View allAll Photos Tagged EXPLOITING
Véhicule : MAN Lion's City G A23 CNG
Identification : 1422 (DR-679-AQ)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1809
Destination : Mise en Ligne
À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.
14/06/2016 18:42
Rue du Vergne ; F-33 BORDEAUX
Tracteur : RENAULT TRUCKS T520 €6
Identification : _ (FG-058-AQ)
Exploitant : Transports Toussaint
Semi-remorque : ROJO GP Line
Identification : _ (BD-112-HG)
Exploitant : Transports Toussaint
Véhicule : YUTONG ICe 12
Identification : 17 (EY-926-BD)
Exploitant : B.E.green
Réseau : n.a.
Dépôt : Bastide - Quai de la Souys
Ligne : n.a.
Service : Autocar électrique en essai
Destination : n.c.
27/06/2019 11:55
Dépôt Cars de Bordeaux Bastide, Rue d'Artagnan ; Bordeaux
The Roar of the majestic Waterfalls still in my ears, I walked a bit on a rather difficult trail into the forest. I had to turn back after less than 500 m - my feet and legs to the knees in thick red mud - , and I felt ashamed knowing that Cabeza de Vaca (see my previous photo) and his companions in the early 1540s blazed a trail for 1600 km from the Brazilian coast to Paraquay! His view of nature must have been very different from mine, of course. He'd already spent more than a decade of utter naked (!) deprivation in what is today more-or-less Mexico, and then he made this South American exploit with no hotel for a late afternoon bath at the very place he named the Saint Mary Waterfalls.
It's not without cause that in his correspondence with the Spanish Throne he writes about the harshness of it all, the deprivations in this untamed nature.
And there I am... a mere transitory with a view to those magnifcient Falls seen already my many thousands. On the other hand, only few here, I think, have eye for Spiderwort and Hoverfly. I'm afraid I can't scientifically name my finds but they sure are pretty!
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2665 (BL-235-JA)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1808
Destination : Mise en Ligne
À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.
18/06/2016 16:01
Rue du Vergne ; F-33 BORDEAUX
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2631 (BD-130-KT)
Exploitant : Keolis Bordeaux Métropole
Réseau : TBM (Transports Bordeaux Métropole)
Dépôt : Centre d'Exploitation du Lac
Ligne : Lianes 9
Voiture : 0908
Destination : BORDEAUX Gare Saint-Jean par les Boulevards
06/02/2019 18:11
Brandenburg ; Bordeaux
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Italian postcard by Rotalfoto, Milano, no. 612. Mamie Van Doren.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Véhicule : IRISBUS Agora L GNV
Identification : 2288 (DD-111-XD)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE SPÉCIALE TOP14
Voiture : 1802
Destination : Mise en Ligne
À l'occasion d'un match de rugby pour le TOP14 au Stade Matmut Atlantique, TBM a mis en place des Navettes Spéciales. La première est la Navette habituelle entre Brandenburg Tram B et le Stade, exploitée par Keolis Bordeaux Métropole en bus articulés. La seconde est une Navette spéciale pour l'occasion entre le Parking P8 Blanquefort et le Stade, exploitée par Keolis Gironde en bus standard.
09/06/2019 16:05
Avenue de la Jallere ; F-33 BORDEAUX
The term circus freak is a tough one to discern. Deemed barbaric and exploitive by modern terms, it was actually the preferred expression…by the “freaks” themselves during the long 100 year heyday of the American traveling circuses and sideshows. These were individuals who made a living (in most cases) the only way they could…by exhibiting their unusual attributes…even playing up their abnormalities to fearful crowds. By most accounts I’ve read, many of the intelligent ones were treated well. In fact some were revered in the highest regard; they were well paid, lived as extravagantly as Hollywood celebrities of their day, traveled the world and made acquaintances with royalty and the social elite. They found love, often with other freaks from the traveling shows, but it wasn’t uncommon to marry normal patrons who frequented the shows. Freaks with limited mental capabilities, however, didn’t fare as well as their smarter counterparts. Some had compassionate handlers but most were deemed less than human and were subject to physical, sexual, and psychological abuse.
In the heyday of the traveling circus there were several kinds of freaks and most of which I tried to portray in this painting…your biological freaks…were born with (or later acquired) physical abnormalities they couldn’t do anything about. These were your giants, dwarfs, fully or partially conjoined twins, your lobster boys and bearded ladies.
Another category are your self made freaks…often with an unwavering desire to be a part of the circus life, folks would cover themselves in tattoos or piercing and play up an exotic or monstrous persona. Often ticket sales dictated something more compelling than a clever name and tattooed flesh so frequently these folks also gained “acquired” skills like sword swallowing, acrobatics or fire juggling.
Another category are your exotic freaks. An individual would qualify into this theme simply by being of a faraway land or culture different from what was deemed as modern or civilized. Tribesmen from Africa, South America, Haiti, Papua New Guinea, The Philippines and the Polynesian islands were often exhibited as head hunters, cannibals, witch doctors, voodoo priests, and savages whether or not they actually engaged in these practices in their homelands. The most extreme and controversial case of this was an African Pygmy tribesman named Ota Benga who was exhibited in a cage in the monkey house at the Bronx Zoo from 1903-1906. He was dressed in animal print loincloths, had apes as companions and was encouraged to act wild whenever patrons drew near. He was played up as “The Missing Link”, bridging the gap between apes and man.
