and Canary Wharf went public in 1999. The new company was called Canary Wharf Limited, and later became Canary Wharf Group.
In 1997, some residents living on the Isle of Dogs launched a lawsuit against Canary Wharf Ltd for private nuisance because the tower interfered with TV signals. The residents lost the case.
Recovery in the property market generally, coupled with continuing demand for large floorplate Grade A office space, slowly improved the level of interest. A critical event in the recovery was the much-delayed start of work on the Jubilee Line Extension, which the government wanted ready for the Millennium celebrations.
In March 2004, Canary Wharf Group plc. was taken over by a consortium of investors, backed by its largest shareholder Glick Family Investments and led by Morgan Stanley using a vehicle named Songbird Estates plc.
Corporations and agencies
Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space, of which around 7,900,000 sq ft (730,000 m2) (about 49%) is owned by Canary Wharf Group. Around 105,000 people work in Canary Wharf,[95] and it is home to the world or European headquarters of numerous major banks, professional services firms, and media organisations, including Barclays, Citigroup, Clifford Chance, Credit Suisse, Ernst & Young, Fitch Ratings, HSBC, Infosys, JPMorgan Chase, KPMG, MetLife, Moody's, Morgan Stanley, Royal Bank of Canada, Deutsche Bank, S&P Global, Skadden, Arps, Slate, Meagher & Flom, State Street, The Economist Group and Thomson Reuters. Until 2018, Canary Wharf also hosted two European Union agencies, European Medicines Agency and European Banking Authority, that moved to Amsterdam and Paris respectively due to Brexit.
Leisure
Marina
West India Quays and Poplar Dock are two marinas that are used as moorings for barges and private leisure river craft and is owned by the Canal & River Trust.
Library
A local public library, called Idea Store Canary Wharf, is in Churchill Place shopping mall and run by Tower Hamlets Council which opened on Thursday 16 March 2006 as part of the Idea Store project and is the borough fourth Idea Store.
Cinema
Canary Wharf hosts two multiplexes (cinemas), one on West India Quay run by Cineworld. and another at Crossrail Place called Everyman Cinema.
Go Karting
An over 800m long electric karting facility exists within Cabot Square. The facility can accommodate up to 20 drivers at a single time. Karts can reach speeds of up to 45 mph.
Squares and public areas
Canada Square
Canada Square is one of the central squares at Canary Wharf. It is a large open space with grass, except during the winter when it is converted into an ice rink. The square is named after Canada, because the original developers of modern Canary Wharf, Olympia & York, wanted to reflect their heritage. Underneath the square is Canada Place shopping mall.
Westferry Circus
Westferry Circus is on the west side of Canary Wharf. It is a garden at ground level, and below is a roundabout allowing traffic to flow through. The garden is enclosed by bespoke hand-crafted ornamental railings and entrance gates by artist Giuseppe Lund. The area has a long history, dating back to 1812, when the Poplar and Greenwich Roads Company operated a horse ferry between Greenwich and the Isle of Dogs. It operated on the West Ferry and East Ferry Roads, which the names survived. Westferry Circus was chosen as the name for the roundabout and park by virtue of its proximity to Westferry Road.
Cabot Square
Cabot Square is one of the biggest squares at Canary Wharf, with a large fountain at the centre. The inner perimeter has additional fountains covered by trees. The square has large circular glass ventilation holes to allow gases to escape from the underground car park. The square is named after John Cabot and his son Sebastian, who were Italian explorers who settled in England in 1484.
Churchill Place
Churchill Place is an area on the east side of Canary Wharf. It is named after Winston Churchill.
Columbus Courtyard
A small square on the west side of Canary Wharf named after Christopher Columbus. The first phase of Canary Wharf was completed in 1992, 500 years after Columbus arrived in America.
Chancellor Passage
A passageway south of Cabot Square. Named after Richard Chancellor who sailed with Sir John Willoughby from Greenwich on their voyage through the White Sea to Moscow.
Wren Landing
Small area north of Cabot Square. Leads to North Dock footbridge towards Port East. Named after British architect Christopher Wren.
Montgomery Square
Located at the east end of Jubilee Park, Montgomery Square is an outdoor location for socialising. Events include street food markets, beach volleyball tournaments, padel tennis competition, and minigolf.
Parks and green spaces
Canary Wharf Group is enthusiastic about adding more green spaces and gardens to the dense urban environment. A total of 20 acres of landscaped parks, gardens and verdant squares complete with 1,000 trees, 4,000 shrubs and 70,000 seasonal plants are added each year.[110] Visitors are welcome to explore these parks and green spaces, which are ideal places for relaxation, social gatherings, performances, viewing outdoor public art, as well as hosting outdoor events and festivities.
Jubilee Park
Jubilee Park is a 10,000m² roof garden located above Jubilee Place, a shopping mall, and Canary Wharf Jubilee Station, an underground railway station. The park, opened in 2002 and was named in honour of the Golden Jubilee of Elizabeth II. Jubilee Park is located in the financial district of Canary Wharf. The park's central feature is a raised serpentine water channel with rough stone walls. The curvilinear design of the water channel is intended to contrast to the scale and straightness of the surrounding buildings. In 2023, Jubilee Park won the Green Flag Award, recognising Jubilee Park as one of the United Kingdom's best parks
Crossrail Place Roof Garden
A 4,160 m2 (44,800 sq ft) roof garden, one of London's largest, houses on the top of seven-storey Crossrail Place structure, which contains the Elizabeth line Canary Wharf station. Opened to public in 2015, it lies almost exactly on the Meridian line splitting eastern and western hemispheres. The plants originating from the eastern hemisphere are planted to the East of the Meridian line in the garden, with those from the Western hemisphere on the opposite side. The design and development of Crossrail Place Roof Garden was honored by winning numerous prestigious international and United Kingdom awards. Selected notable awards include: "Best Urban Regeneration Project" at 2016 MIPIM awards in France, the first prize for the best "Innovative Design of a Contemporary Garden" at the 2017 European Garden Awards in Berlin, and a Highly Commended accolade at the 2016 Landscape Institute Awards in the category 'Design for a Small-Scale Development'.
Harbour Quay Garden
A newly opened garden, located at the strand of Wood Wharf, features a boardwalk for waterside wandering. The garden also offers family-friendly picnic spots and outdoor fitness equipment on the green lawn, where visitors can relax, view outdoor public art, and watch the water. Just around the corner, it has access to a new garden square, Harbord Square Park.
Harbord Square Park
Harbord Square Park, the newest garden square in Wood Wharf, continues the great London tradition of garden squares. It is open 24/7 and offers green space available for mindfulness activities and to support nearby residents' general wellbeing.
Eden Dock
In Oct 2024, in partnership with the Eden Project, the Canary Wharf group opened Eden dock. The waterfront green space can be accessed via Jubilee Plaza or Mackenzie Walk. It includes floating islands which are designed to encourage biodiversity.
Shopping malls
Canary Wharf shopping centre, ranked as one of the best in London, has five interconnected shopping malls: Canada Place, Cabot Place, Jubilee Place, Crossrail Place, and Churchill Place. The malls provide over 102,193 m2 (1,100,000 sq ft) of retail space, more than 310 shops from beauty, fashion, lifestyle, luxurious brands, health, and homeware, as well as 70 cafés, bars, and restaurants, eight grocery stores, five health clubs and a cinema. There are also numerous bars, restaurants, and food halls at street level, alongside plenty of outdoor seating enabling visitors to see the stunning wharf and riverside views.
Museums and archives
Opened in a Grade I listed Georgian warehouse by Queen Elizabeth II in June 2003, the Museum of London Docklands is one of the main attractions in the area. It is dedicated to the history of London's river, port, and people from Roman settlement to the present day. The museum offers a range of activities for children and families, including interactive displays and immersive activities.
Pokémon Go
Canary Wharf has been reported since 2017 as part of the Pokémon Go augmented reality game to being the home for the most wanted Pokémon gyms in London including Canary Wharf DLR station and Montgomery Square.
Canary Wharf Group published an official Pokémon map for PokéStops and Pokémon Gyms, the managing director for retail Camille Waxer said in 2016 that Pokémon Go has serious potential to attract new audiences to the area, particularly food and drink outlets which saw an increase in foot traffic.
(Wikipedia)
Canary Wharf (dt. „Kanaren-Kai“) ist ein Bürogebäudekomplex auf der Isle of Dogs im Londoner Stadtbezirk Tower Hamlets. Er befindet sich im Herzen der Docklands, dem ehemaligen Hafengebiet der britischen Hauptstadt. Canary Wharf steht in Konkurrenz zum historisch gewachsenen Finanzzentrum in der City of London. Hier stehen drei der höchsten Gebäude des Vereinigten Königreichs, One Canada Square, HSBC Tower und Citigroup Centre.
Wirtschaftszentrum
Zu den Unternehmen, die sich in Canary Wharf niedergelassen haben, gehören Finanzinstitute wie Credit Suisse, HSBC, Citigroup, Morgan Stanley, Bank of America und Barclays. Auch bedeutende Medienunternehmen haben hier ihre Hauptsitze, darunter The Daily Telegraph, The Independent, Thomson Reuters und der Daily Mirror. Ebenfalls hier vertreten sind der Europa-Hauptsitz von Texaco, der Hauptsitz von Clifford Chance, eine der weltweit größten Anwaltssozietäten, sowie das Wirtschaftsprüfungsunternehmen KPMG. Bis zum Brexit war hier auch der Sitz der Europäischen Bankenaufsichtsbehörde (EBA).
Zu Beginn des Jahres betrug die offizielle Zahl der hier arbeitenden Angestellten 78.000, wovon 25 Prozent in den fünf umliegenden Stadtbezirken leben. Canary Wharf entwickelt sich auch immer mehr zu einem teuren und exklusiven Einkaufsviertel, insbesondere nach der Eröffnung des Jubilee-Place-Einkaufszentrums im Jahr 2004. Es gibt über 200 Läden mit mehr als 4.500 Verkaufsangestellten. Jede Woche gehen rund 500.000 Personen hierhin zum Einkaufen.
Canary Wharf verfügt über eine ausgezeichnete Anbindung an das Netz des öffentlichen Nahverkehrs. Seit 1991 hält an der Station Canary Wharf (DLR) die vollautomatische Stadtbahn Docklands Light Railway. 1999 wurde die Jubilee Line der London Underground eröffnet, die in der gleichnamigen, aber räumlich getrennten Station Canary Wharf (London Underground) hält, und 2022 wurde der Verkehr auf der neuen Elizabeth Line (Crossrail) aufgenommen. Der Flughafen London City liegt nur ein paar Kilometer östlich und kann mit regelmäßig verkehrenden Bussen, Taxis und mit der DLR in unter 15 Minuten erreicht werden. Vom Canary Wharf Pier aus stellen Schiffe auf der Themse weitere Verbindungen in Richtung Innenstadt her; die Thames Clippers verkehren unter der Woche alle 20 Minuten.
