This famous seafood area has good and bad connotations. Good for being a huge seafood market, and bad because of Thailand's poor treatment of fishermen. Often these are vulnerable migrant workers from other countries who are badly exploited in this industry.

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.

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.

Exploitant : Keolis Dijon Mobilités

Réseau : Divia

Ligne : L7

Lieu : Chevigny (Chevigny-Saint-Sauveur, F-21)

Lien TC Infos : tc-infos.fr/vehicule/35251

In a world filled with endless possibilities, there's a little girl whose smile can light up even the darkest corners.

 

Photo by Firoz Ahmad Firoz

www.picturesmagic.com/

 

A health teacher fights for her job at a high school plagued by delinquents and teenage pregnancy in this notorious exploitation film.

Exploitant : Cars Lacroix

Réseau : Valoise

Ligne : 95-19

Lieu : Léon Feix (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/20707

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.

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.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

  

Some background:

In March 1941 Saab was given the task to design a better fighter than the Seversky Republic P-35s and Reggiane 2000s, at that time the only fighter aircraft Sweden was able or allowed to buy and the air force’s most modern fighters. Several other foreign designs, including the German Bf 109 or even the Japanese Mitsubishi Zero had also been considered.

 

Anyway, during the ongoing war the procurement of foreign equipment had no predictable future, and so a program for an indigenous fighter aircraft was launched the same year. This resulted in two different designs, which were both initially constructed around an imported German DB 603 engine – a deal which had become possible through the allowance of German transport flights to Norway over Swedish territory, a reason why no Allied equipment was sold to Sweden.

 

The resulting designs, the L-21 and L-23, differed considerably from each other. The Saab L-21 was a futuristic twin-boom pusher. This unconventional layout was a technological risk, with ejection seat and all, but it was expected to exploit the DB603 engine to the max, with a low-drag airframe (e .g. with a totally buried radiator installation inside of the inner wings) and a well-balanced center of gravity, which was expected to improve handling and turn radius. It was the favored design of Saab’s engineers.

 

As a fall-back option, though, the L-23 was added. It was a more conservative design with the same DB 603 engine, but with the engine in the classic nose position, a tunnel radiator under the rear fuselage, low tapered wings and a conventional tail. The overall outline resembled the P-51B/C Mustang. Most interestingly, the J 23 was to have a Bofors ejection seat, too, despite its conventional layout.

 

In December 1941 both designs were approved for prototypes, so that a direct comparison of both layouts could be made. The first of three J 21 prototypes flew on 30 July 1943, while the first three J 23 fighters followed on 10 August, just two weeks later.

 

Flight tests and evaluation continued until mid-1944 and, despite less weight and size, the J 23 turned out to be fast (Max. speed 626 km/h (388 mph) with the DB 603), but considerably less maneuverable than the J 21, which in itself was also not a perfect aircraft and frequently faced overheating problems.

 

Faced with two mediocre designs and an urgent need for a modern fighter, it was eventually decided to go ahead with the J 21 for serial production, but a pre-production batch of upgraded J 23 was also ordered for field tests and further development. In the meantime, Sweden had acquired rights to produce the DB 605 in license, and the new fighter was to be adapted to this more modern and powerful engine – it was hoped that the new engine would improve the J 23’s performance, and it was also fitted to the production J 21.

 

This re-engined variant was the J 23A, of which twelve aircraft were constructed at the main plant in Trollhättan and delivered from August 1945, too late to be involved in typical interception duties at the Swedish borders.

Deliveries of the favored J 21 started in December of the same year. The latter’s field performance turned out to be unsuited for the interceptor role, and the cooling problems persisted. Relegated mainly into the bomber and CAS role (the J 21 turned out to be a passable ground attack aircraft and a stable gun platform), the limitation of the J 21’s pusher design led to a revival of the front-engine J 23.

 

The resulting J 23B became the aircraft’s actual production variant, incorporating many improvements which had been developed and tested on the prototypes and the pre-production J 23As. These included aerodynamic modifications like a different airfoil on the outer wings and a lowered horizontal stabilizer, coupled with an extended rear fuselage for better directional stability and a slimmed-down radiator fairing for less drag. These machines were delivered from late 1946 on, and a total of forty-six J 23B airframes were produced until early 1948.

