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J8121, 1953 DENNIS TRITON 2 WITH READING BODY. FIRST TIME I HAVE EVER SEEN A PICTURE OF ONE OF THESE.
The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.
Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler). Director of the House since 2009, Matthias Hartmann.
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of ancient theater in Taormina in Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor), the London Globe Theatre and the final scene from William Shakespeare's " Romeo and Juliet" . Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. 8th May 1925 was the Burgtheater in Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza .
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-Semitic represented. The same director staged after the war Lessing 's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused out of fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned on 12th April 1945 it burned completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to bring Vienna 's cultural life as soon as possible again. The council called for 23 April (a state government did not yet exist), a meeting of all Viennese cultural workers into the town hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This Venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.
The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations of the 175th anniversary of the theater took place.
1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative, but also cost effective. The character of the lodges theater was largely taken into account and maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater, was appointed Director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel in the then politically separated East and took more account of the public taste .
Directorate Claus Peymann 1986-1999
Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals with the past and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard raised after the premiere to a challenge on the stage to applause and boos .
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann , to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his pieces precisely in his home not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the Schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.
In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.
Directorate Klaus Bachler 1999-2009
On Peymann followed in 1999 as director Klaus Bachler. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the Directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available only to visit )
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of it under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat ( December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg ) received the Nestroy Theatre Award for Best Actor for his role in this piece. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."
The Burgtheater to the Mozart Year 2006
Also the Mozart Year 2006 was thought at the Burgtheater. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.
Directorate Matthias Hartmann since 2009
Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over ", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the castle, the New York group Nature Theater of Oklahoma show their great episode drama live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
www.mariachiproductions.org/basel2012/index.php/tournamen...
After visiting the rice terraces, we were en route to Sagada, the Philippines. We stopped by at a small city called Bontoc to visit the small but charming Bontoc Museum. What I found the most enjoyable was the traditional houses of the Bontoc tribes on display on the grounds of the museum.
The Michigan Central Station in Detroit, Michigan is a sixteen-story Beaux Arts rail passenger station and office building.
The station was built between 1910 and 1913 for the Michigan Central Railroad. In 1968, it became known as Penn Central Station. The last train left the station in 1988 and has been abandoned since.
The station was added to the Michigan State Register of Historic Sites in 1974
and listed on the National Register of Historic Places in 1975 (NRHP No. 75000969 as the Penn Central Station).
One of many former Commonwealth Bank buildings dotted around Australia built in the house style of Art Deco / Moderne. This one was recently transformed into a Vet's practice.
The Grade II Listed Lincoln Central Railway Station, Lincoln, Lincolnshire. It is now the only station in Lincoln, following the closure of Lincoln St. Marks in 1985. However, it has retained its "Central" suffix, similar to Rotherham Central.
Lincolns Central, the city’s second station, was opened by the Great Northern Railway in 1848. It was designed by Architect John Taylor, and constructed by Contractors Samuel Morton Peto and Edward Ladd Betts, while the GNRs engineer was Joseph Cubitt.
The land appears from a Padleys 1842 map to have been a large paddock to the east of a house on the High Street which stretched back to Sincil Dyke.
The station buildings chief material is grey brick and the general style is mock Tudor. The main buildings are on the north side dominated by a square tower on the platform on the east of the buildings. The main entrance building is 2 storied and H shaped with gables facing the frontage with a modern canopy between.
On either side are 2 storied wings. On the west side are single storey parcel offices, the first with wide arched door and flanking windows, the next with gable and flat frontage, repeated. A feature of the station is the inclusion of many tall thin ornate chimney stacks.
On the north east of the station is an enclosed car park, with a boundary wall of yellow brick. At the east end of the station was a footbridge, dating from the 1880s, for crossing the tracks. It was cast iron with diamond lattice parapets. Each end rested on 4 cast iron circular columns rising from the platforms and was approached on its west side by 2 flights of steps separated by a flat platform section. The footway and steps were roughly cut wooden beams. The flights on each end sat on 2 pairs of cast iron columns and have iron handrails. At the ends of the west side of the bridge were decorated cast iron brackets. The span was also supported on 2 modern steel braced girder piers between the tracks.
This bridge was dismantled and replaced in 1999, with new lifts, partly reusing elements of the old bridge. There was also an earlier covered footbridge at the west end of the station built in 1869 surviving until the 1980s. It was popularly used as a public way from High Street to St Marys Street when the crossing gates were closed, as the station could be entered from this end via Station yard off High Street by the side of the GNR Stables.
A turntable was positioned on the north side of the station on the site of the enclosed car park. In 1884 canopies were built over the platforms and adjacent track supported on rows of slender columns on the platforms and between the tracks. Glass panes on the ridge gave light. They were removed in the 1960s.
Platforms 1 and 2 on the north side were removed in 1989 to make car park. Platform 8 on the south side was out of use by the 1980s. The first service was the GNR loop line from Peterborough via Boston. The finger signalling system was replaced by lights in the summer of 2008, with the closure of signal boxes.
Travelling North West along the Kilbun High Road between Belsize Road and West End Lane there remains a number of rather grand looking buildings once housing well known high street shops typical of the later part of the 20th century
The buildings in this photo include 50 – 56 Kilburn High Road. Up until around 1930 these were the business premises of a successful draper, David Fearn & Co. Following this 50 - 52 became Montague Burton, later Burton's Taylors and 54 – 56 British Home Stores.
The date above 54 – 56 shows the date it was rebuilt, 1930. Presently these premises are occupied by a later chain, Primark and 50 – 52 by HSBC
Although I lived in this area as a boy and teenager in the 1940s to 1960s I cannot honestly say what was in the now unused spaces at the crown of these buildings. Probably the the Burton's Taylors would have a logo, something like this: www.flickr.com/photos/24772733@N05/2462519752/in/set-7215... and the other the letters B.H.S. Maybe Primark and HSBC are getting around to doing something similar.
The following link from the British History Online website includes some interesting history of British trade and industry in Kilburn High Road. Mostly under "Trade and Industry" www.british-history.ac.uk/report.aspx?compid=22647&st...
Post script: Since this photo was first posted I have received more information about which shops occupied this group of buildings in 1960 from Flickr member "bowroaduk" www.flickr.com/photos/24772733@N05/ . My memories would have been mostly through the 1950/60s and this recent information certainly corresponds to how I recall these buildings and shops. I believe that hovering over each shop with the mouse pointer on the photo will show which company occupied each shop in 1960. Probably the most interesting is the shop now occupied by Nationwide, far right hand side. It would have one time been a J. Lyons Tea Shop. People in England about the 1950/60s will remember these shops well. To my knowledge self-service tea shops. This link tells you lots about J. Lyons & Co and includes some photos typical of their shop fronts. www.kzwp.com/lyons/
Carrasco, Montevideo, Uruguay.
A palace on the beach, which resurfaces with nearly a century of luxury on its backs.
Un palacio sobre la playa, que resurge con casi un siglo de lujo a las espaldas
Ref: www.elobservador.com.uy/noticia/245325/se-reinauguro-el-h...
The building, declared a national heritage in 1975, was endorsed last month by the Heritage Commission after an investment of $ 80 million.
Las refacciones del edificio declarado en 1975 patrimonio histórico nacional fueron avaladas el mes pasado por la Comisión de Patrimonio tras una inversión de US$ 80 millones.
Ref: www.elobservador.com.uy/noticia/245308/una-historia-de-an...
New era with the old splendor.
Nueva era con el antiguo esplendor
Ref: www.elpais.com.uy/130308/pciuda-701081/ciudades/nueva-era...
Camera: NIKON D800E
Lens Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom
Focal Length: 24 mm
Exposure: 4.0 sec at f/5.6
ISO: 50
HOYSALA ARCHITECTURE
Hoysala architecture is the building style developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century, when it dominated the Southern Deccan Plateau region. Large and small temples built during this era remain as examples of the Hoysala architectural style, including the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura. Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli. Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.