Geschichte
Canary Wharf war einst der Standort von Lagerhäusern inmitten der Docks. Der Name leitet sich ab vom Seehandel mit den Kanarischen Inseln, der von hier aus abgewickelt wurde. Während des 19. Jahrhunderts lagen hier die West India Docks, einer der verkehrsreichsten Häfen der Welt. In den 1960er Jahren setzte der Verfall der Hafen- und Industrieanlagen ein. Nachdem im Jahr 1980 das letzte Dock geschlossen worden war, beschloss die britische Regierung im Jahr 1981 ein Programm, mit dem ein 21 km² großes Gebiet neu belebt werden sollte. Um das Projekt zu koordinieren, wurde die Entwicklungsgesellschaft „London Docklands Development Corporation“ gegründet. In den ersten Jahren ließen sich hier Betriebe der Leichtindustrie nieder, der größte Mieter in Canary Wharf war ein TV-Produktionsstudio.
1984 besuchte Michael von Clemm, der Vorsitzende der Investmentbank Credit Suisse, im Auftrag eines Kunden die Docklands, um nach einem Standort für einen Lebensmittelverarbeitungsbetrieb Ausschau zu halten. Er war sich auch bewusst, dass die Büros der Bank in der City of London zu klein waren, vor allem im Hinblick auf die bevorstehende Deregulierung der Finanzmärkte im Jahr 1986. Von Clemm hatte die Idee, das Gebiet für Bürobauten zu nutzen. Allerdings war eine kritische Masse notwendig, um das ganze Vorhaben überhaupt rentabel werden zu lassen. Entsprechende Pläne wurden zusammen mit dem Unternehmen Morgan Stanley präsentiert, später allerdings wieder zu den Akten gelegt. Als 1987 die Docklands Light Railway eröffnet wurde, hatte man in Canary Wharf keine Station errichtet, da man nicht mit einer Entwicklung des Gebiets rechnete.
1988 übernahm das vom Immobilienunternehmer Paul Reichmann geleitete kanadische Unternehmen Olympia and York (O&Y) das Projekt und brachte es zur Baureife. Die Bauarbeiten begannen im selben Jahr, die erste Phase war 1992 abgeschlossen. O&Y, das auch das World Financial Center in New York gebaut hatte, verpflichtete sich, die Hälfte der Kosten für die geplante Verlängerung der Jubilee Line zu übernehmen. Zu Beginn der 1990er Jahre brach der weltweite Immobilienmarkt ein. Die Nachfrage nach Büroräumlichkeiten ging stark zurück und O&Y ging 1992 bankrott. Die obere Hälfte des Wolkenkratzers One Canada Square blieb ohne Mieter, Canary Wharf wurde zum Symbol der Immobilienkrise.
Im Februar 1996 explodierte in der Nähe von Canary Wharf an der Station South Quay der DLR eine Autobombe der IRA. Zwei Menschen wurden getötet, 39 verletzt. Es entstand dabei ein Sachschaden von 85 Millionen Pfund.
Im Dezember 1995 kaufte ein internationales Konsortium unter Vorsitz von Paul Reichmann[3] das Gelände. Damals waren hier rund 13.000 Arbeitsplätze angesiedelt, doch noch immer stand über die Hälfte der vorhandenen Büroliegenschaften leer. Ein wichtiges Ereignis für die Wiederbelebung des Projekts Canary Wharf war der Baubeginn der Jubilee Line, der mehrmals verschoben worden war. Von da an betrachteten Unternehmen das Gebiet zunehmend als Alternative zu den traditionellen Geschäftszentren. Die zunehmende Nachfrage ermöglichte neben der Fertigstellung der zurückgestellten Bauabschnitte auch die Realisierung zusätzlicher Projekte. Im März 2004 wurde die Betriebsgesellschaft Canary Wharf Group plc durch das von Morgan Stanley angeführte Investorenkonsortium Songbird Estates übernommen. Im Jahr 2004 belegten 70 Prozent der Büroflächen in Canary Wharf Banken.
Im Jahr 2014 wurde die erste bauliche Erweiterung seit der Finanzkrise 2008 genehmigt. Das am östlichen Ende der Canary Wharf befindliche Projekt Wood Wharf umfasst eine Fläche von 4,9 Millionen Quadratfuß[7], worauf insgesamt 30 Gebäude entstehen sollen. Als Herzstück soll der vom Schweizer Architekturbüro Herzog & de Meuron entworfene, 211 Meter und 57 Stockwerke hohe zylinderförmige Wohnturm errichtet werden.
Stand 2020 ist die Canary Wharf Group im Besitz des katarischen Staatsfonds und der kanadischen Immobiliengesellschaft Brookfield Properties.
Im Zuge der COVID-19-Pandemie zu Beginn des 2020er Jahrzehnts verkleinerten auch die in Canary Wharf ansässigen Unternehmen ihre Bürofleichen und lagerten Arbeiten und Mitarbeiter ins Homeoffice aus. In den 2020er Jahren kündigten viele große Unternehmen (darunter die Großbank HSBC, Moody’s, Clifford Chance) an, aus Canary Wharf auszuziehen. Der Exodus führt dazu, dass viele Gebäude enorm an Wert verloren. Gleichzeitig siedelten sich vermehrt Bars, Restaurants, Clubs, Fitness- und Freizeitcenter und andere kleinere Unternehmen wie Start-Ups in Canary Wharf an. In Wood Wharf wurden und werden Stand 2024 Appartmentkomplexe für mehr als 7000 Menschen gebaut.
Vorkommen in der Popkultur
In der Serie Doctor Who befindet sich im Bürokomplex das fiktive Torchwood-Institut, das im Finale der zweiten Staffel im Kampf gegen die Daleks und Cybermen zerstört wird. Die Ereignisse nach dieser Schlacht werden im Spin Off Torchwood erzählt.
(Wikipedia)
Femme Fatale.
Rituel imposteur blasphémateur indigné cris génie esprit stupéfait,
Enimvero, luxuriae varii generis inmortales immensum crescens: risus immanis scene offensiones,
συνηθίσει στοχασμούς διαμόρφωση του ανήσυχος διέγερση πανύψηλα σκοτώσει ψυχαγωγίας,
Verschleierung Geheimnisse Fußstapfen bevorstehende wogenden Ideen Schaben Schreie brodelt erstaunlichen Nacht,
commozioni sontuosità scavate ingegnosi camere inebrianti fantasie di bellezza sedotti,
экстаз тоска завета рубка Моды гобелены радуги неопределенные музыкальные глаза серые,
niepokojące domowe dzikie strachy drżał krwi enshrouded nim kierunki cisza, przerywana,
gwersi serchiadau dwysedd rendro poenydio dylanwad ymhlyg addysg cyfriniol arth,
megkülönböztetve intelligens identitás tanulatlan beszélgetések kifürkészhetetlen rejtély izgat igazán,
rigoureuze tumultueuze denizen ademhaling tremoren spannende theorieën verbijsterende hartverscheurende verhalen meegemaakt,
愛らしさは、膨大なため息が心を厳粛飾ら涙が落ちる虚栄天使のストリーミング死を眠っ.
Steve.D.Hammond.
Welcome to the Year of the Monkey
:) Menschen, die im Jahr des Affen geboren sind, gelten als intelligent, schlau und flexibel. Sie sind sehr erfinderisch und können so die meisten Probleme mit Leichtigkeit lösen. Affen besitzen einen gesunden Menschenverstand und sind sehr wissbegierig. Sie schieben bevorstehende Aufgaben nicht auf die lange Bank, sondern packen sie wenn möglich sofort an ...
Origami gorilla designed by Kunihiko Kasahara
Origami Monkey designed by Janessa Munt
In der Abenddämmerung erreichten wir den Hafen der Stadt Cres, wo unsere beiden hübschen Frauen Ingrid und Ursula für uns vor den Booten posierten. Aber nur ganz kurz, denn wir alle hatten vom Schwimmen schon entsprechenden Hunger und freuten uns auf das bevorstehende maritime Abendessen.
At dusk we reached the harbour of the town of Cres, where our two pretty wives Ingrid and Ursula posed for us in front of the boats. But only for a short time, because we were all hungry from swimming and were looking forward to the upcoming maritime dinner.
Bernardo Strozzi (1582-1644), actif à Gênes et Venise
Le prophète Elie et la veuve de Sarepta, autour de 1640-1644
La veuve de Sarepta est prête à préparer le prophète Elie de son dernier farine et huile un repas alors que son fils lui offre quelque chose à boire. Dans son visage, encore marqué par le désespoir de la famine imminente, mais se reflète déjà la bonne nouvelle d'Élie que comme récompense de leur générosité leurs pots ne seraient plus vide. Par l'expression et le geste, Strozzi combine des aspects successifs de la narration.
Bernardo Strozzi (1582-1644), aktiv in Genua und Venedig
Der Prophet Elias und die Witwe von Sarepta, um 1640/44
Die Witwe von Sarepta ist bereit, dem Propheten Elias von ihrem letzten Mehl und Öl eine Speise zu bereiten, während ihr Sohn ihm etwas zu trinken anbietet. In ihrem noch von Verzweiflung über die bevorstehende Hungersnot gekennzeichneten Gesicht spiegelt sich aber auch schon die freudige Botschaft des Elias, dass sich zur Belohnung ihrer Großmut ihre Töpfe nicht mehr leeren würden. Durch Ausdruck und Gebärde vereint Strozzi aufeinanderfolgende Aspekte der Erzählung.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
RABe 515 002 "MUTZ" BLS für die neue S-Bahn Flotte auf einer Inspektionsfahrt für die bevorstehende Schlussabnahme. Foto aufgenommen am 20.09.2012 in Einigen am Thunersee.
RABe 515 002 "MUTZ" BLS on one of its final acceptance test drive for the S-Bahn fleet between Thun and Spiez. Photo location: Einigen, Lake of Thun
Bernardo Strozzi (1582-1644), actif à Gênes et Venise
Le prophète Elie et la veuve de Sarepta, autour de 1640-1644
La veuve de Sarepta est prêt le prophète Elisée de son dernier farine et huile préparer un repas, alors que son fils lui offre quelque chose à boire. Dans son visage, encore marqué par le désespoir sur la famine imminente, cependant, reflète déjà le joyeux message d'Elie que ses pots plus jamais seraient vide pour récompenser sa générosité. Par expression et geste Strozzi combine des aspects successifs du récit.
Bernardo Strozzi (1582-1644), tätig in Genua und Venedig
Der Prophet Elias und die Witwe von Sarepta, um 1640-1644
Die Witwe von Sarepta ist bereit, dem Propheten Elisas von ihrem letzten Mehl und Öl eine Speise zu bereiten, während ihr Sohn ihm etwas zu trinken anbietet. In ihrem noch von Verzweiflung über die bevorstehende Hungersnot gekennzeichneten Gesicht spiegelt sich aber auch schon die freudige Botschaft des Elias, dass sich zur Belohnung ihrer Großmut ihre Töpfe nicht leeren würden. Durch Ausdruck und Gebärde vereint Strozzi aufeinanderfolgende Aspekte der Erzählung.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Noch etwas länger als beim zweiten Ethnic Collection gebraucht. Die sind wirklich nicht einfach. Und beim Rand hatte ich ein paar Probleme.