 

In service, the lighter J 23Bs proved to be a better interceptor than the J 21, with a higher top speed and rate of climb, but its handling was less responsive than the pusher aircraft with the same engine and armament.

 

Overall the J 23B was regarded as inferior to the very similar J 26 (the P-51D) in almost any respect, and the J 23B was never really popular with its flight or ground crews. Consequently, the J 23Bs active fighter career was short and the machines were only operated by the F 16 fighter wing and the F 20 Air Force Academy, both based at Uppsala Airfield, primarily used for advanced weapon and air combat training.

 

A new evaluation of the J 21 and the J 23 in 1947 led to the decision to retain the J 21 series but to consider the modification of the airframe to accommodate a jet engine. While production line J 21A series aircraft were first selected for conversion, the initial piston-engine version continued in production in five series "batches" that were completed in 1948–49.

 

Further J 23B production was not resumed, instead the J 26 and J 27 were procured. Anyway, the age of the piston-engine fighter came soon to a close and the Swedish Air Force entered the jet age. Consequently, the J 23B was already phased out, together with the J 21, after 1954.

  

General characteristics:

Crew: one

Length: 9.58 m (31 ft 4 in)

Wingspan: 11.3 m (37 ft 8 in)

Height: 3.96 (13 ft 0 in)

Wing area: 20.00 m² (215.28 ft²)

Empty weight: 2,535 kg (5,583 lb)

Loaded weight: 3,445 kg (7,588 lb)

Max. take-off weight: 3,663 kg (8,068 lb)

 

Powerplant:

1× Daimler-Benz liquid-cooled, supercharged, 60° inverted V12 DB 605B engine,

rated at 1,085 kW (1,455 hp / 1,475 PS) and license-built by SFA.

 

Performance:

Maximum speed: 680 km/h (367 knots, 422 mph)

Cruise speed: 495 km/h (265 knots, 308 mph)

Range: 750 km (466 mi)

Service ceiling: 11,200 m (36,685 ft)

Rate of climb: 17 m/s (3,340 ft/min)

Armament:

1× engine-mounted 20 mm Hispano-Suiza HS.404 or Bofors cannon,

firing through the propeller hub

4× 13 mm Bofors-built Colt machine guns in the outer wings nose

Underwing hardpoints for various bombs, drop tanks and unguided rockets

  

The kit and its assembly:

The “Swedish Season” continues! The Saab 23 is another “phantom of the past”, a real world design that never left the drawing board. The J 23 actually started as an alternative to the J 21, but was discarded in late 1941 in favor of the more promising, yet bigger and heavier, pusher design. But that would not stop modelers from trying to build one, even though I have never seen a model of this aircraft? Having recently tried to build a Saab 27 fighter caught me in the right mood for another whiffy Swedish design, so I took a chance on the J 23, too.

 

At first glance you can mistake the J 23 for a P-51B with an engine from a late Bf 109, some sources describe it as “a Swedish Messerschmitt”. But that’s only superficial, much like the later Griffon-powered J 27 project which can be described as a “Super Spitfire”, but this does not do justice to the aircraft’s construction.

Both were independent developments, even though the P-51 (some early specimen were forced to land in Sweden and closely examined) certainly had a massive impact on both designs.

 

Anyway, the information basis surrounding the J 23 is worse than the J 27’s, and I only had rather vague profile drawings/sketches at hand for reference. A basis model was also hard to find: the rear section from a P-51B (in this case an Intech kit from Poland) was settled, since the Mustang’s cockpit shape, dorsal section and fin come really close to the J 23. But you cannot simply mate a P-51 with a Bf 109 nose, it would result in a rather wacky Mustang-thing because the proportions are not right.

 

Finding a good solution was not easy, and I was lucky to find a Hasegawa Ki-61 in the stash – it has a German engine (an earlier DB 601, though) and an overall layout similar to the P-51B. But the Ki-61 is considerably larger than a Bf 109, more in the P-51’s size class. Despite many detail modifications I decided to mate these unlikely aircraft for the J 23s basis – engraved panel lines on both kits made the combination less obvious, too.