Temples built prior to Hoysala independence in the mid-12th century reflect significant Western Chalukya influences, while later temples retain some features salient to Chalukyan art but have additional inventive decoration and ornamentation, features unique to Hoysala artisans. Some three hundred temples are known to survive in present-day Karnataka state and many more are mentioned in inscriptions, though only about seventy have been documented. The greatest concentration of these are in the Malnad (hill) districts, the native home of the Hoysala kings.
The Karnata Dravida tradition which covers a period of about seven centuries began in the 7th century under the patronage of the Chalukya dynasty of Badami, developed further under the Rashtrakutas of Manyakheta during the 9th and 10th centuries and the Western Chalukyas (or Later Chalukyas) of Basavakalyan in the 11th and 12th centuries. Its final development stage and transformation into an independent style was during the rule of the Hoysalas in the 12th and 13th centuries. Medieval inscriptions displayed prominently at temple locations give information about donations made toward the maintenance of the temple, details of consecration and on occasion, even architectural details.
TEMPLE DEITIES
Hinduism is a combination of secular and sacred beliefs, rituals, daily practices and traditions that has evolved over the course of over two thousand years and embodies complex symbolism combining the natural world with philosophy. Hindu temples began as simple shrines housing a deity and by the time of the Hoysalas had evolved into well articulated edifices in which worshippers sought transcendence of the daily world. Hoysala temples were not limited to any specific organised tradition of Hinduism and encouraged pilgrims of different Hindu devotional movements. The Hoysalas usually dedicated their temples to Shiva or to Vishnu (two of the popular Hindu gods), but they occasionally built some temples dedicated to the Jain faith as well. Worshippers of Shiva are called Shaivas and worshippers of Vishnu are called Vaishnavas. While King Vishnuvardhana and his descendants were Vaishnava by faith, records show that the Hoysalas maintained religious harmony by building as many temples dedicated to Shiva as they did to Vishnu. Most of these temples have secular features with broad themes depicted in their sculptures. This can be seen in the famous Chennakesava Temple at Belur dedicated to Vishnu and in the Hoysaleswara temple at Halebidu dedicated to Shiva. The Kesava temple at Somanathapura is different in that its ornamentation is strictly Vaishnavan. Generally Vaishnava temples are dedicated to Keshava (or to Chennakeshava, meaning "Beautiful Vishnu") while a small number are dedicated to Lakshminarayana and Lakshminarasimha (Narayana and Narasimha both being Avatars, or physical manifestations, of Vishnu) with Lakshmi, consort of Vishnu, seated at his feet. Temples dedicated to Vishnu are always named after the deity. The Shaiva temples have a Shiva linga, symbol of fertility and the universal symbol of Shiva, in the shrine. The names of Shiva temples can end with the suffix eshwara meaning "Lord of". The name "Hoysaleswara", for instance, means "Lord of Hoysala". The temple can also be named after the devotee who commissioned the construction of the temple, an example being the Bucesvara temple at Koravangala, named after the devotee Buci. The most striking sculptural decorations are the horizontal rows of moldings with detailed relief, and intricately carved images of gods, goddesses and their attendants on the outer temple wall panels.
The Doddagaddavalli Lakshmi Devi ("Goddess of Wealth") Temple is an exception as it is dedicated to neither Vishnu nor Shiva. The defeat of the Jain Western Ganga Dynasty (of present-day south Karnataka) by the Cholas in the early 11th century and the rising numbers of followers of Vaishnava Hinduism and Virashaivism in the 12th century was mirrored by a decreased interest in Jainism. However, two notable locations of Jain worship in the Hoysala territory were Shravanabelagola and Kambadahalli. The Hoysalas built Jain temples to satisfy the needs of its Jain population, a few of which have survived in Halebidu containing icons of Jain tirthankaras. They constructed stepped wells called Pushkarni or Kalyani, the ornate tank at Hulikere being an example. The tank has twelve minor shrines containing Hindu deities.
The two main deities found in Hoysala temple sculpture are Shiva and Vishnu in their various forms and avatars (incarnations). Shiva is usually shown with four arms holding a trident and a small drum among other emblems that symbolize objects worshiped independently of the divine image with which they are associated. Any male icon portrayed in this way is Shiva although a female icon may sometimes be portrayed with these attributes as Shiva's consort, Parvati. Various depictions of Lord Shiva exist: showing him naked (fully or partially), in action such as slaying a demon (Andhaka) or dancing on the head of a slain elephant (Gajasura) and holding its skin up behind his back. He is often accompanied by his consort Parvati or shown with Nandi the bull. He may be represented as Bhairava, another of Shiva's many manifestations.
A male figure depicted holding certain objects such as a conch (symbol of eternal, heavenly space) and a wheel (eternal time and destructive power) is Vishnu. If a female figure is depicted holding these objects, she is seen as his consort, Lakshmi. In all the depictions Vishnu is holding four objects: a conch, a wheel, a lotus and a mace. These can be held in any of the icon's hands, making possible twenty-four different forms of Vishnu, each with a unique name. Apart from these, Vishnu is depicted in any of his ten avataras, which include Vishnu sitting on Anantha (the celestial snake and keeper of life energy also known as Shesha), Vishnu with Lakshmi seated on his lap (Lakshminarayana), with the head of a lion disemboweling a demon on his lap (Lakshminarasimha), with head of a boar walking over a demon (Varaha), in the Krishna avatar (as Venugopala or the cow herder playing the Venu (flute), dancing on the head of the snake Kaliya, lifting a hill such as Govardhana), with his feet over head of a small figure (Vamana), along with Indra riding an elephant, with Lakshmi seated on Garuda, and the eagle (stealing the parijata tree).
TEMPLE COMPLEX
The focus of a temple is the centre or sanctum sanctorum (garbhagriha) where the image of the deity resides, so temple architecture is designed to move the devotee from outside to the garbhagriha through ambulatory passageways for circumambulation and halls or chambers (mantapas) that become increasingly sacred as the deity is approached. Hoysala temples have distinct parts that are merged to form a unified organic whole, in contrast to the temples of Tamil country where different parts of a temple stand independently. Although superficially unique, Hoysala temples resemble each other structurally. They are characterised by a complex profusion of sculpture decorating all the temple parts chiseled of soft soapstone (chloritic schist), a good material for intricate carving, executed mostly by local craftsmen, and exhibit architectural features that distinguish them from other temple architectures of South India.
Most Hoysala temples have a plain covered entrance porch supported by lathe turned (circular or bell-shaped) pillars which were sometimes further carved with deep fluting and moulded with decorative motifs. The temples may be built upon a platform raised by about a metre called a "jagati". The jagati, apart from giving a raised look to the temple, serves as a pradakshinapatha or "circumambulation path" for circumambulation around the temple, as the garbagriha (inner sanctum) provides no such feature. Such temples will have an additional set of steps leading to an open mantapa (open hall) with parapet walls. A good example of this style is the Kesava Temple at Somanathapura. The jagati which is in unity with the rest of the temple follows a star-shaped design and the walls of the temple follow a zig-zag pattern, a Hoysala innovation.
Devotees can first complete a ritual circumambulation on the jagati starting from the main entrance by walking in a clockwise direction (towards the left) before entering the mantapa, following the sculptural clockwise-sequenced reliefs on the outer temple walls depicting a sequence of epic scenes from the Hindu epics. Temples that are not built on a jagati can have steps flanked by elephant balustrades (parapets) that lead to the mantapa from ground level. An example of a temple that does not exhibit the raised platform is the Bucesvara temple in Korvangla, Hassan District. In temples with two shrines (dvikuta), the vimanas (the shrines or cellae) may be placed either next to each other or on opposite sides. The Lakshmidevi temple at Doddagaddavalli is unique to Hoysala architecture as it has four shrines around a common center and a fifth shrine within the same complex for the deity Bhairava (a form of Shiva). In addition, four minor shrines exist at each corner of the courtyard (prakaram).