Das Puzzle hatte ich vor 12 Jahren wegen des Jaguars gekauft. Eigentlich dachte ich, ich wollte es heuer für die WPD legen, aber dann habe ich erst realisiert, dass die bevorstehende Mexiko-Reise u.a. den Besuch dieser Pyramide beinhaltet. Also habe ich beschlossen, es danach zu legen.
Gut, habe ich es nicht für die WPD gelegt - ganz schön happig mit 9 Stunden. Dauerte definitiv länger als die Pyramide zu besteigen. Wobei man diese nicht durfte, aber eine ganze Anzahl anderer Pyramiden auf Yucatan, in Palenque, Cobá etc.
Wir sind alle hochgekraxelt!
***************************************
Hersteller: Clementoni
Serie: Ethnic Collection
Jahr: Nicht ang., ca 2005 (?)
Artikelnummer: 30776
Anzahl Teile: 999 (wie immer bei den älteren Clementoni 27x37=999)
Grösse: 48 x 68 cm
Bild: n.ang. - scheint die Initialen L.P. zu haben.
Kaufdatum und Ort: Januar 2007 (Weltbild)
Datum gelegt: 11.-15. März 2019.
Legezeit: 540 Min. (exakt 9 Std.)
*************************************
Brand: Clementoni
Series: Ethnic Collection
Year: unknown (about 2005)
Item no.: 30776
Number of pieces: 999 (27x37=999)
Image by Artist/Photographer: unknown - Signature: LP
Date and place of purchase: January 2007 (Weltbild)
Date of completion: March 11-15, 2019.
Time for completion: 540 min.
Bernardo Strozzi (1582-1644), actif à Gênes et Venise
Le prophète Elie et la veuve de Sarepta, autour de 1640-1644
La veuve de Sarepta est prêt le prophète Elisée de son dernier farine et huile préparer un repas, alors que son fils lui offre quelque chose à boire. Dans son visage, encore marqué par le désespoir sur la famine imminente, cependant, reflète déjà le joyeux message d'Elie que ses pots plus jamais seraient vide pour récompenser sa générosité. Par expression et geste Strozzi combine des aspects successifs du récit.
Bernardo Strozzi (1582-1644), tätig in Genua und Venedig
Der Prophet Elias und die Witwe von Sarepta, um 1640-1644
Die Witwe von Sarepta ist bereit, dem Propheten Elisas von ihrem letzten Mehl und Öl eine Speise zu bereiten, während ihr Sohn ihm etwas zu trinken anbietet. In ihrem noch von Verzweiflung über die bevorstehende Hungersnot gekennzeichneten Gesicht spiegelt sich aber auch schon die freudige Botschaft des Elias, dass sich zur Belohnung ihrer Großmut ihre Töpfe nicht leeren würden. Durch Ausdruck und Gebärde vereint Strozzi aufeinanderfolgende Aspekte der Erzählung.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Spitzenkandidation Annalena Baerbock (Bündnis 90 , Die Grünen) beim Wahlkampfauftakt von Bündnis 90 für die bevorstehende Bundestagswahl mit der Vorstellung eines Wahlplakats in Wilhelmshorst. / Top candidate Annalena Baerbock (Bündnis 90 , Die Grünen) at the campaign launch of Bündnis 90 for the upcoming federal election with the presentation of an election poster in Wilhelmshorst.
Previously: Chapter XVI - blurry darkness
German below ⬇️
English:
The community has chosen A.
Tension and a tingling sensation fill the air. Alix and Rees have finally reached the docks. Their message to Finn that they are ready to uncover the secret of the "mysterious" cargo is like a promise this evening. While life throbs in the bistro - machines humming their steady beat and the stove crackling under the burden of fierce flames - the Promenade begins to sleep, the sounds quietly fading out.
With each hearty bite into their food and each vigorous clink of their glasses, our three companions gather more and more courage for the impending endeavor. As they eat and drink together, their resolve to navigate their way to the upper levels grows stronger. They are aware that time is running out slowly and that it is of the utmost importance that it is crucial to complete their mission swiftly and with finesse.
Will they reach the upper levels? What will this "mysterious" cargo reveal? Only time will tell... The adventure continues next year!
To be continued…
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Deutsch:
Die Community hat sich für A entschieden.
Spannung und ein Kribbeln liegen in der Luft. Alix und Rees haben endlich die Docks erreicht. Ihre Nachricht an Finn, dass sie bereit sind, das Geheimnis der "mysteriösen" Fracht zu lüften, liegt wie ein Versprechen an diesem Abend. Während im Bistro das Leben pulsiert – Maschinen summen ihren gleichförmigen Takt und der Herd knistert unter der Last scharfer Flammen – beginnt die Promenade zu schlafen, ihre Geräusche schwinden leise.
Mit jedem kräftigen Biss in ihren Speisen und jedem kräftigen Anstoßen ihrer Gläser sammeln unsere drei Gefährten mehr und mehr Mut für das bevorstehende Unterfangen. Während sie gemeinsam essen und trinken, festigt sich ihr Entschluss, den Weg zu den oberen Ebenen zu meistern. Ihnen ist bewusst, dass die Zeit drängt und dass es von größter Bedeutung ist, ihre Mission zügig und mit Finesse zu erledigen.
Werden sie die oberen Levels erreichen? Was wird diese "mysteriöse" Fracht enthüllen? Nur die Zeit kann es verraten… Das Abenteuer geht nächstes Jahr weiter!
Fortsetzung folgt…
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24 Stunden von Spa/Francorchamps 1984: Die Trainings sind beendet, Matthias Fillies und Helmut Thomé ziehen Bilanz, ob für das bevorstehende Rennen alles so bleiben kann.
24 Hours of Spa / Francorchamps 1984: Training sessions are over, Matthias Fillies and Helmut Thomé take stock of whether everything can stay that way for the oncomming race.
Ceiling in front of the lifts
Decke vor den Aufzügen
The Chrysler Building is an Art Deco skyscraper on the East Side of Manhattan in New York City, at the intersection of 42nd Street and Lexington Avenue in Midtown Manhattan. At 1,046 ft (319 m), it is the tallest brick building in the world with a steel framework, and it was the world's tallest building for 11 months after its completion in 1930. As of 2019, the Chrysler is the 12th-tallest building in the city, tied with The New York Times Building.
Originally a project of real estate developer and former New York State Senator William H. Reynolds, the building was commissioned by Walter Chrysler, the head of the Chrysler Corporation. The construction of the Chrysler Building, an early skyscraper, was characterized by a competition with 40 Wall Street and the Empire State Building to become the world's tallest building. The Chrysler Building was designed and funded by Walter Chrysler personally as a real estate investment for his children, but it was not intended as the Chrysler Corporation's headquarters. An annex was completed in 1952, and the building was sold by the Chrysler family the next year, with numerous subsequent owners.
When the Chrysler Building opened, there were mixed reviews of the building's design, some calling it inane and unoriginal, others hailing it as modernist and iconic. Reviewers in the late 20th and early 21st centuries regarded the building as a paragon of the Art Deco architectural style. In 2007, it was ranked ninth on the American Institute of Architects' list of America's Favorite Architecture. The facade and interior became New York City designated landmarks in 1978, and the structure was added to the National Register of Historic Places as a National Historic Landmark in 1976.
Site
The Chrysler Building is on the eastern side of Lexington Avenue between 42nd and 43rd streets in Midtown Manhattan in New York City. The land was donated to The Cooper Union for the Advancement of Science and Art in 1902. The site is roughly a trapezoid with a 201-foot-long (61 m) frontage on Lexington Avenue; a 167-foot-long (51 m) frontage on 42nd Street; and a 205-foot-long (62 m) frontage on 43rd Street. The site bordered the old Boston Post Road, which predated, and ran aslant of, the Manhattan street grid established by the Commissioners' Plan of 1811. As a result, the east side of the building's base is similarly aslant. The building is assigned its own ZIP Code, 10174. It is one of 41 buildings in Manhattan that have their own ZIP Codes, as of 2019.
The Grand Hyatt New York hotel and the Graybar Building are across Lexington Avenue, while the Socony–Mobil Building is across 42nd Street. In addition, the Chanin Building is to the southwest, diagonally across Lexington Avenue and 42nd Street.
Architecture
The Chrysler Building was designed by William Van Alen in the Art Deco style and is named after one of its original tenants, automotive executive Walter Chrysler. With a height of 1,046 feet (319 m), the Chrysler is the 12th-tallest building in the city as of 2019, tied with The New York Times Building. The building is constructed of a steel frame infilled with masonry, with areas of decorative metal cladding. The structure contains 3,862 exterior windows. Approximately fifty metal ornaments protrude at the building's corners on five floors reminiscent of gargoyles on Gothic cathedrals. The 31st-floor contains gargoyles[26] as well as replicas of the 1929 Chrysler radiator caps, and the 61st-floor is adorned with eagles as a nod to America's national bird.
The design of the Chrysler Building makes extensive use of bright "Nirosta" stainless steel, an austenitic alloy developed in Germany by Krupp. It was the first use of this "18-8 stainless steel" in an American project, composed of 18% chromium and 8% nickel. Nirosta was used in the exterior ornaments, the window frames, the crown, and the needle. The steel was an integral part of Van Alen's design, as E.E. Thum explains: "The use of permanently bright metal was of greatest aid in the carrying of rising lines and the diminishing circular forms in the roof treatment, so as to accentuate the gradual upward swing until it literally dissolves into the sky...." Stainless steel producers used the Chrysler Building to evaluate the durability of the product in architecture. In 1929, the American Society for Testing Materials created an inspection committee to study its performance, which regarded the Chrysler Building as the best location to do so; a subcommittee examined the building's panels every five years until 1960, when the inspections were canceled because the panels had shown minimal deterioration.
Form
The Chrysler Building's height and legally mandated setbacks influenced Van Alen in his design. The walls of the lowermost sixteen floors rise directly from the sidewalk property lines, except for a recess on one side that gives the building a U-shaped floor plan above the fourth floor. There are setbacks on floors 16, 18, 23, 28, and 31, making the building compliant with the 1916 Zoning Resolution. This gives the building the appearance of a ziggurat on one side and a U-shaped palazzo on the other. Above the 31st floor, there are no more setbacks until the 60th floor, above which the structure is funneled into a Maltese cross shape that "blends the square shaft to the finial", according to author and photographer Cervin Robinson.
The floor plans of the first sixteen floors were made as large as possible to optimize the amount of rental space nearest ground level, which was seen as most desirable. The U-shaped cut above the fourth floor served as a shaft for air flow and illumination. The area between floors 28 and 31 added "visual interest to the middle of the building, preventing it from being dominated by the heavy detail of the lower floors and the eye-catching design of the finial. They provide a base to the column of the tower, effecting a transition between the blocky lower stories and the lofty shaft."
Facade
Base and shaft
The ground floor exterior is covered in polished black granite from Shastone, while the three floors above it are clad in white marble from Georgia. There are two main entrances, on Lexington Avenue and on 42nd Street, each three floors high with Shastone granite surrounding each proscenium-shaped entryway. At some distance into each main entryway, there are revolving doors "beneath intricately patterned metal and glass screens", designed so as to embody the Art Deco tenet of amplifying the entrance's visual impact. A smaller side entrance on 43rd Street is one story high. There are storefronts consisting of large Nirosta-steel-framed windows at ground level. Office windows penetrate the second through fourth floors.