 

The InTech P-51B gave its tail and the cockpit section (excluding the radiator tunnel and the wing roots), cut away from the rest of the Mustang fuselage with a Z-shaped cut. With a matching cut on the Ki-61’s fuselage, the engine and the whole wing/fuselage intersection were used. Styrene strips held the fuselage sections in place, on the outside the seams were later blended with nitrous compound putty. One benefit of this solution is that the OOB P-51 canopy could be used (even though the rear end fit necessitated some body work), and the resulting cockpit position was just as far forward as on the J 23, right above the wings. As a consequence the rear fuselage behind the cockpit appears to be rather long, but that is AFAIK correct, the J 23 had these slightly odd proportions!

 

For the J 23’s DB 605 engine a different, bigger spinner had to be mounted – scratched from a massive PZL 23 spinner and single blades (from the Hasegawa Ki-61), together with a metal axis and a styrene tube adapter inside of the nose. Some putty work was necessary to fair over the Ki-61 guns on the cowling, the typical DB 601 front bulge and blend the bigger, new spinner to the rest of the fuselage, but the result looks O.K.

 

The Ki-61’s original wings and landing gear could, thanks to the original fuselage section from the Hasegawa kit, be carried over and easily mounted, even though the wing tips were clipped for a square, Mustang-esque shape (the J 23’s look in all illustrations I’ve seen like upscaled Bf 109E wings).

 

The InTech P-51’s horizontal stabilizers were used, but for a J 23 they had to be placed in a different position: further back (so that wedges for the vertical rudder had to be cut out) and considerably lower, necessitating some (more) body work to hide the original attachment points. The new position adds to the impression of an extended fuselage section behind the cockpit, even though the P-51 donor fuselage section is only a little longer than the Ki-61’s. All tail surface outlines were slightly modified, too.

 

The J 23’s typical, shallow radiator tunnel had to be scratched, the semi-buried construction sits far behind the wings’ training edge. In an initial step, the removed Ki-61 radiator’s gap as well as the P-51 tail wheel well were faired over with styrene sheet and new intake/outlet ramps integrated into the lower rear fuselage. The tunnel itself is the narrow, aerodynamic fairing of a Boulton Paul Defiant’s machine guns behind the turret (raised when not in use), left over from a Pavla kit, opened at both ends.

As a consequence of the new and long radiator tunnel, the P-51 tail wheel well was moved about 5mm further back and the fuselage profile under the tail fin re-shaped.

 

One of the final steps was the cockpit interior, because I was not sure concerning the relative position of the P-51’s canopy (cut into three pieces for open display) and dashboard and the Ki-61’s cockpit floor panel and seat. But both turned out to match relatively well, and I added a tank and radio dummy behind the seat in order to prevent a clear view into the rear fuselage.

 

The landing gear was taken OOB from the Ki-61 – it looks similar to the real J 23 arrangement, so I stuck with it. The tail wheel comes from the InTech P-51, just the covers were scratched for the re-located well.

 

All gun barrels on spinner and wings are hollow steel needles, no ordnance was hung under the wings, even though the Ki-61 hardpoints were retained. After all, it’s a fighter aircraft.

  

Painting and markings:

Once more a classic, if not conservative, livery for a fictional aircraft – and in this case I chose the simple olivgrön/ljust blågrå camouflage of the late Fourties, coupled with contemporary color-coded letters identifying the individual aircraft and its squadron within the Flygflöttilj group.

 

The uniform upper surfaces were painted with RAF Dark Green (Humbrol 163). This tone has an olive drab touch and comes IMHO pretty close to the original Swedish color, the frequently recommended FS 34079 is IMHO too blue-ish. For the underside I used Humbrol 87 (Steel Gray), which is a blue-greenish gray. The authentic tone would be FS 36270, but on a model it appears much too dark, so that the lighter Steel Gray is a handy and individual alternative.

 

A light black ink was applied in order to emphasize the panel lines, some more depth was added through dry-painted panels with lighter shades of the basic colors (in this case, Humbrol 155 and 128).