A type of freak I chose not to portray in this painting but are still important to note were the carnival geeks. The term geek nowadays describes a nerdy type or someone extremely interested in a particular brainy subject but in the original meaning, these were considered the lowest of the low; they were not permitted to socialize with other carnival folk. These were vagrant drunks or drug addicts, often picked up when the carnival came to town and left there as the show departed. Its known that addicts of the worst order will usually do anything for their next fix…even act like a maniac in a cage, sling their own urine and excrement around, fight each other and most notably…bite the heads off chickens. This was undoubtedly the most exploitive facet of the traveling freak show but it was well proven that people would pay good money to see people in such a depraved state.
Not really freaks but an equally important part of the traveling show was the pickled punks and other curios. These were often malformed fetuses and animals preserved in jars. Usually they were fakes created to instill awe…most notably the fearsome Fiji Mermaid.
I did this painting with no intent to exploit but only to learn more about our strange world and history. Purposefully I wanted an eerie, yet whimsical representation of the traveling freak show but with a respectful, uplifting, celebratory message. Here we have a freak show owned and operated by Dr. Z…a freak himself (see if you can spot him in the detail pics). In spite of my good intentions, I did meet with what I figured to be weird karma as I was doing the research for this piece. I approached a lady at the town library with an extensive list of books…all of them with “freak show” and “circus freaks” in their titles. As I handed her the list, she looked up from her computer and I saw that she had a severely disfigured face and malformed hands. My gut instinct was to retract the list and maybe approach someone else (or leave and nix this project altogether!) but she seemed unfazed with my list of questionable reading material. She called her associate on another floor, read off the list of books (much to my embarrassment), smiled happily and told me her co-worker was gathering the books now and I should take the stairs or the elevator to find him. I thanked her, then followed her instructions to retrieve my books. It turns out her associate was a severe hunchback, nearly bent in half with his affliction but he happily located and gathered my books for me. Both did an excellent job at their work but had me leaving there with an uneasy feeling of guilt.
In 1984 an “uppity Madison Avenue woman with lofty connections and who has never been to a freak show”…(every book I read made it a point to mention that)…lobbied her connections in congress to pass a law that would deem it illegal to exploit, exhibit or make money off of any type of physical abnormality. Already waning out of popularity, the freak show was deemed illegal with both freaks and patrons alike subject to arrest. Freaks were suddenly at a loss. Even “self-made” heavily tattooed or pierced individuals were at a loss for work. Some had lost considerable incomes, large homes, all of their possessions and the sense of belonging, love and community that the circus life once provided. In some cases, without the means to purchase the expensive medications they required, some have even died or endured the loss of spouses or children. Currently some folks with severe abnormalities are institutionalized, living a solitary life or at best eking a living on welfare or disability.
Whether deemed exploitive or a place for the different among us to find fame, love and a sense of community and belonging, the traveling freak show was an undeniable part of American…and world history. Incidentally, I’ve logged more hours on this painting (about 66) than any other. I hope you enjoy it and if you’ve made it this far…thanks for reading.
France, Région Auvergne-Rhône-Alpes, département de l'Ain, Massif du Jura, Région géographique du Bugey, Vallée du Valromey, Brénod
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Le Valromey est à la fois une région historique et une vallée de France, qui au sein du Bugey, participe à la transition entre Haut-Bugey et Bas-Bugey ; elle est drainée par le Séran.
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Toponymie
Une étymologie fausse prétend que Valromey signifie « vallée romaine » en ancien français, mais cette étymologie est sans doute victime des apparences. En effet, l'ancien français n'y était que peu parlé avant l'annexion en 1601, la langue vernaculaire était en effet le francoprovençal, langue dans laquelle cette vallée se nomme Verromey. Des attestations plus anciennes apparaissent dans les textes sous les noms de Verrumensi en 1110, Veromensi en 1142 et Verrometum en 1169. Ces évolutions de la dénomination dérivent sans doute de Venetonimagus ou plus anciennement de Vernemetonimagos.
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Objectif entièrement manuel Laowa 12mm f/2.8 Zero-Distorsion
Those of you who follow my exploits on Flickr will have noticed my recent enthusiasm for the little or sometimes gigantic fluffy things that happily float above us on a daily basis mostly unnoticed. Imagine my delight then when I spotted this developing on my journey back home the other day. The sun was setting directly ahead as I travelled west and as the road veered I caught sight of this awsome glow starting to radiate over the hills of West Carmarthenshire. This was the second of the two images I captured that evening. Don't you just love nature!!!
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We had a bumper crop this year of seeds on our Common Milkweed (Asclepias syriaca). It has been breezy recently, perfect conditions to help the milkweed floss disperse the seeds far and wide around the neighborhood.
Here is a bit of interesting milkweed history from a 2012 Washington Post article:
"As September winds down, milkweed pods dry out and split open, releasing flat, brown seeds carried aloft by a white, silky fuzz known as milkweed floss.
The hollow fibers are coated in wax, making them waterproof and buoyant, a quality exploited during World War II after the Japanese occupation of Java cut off supplies of kapok, a fluffy plant fiber used in life vests. (Today's vests use synthetic fibers.)
To fill the gap, defense contractor War Hemp Industries enlisted American schoolchildren to scour the September landscape for ripe milkweed pods, paying kids 15 cents to fill an onion bag with pods. Each open-mesh bag held about a bushel, or 600 to 800 pods. Two bags provided enough floss for one life vest. More than 1.5 billion pods were collected to make 1.2 million life vests.