The west and east elevations contain the air shafts above the fourth floor, while the north and south sides contain the receding setbacks. Below the 16th floor, the facade is clad with white brick, interrupted by white-marble bands in a manner similar to basket weaving. The inner faces of the brick walls are coated with a waterproof grout mixture measuring about 1⁄16 inch (1.6 mm) thick. The windows, arranged in grids, do not have window sills, the frames being flush with the facade. Between the 16th and 24th floors, the exterior exhibits vertical white brick columns that are separated by windows on each floor. This visual effect is made possible by the presence of aluminum spandrels between the columns of windows on each floor. There are abstract reliefs on the 20th through 22nd-floor spandrels, while the 24th floor contains 9-foot (2.7 m) decorative pineapples.
Above the third setback, consisting of the 24th through 27th floors, the facade contains horizontal bands and zigzagged gray-and-black brick motifs. The section above the fourth setback, between the 27th and 31st floors, serves as a podium for the main shaft of the building. There are Nirosta-steel decorations above the setbacks. At each corner of the 31st floor, large car-hood ornaments were installed to make the base look larger. These corner extensions help counter a common optical illusion seen in tall buildings with horizontal bands, whose taller floors would normally look larger. The 31st floor also contains a gray and white frieze of hubcaps and fenders, which both symbolize the Chrysler Corporation and serves as a visual signature of the building's Art Deco design. The bonnet embellishments take the shape of Mercury's winged helmet and resemble hood ornaments installed on Chrysler vehicles at the time.
The shaft of the tower was designed to emphasize both the horizontal and vertical: each of the tower's four sides contains three columns of windows, each framed by bricks and an unbroken marble pillar that rises along the entirety of each side. The spandrels separating the windows contain "alternating vertical stripes in gray and white brick", while each corner contains horizontal rows of black brick.
Crown and spire
The Chrysler Building is renowned for, and recognized by its terraced crown, which is an extension of the main tower. Composed of seven radiating terraced arches, Van Alen's design of the crown is a cruciform groin vault of seven concentric members with transitioning setbacks. The entire crown is clad with Nirosta steel, ribbed and riveted in a radiating sunburst pattern with many triangular vaulted windows, reminiscent of the spokes of a wheel. The windows are repeated, in smaller form, on the terraced crown's seven narrow setbacks. Due to the curved shape of the dome, the Nirosta sheets had to be measured on site, so most of the work was carried out in workshops on the building's 67th and 75th floors. According to Robinson, the terraced crown "continue[s] the wedding-cake layering of the building itself. This concept is carried forward from the 61st floor, whose eagle gargoyles echo the treatment of the 31st, to the spire, which extends the concept of 'higher and narrower' forward to infinite height and infinitesimal width. This unique treatment emphasizes the building's height, giving it an other worldly atmosphere reminiscent of the fantastic architecture of Coney Island or the Far East."
Television station WCBS-TV (Channel 2) originated its transmission from the top of the Chrysler Building in 1938. WCBS-TV transmissions were shifted to the Empire State Building in 1960 in response to competition from RCA's transmitter on that building. For many years WPAT-FM and WTFM (now WKTU) also transmitted from the Chrysler Building, but their move to the Empire State Building by the 1970s ended commercial broadcasting from the structure.
The crown and spire are illuminated by a combination of fluorescent lights framing the crown's distinctive triangular windows and colored floodlights that face toward the building, allowing it to be lit in a variety of schemes for special occasions.The V-shaped fluorescent "tube lighting" – hundreds of 480V 40W bulbs framing 120 window openings – was added in 1981, although it had been part of the original design. Until 1998, the lights were turned off at 2 a.m., but The New York Observer columnist Ron Rosenbaum convinced Tishman Speyer to keep the lights on until 6 a.m. Since 2015, the Chrysler Building and other city skyscrapers have been part of the Audubon Society's Lights Out program, turning off their lights during bird migration seasons.
History
In the mid-1920s, New York's metropolitan area surpassed London's as the world's most populous metropolitan area and its population exceeded ten million by the early 1930s. The era was characterized by profound social and technological changes. Consumer goods such as radio, cinema, and the automobile became widespread. In 1927, Walter Chrysler's automotive company, the Chrysler Corporation, became the third-largest car manufacturer in the United States, behind Ford and General Motors. The following year, Chrysler was named Time magazine's "Person of the Year".
The economic boom of the 1920s and speculation in the real estate market fostered a wave of new skyscraper projects in New York City. The Chrysler Building was built as part of an ongoing building boom that resulted in the city having the world's tallest building from 1908 to 1974. Following the end of World War I, European and American architects came to see simplified design as the epitome of the modern era and Art Deco skyscrapers as symbolizing progress, innovation, and modernity. The 1916 Zoning Resolution restricted the height that street-side exterior walls of New York City buildings could rise before needing to be setback from the street. This led to the construction of Art Deco structures in New York City with significant setbacks, large volumes, and striking silhouettes that were often elaborately decorated. Art Deco buildings were constructed for only a short period of time; but because that period was during the city's late-1920s real estate boom, the numerous skyscrapers built in the Art Deco style predominated in the city skyline, giving it the romantic quality seen in films and plays.[The Chrysler Building project was shaped by these circumstances.
Development
Originally, the Chrysler Building was to be the Reynolds Building, a project of real estate developer and former New York state senator William H. Reynolds. Prior to his involvement in planning the building, Reynolds was best known for developing Coney Island's Dreamland amusement park. When the amusement park was destroyed by a fire in 1911, Reynolds turned his attention to Manhattan real estate, where he set out to build the tallest building in the world.
Planning
In 1921, Reynolds rented a large plot of land at the corner of Lexington Avenue and 42nd Street with the intention of building a tall building on the site. Reynolds did not develop the property for several years, prompting the Cooper Union to try to increase the assessed value of the property in 1924. The move, which would force Reynolds to pay more rent, was unusual because property owners usually sought to decrease their property assessments and pay fewer taxes. Reynolds hired the architect William Van Alen to design a forty-story building there in 1927. Van Alen's original design featured many Modernist stylistic elements, with glazed, curved windows at the corners.
Van Alen was respected in his field for his work on the Albemarle Building at Broadway and 24th Street, designing it in collaboration with his partner H. Craig Severance. Van Alen and Severance complemented each other, with Van Alen being an original, imaginative architect and Severance being a shrewd businessperson who handled the firm's finances. The relationship between them became tense over disagreements on how best to run the firm. A 1924 article in the Architectural Review, praising the Albemarle Building's design, had mentioned Van Alen as the designer in the firm and ignored Severance's role. The architects' partnership dissolved acrimoniously several months later, with lawsuits over the firm's clients and assets lasting over a year. The rivalry influenced the design of the future Chrysler Building, since Severance's more traditional architectural style would otherwise have restrained Van Alen's more modern outlook.
Refinement of designs
By February 2, 1928, the proposed building's height had been increased to 54 stories, which would have made it the tallest building in Midtown. The proposal was changed again two weeks later, with official plans for a 63-story building. A little more than a week after that, the plan was changed for the third time, with two additional stories added. By this time, 42nd Street and Lexington Avenue were both hubs for construction activity, due to the removal of the Third Avenue Elevated's 42nd Street spur, which was seen as a blight on the area. The adjacent 56-story Chanin Building was also under construction. Because of the elevated spur's removal, real estate speculators believed that Lexington Avenue would become the "Broadway of the East Side", causing a ripple effect that would spur developments farther east.
In April 1928, Reynolds signed a 67-year lease for the plot and finalized the details of his ambitious project. Van Alen's original design for the skyscraper called for a base with first-floor showroom windows that would be triple-height, and above would be 12 stories with glass-wrapped corners, to create the impression that the tower was floating in mid-air. Reynolds's main contribution to the building's design was his insistence that it have a metallic crown, despite Van Alen's initial opposition; the metal-and-crystal crown would have looked like "a jeweled sphere" at night. Originally, the skyscraper would have risen 808 feet (246 m), with 67 floors. These plans were approved in June 1928. Van Alen's drawings were unveiled in the following August and published in a magazine run by the American Institute of Architects (AIA).
Reynolds ultimately devised an alternate design for the Reynolds Building, which was published in August 1928. The new design was much more conservative, with an Italianate dome that a critic compared to Governor Al Smith's bowler hat, and a brick arrangement on the upper floors that simulated windows in the corners, a detail that remains in the current Chrysler Building. This design almost exactly reflected the shape, setbacks, and the layout of the windows of the current building, but with a different dome.
Final plans and start of construction
With the design complete, groundbreaking for the Reynolds Building took place on September 19, 1928, but by late 1928, Reynolds did not have the means to carry on construction. Walter Chrysler offered to buy the building in early October 1928, and Reynolds sold the plot, lease, plans, and architect's services to Chrysler on October 15, 1928, for more than $2.5 million. That day, the Goodwin Construction Company began demolition of what had been built. A contract was awarded on October 28, and demolition was completed on November 9. Chrysler's initial plans for the building were similar to Reynolds's, but with the 808-foot building having 68 floors instead of 67. The plans entailed a ground-floor pedestrian arcade; a facade of stone below the fifth floor and brick-and-terracotta above; and a three-story bronze-and-glass "observation dome" at the top. However, Chrysler wanted a more progressive design, and he worked with Van Alen to redesign the skyscraper to be 925 ft (282 m) tall. At the new height, Chrysler's building would be taller than the 792-foot (241 m) Woolworth Building, a building in lower Manhattan that was the world's tallest at the time. At one point, Chrysler had requested that Van Alen shorten the design by ten floors, but reneged on that decision after realizing that the increased height would also result in increased publicity.
From late 1928 to early 1929, modifications to the design of the dome continued. In March 1929, the press published details of an "artistic dome" that had the shape of a giant thirty-pointed star, which would be crowned by a sculpture five meters high. The final design of the dome included several arches and triangular windows. Lower down, various architectural details were modeled after Chrysler automobile products, such as the hood ornaments of the Plymouth (see § Designs between setbacks). The building's gargoyles on the 31st floor and the eagles on the 61st floor, were created to represent flight, and to embody the machine age of the time. Even the topmost needle was built using a process similar to one Chrysler used to manufacture his cars, with precise "hand craftmanship". In his autobiography, Chrysler says he suggested that his building be taller than the Eiffel Tower.
Meanwhile, excavation of the new building's 69-foot-deep (21 m) foundation began in mid-November 1928 and was completed in mid-January 1929, when bedrock was reached. A total of 105,000,000 pounds (48,000,000 kg) of rock and 36,000,000 pounds (16,000,000 kg) of soil were excavated for the foundation, equal to 63% of the future building's weight. Construction of the building proper began on January 21, 1929. The Carnegie Steel Company provided the steel beams, the first of which was installed on March 27; and by April 9, the first upright beams had been set into place. The steel structure was "a few floors" high by June 1929, 35 floors high by early August, and completed by September. Despite a frantic steelwork construction pace of about four floors per week, no workers died during the construction of the skyscraper's steelwork. Chrysler lauded this achievement, saying, "It is the first time that any structure in the world has reached such a height, yet the entire steel construction was accomplished without loss of life". In total, 391,881 rivets were used, and approximately 3,826,000 bricks were laid to create the non-loadbearing walls of the skyscraper. Walter Chrysler personally financed the construction with his income from his car company. The Chrysler Building's height officially surpassed the Woolworth's on October 16, 1929, thereby becoming the world's tallest structure.