ARCHITECTURAL ELEMENTS
MANTAPA
The mantapa is the hall where groups of people gather during prayers. The entrance to the mantapa normally has a highly ornate overhead lintel called a makaratorana (makara is an imaginary beast and torana is an overhead decoration). The open mantapa which serves the purpose of an outer hall (outer mantapa) is a regular feature in larger Hoysala temples leading to an inner small closed mantapa and the shrine(s). The open mantapas which are often spacious have seating areas (asana) made of stone with the mantapa's parapet wall acting as a back rest. The seats may follow the same staggered square shape of the parapet wall. The ceiling here is supported by numerous pillars that create many bays. The shape of the open mantapa is best described as staggered-square and is the style used in most Hoysala temples. Even the smallest open mantapa has 13 bays. The walls have parapets that have half pillars supporting the outer ends of the roof which allow plenty of light making all the sculptural details visible. The mantapa ceiling is generally ornate with sculptures, both mythological and floral. The ceiling consists of deep and domical surfaces and contains sculptural depictions of banana bud motifs and other such decorations.
If the temple is small it will consist of only a closed mantapa (enclosed with walls extending all the way to the ceiling) and the shrine. The closed mantapa, well decorated inside and out, is larger than the vestibule connecting the shrine and the mantapa and has four lathe-turned pillars to support the ceiling, which may be deeply domed. The four pillars divide the hall into nine bays. The nine bays result in nine decorated ceilings. Pierced stone screens (Jali or Latticework) that serve as windows in the navaranga (hall) and Sabhamantapa (congregation hall) is a characteristic Hoysala stylistic element.
A porch adorns the entrance to a closed mantapa, consisting of an awning supported by two half-pillars (engaged columns) and two parapets, all richly decorated. The closed mantapa is connected to the shrine(s) by a vestibule, a square area that also connects the shrines. Its outer walls are decorated, but as the size the vestibule is not large, this may not be a conspicuous part of the temple. The vestibule also has a short tower called the sukanasi or "nose" upon which is mounted the Hoysala emblem. In Belur and Halebidu, these sculptures are quite large and are placed at all doorways.
The outer and inner mantapa (open and closed) have circular lathe-turned pillars[36] having four brackets at the top. Over each bracket stands sculptured figure(s) called salabhanjika or madanika. The pillars may also exhibit ornamental carvings on the surface and no two pillars are alike. This is how Hoysala art differs from the work of their early overlords, the Western Chalukyas, who added sculptural details to the circular pillar base and left the top plain. The lathe-turned pillars are 16, 32, or 64-pointed; some are bell-shaped and have properties that reflect light. The Parsvanatha Basadi at Halebidu is a good example. According to Brown, the pillars with four monolithic brackets above them carry images of salabhanjikas and madanikas (sculpture of a woman, displaying stylized feminine features). This is a common feature of Chalukya-Hoysala temples. According to Sastri, the shape of the pillar and its capital, the base of which is square and whose shaft is a monolith that is lathe turned to render different shapes, is a "remarkable feature" of Hoysala art.
VIMANA
The vimana, also called the cella, contains the most sacred shrine wherein resides the image of the presiding deity. The vimana is often topped by a tower which is quite different on the outside than on the inside. Inside, the vimana is plain and square, whereas outside it is profusely decorated and can be either stellate ("star-shaped") or shaped as a staggered square, or feature a combination of these designs, giving it many projections and recesses that seem to multiply as the light falls on it. Each projection and recess has a complete decorative articulation that is rhythmic and repetitive and composed of blocks and mouldings, obscuring the tower profile. Depending on the number of shrines (and hence on the number of towers), the temples are classified as ekakuta (one), dvikuta (two), trikuta (three), chatushkuta (four) and panchakuta (five). Most Hoysala temples are ekakuta, dvikuta or trikuta, the Vaishnava ones mostly being trikuta. There are cases where a temple is trikuta but has only one tower over the main shrine (in the middle). So the terminology trikuta may not be literally accurate. In temples with multiple disconnected shrines, such as the twin temples at Mosale, all essential parts are duplicated for symmetry and balance.
The highest point of the temple (kalasa) has the shape of a water pot and stands on top of the tower. This portion of the vimana is often lost due to age and has been replaced with a metallic pinnacle. Below the kalasa is a large, highly- sculptured structure resembling a dome which is made from large stones and looks like a helmet. It may be 2 m by 2 m in size and follows the shape of the shrine. Below this structure are domed roofs in a square plan, all of them much smaller and crowned with small kalasas. They are mixed with other small roofs of different shapes and are ornately decorated. The tower of the shrine usually has three or four tiers of rows of decorative roofs while the tower on top of the sukanasi has one less tier, making the tower look like an extension of the main tower (Foekema calls it the "nose"). One decorated roof tier runs on top of the wall of a closed mantapa above the heavy eaves of an open mantapa and above the porches.
Below the superstructure of the vimana are temple "eaves" projecting half a meter from the wall. Below the eaves two different decorative schemes may be found, depending on whether a temple was built in the early or the later period of the empire. In the early temples built prior to the 13th century, there is one eave and below this are decorative miniature towers. A panel of Hindu deities and their attendants are below these towers, followed by a set of five different mouldings forming the base of the wall. In the later temples there is a second eave running about a metre below the upper eaves with decorative miniature towers placed between them. The wall images of gods are below the lower eaves, followed by six different mouldings of equal size. This is broadly termed "horizontal treatment". The six mouldings at the base are divided in two sections. Going from the very base of the wall, the first horizontal layer contains a procession of elephants, above which are horsemen and then a band of foliage. The second horizontal section has depictions of the Hindu epics and Puranic scenes executed with detail. Above this are two friezes of yallis or makaras (imaginary beasts) and hamsas (swans). The vimana (tower) is divided into three horizontal sections and is even more ornate than the walls.
SCULPTURE
In Hoysala art Hardy identifies two conspicuous departures from the more austere Western (Later) Chalukya art:ornamental elaboration and a profusion of iconography with figure sculptures, both of which are found in abundance even on the superstructure over the shrine. Their medium, the soft chlorite schist (Soapstone) enabled a virtuoso carving style. Hoysala artists are noted for their attention to sculptural detail be it in the depiction of themes from the Hindu epics and deities or in their use of motifs such as yalli, kirtimukha (gargoyles), aedicula (miniature decorative towers) on pilaster, makara (aquatic monster), birds (hamsa), spiral foliage, animals such as lions, elephants and horses, and even general aspects of daily life such as hair styles in vogue.
Salabhanjika, a common form of Hoysala sculpture, is an old Indian tradition going back to Buddhist sculpture. Sala is the sala tree and bhanjika is the chaste maiden. In the Hoysala idiom, madanika figures are decorative objects put at an angle on the outer walls of the temple near the roof so that worshipers circumambulating the temple can view them.
The sthamba buttalikas are pillar images that show traces of Chola art in the Chalukyan touches. Some of the artists working for the Hoysalas may have been from Chola country, a result of the expansion of the empire into Tamil-speaking regions of Southern India. The image of mohini on one of the pillars in the mantapa (closed hall) of the Chennakeshava temple is an example of Chola art.
General life themes are portrayed on wall panels such as the way horses were reined, the type of stirrup used, the depiction of dancers, musicians, instrumentalists, and rows of animals such as lions and elephants (where no two animals are identical). Perhaps no other temple in the country depicts the Ramayana and Mahabharata epics more effectively than the Hoysaleshwara temple at Halebidu.
Erotica was a subject the Hoysala artist handled with discretion. There is no exhibitionism in this, and erotic themes were carved into recesses and niches, generally miniature in form, making them inconspicuous. These erotic representations are associated with the Shakta practice.
Apart from these sculptures, entire sequences from the Hindu epics (commonly the Ramayana and the Mahabharata) have been sculpted in a clockwise direction starting at the main entrance. The right to left sequence is the same direction taken by the devotees in their ritual circumambulation as they wind inward toward the inner sanctum. Depictions from mythology such as the epic hero Arjuna shooting fish, the elephant-headed god Ganesha, the Sun god Surya, the weather and war god Indra, and Brahma with Sarasvati are common. Also frequently seen in these temples is Durga, with several arms holding weapons given to her by other gods, in the act of killing a buffalo (a demon in a buffalo's form) and Harihara (a fusion of Shiva and Vishnu) holding a conch, wheel and trident. Many of these friezes were signed by the artisans, the first known instance of signed artwork in India.