Francis Joey Wilson Jr., who was 10 years old in 1944, remembers his father tipping him off about a poster promoting the pod harvest near their home in Upper Marlboro. "All my friends jumped on our bikes and took off for the post office to read the notice for ourselves," writes Wilson. Later, his bags full of pods were collected behind the post office and hauled away by a big truck. "They were paying about 5 cents a pound," says Wilson.
These days, milkweed pods are worth about 55 cents a pound, and they are still collected by people toting onion bags through the North American countryside. The floss is harvested to help fill pillows, comforters and stuff into jackets.
Milkweed floss is best used in combination with goose down. Floss by itself clumps together after being washed, but when mixed with down, floss smoothes out the texture of down without compromising down's other qualities. Floss is about half as costly to produce as down."
To read the entire Washington Post article go to:
www.washingtonpost.com/wp-srv/special/metro/urban-jungle/...
German postcard by Ross Verlag, no. 44301/1, 1929-1930. Photo: United Artists.
Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.
Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina, and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist, and friend of the Vélez sisters recommended Lupe to stage producers, Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.
While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.
In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.
Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.
Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Translation / Traduction 🇬🇧 UK
● 1st tram with the Ilévia color.
● 2nd day of exploitation to the Ilévia color.
● 3rd Delivered ( Color ).
Bye Bye Transpole, Hello Ilévia ( New brand since February 28th, 2019 )
Translation / Traduction 🇫🇷 Fr.
● 1er tramway avec la couleur Ilévia.
● 2ème jour d'exploitation Tram n° 01 au nouvelle couleur Ilévia.
● 3ème livrée ( couleur ).
Bye Bye Transpole, Hello Ilévia ( Nouvelle marque depuis le 28 février 2019 )
Tramway de Lille Roubaix Tourcoing.
Parc : 24 Tramways
Fiche technique :
- Longueur : 29.6 mètres
- Largeur : 2,4 mètres
- Hauteur : 3,425 mètres
- Masse à vide : 40 tonnes
- Capacité avant ◄ 2015 : 200 personnes
( 50 assises et 150 debout )
- Capacité évolué après rénovation ( voir ci-dessous )
- Capacité après ► 2016 : 245 personnes
( 40 assises et 205 debout )
- Vitesse maxi : 80 km/h
- Captage : pantographe unijambiste Faiveley
- Ecartement : voie métrique ( 1 mètre )
- Constructeur : Breda Costruzioni Ferroviaire
Source : Trans'Lille
www.translille.com/spip.php?article4
Exploitant ►Ilévia ( Site officiel )
www.ilevia.fr/fr/?gclid=EAIaIQobChMIsK7duc3k4AIViZ3VCh3HD...
Ilévia ( Wikipédia )
fr.wikipedia.org/wiki/Il%C3%A9via
Tramway de Lille - Roubaix - Tourcoing ( Wikipédia )
fr.wikipedia.org/wiki/Tramway_de_Lille_-_Roubaix_-_Tourcoing
Breda ( Wikipédia )
fr.wikipedia.org/wiki/Breda_VLC
fr.wikipedia.org/wiki/Breda_costruzioni_ferroviarie
Liste des tramways de France
Is the vulture hovering above Austria? Could also be a turtle.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Built for the rick and Morty Exploit the Fans for Art DVD Contest.
He finally found his purpose.
Available to view on twitter.
Click here for the reference images, and here for the existential crisis.
Rick and Morty and all related names, images etc. are property of Justin Roiland, Dan Harmon and Adultswim. All rights reserved.
Véhicule : BOLLORÉ BlueBus 12
Identification : _ (EX-185-MT)
Exploitant : Keolis Bordeaux Métropole
Premier bus électrique expérimenté sur une ligne régulière commerciale, du 27 Mai et 7 Juin 2019.
Réseau : TBM (Bordeaux Métropole)
Dépôt : Bastide Niel
Ligne : Lianes 15
Voiture : n.c.
Destination : VILLENAVE D'ORNON Courréjean
À l'instar de la démonstration menée en Septembre 2018 (avec un GX 337 Elec), Bordeaux Métropole a lancé un projet d'expérimentations de bus électriques, qui se tiendront sur la période 2019-2020. Le but est d'éprouver la capacité de ces véhicules à être mis en service commercial sur le réseau. Pour cela, la Lianes 15 a été retenue : longue d'environ 25 kilomètres, elle met entre 1h15 et 1h30 pour relier Bordeaux du Nord ("Centre Commercial Bordeaux Lac") au Sud (Villenave d'Ornon, "Pont de la Maye" ou "Courréjean"), en passant par l'hyper centre-ville. Remisée au dépôt de Bastide-Niel, elle accueillera les véhicules de 7 constructeurs : BOLLORÉ (BlueBus 12), ALSTOM (Aptis), HEULIEZ BUS (GX 337 Elec probablement), IRIZAR (i2e probablement), MERCEDES-BENZ (eCitaro), MAN (Lion's City 12 E), et YUTONG (E 12 LF). Les véhicules réalisent quotidiennement une demi-journée de service (compte tenu de l'autonomie limitée de ce type de véhicule), le rechargement des batteries s'effectuant la nuit par "charge lente".