Completion
In January 1930, it was announced that the Chrysler Corporation would maintain satellite offices in the Chrysler Building during Automobile Show Week. The skyscraper was never intended to become the Chrysler Corporation's headquarters, which remained in Detroit. The first leases by outside tenants were announced in April 1930, before the building was officially completed. The building was formally opened on May 27, 1930, in a ceremony that coincided with the 42nd Street Property Owners and Merchants Association's meeting that year. In the lobby of the building, a bronze plaque that read "in recognition of Mr. Chrysler's contribution to civic advancement" was unveiled. Former Governor Smith, former Assemblyman Martin G. McCue, and 42nd Street Association president George W. Sweeney were among those in attendance. By June, it was reported that 65% of the available space had been leased. By August, the building was declared complete, but the New York City Department of Construction did not mark it as finished until February 1932.
The added height of the spire allowed the Chrysler Building to surpass 40 Wall Street as the tallest building in the world and the Eiffel Tower as the tallest structure. The Chrysler Building was thus the first man-made structure to be taller than 1,000 feet (300 m); and as one newspaper noted, the tower was also taller than the highest points of five states. The tower remained the world's tallest for 11 months after its completion. The Chrysler Building was appraised at $14 million, but was exempt from city taxes per an 1859 law that gave tax exemptions to sites owned by the Cooper Union. The city had attempted to repeal the tax exemption, but Cooper Union had opposed that measure. Because the Chrysler Building retains the tax exemption, it has paid Cooper Union for the use of their land since opening. While the Chrysler Corporation was a tenant, it was not involved in the construction or ownership of the Chrysler Building; rather, the tower was a project of Walter P. Chrysler for his children. In his autobiography, Chrysler wrote that he wanted to erect the building "so that his sons would have something to be responsible for".
Van Alen's satisfaction at these accomplishments was likely muted by Walter Chrysler's later refusal to pay the balance of his architectural fee. Chrysler alleged that Van Alen had received bribes from suppliers, and Van Alen had not signed any contracts with Walter Chrysler when he took over the project. Van Alen sued and the courts ruled in his favor, requiring Chrysler to pay Van Alen $840,000, or six percent of the total budget of the building. However, the lawsuit against Chrysler markedly diminished Van Alen's reputation as an architect, which, along with the effects of the Great Depression and negative criticism, ended up ruining his career. Van Alen ended his career as professor of sculpture at the nearby Beaux-Arts Institute of Design and died in 1954. According to author Neal Bascomb, "The Chrysler Building was his greatest accomplishment, and the one that guaranteed his obscurity."
The Chrysler Building's distinction as the world's tallest building was short-lived. John Raskob realized the 1,050-foot Empire State Building would only be 4 feet (1.2 m) taller than the Chrysler Building, and Raskob was afraid that Walter Chrysler might try to "pull a trick like hiding a rod in the spire and then sticking it up at the last minute." Another revision brought the Empire State Building's roof to 1,250 feet (380 m), making it the tallest building in the world by far when it opened on May 1, 1931. However, the Chrysler Building is still the world's tallest steel-supported brick building. The Chrysler Building fared better commercially than the Empire State Building did: by 1935, the Chrysler had already rented 70 percent of its floor area. By contrast, Empire State had only leased 23 percent of its space and was popularly derided as the "Empty State Building".
Impact
Reception
The completed Chrysler Building garnered mixed reviews in the press. Van Alen was hailed as the "Doctor of Altitude" by Architect magazine, while architect Kenneth Murchison called Van Alen the "Ziegfeld of his profession", comparing him to popular Broadway producer Florenz Ziegfeld Jr. The building was praised for being "an expression of the intense activity and vibrant life of our day", and for "teem[ing] with the spirit of modernism, ... the epitome of modern business life, stand[ing] for progress in architecture and in modern building methods." An anonymous critic wrote in Architectural Forum's October 1930 issue: "The Chrysler...stands by itself, something apart and alone. It is simply the realization, the fulfillment in metal and masonry, of a one-man dream, a dream of such ambitions and such magnitude as to defy the comprehension and the criticism of ordinary men or by ordinary standards."
The journalist George S. Chappell called the Chrysler's design "distinctly a stunt design, evolved to make the man in the street look up". Douglas Haskell stated that the building "embodies no compelling, organic idea", and alleged that Van Alen had abandoned "some of his best innovations in behalf of stunts and new 'effects'". Others compared the Chrysler Building to "an upended swordfish", or claimed it had a "Little Nemo"-like design. Lewis Mumford, a supporter of the International Style and one of the foremost architectural critics of the United States at the time, despised the building for its "inane romanticism, meaningless voluptuousness, [and] void symbolism". The public also had mixed reviews of the Chrysler Building, as Murchison wrote: "Some think it's a freak; some think it's a stunt."
Later reviews were more positive. Architect Robert A. M. Stern wrote that the Chrysler Building was "the most extreme example of the [1920s and 1930s] period's stylistic experimentation", as contrasted with 40 Wall Street and its "thin" detailing. George H. Douglas wrote in 2004 that the Chrysler Building "remains one of the most appealing and awe-inspiring of skyscrapers". Architect Le Corbusier called the building "hot jazz in stone and steel". Architectural critic Ada Louise Huxtable stated that the building had "a wonderful, decorative, evocative aesthetic", while Paul Goldberger noted the "compressed, intense energy" of the lobby, the "magnificent" elevators, and the "magical" view from the crown. Anthony W. Robins said the Chrysler Building was "one-of-a-kind, staggering, romantic, soaring, the embodiment of 1920s skyscraper pizzazz, the great symbol of Art Deco New York".
The LPC said that the tower "embodies the romantic essence of the New York City skyscraper". Pauline Frommer, in the travel guide Frommer's, gave the building an "exceptional" recommendation, saying: "In the Chrysler Building we see the roaring-twenties version of what Alan Greenspan called 'irrational exuberance'—a last burst of corporate headquarter building before stocks succumbed to the thudding crash of 1929."
As icon
The Chrysler Building appears in several films set in New York and is widely considered one of the most positively acclaimed buildings in the city. A 1996 survey of New York architects revealed it as their favorite, and The New York Times described it in 2005 as "the single most important emblem of architectural imagery on the New York skyline". In mid-2005, the Skyscraper Museum in Lower Manhattan asked 100 architects, builders, critics, engineers, historians, and scholars, among others, to choose their 10 favorites among 25 of the city's towers. The Chrysler Building came in first place, with 90 respondents placing it on their ballots. In 2007, the building ranked ninth among 150 buildings in the AIA's List of America's Favorite Architecture.
The Chrysler Building is widely heralded as an Art Deco icon. Fodor's New York City 2010 described the building as being "one of the great art deco masterpieces" which "wins many a New Yorker's vote for the city's most iconic and beloved skyscraper". Frommer's states that the Chrysler was "one of the most impressive Art Deco buildings ever constructed". Insight Guides' 2016 edition maintains that the Chrysler Building is considered among the city's "most beautiful" buildings. Its distinctive profile has inspired similar skyscrapers worldwide, including One Liberty Place in Philadelphia, Two Prudential Plaza in Chicago, and the Al Kazim Towers in Dubai. In addition, the New York-New York Hotel and Casino in Paradise, Nevada, contains the "Chrysler Tower", a replica of the Chrysler Building measuring 35 or 40 stories tall. A portion of the hotel's interior was also designed to resemble the Chrysler Building's interior.
In media
While seen in many films, the Chrysler Building almost never appears as a main setting in them, prompting architect and author James Sanders to quip it should win "the Award for Best Supporting Skyscraper". The building was supposed to be featured in the 1933 film King Kong, but only makes a cameo at the end thanks to its producers opting for the Empire State Building in a central role. The Chrysler Building notably appears in the background of The Wiz (1978); as the setting of much of Q - The Winged Serpent (1982); in the initial credits of The Shadow of the Witness (1987); and during or after apocalyptic events in Independence Day (1996), Armageddon (1998), Deep Impact (1998), Godzilla (1998), and A.I. Artificial Intelligence (2001). The building also appears in other films, such as Spider-Man (2002), Fantastic Four: Rise of the Silver Surfer (2007), Two Weeks Notice (2002), The Sorcerer's Apprentice (2010), The Avengers (2012) and Men in Black 3 (2012). The building is mentioned in the number "It's the Hard Knock Life" for the musical Annie, and it is the setting for the post-game content in the Squaresoft video game Parasite Eve.
The Chrysler Building is frequently a subject of photographs. In December 1929, Walter Chrysler hired Margaret Bourke-White to take publicity images from a scaffold 400 feet (120 m) high. She was deeply inspired by the new structure and especially smitten by the massive eagle's-head figures projecting off the building. In her autobiography, Portrait of Myself, Bourke-White wrote, "On the sixty-first floor, the workmen started building some curious structures which overhung 42nd Street and Lexington Avenue below. When I learned these were to be gargoyles à la Notre Dame, but made of stainless steel as more suitable for the twentieth century, I decided that here would be my new studio. There was no place in the world that I would accept as a substitute."
According to one account, Bourke-White wanted to live in the building for the duration of the photo shoot, but the only person able to do so was the janitor, so she was instead relegated to co-leasing a studio with Time Inc. In 1930, several of her photographs were used in a special report on skyscrapers in the then-new Fortune magazine. Bourke-White worked in a 61st-floor studio designed by John Vassos until she was evicted in 1934. In 1934, Bourke-White's partner Oscar Graubner took a famous photo called "Margaret Bourke-White atop the Chrysler Building", which depicts her taking a photo of the city's skyline while sitting on one of the 61st-floor eagle ornaments. On October 5, 1998, Christie's auctioned the photograph for $96,000. In addition, during a January 1931 dance organized by the Society of Beaux-Arts, six architects, including Van Alen, were photographed while wearing costumes resembling the buildings that each architect designed.
(Wikipedia)
Das Chrysler Building ist ein 1930 fertiggestellter Wolkenkratzer im Stil des Art déco in Manhattan in New York City und zählt zu den Wahrzeichen der Metropole.
Der Büroturm befindet sich im Viertel Turtle Bay an der Lexington Avenue, Ecke 42nd Street in Midtown Manhattan. Er steht auf einem Grundstück der privaten Hochschule Cooper Union, hat die Adresse „405 Lexington Avenue“ und ist nur einen Block vom Grand Central Terminal entfernt. Schräg gegenüber steht mit dem Chanin Building ein weiterer bekannter Wolkenkratzer im Art-déco-Stil.