RESEARCH
According to Settar, surveys in modern times have indicated that 1000–1500 structures were built by the Hoysalas, of which about a hundred temples have survived to date. The Hoysala style is an offshoot of the Western Chalukya style, which was popular in the 10th and 11th centuries. It is distinctively Dravidian, and according to Brown, owing to its features, Hoysala architecture qualifies as an independent style. While the Hoysalas introduced innovative features into their architecture, they also borrowed features from earlier builders of Karnata like the Kadambas, Western Chalukyas. These features included the use of chloritic schist or soapstone as a basic building material. Other features were the stepped style of vimana tower called the Kadamba shikhara, which was inherited from the Kadambas. Hoysala sculptors made use of the effect of light and shade on carved walls, which poses a challenge for photography of the temples. The artistry of the Hoysalas in stone has been compared to the finesse of an ivory worker or a goldsmith. The abundance of jewellery worn by the sculpted figures and the variety of hairstyles and headdresses depicted give a fair idea of the lifestyles of the Hoysala times.
NOTABLE CRAFTSMEN
While medieval Indian artisans preferred to remain anonymous, Hoysala artisans signed their works, which has given researchers details about their lives, families, guilds, etc. Apart from the architects and sculptors, people of other guilds such as goldsmiths, ivory carvers, carpenters, and silversmiths also contributed to the completion of temples. The artisans were from diverse geographical backgrounds and included famous locals. Prolific architects included Amarashilpi Jakanachari, a native of Kaidala in Tumkur district, who also built temples for the Western Chalukyas. Ruvari Malithamma built the Kesava Temple at Somanathapura and worked on forty other monuments, including the Amruteshwara temple at Amruthapura. Malithamma specialised in ornamentation, and his works span six decades. His sculptures were typically signed in shorthand as Malli or simply Ma. Dasoja and his son Chavana from Balligavi were the architects of Chennakesava Temple at Belur; Kedaroja was the chief architect of the Hoysaleswara Temple at Halebidu. Their influence is seen in other temples built by the Hoysalas as well. Names of other locals found in inscriptions are Maridamma, Baicoja, Caudaya, Nanjaya and Bama, Malloja, Nadoja, Siddoja, Masanithamma, Chameya and Rameya. Artists from Tamil country included Pallavachari and Cholavachari.
WIKIPEDIA
Arriving In Lyon late in the day and it was raining. Our hotel was about one hour from Lyon so we didn't stop there and went straight to our hotel. We arrived in the dark and left the next morning in the dark to go back to Lyon. Most of the shots of Lyon are taken from the moving Coach.
Day 10 of our Cosmos tour, October 9, 2012 Lyon France.
The Murals of Lyon:
The apartment buildings were originally designed by French architect Tony Garnier between 1920 and 1933, part of his dream of a modern, industrial urban utopia. But by the 1980s the district was in trouble, and drugs and violence were rife. In a bid to rehabilitate the area, the residents contacted CitéCréation, and work on the murals began soon after. It was a major success. "It completely transformed the quartier," says Bensaïd. "You can stop anyone on the street there and the response will be unanimous. It has given something back to the residents—pride—a word that can be both terrible and very beautiful. When we give pride to a space, a space which didn't exist for the rest of the town before, for the media, we feel we have succeeded." The surrounding district was renamed Cité Tony Garnier.
A dozen or so of the Musée Urbain murals—each some 2,500 square feet—are gigantic views of an industrial city rich with collective housing, schools, factories and clinics. A few of the murals show some of Garnier's other architectural contributions to Lyon, including the Abattoirs de la Mouche, a huge covered meat market with a ceiling of intricate metal arches. And eight of them show conceptions of the ideal city by eight artists, each from a different country: India, Egypt, Ivory Coast, Russia, Mexico, China, Canada and the United States. The Ideal City of the US was painted by American artist Matt Mullican, whose work has often dealt with the interaction between public sign systems and personal symbols.
For More Info: www.francetoday.com/articles/2011/10/23/the-murals-of-lyo...
For Info on Lyon : en.wikipedia.org/wiki/Lyon
Sibiu (Romanian: [siˈbiw], antiquated Sibiiu; German: Hermannstadt [ˈhɛʁmanʃtat], Transylvanian Saxon dialect: Härmeschtat, Hungarian: Nagyszeben [ˈnɒcsɛbɛn]) is a city in Transylvania, Romania, with a population of 147,245.[1] Located some 275 km (171 mi) north-west of Bucharest,[2] the city straddles the Cibin River, a tributary of the river Olt. Now the capital of Sibiu County, between 1692 and 1791 and 1849–65 Sibiu was the capital of the Principality of Transylvania.
Sibiu is one of the most important cultural centres of Romania and was designated the European Capital of Culture for the year 2007, along with the city of Luxembourg.[3] Formerly the centre of the Transylvanian Saxons, the old city of Sibiu was ranked as "Europe's 8th-most idyllic place to live" by Forbes in 2008.[4]
The city administers the Păltiniș ski resort.
History[edit]
See also: Timeline of Sibiu
The first official record referring to the Sibiu area comes from 1191, when Pope Celestine III confirmed the existence of the free prepositure of the German settlers in Transylvania, the prepositure having its headquarters in Sibiu, named Cibinium at that time.[5]
In the 14th century, it was already an important trade centre. In 1376, the craftsmen were divided in 19 guilds. Sibiu became the most important ethnic German city among the seven cities that gave Transylvania its German name Siebenbürgen (literally seven citadels).[6][7] It was home to the Universitas Saxorum (Community of the Saxons), a network of pedagogues, ministers, intellectuals, city officials, and councilmen of the German community forging an ordered legal corpus and political system in Transylvania since the 1400s.[8][9] During the 18th and 19th centuries, the city became the second- and later the first-most important centre of Transylvanian Romanian ethnics. The first Romanian-owned bank had its headquarters here (The Albina Bank), as did the ASTRA (Transylvanian Association for Romanian Literature and Romanian's People Culture). After the Romanian Orthodox Church was granted status in the Habsburg Empire from the 1860s onwards, Sibiu became the Metropolitan seat, and the city is still regarded as the third-most important centre of the Romanian Orthodox Church. Between the Hungarian Revolution of 1848 and 1867 (the year of the Ausgleich), Sibiu was the meeting-place of the Transylvanian Diet, which had taken its most representative form after the Empire agreed to extend voting rights in the region.
After World War I, when Austria-Hungary was dissolved, Sibiu became part of Romania; the majority of its population was still ethnic German (until 1941) and counted a large Romanian community, as well as a smaller Hungarian one. Starting from the 1950s and until after 1990, most of the city's ethnic Germans emigrated to Germany and Austria. Among the roughly 2,000 who have remained is Klaus Johannis, the current President of Romania.
Geography[edit]
Topographic map of the Sibiu region
Panoramic view of Sibiu historic center, looking East.
Sibiu is situated near the geographical center of Romania at
WikiMiniAtlas
45.792784°N 24.152069°E. Set in the Cibin Depression, the city is about 20 km from the Făgăraș Mountains, 12 km from the Cibin Mountains, and about 15 km from the Lotru Mountains, which border the depression in its southwestern section. The northern and eastern limits of Sibiu are formed by the Târnavelor Plateau, which descends to the Cibin Valley through Gușteriței Hill.
The Cibin river as well as some smaller streams runs through Sibiu. The geographical position of Sibiu makes it one of the most important transportation hubs in Romania with important roads and railway lines passing through it.
City districts[edit]
The following districts are part of Sibiu. Some were villages annexed by the city but most were built as the city developed and increased its surface.
•Historic Center - Divided into the Upper Town and Lower Town
•Centru (Centre)
•Lupeni
•Trei Stejari
•Vasile Aaron
•Hipodrom I, II, III, IV
•Valea Aurie (Golden Valley)
•Tilișca
•Ștrand
•Turnișor (Little Tower; German: Neppendorf)
•Piața Cluj
•Țiglari
•Terezian
•Reșița
•Lazaret
•Gușterița (German: Hammersdorf)
•Broscărie
•Viile Sibiului
•Tineretului
•Veteranilor de Război
The Southern part, including the ASTRA National Museum Complex and the Zoo, also falls within the city limits.