 

The cockpit interior was painted in dark gray (Humbrol 32), while the landing gear and the wells became Aluminum (Humbrol 56).

 

As an aircraft of the air staff flight, this J 23 received a white spinner and a white code letter on the tail. These and other markings came from various sources and spare decal sheets. Some extra color was added with red warning markings on the wings above the flaps, plus some visual markings - all made with generic decal stripes. The cock nose art is a personal addition - taken from a Spanish Bf 109D, but AFAIK such personal markings were not uncommon on Swedish Air Force aircraft in the post WWII era.

 

An eye-catcher and some variety on the otherwise simple green/gray livery are white high-viz markings on the wing tips and a wide fuselage band. Such additional markings were frequently used in the post WWII-era during exercises, training or public displays. Styles varied considerably, though, between “color blocks” and wide single bands which I used (seen on a J 21) and even dense, thin zebra stripes on wings and fuselage. In this case, the white markings were painted onto wings and fuselage (Humbrol 34).

 

Since most panel lines on the fuselage were lost I painted some new ones with a soft pencil. Finally, after some gun soot and exhaust stains made with grinded graphite as well as some dry-brushed silver on the wings’ leading edges and around the cockpit were added, the kit received a coating with matt acrylic varnish.

  

Another scratch build of an obscure Swedish aircraft that never reached the hardware stage – and pretty successful, IMHO. This sleek J 23 model looks just as harmless and innocent, but involved massive construction work in almost every area as the kitbashed J 27 before. It’s actually the first model rendition of the J 23 I have seen so far – and another funny fact is that this “Swedish Messerschmitt” was built without any Bf 109 part at all!

Exploitation lighting

RAGHURAJPUR HERITAGE VILLAGE

Raghurajpur is a heritage crafts village in Puri district, Odisha, known for its master Pattachitra painters, an art form which dates back to 5 BC in the region and Gotipua dance troupes, the precursor to the Indian classical dance form of Odissi; it is also known as the birthplace of one of the finest Odissi exponents and Guru, Kelucharan Mohapatra. Apart from that, the village is also home to crafts like Tussar paintings, palm leaf engravings, stone and wood carvings, wooden, cowdung and papier mache toys, and masks.

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GANESHA

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

And probably June, 2009

C’est l’arrivée de Mathieu Van Roggen, venu de Hollande, qui a dynamisé vers 1880 les CARRIÈRES DE SPRIMONT. Il les a rendues pleinement performantes par la rationalisation de l’exploitation et la modernisation de l’outil. La grande centrale électrique de 1904, devenue “Musée de la pierre”, en est le remarquable témoin. Par la suite, le groupe Merbes-Sprimont gère les propriétés jusqu’à la reprise en 1984 par la famille Brancaleoni.

Plusieurs sites sont actuellement en exploitation. La réputation de qualité de ces gisements est depuis longtemps établie et

les références de prestige en sont fort nombreuses, depuis la Grand’ Poste de Liège et le pont de Fragnée vers 1900, jusqu’au

nouveau pont haubané du Val-Benoît en 2000.

Importante capacité de production et souplesse de gestion sont les atouts premiers de l’entreprise sprimontoise.

Cette carrière de petit granit consiste en une excavation allongée, partiellement occupée par la 'décharge de classe III du Fond de Correux'. L'activité extractive a encore lieu dans la partie médiane et un grand atelier de taille est installé vers la route. Le secteur occidental, actuellement désaffecté, et les abords supérieurs de la fosse présentent toutefois un intérêt biologique: reproduction du crapaud accoucheur et du lézard des murailles; flanc nord incliné colonisé par une végétation des substrats calcaires (e.a. Catapodium rigidum, Crepis foetida, Teucrium botrys); présence de la fougère Gymnocarpium robertianum.

 

It was the arrival of Mathieu Van Roggen, from Holland, who revitalised the CARRIÈRES DE SPRIMONT around 1880. He made them fully efficient by rationalising the operation and modernising the tool. The large power station of 1904, which became the “Stone Museum”, is a remarkable example of this. Subsequently, the Merbes-Sprimont group managed the properties until the Brancaleoni family took them over in 1984.