Das Chrysler Building ist 318,8 Meter (1046 Fuß) hoch und damit zusammen mit dem 2007 erbauten New York Times Tower auf Rang 13 der höchsten Gebäude in New York City. Unter den höchsten Gebäuden der Vereinigten Staaten nehmen beide Gebäude den 21. Rang ein (jeweils Stand 2023). Auftraggeber war Walter Percy Chrysler, der es ursprünglich für die Chrysler Corporation zwischen 1928 und 1930 bauen ließ. Für die Planung des Wolkenkratzers im Art-déco-Stil war der Architekt William Van Alen verantwortlich. Das Gebäude zählt zu den schönsten Wolkenkratzern jener Epoche.
Geschichte
Entstehungsbedingungen
Das Chrysler Building im Stadtkontext, gesehen vom Empire State Building aus. Weiter rechts der Trump World Tower
Paradoxerweise entstanden viele Wolkenkratzer in der Zeit der Weltwirtschaftskrise. Das liegt zum einen an der Hochphase vor der Krise: Das Bruttosozialprodukt der USA war nach dem Ersten Weltkrieg innerhalb von acht Jahren um 50 % gestiegen, und dieser Konjunktursprung führte zu zahlreichen Neubauten und Planungen von Geschäftshäusern. Zum anderen kamen den Bauherren bei der anschließenden Ausführung während der Krise die radikal gesunkenen Arbeitslöhne nach dem Börsencrash 1929 zugute. Sie konnten für das gleiche Geld wesentlich mehr Arbeiter einstellen als geplant. Die Macht der Gewerkschaften war gebrochen, die Arbeitslöhne waren niedrig, Arbeiter standen in Massen zur Verfügung. Ein Gebäude dieses Ausmaßes hätte unter normalen Verhältnissen in dieser kurzen Bauzeit nicht errichtet werden können. Pro Woche wurden durchschnittlich vier Stockwerke errichtet, für die damaligen Verhältnisse ein Rekord. (Ähnliche Effekte konnte man auch später beobachten: Das höchste Gebäude der Welt, der Burj Khalifa in Dubai, wurde 2010, in der Zeit der Finanzkrise, fertig. Geplant wurde er jedoch vor dem Wirtschaftsabschwung.)
Baugeschichte
Obwohl das Gebäude speziell für den Autohersteller Chrysler konstruiert und gebaut wurde, bezahlte die Firma weder für den Bau, noch besaß sie es jemals. Walter P. Chrysler hatte entschieden, privat dafür aufzukommen, um es an seine Kinder weitergeben zu können.
Die Grundsteinlegung für das Gebäude fand am 19. September 1928 statt. Am 27. Mai 1930 wurde es feierlich eingeweiht. Mit 319 Metern war es bei der Eröffnung das höchste Gebäude der Welt und auch das erste, das die 1000-Fuß-Marke (305 Meter) durchbrach. Bis zum Dach misst es 282 Meter; da die Metallspitze aber zur Grundstruktur des Gebäudes gehört, wird sie zur offiziellen Höhe mitgezählt.
Während der Erbauung hatte es bis in die letzten Tage einen Wettlauf mit dem Turm der Bank of Manhattan (heute 40 Wall Street oder The Trump Building) gegeben, den das Chrysler Building für sich entschied. Der Architekt William Van Alen hatte 1930 die 56 Meter hohe Spitze bis zum letzten Moment geheim gehalten, damit der Konkurrent, die Bank of Manhattan, deren Gebäude gerade 283 Meter Höhe erreicht hatte, nicht mehr reagieren konnte. Die einzelnen Bestandteile dieser Metallspitze waren im Heizungsschacht des Gebäudes zunächst gelagert und vormontiert worden. Dann wurden die riesigen Stahlplatten heimlich auf das 65. Geschoss gebracht, dort zusammengeschraubt und anschließend in einem Stück mit einem Drehkran auf das Gebäude aufgesetzt, das damit 319 Meter Höhe erreichte und die Konkurrenz deutlich übertrumpfte. Dieses Unterfangen dauerte weniger als 1½ Stunden. Dieser Stahlaufbau, genannt „Vortex“ (lat. Wirbel, Drehung), dient lediglich als Dekoration, wiegt 30 Tonnen und ist ein Beispiel des Art déco.
Allerdings blieb das Chrysler Building nur kurz das höchste Gebäude der Welt. 1931 wurde in Midtown Manhattan das Empire State Building mit einer Höhe von 381 Metern fertiggestellt und war damit deutlich höher als alle anderen Gebäude. Bis zum Jahr 1969 blieb das Chrysler Building jedoch der zweithöchste Wolkenkratzer der Welt und gehörte noch bis in die späten 1990er Jahre zu den „Top Ten“ der weltweit höchsten Gebäude.
Spätere Entwicklung
Im 67. Stockwerk befand sich eine besonders während der Prohibition bekannte Restaurant-Bar, der so genannte Cloud Club, in der ehemaligen ‚Wohnung‘ des Firmengründers Walter P. Chrysler.
Lediglich die Lobby des Chrysler Building ist der Öffentlichkeit zur Besichtigung zugänglich (inkl. eigenem Subway-Zugang, jedoch nur werktags). Um zu den noch im Stil des Art déco gehaltenen Aufzügen zu gelangen, braucht man einen speziellen Ausweis oder einen Termin bei einer der dort ansässigen Firmen.
Nach dem Tod von Walter P. Chrysler 1940 kam das Gebäude zur W.P Chrysler Building Corporation, die es zusammen mit der Erbenfamilie 1953 für 18 Millionen US-Dollar an den Immobilienmakler William Zeckendorf verkaufte. 1960 erwarben die Immobilieninvestoren Sol Goldman und Alex DiLorenzo mittels Finanzierung durch die Massachusetts Mutual Life Insurance Company (MassMutual) das Gebäude. Die wiederum übernahm 1975 die Anteile für 35 Millionen US-Dollar. Im Dezember 1976 wurde das Hochhaus zur National Historic Landmark erklärt.
Bis 1979 wurde das Gebäude für rund 23 Millionen US-Dollar komplett renoviert. Im September 1979 wurde es von Jack Kent Cooke übernommen. Nach dem Tod von Cooke 1997 übernahm das Immobilienunternehmen Tishman Speyer Properties zusammen mit The Travelers Companies, Inc. (ab 1998 Teil der Citigroup) das Gebäude für eine geschätzte Summe von 210 bis 250 Millionen US-Dollar (187 bis 223 Millionen Euro). Im März 2001 übernahm die deutsche Investmentgesellschaft TMW Immobilien AG[5] aus München über ihre US-amerikanische Tochter für rund 390 Millionen US-Dollar rund 75 Prozent des Gebäudes. Zu den größten Anteilseignern der TMW gehörten der Ergo Trust der Ergo Group, die Provinzial Versicherung sowie drei deutsche Privatbanken.
Zwischen Herbst 2001 und Juli 2008 befand sich das Gebäude im Besitz der zur Ergo Group gehörenden GVP Gesellschaft für Vertriebs- und Produktmanagement AG (heute Ideenkapital Financial Service AG) aus Düsseldorf, die hierfür einen geschlossenen Immobilienfonds (ProVictor) auflegte. Sie verkaufte das Gebäude zu einem Anteil von 90 Prozent am 9. Juli 2008 an den Staatsfonds Abu Dhabi Investment Council (Mubadala) für 800 Millionen US-Dollar (713 Millionen Euro).
Reuters-Informationen zufolge wurde im März 2019 das sanierungsbedürftige Chrysler Building für lediglich 150 Millionen US-Dollar an ein Unternehmen verkauft, das je zur Hälfte der österreichischen Signa Holding und dem amerikanisch-deutschen Unternehmen RFR Group der deutschstämmigen Immobilieninvestoren Aby Rosen und Michael Fuchs gehört.[1] Weiteren Medienberichten zur Folge waren der Grund für den extrem niedrigen Verkaufspreis des Chrysler Gebäudes an das Gemeinschaftsunternehmen von Signa und RFR der bevorstehende extrem hohe Bodenpachtanstieg von 7,75 Millionen Dollar im Jahr 2018 auf 31,5 Millionen US-Dollar im Jahr 2023. Bis 2028 soll die Pacht weiter auf 41 Millionen US-Dollar steigen und 2029 auf 67 Millionen US-Dollar. Eigentümer des Bodengrundes unter dem Gebäude ist seit 1902 die Cooper Union, die wiederum – als eine Stiftung – die Pacht steuerfrei einnimmt.
Nutzer des Gebäudes
Die Chrysler Corporation bezog das Gebäude 1930 als dessen Ankermieter und nutzte die Räumlichkeiten bis in die 1950er Jahre als Abteilungshauptquartier. Weitere Mieter der ersten Stunde waren Time und Texaco. Weil Time Bedarf an mehr Büroräumen hatte, zog es 1937 ins Rockefeller Center um. Texaco zog 1967 nach Purchase, New York, weil das Unternehmen die Arbeitsplätze in eine Vorortumgebung verlegen wollte.
Zu den Nutzern des Gebäudes in der Gegenwart gehören: Regus, Creative Artists Agency, Blank Rome, Clyde & Co, InterMedia Partners, Troutman Sanders Reprieve und YES Network.
Baustil
Das Gebäude wurde im Stil des Art déco errichtet. Am Gebäude finden sich Zierelemente aus rostfreiem Stahl, die an Wasserspeier (Gargoylen) erinnern, Flügelhelm-artige Figuren, die den Chrysler-Kühlerfiguren von 1926 nachempfunden sind,[23] und Adlerköpfe – das Wappentier der Vereinigten Staaten. Außerdem wurden am 31. Stockwerk Zierelemente in Form von Chrysler-Motorhauben und Kachelfriese in Form von Chrysler-Radkappen als Zierrat an der Fassade verwendet. Auch die Kuppel des Gebäudes ist aus nichtrostendem Stahl gefertigt.[2] Die Spitze bildet eine sich pyramidenhaft verjüngende Turmkrone aus Kacheln und Nickeltafeln, aus der eine 27 Tonnen schwere Nickelstahlnadel ragt.[24]
Die für die New Yorker Skyline so unverwechselbare Beleuchtung kommt durch unscheinbare Leuchtstofflampen zustande, die an den Fensterrahmen angebracht sind. Die Fenster sind als Schiebefenster gestaltet und lassen sich in allen Etagen öffnen.
Höhe
Bei seiner Fertigstellung im Jahr 1930 war das Chrysler Building mit 319 Metern Höhe das höchste Gebäude der Erde und übertraf das 283 Meter hohe Bank of Manhattan Company Building (heute 40 Wall Street). Auch überrundete es als erstes Bauwerk den Eiffelturm, der aufgrund kaum vorhandener Nutzflächen nicht als Gebäude, sondern lediglich als Bauwerk gewertet wird. Doch schon ein Jahr nach der Fertigstellung, im Mai 1931, wurde es vom Empire State Building um 62 Meter (381 Meter hoch) überholt. Fortan war es noch bis zur Fertigstellung des 344 Meter hohen John Hancock Center in Chicago im Jahr 1969 das zweithöchste Gebäude der Welt.