Politics[edit]
Sibiu city council composition in 2004:
Democratic Forum of Germans in Romania
Social Democratic Party
National Liberal Party
Democratic Party
Although ethnic Germans make up less than 2% of Sibiu's population, Klaus Johannis, the former president of the Democratic Forum of Germans in Romania (FDGR/DFDR) and current president of Romania, served as mayor of Sibiu from 2000 to 2014. Johannis was overwhelmingly reelected in 2004 (with 88.7% of votes) and 2008 (with 83.3% of the votes cast) and his party gained an absolute majority in the city council in that year. After the 2014 presidential elections, the interim position for mayor of the city was filled by deputy mayor Astrid Fodor who in the 2016 local elections won the seat with a majority of votes.[18]
Despite winning the local elections with a majority of votes and a high approval rating, the current administration is beginning to be viewed as slow moving and lacking transparency. Another issue that is affecting the current administraiton's approval ratings is the lack of investments and innovations
Economy[edit]
Sibiu is an important economic hub for Romania, with a high rate of foreign investments. It is also an important hub for the manufacturing of automotive components and houses factories belonging to ThyssenKrupp Bilstein-Compa, Takata Corporation, Continental Automotive Systems, and NTN-SNR ball bearings. Other local industries are machine components, textiles, agro-industry, and electrical components (Siemens).
The city also contains Romania's second-largest stock exchange, the Sibiu Stock Exchange which is set to merge with the Bucharest Stock Exchange in 2018.[19]
The main industrial activities of Sibiu take place in two industrial zones located on the outskirts of the city:
•East industrial zone (East Economic Center), alongside the railway to Brașov and Râmnicu Vâlcea
•West industrial zone (West Economic Center),[20] near the exit to Sebeș, close to the Airport
A commercial zone located in the Șelimbăr commune plays an important role in the economy of Sibiu. It houses a mall and other large retailers.
Another factor that plays an important role in the economy of the city is tourism, which has been increasing at a steady rate since 2007.
Transport[edit]
Sibiu International Airport Location
Sibiu is well served in terms of transport and infrastructure. In 2010 a city bypass was opened, significantly reducing the road traffic inside the city.
Tursib[21] is the city's internal transportation system operator.
Air[edit]
Sibiu Airport, Blue Air flight.
Sibiu has one of the most modern international airports in Romania, with direct connections to Germany, Austria, United Kingdom, Italy and Spain while connections to other European countries being scheduled to start in summer 2018 Belgium, Denmark, Switzerland.
Road[edit]
Sibiu is an important node in the European road network, being on two different European routes (E68 and E81). At a national level, Sibiu is located on three different main national roads, DN1, DN7 and DN14.
The Romanian Motorway A1 will link the city with Pitești and the Romanian western border, near Arad. From the remaining 332 km of motorway towards the border with Hungary Nadlac, a total of 276 km is completed and the last 56 km are currently under construction, while the timeline for the segment towards Pitești is targeted for completion for the year 2025 (construction will start no sooner than 2019). Sibiu' s ring road as part of A1 motorway was completed on December 1, 2010.
Sibiu is also an important hub for the international bus links with the biggest passenger transporter in Romania, Atlassib, based here. Transport companies are also providing coach connections from Sibiu to a large number of locations in Romania.
Public bus transportation in Sibiu
Rail[edit]
Main article: Sibiu railway station
Sibiu is situated on the CFR-Romanian Railways Main Line 200 (Brasov - Făgăraș - Sibiu - Simeria - Arad - Romanian Western Border) and on Line 206 (Sibiu - Mediaș).
The city is served by five rail stations: the Main Station (Gara Mare), the Little Station (Gara Micǎ), Turnișor, Sibiu Triaj, Halta Ateliere Zonă . It has an important diesel-powered locomotives depot and a freight terminal.
Numerous Inter City trains (nicknamed Blue Arrows) connect Sibiu to other major cities in Romania: Cluj-Napoca, Brașov, Craiova, Timișoara and Bucharest.
Cycling[edit]
Over the last six years, Sibiu has enjoyed a revival of cycling. The bicycle way in the city span for 43 kilometers.
Bicycle rentals have offered a boost for the local economy with several small rental centers and a bigger rental center that is administered by the I'Velo Bike Sharing group.
Culture[edit]
Sibiu is one of Romania's most culturally lively cities. It has 3 theatres and a philharmonic orchestra along with other smaller private theatrical venues and a theatre studio housed by the Performing Arts and Acting section of Lucian Blaga University, where students hold monthly representations.
The Radu Stanca National Theatre[22] is one of the leading Romanian theatres. With origins dating back to 1787, it attracts some of the best-known Romanian directors, such as Gábor Tompa and Silviu Purcărete. It has both a Romanian-language and a German-language section, and presents an average of five shows a week.
The Gong Theatre is specialised in puppetry, mime and non-conventional shows for children and teenagers. It also presents shows in both Romanian and German.
The State Philharmonic of Sibiu[23] presents weekly classical music concerts, and educational concerts for children and teenagers. The concerts take place in the newly restored Thalia Hall, a concert and theatre hall dating from 1787, situated along the old city fortifications. Weekly organ concerts are organised at the Evangelical Cathedral during summers, and thematic concerts are presented by the Faculty of Theology choir at the Orthodox Cathedral.
The Sibiu International Theatre Festival is an annual festival of performing arts. Since 2016, it is the largest performance arts festival in the world.[24]
Brukenthal National Museum, Sibiu.
Museums and parks[edit]
Sibiu's museums are organised around two entities: the Brukenthal National Museum and the ASTRA National Museum Complex. The Brukenthal Museum consists of an Art Gallery and an Old Books Library located inside the Brukenthal Palace, a History Museum located in the old town hall building, a Pharmacy Museum located in one of the first apothecary shops in Europe, dating from the 16th century, a Natural History Museum and a Museum of Arms and Hunting Trophies.
The ASTRA National Museum Complex focuses on ethnography, and consists of a Traditional Folk Civilisation Museum, a 96-hectare open-air museum located in Dumbrava Forest south of Sibiu, a Universal Ethnography Museum, a Museum of Transylvanian Civilisation and a Museum of Saxon Ethnography and Folk Art. Also planned is a Museum of the Culture and Civilisation of the Romany People.
Bicycle riders in Sub Arini park, in Sibiu.
The Dumbrava Sibiului Natural Park stretches over 960 hectares and it is situated 4 km away from the center of the city in the southwest direction along the road towards Răşinari. Also, here you can find the Zoological Garden and Ethnography Museum.
There is a Steam Locomotives Museum close to the railway station, sheltering around 40 locomotives, two of which are functional.
The first park in the city was The Promenade, later called "The Disabled Promenade." established in 1791, today part of Parcul Cetății (Citadel Park). Current arrangement of the park, including the space between the walls, dates from 1928.
The Sub Arini Park, established in 1856 is one of the biggest and best-maintained parks in Romania. There are other green spaces in the city center, the best known being Astra Park, established in 1879.
Tineretului Park
Other parks:
Tineretului Park, Reconstrucției Park, Corneliu Coposu Park, Petöfi Sándor Park, Piața Cluj Park, Ștrand Park, Cristianului Park, Țițeica Park, Vasile Aaron Park, Lira Park.
The distribution of green space is good compared to other Romanian cities.
Events[edit]
Citadel Park, with the 16 century City wall
Several festivals are organised yearly in Sibiu, the most prestigious of them being the Sibiu International Theatre Festival, organized each spring at the end of May. Medieval Festival organized every year in August, reviving the medieval spirit of Transylvania. The Artmania Festival is held every Summer since 2006 and as of 2008 the Rockin' Transilvania Festival is also held in Sibiu. The oldest Jazz Festival in Romania is organized here, as well as the "Carl Filtsch" festival for young classical piano players, the "Astra Film" documentary film festival, the Transylvania calling Festival a Multi Cultural 6 day Open Air Music festival! 26–31 July 2007, a medieval arts festival and many more smaller cultural events.[25] Feeric Fashion Week is also hosted here.