Several sites are currently in operation. The reputation for quality of these deposits has long been established and

their prestigious references are numerous, from the Grand’ Poste in Liège and the Fragnée bridge around 1900, to the

new cable-stayed bridge at Val-Benoît in 2000.

Significant production capacity and management flexibility are the primary assets of the Sprimont company.

This small granite quarry consists of an elongated excavation, partially occupied by the 'class III dump of Fond de Correux'. Extractive activity still takes place in the middle part and a large cutting workshop is installed towards the road. The western sector, currently disused, and the upper edges of the pit are nevertheless of biological interest: reproduction of the midwife toad and the wall lizard; inclined northern flank colonized by vegetation of calcareous substrates (e.g. Catapodium rigidum, Crepis foetida, Teucrium botrys); presence of the fern Gymnocarpium robertianum.

Le bois de Boulogne, situé à l'Ouest de Paris auquel il appartient, depuis qu'il a été détaché au milieu du XIXe siècle de la ville de Boulogne-sur-Seine (auj. Boulogne-Billancourt), dont il a conservé le nom, est le dernier reste de la forêt de Rouvray, qui s'étendait jadis sur les plaines et les coteaux de la rive droite de la Seine, jusqu'à Saint-Ouen. Cette forêt fut longtemps repaire de vagabonds et de voleurs, et dans lequel les anciens rois firent des chasses splendides. Appelé bois de Saint-Cloud après le démembrement de cette antique forêt, il reçut sa dénomination actuelle au XIVe siècle, avec le petit hameau de Menus-lez-Saint-Cloud, - lorsque des pèlerins y construisirent une église consacrée à Notre-Dame de Boulogne-sur-Mer.

-

Bois de Boulogne : le lac.

Le lac du bois de Boulogne.

Un grand nombre de souvenirs historiques se rattachent à cet endroit : l'Abbaye de Longchamps (Longchamp), dont il ne reste que quelques ruines et deux tourelles des bâtiments fondés en 1256 par Isabelle de France, soeur de saint Louis; la Croix Catelan, élevée (d'après un récit d'allure légendaire) par Philippe le Bel à l'endroit où fut assassiné Arnauld de Catalan, troubadour provençal, messager de la comtesse de Provence; le château de Madrid, édifié par François Il, au retour de sa captivité en Espagne, démoli en 1793, et dont il ne reste que quelques communs; le pavillon de Bagatelle, construit par la duchesse de Charolais et transformé par le comte d'Artois en Folie dont le délicieux parc était à certains jours ouvert aux Parisiens; le château de la Muette, que la duchesse de Berry, Louis XV et la Dubarry ont rendu célèbre; enfin le Ranelagh, bal favori des Muscadins et des dames de la nouvelle Athènes. Cruellement dévasté par l'invasion qui mit fin à l'épopée napoléonienne, le bois de Boulogne n'en devint pas moins, en 1830, le rendez-vous des Parisiens élégants. Il ne méritait guère cet honneur : sa végétation pauvre, ses routes droites, mal entretenues et sans horizons en faisaient une promenade indigne de la capitale de la France.

 

Par une loi du 25 juin 1852, l'Etat fut autorisé à céder le Bois de Boulogne à la ville de Paris, à la charge par elle d'y faire les travaux qui ont complètement changé sa physionomie en le transformant en un vaste parc paysager, et de subvenir à toutes les dépenses de surveillance et d'entretien. Les plans furent tracés, d'après les indications de l'Empereur lui-même, par Varé, architecte paysagiste, et achevés par Barillet-Deschamps, jardinier en chef. Alphand, ingénieur des ponts et chaussées, a dirigé les travaux d'art. Les dépenses faites par la ville se sont élevées à plus de 4 millions de francs.