Innerhalb New Yorks wurde es 1972 und 1973 durch die Türme des World Trade Center (417 Meter und 415 Meter) erneut übertroffen. Nach deren Zerstörung 2001 wurde es zeitweise wieder zum zweithöchsten Gebäude New York Citys, bis 2009 der 366 Meter hohe Bank of America Tower fertig wurde (bereits 2007 erreichte der New York Times Tower dieselbe Höhe wie das Chrysler Building). Seit 2014 ist auch das Gebäude 432 Park Avenue höher. Inzwischen rangiert das Chrysler Building zusammen mit dem New York Times Tower nur noch auf Platz zwölf der höchsten Gebäude in New York. Unter Berücksichtigung seiner 2003 fertiggestellten Antenne ist auch das Conde Nast Building höher als das Chrysler Building. Seitdem der Eiffelturm über eine Fernseh- und Funkturmantenne verfügt, ist auch dieser wieder höher als das Chrysler Building (aktuell misst der Eiffelturm 330 Meter).
Ähnliche Gebäude
Im Laufe der Zeit sind in den USA, wie auch weltweit, eine Reihe von Wolkenkratzern entstanden, bei denen man sich in der Planung und Konzeption am Chrysler Building orientierte. Dies gilt insbesondere für die Spitze des Gebäudes. Besonders bekannt sind diesbezüglich Bauten wie der One Liberty Place in Philadelphia oder die Al Kazim Towers in Dubai, die jedoch beide niedriger als das Chrysler Building sind. Das New York-New York Hotel & Casino in Las Vegas zitiert unter anderem auch das Chrysler Building.
Schutzausweisung
Das Gebäude kam 1976 als National Historic Landmark ins National Register of Historic Places und wurde 1978 von der Landmarks Preservation Commission als New York City Landmark ausgewiesen.
Daten
Etagen: 77
Höhe: 318,92 m
Höhe Dach: 282 m
Höchstes Stockwerk: 274 m
Höchste Aussichtsetage: 238,66 m
Fenster: 3.750
Stahl: 21.000 t
Ziegelsteine: 4.000.000
Wasserrohre: 50 km
Elektrokabel: 1000 km
(Wikipedia)
Reuters Plaza
Canary Wharf is an area of London, England, located near the Isle of Dogs in the London Borough of Tower Hamlets. Canary Wharf is defined by the Greater London Authority as being part of London's central business district, alongside Central London. Alongside the City of London, it constitutes one of the main financial centres in the United Kingdom and the world, containing many high-rise buildings including the third-tallest in the UK, One Canada Square, which opened on 26 August 1991.
Developed on the site of the former West India Docks in East London, Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space. It has many open areas and gardens, including Canada Square, Cabot Square, Westferry Circus, Jubilee Park, and Crossrail Place Roof Garden. Together with Heron Quays and Wood Wharf, it forms the Canary Wharf Estate, around 97 acres (39 ha) in area.
History
Canary Wharf is located on the West India Docks on the Isle of Dogs. As journalist José Luis Jiménez explains, the name of this location stems from its use during World War II as a storage area for agricultural exports—primarily tomatoes, cucumbers, and bananas—from the Canary Islands. Its remote position, far from the city center, even included the Canarian Docks on its outskirts.
West India Dock Company
From 1802 to the late 1980s, what would become the Canary Wharf Estate was a part of the Isle of Dogs (Millwall), Limehouse, and Poplar and was one of the busiest docks in the world. West India Docks was primarily developed by Robert Milligan (c. 1746–1809) who set up the West India Dock Company.
Port of London Authority
The Port of London Authority was established in 1909 and took control of West India Dock. The enterprise of Sir Alfred Lewis Jones, a Welsh shipping magnate who was a prominent figure in the Canary Islands, Spain, led to a constant stream of ships arriving into London's South Quay Dock and the naming of Canary Wharf, after the ships' origin. It was named after No. 32 berth of the West Wood Quay of the Import Dock. This was built in 1936 for Fruit Lines Ltd, a subsidiary of Fred Olsen Lines for the Mediterranean and Canary Islands fruit trade. It is located on the Isle of Dogs, the quay and warehouse were given the name Canary Wharf.
London Docklands Development Corporation
After the 1960s, when cargo became containerised, port industry began to decline, leading to all the docks being closed by 1980. After the docks closed in 1980, the British Government adopted policies to stimulate redevelopment of the area, including the creation of the London Docklands Development Corporation (LDDC) in 1981 and the granting of Urban Enterprise Zone status to the Isle of Dogs in 1982.
The Canary Wharf of today began when Michael von Clemm, former chairman of Credit Suisse First Boston (CSFB), came up with the idea to convert Canary Wharf into a back office. Further discussions with G Ware Travelstead led to proposals for a new business district and included the LDDC developing an inexpensive light metro scheme, the Docklands Light Railway, to make use of a large amount of redundant railway infrastructure and to improve access.
The project was sold to the Canadian company Olympia & York and construction began in 1988, master-planned by Skidmore, Owings & Merrill with Yorke Rosenberg Mardall as their UK advisors, and subsequently by Koetter Kim. The first buildings were completed in 1991, including One Canada Square, which became the UK's tallest building at the time and a symbol of the regeneration of Docklands. By the time it opened, the London commercial property market had collapsed, and Olympia and York Canary Wharf Limited filed for bankruptcy in May 1992.
Initially, the City of London saw Canary Wharf as an existential threat. It modified its planning laws to expand the provision of new offices in the City of London, for example, creating offices above railway stations (Blackfriars) and roads (Alban Gate). The resulting oversupply of office space contributed to the failure of the Canary Wharf project.
Canary Wharf Group
In October 1995, an international consortium that included investors such as Alwaleed, bought control for $1.2 billion. Paul Reichmann, of Olympia & York, was named chairman, and Canary Wharf went public in 1999. The new company was called Canary Wharf Limited, and later became Canary Wharf Group.
In 1997, some residents living on the Isle of Dogs launched a lawsuit against Canary Wharf Ltd for private nuisance because the tower interfered with TV signals. The residents lost the case.
Recovery in the property market generally, coupled with continuing demand for large floorplate Grade A office space, slowly improved the level of interest. A critical event in the recovery was the much-delayed start of work on the Jubilee Line Extension, which the government wanted ready for the Millennium celebrations.
In March 2004, Canary Wharf Group plc. was taken over by a consortium of investors, backed by its largest shareholder Glick Family Investments and led by Morgan Stanley using a vehicle named Songbird Estates plc.
Corporations and agencies
Canary Wharf contains around 16,000,000 sq ft (1,500,000 m2) of office and retail space, of which around 7,900,000 sq ft (730,000 m2) (about 49%) is owned by Canary Wharf Group. Around 105,000 people work in Canary Wharf,[95] and it is home to the world or European headquarters of numerous major banks, professional services firms, and media organisations, including Barclays, Citigroup, Clifford Chance, Credit Suisse, Ernst & Young, Fitch Ratings, HSBC, Infosys, JPMorgan Chase, KPMG, MetLife, Moody's, Morgan Stanley, Royal Bank of Canada, Deutsche Bank, S&P Global, Skadden, Arps, Slate, Meagher & Flom, State Street, The Economist Group and Thomson Reuters. Until 2018, Canary Wharf also hosted two European Union agencies, European Medicines Agency and European Banking Authority, that moved to Amsterdam and Paris respectively due to Brexit.
Leisure
Marina
West India Quays and Poplar Dock are two marinas that are used as moorings for barges and private leisure river craft and is owned by the Canal & River Trust.
Library
A local public library, called Idea Store Canary Wharf, is in Churchill Place shopping mall and run by Tower Hamlets Council which opened on Thursday 16 March 2006 as part of the Idea Store project and is the borough fourth Idea Store.
Cinema
Canary Wharf hosts two multiplexes (cinemas), one on West India Quay run by Cineworld. and another at Crossrail Place called Everyman Cinema.
Go Karting
An over 800m long electric karting facility exists within Cabot Square. The facility can accommodate up to 20 drivers at a single time. Karts can reach speeds of up to 45 mph.
Squares and public areas
Canada Square
Canada Square is one of the central squares at Canary Wharf. It is a large open space with grass, except during the winter when it is converted into an ice rink. The square is named after Canada, because the original developers of modern Canary Wharf, Olympia & York, wanted to reflect their heritage. Underneath the square is Canada Place shopping mall.
Westferry Circus
Westferry Circus is on the west side of Canary Wharf. It is a garden at ground level, and below is a roundabout allowing traffic to flow through. The garden is enclosed by bespoke hand-crafted ornamental railings and entrance gates by artist Giuseppe Lund. The area has a long history, dating back to 1812, when the Poplar and Greenwich Roads Company operated a horse ferry between Greenwich and the Isle of Dogs. It operated on the West Ferry and East Ferry Roads, which the names survived. Westferry Circus was chosen as the name for the roundabout and park by virtue of its proximity to Westferry Road.
Cabot Square
Cabot Square is one of the biggest squares at Canary Wharf, with a large fountain at the centre. The inner perimeter has additional fountains covered by trees. The square has large circular glass ventilation holes to allow gases to escape from the underground car park. The square is named after John Cabot and his son Sebastian, who were Italian explorers who settled in England in 1484.
Churchill Place
Churchill Place is an area on the east side of Canary Wharf. It is named after Winston Churchill.
Columbus Courtyard
A small square on the west side of Canary Wharf named after Christopher Columbus. The first phase of Canary Wharf was completed in 1992, 500 years after Columbus arrived in America.
Chancellor Passage
A passageway south of Cabot Square. Named after Richard Chancellor who sailed with Sir John Willoughby from Greenwich on their voyage through the White Sea to Moscow.
Wren Landing
Small area north of Cabot Square. Leads to North Dock footbridge towards Port East. Named after British architect Christopher Wren.
Montgomery Square
Located at the east end of Jubilee Park, Montgomery Square is an outdoor location for socialising. Events include street food markets, beach volleyball tournaments, padel tennis competition, and minigolf.
Parks and green spaces
Canary Wharf Group is enthusiastic about adding more green spaces and gardens to the dense urban environment. A total of 20 acres of landscaped parks, gardens and verdant squares complete with 1,000 trees, 4,000 shrubs and 70,000 seasonal plants are added each year.[110] Visitors are welcome to explore these parks and green spaces, which are ideal places for relaxation, social gatherings, performances, viewing outdoor public art, as well as hosting outdoor events and festivities.
Jubilee Park
Jubilee Park is a 10,000m² roof garden located above Jubilee Place, a shopping mall, and Canary Wharf Jubilee Station, an underground railway station. The park, opened in 2002 and was named in honour of the Golden Jubilee of Elizabeth II. Jubilee Park is located in the financial district of Canary Wharf. The park's central feature is a raised serpentine water channel with rough stone walls. The curvilinear design of the water channel is intended to contrast to the scale and straightness of the surrounding buildings. In 2023, Jubilee Park won the Green Flag Award, recognising Jubilee Park as one of the United Kingdom's best parks
Crossrail Place Roof Garden
A 4,160 m2 (44,800 sq ft) roof garden, one of London's largest, houses on the top of seven-storey Crossrail Place structure, which contains the Elizabeth line Canary Wharf station. Opened to public in 2015, it lies almost exactly on the Meridian line splitting eastern and western hemispheres. The plants originating from the eastern hemisphere are planted to the East of the Meridian line in the garden, with those from the Western hemisphere on the opposite side. The design and development of Crossrail Place Roof Garden was honored by winning numerous prestigious international and United Kingdom awards. Selected notable awards include: "Best Urban Regeneration Project" at 2016 MIPIM awards in France, the first prize for the best "Innovative Design of a Contemporary Garden" at the 2017 European Garden Awards in Berlin, and a Highly Commended accolade at the 2016 Landscape Institute Awards in the category 'Design for a Small-Scale Development'.