06/06/2019 15:25
Avenue des Pyrénées ; Villenave d'Ornon
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Exploitant : RATP
Réseau : RATP
Ligne : 528
Lieu : Porte de Clichy (Paris 17ème, F-75)
Lien TC Infos :https://tc-infos.fr/id/32302
Exploitant : Cars Hourtoule
Réseau : SQY Terre d'Innovations
Ligne : 9
Lieu : Gare de Plaisir – Grignon (Plaisir, F-78)
Lien TC Infos : tc-infos.fr/id/35058
For this image I created an impression. Before looking at its illustration, it is perhaps worth pointing out several weaknesses to the image. There are issues of scale, with the verraco being clearly too big, and the tree-pole too small. There are also issues of artistic licence, where the wolfpack is also an inanimate mineral outcrop as occasional howls in the landscape blur with the pack's howling identity. Also, the image seems to inhabit both day and night, with the bird-of-prey more eagle or vulture than grand-duc owl, and the distant flock of goats still out on their hill, yet the silence of night is apparent. There are both the dark vistas and the howling wolves of night, and the active fires of day. There are also issues of authenticity - some castros present tight arrays of round houses, lets say the Castro de Baroña, whereas others offer a grid of square houses - for example La Hoya. Sites with a flexibility of space and function, such as Ullaca, also exist. In my image, the 'castro' seems almost to be a hybrid of castro and shepherd's chozos with corral (see past posts).
Everything in the image is intentional. It shows both night and day, both a castro and a croft and a chozos. It depicts a wolf-like element from a landscape that can also howl and birds of prey in both day and night. It is an image that has a flexibility and a need to be finished by the viewer's minds eye.
Pastoral man, with his herds and flocks leaves traces on the land, traces that do not clean, rather they fade into composts. The smell of wool combed by blackberry bramble, the dot-to-dot of pat and dropping clearly marking path, entrance and crossroad. And then the noise: chants of baaaa, moo and neigh: oink, grunt and bleet. Castros, villages, chozos and crofts served individuals and communities, and communities had animals for functions that spread from centralised trade down to individual winter heat. Settlements, inside and outside, towards and away, will have smelt, sound and looked interesting to the instinct and inquisitive assessments of birds-of-prey, foxes, marten and wolves.
Flocks and new-borns will have thus stimulated interest among predators, who are constantly tuning into signals of potential food: eyes in the day, over the wan and even through the night. An otherwise light sleeping and attentive shepherd may slip off his normal guard whilst trading through his local castro, and he might regret his jovial conversation, evening song-and-dance; and above all, his reliance on the attentiveness of others.
The geography of the verraco zone is crossed by deep gorges fed from the waters of regular high sierras, and for all of the long hot 'hells' of summers, central and north western Spain and Portugal do have water. Grasslands are warmed into two real growing seasons of spring and autumn, and local and migrating birds and local mammals enjoy the rich and constantly renewing stocks of dry seed. Many varieties of birds-of-prey look to exploit situations. Vultures scavenge, but can also organise between themselves to make animals run over cliffs and other shock mischiefs. Gosshawks and kites dive, eagles chance firm grips, grand-ducs eat anything from large insects up to the size of a hare, and wolves watch, learn and cooperate. Some scavengers look for the old, the ill or the young or isolated and peck to a point when the lifestyles of scavenger and predator seem to merge.
The Neolithic revolution was a mindset that looked at the living world and tried to observe, select and effect change. Docile, fat and milky offspring over the aggressive and lean. Big roots, sweet fruit and independent grains over the bitter and tight. By the Iron age, it is credible to expect that flacons, hawks, eagles and buzzards joined dogs in being trained to collect small animals for man, and in that then very modern world, it is very possible that people didn't register a great distinction between domestication and training.
Some villages and areas may have sat-back content to work with the 'Neolithic package' of ready to work domesticated animals and plants, but the system itself of "observation, selection and managed action with a target in mind" will have been a mindset and meme that inspired many into a sense of place and epoch. Here, shepherds and pastoralists were the 'computer scientists' of the late ages of prehistory, and its following protohistory.
Finding a way to dissuade birds-of-prey, wolves and foxes from becoming locked by their instincts and inquisitive learning into the growing nodes of society may have been an issue for this Iberian geography. The biomass of Iberian scrub and meadow-grain surely supported more predators than from further to the north, and the many steep deep valleys of the Iberian north, centre and west provided safe zones for packs of wolves away from the most organised hunting party. Getting into the mind of a predator required observation, strategy and a will to change in the wild.
Creating an artifice - a false animal - that could trick troublesome examples of predators, so that they could be either killed, captured or even trained to re-think the new conglomerated and urban demographys of Castro, hamlet, chozos and village, here being the push to form and create verracos.
Knowing that predators do not like to have been seen by the alert and watchful eyes of their potential prey, so favouring fake animals with eyes that are slight and passive.
Knowing that both predators and scavengers are looking out for animals that are alone.
Knowing that the predator's instinct and mind is excited by the rounded shape of a carcase filled with blood, flesh and bone.
Knowing that the predator investigates a potential prey; calculating and placing strategies in line. Knowing that doubts can be appeased by making the details of life clear, with the satiating stimuli of life's animal 'keys' visible for viscerally compulsive predatorial conceptions (eyes, nostril, sexual organs, anus, tail...).
Knowing that predators open carcasses by the anus, the sexual organs and the throat, and making all of these indubitable clear lines, and in so doing, adding to the attraction of the granite artifice.
Showing the horns and tusk as proof-of-concept without weaponizing their image with point and exaggeration, resulting in verraco horns are visible but never threatening and often atrophied.
A static animal with straight legs is either half-asleep, old or ill - all states that regularly occur in nature - and all at the centre of many a predators dream. Ruminating outlines rather than alert beasts about to spring to run or fight.
Verracos seem designed to charm and enthral the instinct of the very predators that could undermine the serenity of man's increasingly expanding and negotiating sedentary.