European Cultural Capital[edit]
The designation as a European Cultural Capital for 2007, owed greatly to the excellent collaboration with Luxembourg, but also to what many regard as a miraculous social rebirth taking place in the city during the last years. The Cultural Capital status was expected to bring about an abrupt increase in quantity and quality of cultural events in 2007.
Tourism[edit]
In 2007, Sibiu was the European Capital of Culture (together with Luxembourg). This was the most important cultural event that has ever happened in the city, and a great number of tourists came, both domestic and foreign.
The city of Sibiu and its surroundings are one of the most visited areas in Romania. It holds one of the best preserved historical sites in the country, many of its medieval fortifications having been kept in excellent state. Its old center has begun the process for becoming a UNESCO World Heritage Site in 2004. Sibiu and its surrounding area have many significant museums, with 12 institutions housing art collections, paintings, and exhibits in decorative arts, archeology, anthropology, history, industrial archeology and history of technology and natural sciences.
The city also lies close to the Făgăraș Mountains - a very popular trekking destination, close to the Păltiniș and Arena Platos ski resorts - popular winter holiday destinations, and it is at the heart of the former Saxon communities in Transylvania renowned for its fortified churches.
Fortified Lutheran church of Gușterița neighbourhood, 13th century
Since 2007, a traditional Christmas market is held for the first time in Sibiu, Romania. The first of its kind in Romania, it is inspired by Viennese Christmas markets, being a project developed by the Social Attaché of the Austrian Embassy in Romania, dr.h.c. Barbara Schöfnagel It was held in the "Lesser Square" (Piața Mică) with 38 small stalls, a small stage and an area dedicated to children, having several mechanical attractions installed there. Since 2008 the market is held in the "Grand Square" and grew to a number of about 70 stalls, a bigger stage was set up, where Christmas carols concerts are held. An ice skating rink and a children's workshop are also attractions which have been added in the following years.[26] It was the first Christmas Market in Romania,[27] but soon other Christmas markets emerged across the country. In 2013, the Sibiu Christmas markets was included in the "15 Of the Most Beautiful Christmas Markets in Europe"[28]
Main sights[edit]
Sibiu Lutheran Cathedral
Market in the Large Square, 1790, painting by Franz Neuhauser the Younger
Christmas Fair in the Large Square
Coopers Tower
The House with Caryatids on Mitropoliei Street, constructed in 1786
Pasajul Scărilor (Passage of the Stairs) in the Lower Town
Much of the city's aspect is due to its position, easily defensible, but allowing horizontal development. The old city of Sibiu lies on the right bank of the Cibin River, on a hill situated at about 200 m from the river. It consists of two distinct entities: the Upper Town and the Lower Town. Traditionally, the Upper Town was the wealthier part and commercial outlet, while the Lower Town served as the manufacturing area.
The Lower Town
(German: Unterstadt, Romanian: Orașul de jos) comprises the area between the river and the hill, and it developed around the earliest fortifications. The streets are long and quite wide for medieval city standards, with small city squares at places. The architecture is rather rustic: typically two-storey houses with tall roofs and gates opening passages to inner courts.
Most of the exterior fortifications were lost to industrial development and modern urban planning in the mid-late 19th century; only four towers still exist. A building associated with newer urbanism of the period is the Independența Highschool.
This area has the oldest church in the city, dating back to 1292.
The Upper Town (German: Oberstadt, Romanian: Orașul de sus) is organised around three city squares and a set of streets along the line of the hill. As the main area for burgher activities, the area contains most points of interest in the city.
Grand Square
(German: Großer Ring, Romanian: Piața Mare ) is, as its name suggests, the largest square of the city, and has been the center of the city since the 15th century. At 142 meters long and 93 meters wide, it is one of the largest ones in Transylvania.
Brukenthal Palace, one of the most important Baroque monuments in Romania, lies on the north-western corner of the square. It was erected between 1777 and 1787 as the main residence for the Governor of Transylvania Samuel von Brukenthal. It houses the main part of the National Brukenthal Museum, opened in 1817, making it one of the oldest museums in the world. Next to the palace is the Blue House or Moringer House, an 18th-century Baroque house bearing the old coat of arms of Sibiu on its façade.
Interior of the Sibiu Orthodox Cathedral
On the north side is the Jesuit Church, along with its dependencies, the former residence of the Jesuits in Sibiu. Also on the north side, at the beginning of the 20th century an Art Nouveau building was constructed on the west part, now it houses the mayor's office.
Liars Bridge in Lesser Square, erected in 1859
Next to the Jesuit Church on the north side is the Council Tower, one of the city's symbols. This former fortification tower from the 13th century has been successively rebuilt over the years. The building nearby used to be the City Council's meeting place; beneath it lies an access way between the Grand Square and the Lesser Square.
On the south and east sides are two- or three-storey houses, having tall attics with small windows known as the city's eyes. Most of these houses are dated 15th to 19th centuries, and most of them are Renaissance or Baroque in style.
Lesser Square (Small Square, German: Kleiner Ring) as its name implies, is a smaller square situated in the northern part of the Upper Town. After the 2007 rehabilitation there has been an increase in the number of small businesses such as pubs and restaurants in this area.
The square is connected to the other two squares and to other streets by small, narrow passages. The main access from the Lower City is through Ocnei Street, which divides the square in two. The street passes under the Liar's Bridge - the first bridge in Romania to have been cast in iron (1859).[29]
To the right of the bridge is another symbol of the city, The House of the Arts, a 14th-century arched building formerly belonging to the Butchers' Guild. On the left side of the bridge is the Luxemburg House, a Baroque four-storey building.
Huet Square
is the third of the three main squares of Sibiu. Its most notable feature is the Evangelical Lutheran Cathedral in its center. It is the place where the earliest fortifications have been built in the late 12th century or early 13th century. The buildings around this square are mainly Gothic. On the west side lies the Brukenthal Highschool, in place of a former 14th-century school.
The Thick Tower
The Fortifications
of Sibiu made the city one of the most important fortified cities in Central Europe. Multiple rings were built around the city, most of them out of clay bricks. The south-eastern fortifications are the best kept, and all three parallel lines are still visible. The first is an exterior earth mound, the second is a 10-meter-tall red brick wall, and the third line comprises towers linked by another 10-meter-tall wall. All structures are connected via a labyrinth of tunnels and passageways, designed to ensure transport between the city and lines of defense.
In the 16th century more modern elements were added to the fortifications, mainly leaf-shaped bastions. Two of these survived to this day, as the Haller Bastion (all the way down Coposu Boulevard) and "Soldisch Bastion".
The Passage of the Stairs, leads down to the lower section of Sibiu. It descends along some fortifications under the support arches. It is the most picturesque of the several passages linking the two sides of the old city.
Health
Health[edit]
Sibiu County Hospital
Sibiu is one of the important medical centers of Romania, housing many important medical facilities:
•County Hospital
•Academic Emergency Hospital;
•Hospital of Pediatrics;
•Military Emergency Hospital;
•CFR Hospital (Romanian Railways Hospital);
•"Dr. Gheorghe Preda" Psychiatry Hospital
•other smaller private clinics
The city also houses one of the largest private hospitals in the country, Polisano.
Education[edit]
Samuel von Brukenthal High School
Sibiu is an important centre of higher education, with over 23,000 students in four public and private higher institutions.[30][31][32][33]
The Lucian Blaga University of Sibiu was founded in 1990, with five faculties: Engineering and Sciences; Language Sciences; History and Law; Medicine; Food and Textile Processing Technology. Nowadays, there are 10 faculties and departments.
Sibiu also houses the Nicolae Bălcescu Land Forces Academy and the Military Foreign Language Center as well as two private universities, Romanian-German University and Alma Mater University.