Harbour Quay Garden
A newly opened garden, located at the strand of Wood Wharf, features a boardwalk for waterside wandering. The garden also offers family-friendly picnic spots and outdoor fitness equipment on the green lawn, where visitors can relax, view outdoor public art, and watch the water. Just around the corner, it has access to a new garden square, Harbord Square Park.
Harbord Square Park
Harbord Square Park, the newest garden square in Wood Wharf, continues the great London tradition of garden squares. It is open 24/7 and offers green space available for mindfulness activities and to support nearby residents' general wellbeing.
Eden Dock
In Oct 2024, in partnership with the Eden Project, the Canary Wharf group opened Eden dock. The waterfront green space can be accessed via Jubilee Plaza or Mackenzie Walk. It includes floating islands which are designed to encourage biodiversity.
Shopping malls
Canary Wharf shopping centre, ranked as one of the best in London, has five interconnected shopping malls: Canada Place, Cabot Place, Jubilee Place, Crossrail Place, and Churchill Place. The malls provide over 102,193 m2 (1,100,000 sq ft) of retail space, more than 310 shops from beauty, fashion, lifestyle, luxurious brands, health, and homeware, as well as 70 cafés, bars, and restaurants, eight grocery stores, five health clubs and a cinema. There are also numerous bars, restaurants, and food halls at street level, alongside plenty of outdoor seating enabling visitors to see the stunning wharf and riverside views.
Museums and archives
Opened in a Grade I listed Georgian warehouse by Queen Elizabeth II in June 2003, the Museum of London Docklands is one of the main attractions in the area. It is dedicated to the history of London's river, port, and people from Roman settlement to the present day. The museum offers a range of activities for children and families, including interactive displays and immersive activities.
Pokémon Go
Canary Wharf has been reported since 2017 as part of the Pokémon Go augmented reality game to being the home for the most wanted Pokémon gyms in London including Canary Wharf DLR station and Montgomery Square.
Canary Wharf Group published an official Pokémon map for PokéStops and Pokémon Gyms, the managing director for retail Camille Waxer said in 2016 that Pokémon Go has serious potential to attract new audiences to the area, particularly food and drink outlets which saw an increase in foot traffic.
(Wikipedia)
Canary Wharf (dt. „Kanaren-Kai“) ist ein Bürogebäudekomplex auf der Isle of Dogs im Londoner Stadtbezirk Tower Hamlets. Er befindet sich im Herzen der Docklands, dem ehemaligen Hafengebiet der britischen Hauptstadt. Canary Wharf steht in Konkurrenz zum historisch gewachsenen Finanzzentrum in der City of London. Hier stehen drei der höchsten Gebäude des Vereinigten Königreichs, One Canada Square, HSBC Tower und Citigroup Centre.
Wirtschaftszentrum
Zu den Unternehmen, die sich in Canary Wharf niedergelassen haben, gehören Finanzinstitute wie Credit Suisse, HSBC, Citigroup, Morgan Stanley, Bank of America und Barclays. Auch bedeutende Medienunternehmen haben hier ihre Hauptsitze, darunter The Daily Telegraph, The Independent, Thomson Reuters und der Daily Mirror. Ebenfalls hier vertreten sind der Europa-Hauptsitz von Texaco, der Hauptsitz von Clifford Chance, eine der weltweit größten Anwaltssozietäten, sowie das Wirtschaftsprüfungsunternehmen KPMG. Bis zum Brexit war hier auch der Sitz der Europäischen Bankenaufsichtsbehörde (EBA).
Zu Beginn des Jahres betrug die offizielle Zahl der hier arbeitenden Angestellten 78.000, wovon 25 Prozent in den fünf umliegenden Stadtbezirken leben. Canary Wharf entwickelt sich auch immer mehr zu einem teuren und exklusiven Einkaufsviertel, insbesondere nach der Eröffnung des Jubilee-Place-Einkaufszentrums im Jahr 2004. Es gibt über 200 Läden mit mehr als 4.500 Verkaufsangestellten. Jede Woche gehen rund 500.000 Personen hierhin zum Einkaufen.
Canary Wharf verfügt über eine ausgezeichnete Anbindung an das Netz des öffentlichen Nahverkehrs. Seit 1991 hält an der Station Canary Wharf (DLR) die vollautomatische Stadtbahn Docklands Light Railway. 1999 wurde die Jubilee Line der London Underground eröffnet, die in der gleichnamigen, aber räumlich getrennten Station Canary Wharf (London Underground) hält, und 2022 wurde der Verkehr auf der neuen Elizabeth Line (Crossrail) aufgenommen. Der Flughafen London City liegt nur ein paar Kilometer östlich und kann mit regelmäßig verkehrenden Bussen, Taxis und mit der DLR in unter 15 Minuten erreicht werden. Vom Canary Wharf Pier aus stellen Schiffe auf der Themse weitere Verbindungen in Richtung Innenstadt her; die Thames Clippers verkehren unter der Woche alle 20 Minuten.
Geschichte
Canary Wharf war einst der Standort von Lagerhäusern inmitten der Docks. Der Name leitet sich ab vom Seehandel mit den Kanarischen Inseln, der von hier aus abgewickelt wurde. Während des 19. Jahrhunderts lagen hier die West India Docks, einer der verkehrsreichsten Häfen der Welt. In den 1960er Jahren setzte der Verfall der Hafen- und Industrieanlagen ein. Nachdem im Jahr 1980 das letzte Dock geschlossen worden war, beschloss die britische Regierung im Jahr 1981 ein Programm, mit dem ein 21 km² großes Gebiet neu belebt werden sollte. Um das Projekt zu koordinieren, wurde die Entwicklungsgesellschaft „London Docklands Development Corporation“ gegründet. In den ersten Jahren ließen sich hier Betriebe der Leichtindustrie nieder, der größte Mieter in Canary Wharf war ein TV-Produktionsstudio.
1984 besuchte Michael von Clemm, der Vorsitzende der Investmentbank Credit Suisse, im Auftrag eines Kunden die Docklands, um nach einem Standort für einen Lebensmittelverarbeitungsbetrieb Ausschau zu halten. Er war sich auch bewusst, dass die Büros der Bank in der City of London zu klein waren, vor allem im Hinblick auf die bevorstehende Deregulierung der Finanzmärkte im Jahr 1986. Von Clemm hatte die Idee, das Gebiet für Bürobauten zu nutzen. Allerdings war eine kritische Masse notwendig, um das ganze Vorhaben überhaupt rentabel werden zu lassen. Entsprechende Pläne wurden zusammen mit dem Unternehmen Morgan Stanley präsentiert, später allerdings wieder zu den Akten gelegt. Als 1987 die Docklands Light Railway eröffnet wurde, hatte man in Canary Wharf keine Station errichtet, da man nicht mit einer Entwicklung des Gebiets rechnete.
1988 übernahm das vom Immobilienunternehmer Paul Reichmann geleitete kanadische Unternehmen Olympia and York (O&Y) das Projekt und brachte es zur Baureife. Die Bauarbeiten begannen im selben Jahr, die erste Phase war 1992 abgeschlossen. O&Y, das auch das World Financial Center in New York gebaut hatte, verpflichtete sich, die Hälfte der Kosten für die geplante Verlängerung der Jubilee Line zu übernehmen. Zu Beginn der 1990er Jahre brach der weltweite Immobilienmarkt ein. Die Nachfrage nach Büroräumlichkeiten ging stark zurück und O&Y ging 1992 bankrott. Die obere Hälfte des Wolkenkratzers One Canada Square blieb ohne Mieter, Canary Wharf wurde zum Symbol der Immobilienkrise.
Im Februar 1996 explodierte in der Nähe von Canary Wharf an der Station South Quay der DLR eine Autobombe der IRA. Zwei Menschen wurden getötet, 39 verletzt. Es entstand dabei ein Sachschaden von 85 Millionen Pfund.
Im Dezember 1995 kaufte ein internationales Konsortium unter Vorsitz von Paul Reichmann[3] das Gelände. Damals waren hier rund 13.000 Arbeitsplätze angesiedelt, doch noch immer stand über die Hälfte der vorhandenen Büroliegenschaften leer. Ein wichtiges Ereignis für die Wiederbelebung des Projekts Canary Wharf war der Baubeginn der Jubilee Line, der mehrmals verschoben worden war. Von da an betrachteten Unternehmen das Gebiet zunehmend als Alternative zu den traditionellen Geschäftszentren. Die zunehmende Nachfrage ermöglichte neben der Fertigstellung der zurückgestellten Bauabschnitte auch die Realisierung zusätzlicher Projekte. Im März 2004 wurde die Betriebsgesellschaft Canary Wharf Group plc durch das von Morgan Stanley angeführte Investorenkonsortium Songbird Estates übernommen. Im Jahr 2004 belegten 70 Prozent der Büroflächen in Canary Wharf Banken.
Im Jahr 2014 wurde die erste bauliche Erweiterung seit der Finanzkrise 2008 genehmigt. Das am östlichen Ende der Canary Wharf befindliche Projekt Wood Wharf umfasst eine Fläche von 4,9 Millionen Quadratfuß[7], worauf insgesamt 30 Gebäude entstehen sollen. Als Herzstück soll der vom Schweizer Architekturbüro Herzog & de Meuron entworfene, 211 Meter und 57 Stockwerke hohe zylinderförmige Wohnturm errichtet werden.
Stand 2020 ist die Canary Wharf Group im Besitz des katarischen Staatsfonds und der kanadischen Immobiliengesellschaft Brookfield Properties.
Im Zuge der COVID-19-Pandemie zu Beginn des 2020er Jahrzehnts verkleinerten auch die in Canary Wharf ansässigen Unternehmen ihre Bürofleichen und lagerten Arbeiten und Mitarbeiter ins Homeoffice aus. In den 2020er Jahren kündigten viele große Unternehmen (darunter die Großbank HSBC, Moody’s, Clifford Chance) an, aus Canary Wharf auszuziehen. Der Exodus führt dazu, dass viele Gebäude enorm an Wert verloren. Gleichzeitig siedelten sich vermehrt Bars, Restaurants, Clubs, Fitness- und Freizeitcenter und andere kleinere Unternehmen wie Start-Ups in Canary Wharf an. In Wood Wharf wurden und werden Stand 2024 Appartmentkomplexe für mehr als 7000 Menschen gebaut.
Vorkommen in der Popkultur
In der Serie Doctor Who befindet sich im Bürokomplex das fiktive Torchwood-Institut, das im Finale der zweiten Staffel im Kampf gegen die Daleks und Cybermen zerstört wird. Die Ereignisse nach dieser Schlacht werden im Spin Off Torchwood erzählt.
(Wikipedia)