From high in the sky, the bird of prey that has over several months locked onto the landscape of the castro (and in so doing, taken several young animals), dives. The bird picks up speed with the sun behind its wings. To draw extra confidence around the proposed situation, a pile of manure has been positioned behind the back legs. From behind a temporary screen, the keepers of this verraco make the noises of the manufactured motionless animal, and pull strings to make bunches of grass first obscure and then reveal the stone form in much the same way that a fowler has always learned bird calls and employed decoys from far into hominid pasts. The verraco's team may grunt, or they moo with uncanny realism - calm, serious and unabashed. And as a fishing-rod may come-and-go to tease attention, so it might be the case that a verraco is covered from view until the desaturated landscape of dawn and dusk. Hiding and revealing the verraco would certainly be an art, and contemporary experimental archaeologists that simply place and watch a verraco from afar without a sense of timing and 'theatre', would only be akin to persons watching a magician's dummy hoping to see magic. The diving bird now includes its shadow and swoops to kill. The keepers of the verraco either witness the bird as it is instantly killed by hitting the hard stone, or, they add spear or knife to the dazed and confused. The problem predator has been neutralised and prized feathers, bones and claws are traded to the additional profit of the veracco's guardians.
We may suggest that the large Yaca de Yeltes castro asked that the 'best' team come once a year, and the well 'paid' verraco team have gone as far as installing a field of raised stones to, amongst other advantage, stop inquisitive landed vultures from running a gawk take-off.
On other occasions, the bird-of-prey swoops to catch an offering of meat, and here, with the help that the focus of a verraco provided, this bird is locked into a repeatable narrative, taking the cuts from indents made in the verraco's back. The action of feeding the bird-of-prey will ultimately lead to falconry or hawking - man and animal trained to work and hunt together. Trained birds-of-prey another source of income for the keepers of the verraco. On other occasions, clay is moulded flat into the pits, and a strip of matching back-hide is pinned into the clay so that from above, the verraco matches reality, and from the oblique shaded sides it silhouettes with close proximity. Both utilities from one addition.
Pits in clapper-bridge stones and on carved steps (4:8) had been used aside rivers to focus and attract birds and animals to key spots for generations in the local area, and finding elegant new applications involved simple steps and bridges of creativity in the mind's eye.
Even if they could never attack a large animal, foxes would simply be too inquisitive to the hyper-reality of sound, shape and smell, and in-turn fall prey to the managed situation.
Some localities arranged for a permanent verraco to guard their dynamic community, and this sense of guarding became part of their symbolic importance, with some veraccos just guarding as emblems of mind over wild. Some of these would be smaller and less refined, but still visibly verracos (6:8).
Verracos of bears could be made to attracted naturally short sighted real bears, and the smell of acorns coupled with the sight and sound of an apparent hog could be made to attracted wild boars - unconstrained creative applications, and all for watching local eyes and their vivid stories, as many verracos would move from place to place.
We might imagine that the Yacca de Yeltes verraco stayed on
with the aim of teaching a returning pack of wolves a lesson (wolves can have vast territories and wander the crests and vales as winter pinched the Sierras, Picos and Pyrenees). The associated field of 'standing stones' here stopping the wolves from collecting a definitive line of sight.
Over the period, the specific verraco team had been fed by the population of the castro. They have been offered shelter, and have collected fur and other items for trade. They also handed over a trained eagle in exchange for metal goods and assured contacts. They had been merry, helping with odd jobs of heavy lifting, as these keepers of the verraco are people who have phase-changed from a megalithic heritage and they are strong and liked to be known as strong. During their stay, conversations led to a demand from a new village 5 kilometres away. The village had been having a problem with vultures and a fox. The villagers also believe that a veracco brought luck to their settlement, symbolic security and even social status and credibility. Verracos were seen as more 'intelligent' than the foils of nature.
The village was accessed by a cart track and the verraco team strapped timbers to its side, and with a heave, they lift and sing off to their next 'job'. The verracos pedestal kept the centre of gravity low, and made it easier to transport the weight on and off the cart, and then into the rocky terrain aside the gully behind the village that was funnelling problems. The sedentary life is good, but it is not for everyone. And every time the team puff the verraco back onto the ground, some of its granites crumbles away. On more occasions than they would like to mention, as they walk it towards its new scene of theatre, someone stumbles, and the animal falls onto its face. And as they try to position the verraco between stone outcrops to create natural nuance to its outlines, they trip again, stumble, bash, and jam the forward facing verraco ... and onto pedestal ... then onto legs: again and again. Chips and 'crumbs' falling as granite-sand to never be recognised or counted.
The team had seen time worn and travelled verracos covered with pelts of stitched realism to the detriment of clean lines and silhouettes and apparent details, and on the day they finally stopped to either make or trade for a brand new example, they exchanged their now battered companion to a 'lesser' team, or for use in a competition of strength during a summer festival.
Predators were suspicious of lone sheep and goats, and local people liked to see powerful and vivid animals.
Verracos offered leverage over issues related to the living landscape. Maybe they were paraded once a year and once again fell from the shoulders of young teams with minds stronger than muscles. Maybe some eventually guarded over graves, here still thought to be capable of attracting and dominating the surprise elements of the wild world in controlled and intelligent ways. Confronting powerful 'elements' is seen elsewhere in Iberian culture. Drawing-in spirits of mischief and ill fortune being one of the elements principle of the 'akelarre'. Drawing in the danger of the most powerful bull, being one of the principles of 'La tauromachie'.