In Sibiu there are 20 educational institutions on the secondary level, the most important of which are:
•Gheorghe Lazăr National College - sciences and informatics, first opened in 1692 as a Jesuit College
•
Gheorghe Lazăr National College
Samuel von Brukenthal National College - German language high school
•Octavian Goga National College - social sciences, sciences, informatics and linguistics
•Onisifor Ghibu Theoretical Highschool - informatics, sciences, sports, theater and linguistics
•Andrei Șaguna National College - training for school teacher and linguistics
•Constantin Noica Theoretical Highschool - sciences and linguistics
•Daniel Popovici Barcianu Highschool - agricultural sciences
•George Baritiu National College - economic sciences
•Nicolae Iorga Elementary school
•Regina Maria Elementary school
Narrabundah
Canberra, Australia.
Building of the church commenced in 1974 & was officially completed in 1988.
Construction was completed to mark the millennium celebrations of Russia’s conversion to Christianity.
In this year the Iconostasis was erected & the church was consecrated.
The church is built in the 14th century style of the churches in the Pskov & Novgorod regions of north-west Russia.
Frescoes/Murals.
The impressive religious icons inside the church is the work of experienced iconographer Archimandrite Alexis Rosentool.
Archimandrite Alexis Rosentool served at the Russian Ecclesiastical Mission in Jerusalem for several years.
He now serves at the Holy Transfiguration Monastery in Bombala, near Canberra.
He also lectures regularly at Russian & Serbian youth conferences.
The Commercial Banking Company of Sydney Limited was a bank based in Sydney, Australia. It was established in 1834, and in 1982 merged with the National Bank of Australasia to form National Australia Bank.
This building is heritage listed with the Register of the National Estate. Description, and details, can be found here:
www.environment.gov.au/cgi-bin/ahdb/search.pl?mode=place_...
Vienna Concert House (2006)
The Wiener Konzerthaus was opened in 1913. It is on the 3rd Viennese district road (Lothringerstraße) at the edge of the Inner City between Schwarzenberg Square and City Park .
Architectural History
Ludwig Baumann planned Olympion Art Show 1908, the main building Concert Hall, detail
1890 for a planned house music festivals should be considered as multi-purpose building to address a broader public than the just 200 meters away traditional Viennese Musikverein. The design by architect Ludwig Baumann for a Olympion contained several concert halls except an ice rink and a Bicycleclub. In addition, an open-air arena should offer 40,000 visitors. The skating rink and its adjacent buildings were realized in 1899 by Baumann plans, the Art Nouveau ensemble but fell in 1960 to a construction of the InterContinental Hotels Group to the victim. The Vienna Ice Skating Club is located on the then reduced by about a third place today. The popular freestyle wrestling at the Haymarket took place here.
Organised by Gustav Klimt and his friends art exhibition Vienna 1908 was held in a temporary exhibition building on the undeveloped site of the later concert hall. The Wiener Konzerthaus was finally built 1911-1913 by the Europe-wide Viennese theater architects Ferdinand Fellner and Hermann Helmer Younger (Office Fellner & Helmer ) in collaboration with Ludwig Baumann.
The theme of the concert hall was:
A facility for the care of fine music, a collection of artistic aspirations, a home for music and a house for Vienna.
On 19 October 1913 the Concert Hall in the presence of Emperor Franz Joseph I with a gala concert of the Vienna Concert Society was opened (now the Vienna Symphony Orchestra ). Richard Strauss composed this be Festive Prelude Op 61. Was combined with this modern work Beethoven's 9th Symphony - the juxtaposition of tradition and modernity should be so much in the first concert of the house.
The disintegration of Austria-Hungary brought tremendous social upheaval and financial crises - and thus flexibility and versatility was also necessary for lack of money. In addition to classical repertoire, there were in the 1920s and 1930s, important world premieres (including Arnold Schoenberg and Erich Wolfgang Korngold ), concerts with jazz and pop songs, speeches from science to spiritualism and poetry readings (including Karl Kraus ). Dance and ballroom events, some large conferences and world championships for boxing and fencing completed the program.
After the annexation of Austria to the German Reich in 1938, the program for impoverished "non- degenerate entertainment operation ", to many artists remained only the emigration.
After 1945, the concert hall also had the secondary task , " prop up " the bruised Austrian self-confidence in a musical way. In addition to the standard repertoire of classical and romantic and the Viennese Waltz , there were still premieres (eg Schoenberg's oratorio The Jacob's Ladder 1961) and international jazz and pop concerts. From May 1946 spaces for recording studios and administration at the German and in Vienna living music producer Gerhard Mendelson were rented, who is considered one of the most important pop producers in Austria in the postwar period.
After several modifications that changed the original Art Nouveau decoration slightly , the house was restored from 1972 to 1975 to the only slightly altered original plans. From 1998 to 2001 the house was renovated by architect Hans Puchhammer and expanded to include a new concert hall (New Hall) .
From 1989 to 2002 the Vienna Kathreintanz also took place in the concert hall .
Building
Saw the concert at the House of Lorraine Street (Lothringerstraße), the Schwarzenbergplatz
The floor plan approximately 70 x 40 meters large concert hall with the main entrance at the Lothringerstraße and other inputs in the Lisztstraße includes Haymarket (Heumarkt) since the opening three concert halls:
Large hall with 1865 seats
Mozart Hall with 704 seats
Schubert Hall with 366 seats
The new hall (with 400 seats) was not established until the general renovation of 1998 to 2002. The new hall was renamed at the start of the 2009/2010 season in Berio-Saal.
On the home front, the right and left of the entrance, is the inscription
Honor your German Masters, then you are storing good spirits.
Here is a quote from the final chorus for the opera Die Meistersinger von Nürnberg by Richard Wagner.
In all rooms the same time can take place, since they do not affect each other acoustically different concerts.
Inside stands in the foyer of the original model created in 1878 by Kaspar von Zumbusch Beethoven Monument, which is situated opposite the Concert Hall at the Beethoven place. At the staircase there is a relief homage to Emperor Franz Joseph (1913 ) by Edmund Hellmer . Furthermore, a bust of Franz Liszt by Max Klinger to mention in 1904.
The complex of the concert hall and the building is part of the K. K Academy of Music and Dramatic Art (now the University of Music and Dramatic Art). Adjoining rooms for academic teaching purposes this part of the building also contains the Academy theater with 521 seats, which is used as a secondary stage of the Burgtheater world premieres among other modern plays.
Great Hall and Organ
The Great Hall has a capacity of 1116 visitors (ground floor) and additional 361 balconies and boxes, and 388 in the gallery. The auditorium is 750 m2 and 170 m2 of the podium. In the 1960s the hall was optimized by Heinrich Keilholz.
The organ was built in 1913 in the Great Hall of the Rieger organ (Rieger-Orgel) (Jägerndorf, Silesia) built. The instrument is located on the end wall of the big room, but has no visible Prospectus. The organ is located behind a grid and is thus hidden from the visitors. The cone-chest-116 instrument has five registers on manual and pedal works and is the largest organ in Austria. The special features of the organ counts, firstly, that the four manual divisions are swellable. In addition, the organ comprises a (swellable ) remote work with separate pedal. Stylistically, the organ is "Alsatian Organ reform " aimed at the so-called ideal of where along the lines of major instruments of Aristide Cavaillé -Coll, the strong voices are divided into two manuals. The tracker action is electro-pneumatic. For the inauguration of the instrument Strauss had the " Festive Prelude " for organ and orchestra composed. In 1982 the instrument was restored.