And if the main function of the verraco can be summarised as to attract unreasonable wild agitators into situations of weakness, then when the Romans landed on the eastern side of the Iberian peninsula, and when topics of conversation changed and adjusted for this new breed of predator, it is very possible, and indeed perhaps typically human and wry, that a verraco was made of a Roman soldier on all-fours with his detailed behind in the air. In this scenario, the verraco of 'San Felices de Los Galegos' (pictured below) may just have carried Roman costume plundered from battle to the south or east. And as the verracos were positioned aside new urban plots, by natural crags, small creeks and slight gullies, Romans didn't see them as examples of power and social hierarchy, and left them untouched as pastoral inconsequence, to their minds, naturally belittled aside the new Roman columns.
I shall call this hypothesis the 'managing the wild' theory of verracos. Readers should contrast this hypothesis with others.
My last post in this series (8:8) will look at a potential deep root to the principle of drawing-in troublesome elements rather than running after.
AJM 18.11.21
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
During the 1950s Douglas Aircraft studied a short- to medium-range airliner to complement their higher capacity, long range DC-8 (DC stands for “Douglas Commercial”). A medium-range four-engine Model 2067 was studied, but it did not receive enough interest from airlines and was subsequently abandoned. The idea was not dead, though, and, in 1960, Douglas signed a two-year contract with Sud Aviation for technical cooperation. Douglas would market and support the Sud Aviation Caravelle and produce a licensed version if airlines ordered large numbers. None were ordered and Douglas returned to its own design studies after the cooperation deal expired.
Towards late 1961, several design studies were already underway and various layouts considered. Initial plans envisioned a compact aircraft, powered by two engines, a gross weight of 69,000 lb (31,300 kg) and a capacity of 60-80 passengers. The aircraft was to be considerably smaller than Boeing’s 727, which was under development at that time, too, so that it would fill a different market niche. However, Douglas did not want to be late again, just as with the DC-8 versus the 707, so the development of the “small airliner” was soon pushed into two directions.
One of the development lines exploited the recent experience gathered through the cooperation with Sud Aviation, and the resulting aircraft shared the Caravelle’s general layout with a pair of the new and more economical Pratt & Whitney JT8D turbofan engines mounted to the rear fuselage and high-set horizontal stabilizers. Unlike the competing but larger Boeing 727 trijet, which used as many 707 components as possible, this aircraft, which should become the highly successful DC-9, was an all-new design with a potentially long development time.
This was a major business risk, and in order to avoid the market gap and loss of market shares to Boeing, a second design was driven forward, too. It copied Boeing’s approach for the 727: take a proven design and re-use as many proven and existing components as possible to create a new airliner. This aircraft became the DC-8/2, better known as the “Dash Two” or just “Dasher”. This aircraft heavily relied on DC-8 components – primarily the fuselage and the complete tail section, as well as structures and elements of the quad-airliner’s wings, landing gear and propulsion system. Even the engines, a pair of JT3D turbofans in underwing nacelles, were taken over from the DC-8-50 which currently came from Douglas’ production line.
The DC-8’s fuselage was relatively wide for such a compact airliner, and its inside width of 138.25 in (351.2 cm) allowed a six-abreast seating, making the passenger cabin relatively comfortable (the DC-9 developed in parallel had a narrower fuselage and offered only five-abreast seating). In fact, the Dash Two’s cabin layout initially copied many DC-8 elements like a spacious 1st class section with 12 seats, eight of them with wide benches facing each other in a kind of lounge space instead of single seats. The standard coach section comprised 66 seats with a luxurious 38” pitch. This together with the relatively large windows from the DC-8, created a roomy atmosphere.
Douglas decided to tailor the Dash Two primarily to the domestic market: in late 1962, market research had revealed that the original 60-80 seat design was too small to be attractive for North American airlines. In consequence, the Dash Two’s cabin layout was redesigned into a more conventional layout with 12 single 1st class seat in the first three rows (four abreast) plus 84 2nd class seats in fifteen rows (the last row with only four seats), so that the Dash Two’s standard passenger capacity grew to 100 seats in this standard layout and a maximum of 148 seats in a tight, pure economy seating. The needs of airlines from around the world, esp. from smaller airlines, were expected to be covered by the more sophisticated and economical DC-9.
Douglas gave approval to produce the DC-8 Dash Two in January 1963, followed by the decision to work seriously on the DC-9 in April of the same year. While this was a double burden, the Dash Two was regarded as a low risk project and somewhat as a stopgap solution until the new DC-9 would be ready. Until 1964, when the first prototype made its maiden flight, Douglas expected orders for as many as 250 aircraft from American and Canadian airlines. Launch customers included Delta Airlines and Braniff International (10 each with options for 20 and 6 more, respectively) and Bonanza Air Lines (4). Despite this limited number, production was started, since no completely new production line had to be built up – most of the Dash Two’s assembly took place in the DC-8 plant and with the same jigs and tools.
Two versions of the DC-8/2 were offered from the start. Both were powered by JT3D-1 engines, but differed in details. The basic version without water injection was designated DC-8/2-10 (or “Dash Two-Ten”). A second version featured the same engines with water injection for additional thrust and a slightly (3 ft/91 cm) extended wing span. This was offered in parallel as the -20 for operations in “hot and high” environments and for a slightly higher starting weight. Unlike the DC-8, no freight version was offered.
However, even though the Dash Two was designed for short to medium routes, its origins from a big, international airliner resulted in some weak points. For instance, the aircraft did not feature useful details like built-in airstairs or an APU that allowed operations from smaller airports with less ground infrastructure than the major airports. In fact, the Dash Two was operationally more or less confined to routes between major airports, also because it relied heavily on DC-8 maintenance infrastructure and ground crews.