I Hauptwerk C
Principal 16 '
16 drone '
Principal 8 '
Gedackt 8 '
Flute hollow 8 '
Harmonique Flûte 8 '
Fugara 8 '
Gemshorn 8 '
Dulciana 8 '
Nasatquinte 51/3 '
Octave 4 '
Reed flute 4 '
Viola 4 '
Superoctave 2 '
Noise Quinte II 22 /3 '
Cornet III-V 8 '
Mixture V 22 /3 '
III cymbals 2 '
Trumpet 16 '
Trumpet 8 '
Clarino 4 '
Manual II ( swellable ) C-
Viola 16 '
Quintatön 16 '
Principal 8 '
Bourdon 8 '
Flauto Traverso 8 '
Clara Bella 8 '
Viola da Gamba 8 '
Salicional 8 '
Unda Maris 8 '
Octave 4 '
Octaviante Flûte 4 '
Gemshorn 4 '
Quintatön 4 '
Waldflöte 2 '
Sesquialtera II 22 /3 '
Progress . harm. III - V 22 /3 '
Mixture IV 22/3 '
8 'Clarinet
Krummhorn 8 '
Glockenspiel
tremulant
III . Manual ( swellable ) C-
Lovely - Gedackt 16 '
Violin Principal 8 '
Reed flute 8 '
Still Covered 8 '
Vienna Flute 8 '
Quintatön 8 '
Echo Gamba 8 '
Aeoline 8 '
Vox coelestis 8 '
Octave 4 '
Octaviante Flûte 4 '
Delicate flute 4 '
Aeolsharfe 4 '
Gemsquinte 22/3 '
Flautino 2 '
Third, 13/5 '
Larigotquinte 11/3 '
Seventh 11/7 '
Piccolo 1 '
Harmonia aetherea IV 22/3 '
Basson 16 '
Harmonique Trompette 8 '
Oboe 8 '
Vox Humana 8 '
Harmonique Clairon 4 '
tremulant
IV solo work C
16 drone '
Clarinophon 8 '
Double - Gedackt 8 '
Concert Flute 8 '
Solo Gamba 8 '
Fifth tube 51/3 '
Octave 4 '
Solo Flute 4 '
Quinte 22/3 '
Superoctave 2 '
Wholesale Cornett III - V 22 /3 '
Tuba mirabilis 8 '
Ophicleide 8 '
Harmonique Clairon 4 '
V Fernwerk ( swellable ) C-
Delicately Gedackt 16 '
Horn 8 'Principal
Lovely - Gedackt 8 '
Reed flute 8 '
Viola d' amore 8 '
Vox Angelica 8 '
Gemshorn 4 '
Flute 4 '
Piccolo 2 '
Mixture IV 22/3 '
Shawm 8 '
Vox Humana 8 '
tremulant
C- pedal
Principalbaß 32 '
Principalbaß 16 '
Violon 16 '
Subbass 16 '
Echobaß 16 '
Salicetbaß 16 '
Quintbaß 102/3 '
Octavbass 8 '
Gedacktbaß 8 '
Bass flute 8 '
Cello 8 '
Dulcianbaß 8 '
Octave 4 '
Flauto 4 '
Campana III 102/3 '
Mixture IV 51/3 '
Bombard 32 '
Trombone 16 '
Bassoon 16 '
Trumpet 8 '
Basset 8 '
Clarino 4 '
C- pedal distance
Subbass 16 '
Octavbass 8 '
Pairing :
Normal coupling : II / I, III / I , IV / I , V / I, P / I , III / II , IV / II , V / II, I / II , IV / III , V / P, I / P, II / P III / P IV / P
Superoktavkoppeln : II / I, III / I , IV / I , V / I , III / I , IV / I , III / II , IV / II , IV , V, I / P , IV / P.
Suboktavkoppeln : III / II .
Game Help: Free combinations (5 banks by 1000 = 5000 general memories ), storage rack (roll on, Pair of roller coupling to IV of roller, Manual 16 ' down, Reeds off (as buttons ), the main pedal off, remote pedal off (as flip switches ), Einzelzungenabsteller ), Tutti (push button), principal pedal down, Fernwerk pedal from, sills V in expression pedal II coupled (toggle button), kicks, interact with flip switches (switching I-IV of P, normal couplers II-IV to I, roll off ) Registercrescendo (roller for the organist, coupled with a second roller for the registrant ) .
Program
The concert hall is the main venue of the Vienna Symphony , the Vienna Chamber Orchestra and the Vienna Sound Forum. Since 1913 the Vienna Academy of Music has its permanent home of the Konzerthaus. In separate events at the Wiener Konzerthaus other international orchestras, soloists and chamber ensembles in addition to the Vienna Philharmonic regular guest. In addition, there are also numerous other events organizer at the Konzerthaus. So for example the Bonbon Ball, but also concerts in jazz and world music.
The program of the Vienna Konzerthaus also includes some festivals , such as
the Early Music Festival in January resonances
the Vienna Spring Festival
the International Music Festival
Wien Modern in autumn
Between 2003 and 2006, gave the series with the latest music generator .
From 2008, a year early in the season with a festival held focus " on a particular region or cultural community " [2 ] . The first event in September 2008, the two-day festival Spot On : Yiddishkeit , in which a cross section is presented by the diversity of Jewish music creation.
de.wikipedia.org/wiki/Wiener_Konzerthaus
ca. 1960-1969, Las Vegas, Nevada, USA --- Inside a room at the Travel Lodge in Las Vegas. --- Image by © Aladdin Color, Inc./Aladdin Color, Inc./Corbis
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Fort Laramie was first constructed in 1834 at the confluence of the Laramie and North Platte Rivers in what is now southeast Wyoming. Originally called Fort William it served as a trading post for the mountain men and Indians in the region.
The United States Government purchased the Fort in 1849, turned it into a military installation and re-named it Fort Laramie. It quickly became the most important outpost in the Frontier West, one of the major stops along the Oregon and California Trails.
It also became the meeting place for the local Native American tribes, where a number of treaties were signed and eventually broken. Fort Laramie was a major base of operation during the Indian Wars that followed.
The Fort was eventually abandoned in 1890, and is now administered by the National Park Service.
The first thing I wanted to get on my return to Edgbaston was the Nature Centre - what I mean is the old Museum building from Pershore Road (wasn't planning on going inside - is it open in winter?)
I found a path to the left of it heading towards Cannon Hill Park.
The museum building of the Nature Centre.
It looked open, despite it being winter.
The centre opened in 1975 on the site of the original Pebble Mill.
Situated on the Pershore Road, the Nature Centre has a six acre site in Edgbaston with over 130 species of animals. This is not a zoo but is a wonderful little oasis for the animal lover and children right near the heart of the city. There is also a Lilliput Village for the younger children. Whilst they do charge an entrance fee for adults, children are admitted free of charge.
The Birmingham Nature Centre can be found situated on the Pershore Road not far from BBC Pebble Mill. Set back off the road it is easily missed. An oasis of calm adjoining Cannon Hill Park, this is a delightful inner city animal kingdom on your doorstep. It's only 2 miles from the city centre.
The centre strives to retain the original habitat of the animals and it expresses the importance of conservation. A place for young children to find out about animals, the Nature Centre is perched right along aside the River Lea. Six and a half acres and with a wide selection of domestic and wild animals.
Advertising itself as having 134 species of British and European wildlife, the centre allows free admission to children.
The Nature centre is home to otters, foxes, deer, owls, sheep, goats, wallaby, donkeys, pigs, polecats, chickens, rabbits, rodents, beavers, reptiles, porcupine, cats, waterfowl, lynx, and has a selection of wild flowers and birds.
Was above freezing so the paths was icy. Managed to avoid falling over, even though I may have slipped a bit before regaining my balance.
Now on Wikipedia here Birmingham Nature Centre
Before the Nature Centre, this was the Birmingham Natural History Museum.
On this site was the original Pebble Mill (not the TV studio that was on Pebble Mill Road).
Dibujo de Valentín Carderera centrado en la monumental escalera de acceso al piso superior de la que fuera casa de los duques de Villahermosa en la antigua calle de Predicadores, habilitada en 1842 como cárceles públicas. Este singular espacio interior desapareció luego por derribo.
Fuente visual: Archivo Palacio Villahermosa (Pedrola), en Manuel García Guatas, Los álbumes de Pedrola. Apuntes y acuarelas de Valentín Carderera en los álbumes del palacio de los Duques de Villahermosa de Pedrola, IFC, 2017.
Proyecto GAZA ("Gran Archivo Zaragoza Antigua") es un compendio de imágenes de la antigua Zaragoza (España), acompañadas de textos creados por José María Ballestín Miguel
y la colaboración de Antonio Tausiet.