Even though the Dash Two had a good timing upon market entry, many smaller airlines from the American continent remained hesitant, so that further sales quickly stalled. Things got even worse when the smaller, lighter and brand-new DC-9 entered the short-haul market and almost completely cannibalized Douglas’ Dash Two sales. Boeing’s new 737 was another direct competitor, and foreign players like the British BAC One-Eleven had entered the American market, too, despite political influence to support domestic products.
Even though the Dash Two was quite popular among its passengers and crews (it was, for its class, comfortable and handled well), the Dash Two turned out to be relatively expensive to operate, despite the many similarities with the DC-8. By 1970, only 62 aircraft had been sold. In an attempt to modernize the Dash Two’s design and make it more attractive, an upgraded version was presented in May 1971. It featured a slightly stretched fuselage for a passenger capacity of 124 (vs. 100 in the standard layout, total maximum of 162) and was powered by a pair of Pratt & Whitney JT8D-11 turbofan engines, capable of generating up to 6800 kg of thrust. This version was designated -30, but it did not find any takers in the crowded mid-range market. The DC-8/2 was already outdated.
Therefore, a half-hearted plan to replace the Dash Two -10 and -20’s JT3D engines as -40 series with more fuel-efficient 22,000 lb (98.5 kN) CFM56-2 high-bypass turbofans, together with new nacelles and pylons built by Grumman Aerospace as well as new fairings of the air intakes below the nose, never left the drawing board, despite a similar update for the DC-8 was developed and offered. Douglas had given up on the DC-8/2 and now concentrated on the DC-9 family.
Another blow against the aircraft came in the early 1970s: legislation for aircraft noise standards was being introduced in many countries. This seriously affected the Dash Two with its relatively loud JT3D engines, too, and several airlines approached Douglas (by then merged with McDonnell into McDonnell Douglas) for noise reduction modifications, but nothing was done. Third parties had developed aftermarket hushkits for the Dash Two, actually adapted from DC-8 upgrades, but beyond this measure there was no real move to keep the relatively small DC-8/2 fleet in service. In consequence, Dash Two production was stopped in 1974, with 77 aircraft having been ordered, but only 66 were ever delivered (most open orders were switched to DC-9s). By 1984 all machines had been retired.
General characteristics:
Crew: 3 (+ 3 flight attendants)
Length: 125 ft (38.16 m)
Wingspan: 105 ft 5 in (32.18 m)
Height: 42 ft 4 in (12.92 m)
Wing area: 1,970 sq ft (183 m2), 30° sweep
Empty weight: 96,562 lb (43,800 kg)
Gross weight: 172,181 lb (78,100 kg)
Fuel capacity: 46,297 lb (21,000 kg) normal; 58,422 lb (26,500 kg) maximum
Cabin width: 138.25 in (351.2 cm)
Two-class seats: 100 (12F@38" + 88Y@34")
Single-class seats: 128@34", maximum of 148 in pure economy setup
Powerplant:
2× Pratt & Whitney JT3D-1 turbofan engines, delivering 17,000 lb (76.1 kN) each
Performance:
Maximum speed: 590 mph (950 km/h; 510 kn)
Cruising speed: 470–530 mph (750–850 km/h; 400–460 kn) at 32,808–39,370 ft (10,000–12,000 m)
Range: 1,320 mi (2,120 km; 1,140 nmi) with 26,455 lb (12,000 kg) payload
and 12,456 lb (5,650 kg) fuel reserve
1,709 mi (2,750 km) with 17,968 lb (8,150 kg) payload
and 12,456 lb (5,650 kg) fuel reserve
Service ceiling: 39,000 ft (12,000 m)
Rate of climb: 2,000 ft/min (10 m/s)
Take-off run at MTOW: 7,218 ft (2,200 m)
Landing run at normal landing weight: 4,757–6,070 ft (1,450–1,850 m)
The kit and its assembly:
This model was originally intended to be my final contribution to the “More or less engines” group build at whatifmodelers.com in October 2019, but procurement problems and general lack of time towards the GB’s deadline made me postpone the build, so that I could take more time for a proper build and paintjob.
The idea behind it was simple: since the original DC-8 was stretched (considerably) in order to expand its passenger capacity from 177 to 289(!) passengers, why not go the other way around and reduce its dimensions for a short/medium range airliner with just two engines, as a kind of alternative to the Boeing 737?
The basis is the Minicraft 1:144 DC-8 kit, in this case the late release which comes only in a bag without a box or any decals and which depicts a late -60/70 series aircraft with the maximum fuselage length. Inside of the fuselage halves, markings show where these parts should be cut in order to take the plugs out for shorter, earlier variants. However, my plan would be more radical!
Shortening the fuselage sound simple, but several indirect aspects have to be taken into account. For instance, wingspan has to be reduced accordingly and the aircraft’s overall proportions as well as its potential center of gravity have to be plausible, too. Furthermore, landing gear and engines will have to be modified, too.
Several measures were taken in order to find good points where the fuselage could be cut for a maximum length reduction - after all, a LOT of material had to disappear for the twin-engine variant!
First, the fuselage was completed for a solid cutting base. I decided to take out a total of three plugs, with the plan to achieve a length somewhere near a late Boeing 737, even though this turned out to be more complicated and challenging than expected. All in all, the fuselage length was reduced from ~39cm to ~26.5cm. Less than I hoped for, but anything more would have ended in a total reconstruction of the wing root sections.
Two plugs are logical, the third one in the middle, only 1.5cm long, is less obvious. But since the wing span would be reduced, too, the wings' depth at the (new) roots was also reduced, so that the original DC-8 wing roots/fuselage intersections would not match anymore. The wings themselves were, also based on late Boeing 737 and Dassault Mercure measures, were cut at a position slightly inside of the inner engine pylon positions.
Re-construction started with the rear fuselage; I initially worked separately on the cockpit section, because I filled it with as much lead as possible, and it was connected with the rest of the hull when its three segments were already completed.
The Minicraft DC-8 is basically nice and has good fit, but I found a weak spot: the fin's leading edge. Like on Minicarft’s 727's wings, which I recently built, it's virtually flat. It just looks weird if not awful, so I sculpted a more rounded edge with putty. Since the small air intakes under the radome are open, I added an internal visual block in the form of black foamed styrene.
The JT3D nacelles were taken OOB from the Minicraft kit, I used the inner pair because of the shorter pylons. They were attached under the wings in a new position, slightly outside of the original inner engine pair and of the main landing gear. The latter was modified, too: instead of the DC-8’s four-wheel bogies I used a pair of Boeing 727 struts and twin wheels, left over from the recent build. These were attached to 1.5 mm high consoles, so that the stance on the ground became level and mounted into newly cut well openings in the inner wings. The front wheel was taken OOB from the DC-8. I was a little skeptical concerning the main landing gear’s relative position (due to the wing sweep, it might have ended up too far forward), but IMHO the new arrangement looks quite fine, esp. with the engines in place, which visually shift the model’s center of gravity forward. I just had to shorten the engine pylons by maybe 2mm, because the lack of dihedral on the DC-8’s outer wing sections considerably reduce ground clearance for the engines, despite the added consoles to the landing gear. However, all in all the arrangement looks acceptable.
For the model’s in-flight pics, and also for the application of the final varnish coat, I added a ventral, vertical styrene tube in the model’s center of gravity as a display holder/adapter. Due to the massive lead weight in the nose, the adapter’s position ended up in front of the wing roots!
Painting and markings:
I usually do not build civil airliners, so I took the occasion to represent a design icon: the “flying Colors” livery of Braniff International Airlines from the early Seventies. Braniff featured several bright liveries, but my personal favorite is the simple one with uniform fuselages in varying bold colors, mated with simple, white fins, engine nacelles and wing areas.
This choice was also influenced by the fact that 26decals offers a 1:144 sheet for Braniff DC-8s of this era (remember: the bagged Minicraft kit comes without any decal sheet at all). Choosing a color was a long process. Bright red or orange were initial favorites, but the recent 727 already had orange markings, so I rather favored blue, green or even purple. I eventually settled on a light lime green, which has a high shock value and also offers a good contrast to the Braniff markings and the windows. A tone called “Lime Green” was actually an official Braniff tone (check this great overview: web.archive.org/web/20050711080200/http://www.geocities.c..., a great source provided by 26decals in the context oft he decal sheet I used, see below). But my intention was not to authentically replicate it – I rather just wanted a bright color for the model, and I like green.
The basic color I used is simple Humbrol 38 (Lime), which was applied with a brush after the wing areas had been painted in white (Humbrol 22) and aluminum (various shades, including Humbrol 11 and Revell 99). The characteristic black area around the cockpit glazing was created with mix of decals and paint, the silver ventral areas were painted with Humbrol’s Polished Aluminum Metallizer. The fin’s and the stabilizers’ leading edges were created with silver decal sheet material (TL Modellbau), grey and silver bits of similar material were used for some small details on the wings.
As already mentioned, the decals, including all windows, come from a 26decals sheet. Due to the reduced length, the windows’ and doors’ position and numbers had to be improvised. But thanks to the relatively simple livery design without cheatlines or other decorative elements, this was an easy task. Finally, the model received an overall coat of gloss acrylic varnish from the rattle can.
Just like my recent Boeing 727 with four engines, this conversion appears simple at first sight, but the execution caused some headaches. The biggest problem was the reduced depth of the shortened wings and how to mount then to the fuselage – but the attempt to take an additional fuselage plug away was an effective move that also helped to reduce overall length.
I am astonished how modern and plausible this shortened DC-8 looks. While building, the aircraft constantly reminded me of the Tupolev Tu-104 airliner, until the engines were added and it now resembled an Airbus A320!
Tornado IDS - 46+26 JaboG 38 Friesland - Luftwaffe (Base aérienne 105 EVREUX juin 1991)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Véhicule : HEULIEZ BUS GX 337 €6
Identification : 169022 (EA-354-XT)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Ambarès-et-Lagrave
Réseau : TBM (Bordeaux Métropole)
Ligne : 17 NAVETTE SPÉCIALE TOP14
Voiture : 1704
Destination : Stade Matmut Atlantique
À l'occasion d'un match de rugby pour le TOP14 au Stade Matmut Atlantique, TBM a mis en place des Navettes Spéciales. La première est la Navette habituelle entre Brandenburg Tram B et le Stade, exploitée par Keolis Bordeaux Métropole en bus articulés. La seconde est une Navette spéciale pour l'occasion entre le Parking P8 Blanquefort et le Stade, exploitée par Keolis Gironde en bus standard.
09/06/2019 15:35
Avenue de la Jallere ; Bordeaux
pretending to take a picture of Kitty just to get the guy
and no, I did not get a model release from him :)
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.