  

Cette métamorphose, entreprise dès 1853, commença par la création de deux lacs, dont le plus grand ne mesure pas moins de 19 hectares y compris les deux îles d'une superficie de 80 000 m². Avec les déblais provenant des fouilles, on forma la butte Mortemart d'où l'on découvre l'ensemble du Bois et de jolis points de vue sur les hauteurs qui dominent Paris. Pour donner un écoulement aux eaux du grand lac, on creusa le ruisseau de Longchamps, qui, après avoir serpenté sous bois, va former la cascade de la Mare aux biches et vient se perdre dans un réservoir de 8000 m², qui alimente la grande cascade. Un autre ruisseau alimenta les mares d'Armenonville, de Neuilly et de Madrid. L'approvisionnement d'eau des lacs, cascades et ruisseaux fut assuré par une conduite d'amenée des eaux de l'Ourcq et par le puits artésien de Passy, terminé en 1864, qui fournissait environ 10000 mètres cubes d'eau par vingt-quatre heures. Les eaux de la Seine, levées par les machines de Chaillot, servirent à l'arrosage des parties hautes du Bois.

-

La cascade du bois de Boulogne.

Les travaux qui suivirent eurent pour objet de transformer la plupart des allées droites en routes sinueuses, empierrées pour les voitures, sablées pour les cavaliers, et en sentiers sous bois pour les piétons. De nos jours, ces allées sont envahies par des foules de cyclistes chaque dimanche. Enfin après avoir créé de vastes pelouses autour des lacs, on planta en grands arbres et en arbustes de choix les îles du grand lac, les nouvelles entrées du Bois et les abords des routes principales. De plus, pour la commodité des promeneurs, la ville de Paris repoussa jusqu'aux extrémités du Bois les portes d'octroi.

  

Dans ce renouvellement de la plus ancienne et de la plus fréquentée des grandes promenades de Paris, on a scrupuleusement respecté les souvenirs historiques qu'elle renferme : la croix Catelan, la tour et le moulin de Lonchamps qui furent restaurés avec soin. De gracieuses constructions furent élevées pour orner les différentes parties du Bois et l'on remarque l'heureux effet du kiosque et de l'exèdre des îles du grand lac, les pavillons d'habitation des gardes, les chalets-restaurants et le Pavillon chinois de l'Exposition universelle de 1878, donné par le maréchal de Mac-Mahon à la ville de Paris. Divers concessionnaires ont encore augmenté l'attrait du bois de Boulogne par la création de l'hippodrome de Longchamp (1854), pour les courses plates et de l'hippodrome l'Auteuil (1873), pour les courses d'obstacles. Le pré Catelan, autrefois exploité par une entreprise particulière, devint, avec son joli parc et ses élégantes constructions, un des endroits les plus goûtés du public. Les promeneurs se portèrent également très tôt au Jardin (zoologique) d'acclimation créé de 1858 à 1861 dans la partie Nord du bois, entre la porte des Sablons et celle de Neuilly, et qui dispose aujourd'hui d'un vaste espace destiné aux enfants.

 

La forme générale de ce jardin, parfaitement appropriée à sa destination qu'on lui faisait, est celle d'un vallon à pentes douces dont le centre est occupé par un petit cours d'eau qui, sur plusieurs points de son parcours, s'élargit en bassins et se perd dans un petit lac d'une forme gracieuse. Enfin, le Cercle des Patineurs, établi sur la pelouse de Madrid en 1865, afin de réunir tous les jeux du sport et présente un fort bel aspect quand la saison permet d'y donner les fêtes pour lesquelles il a été créé. La superficie du bois de Boulogne était, à l'époque de la cession, de 676 hectares, mais par suite d'acquisitions, d'échanges et de ventes de terrains, la surface a été portée au chiffre actuel de 873 hectares.

Ex bus de l’exploitant Transdev AMV.

 

Réseau : Pep's.

Rohingya Refugees in Bangladesh: Limiting the Damage of a Protracted Crisis

www.crisisgroup.org/asia/south-east-asia/myanmar-banglade...

Rohingya Refugee Crisis Explained

www.unrefugees.org/news/rohingya-refugee-crisis-explained/

Six Years of Rohingya Refugee Crisis in Bangladesh: From Here to Where?

www.spf.org/apbi/news_en/b_240627.html

 

The Rohingyas are a Muslim minority from the North Rakhine State in western Burma. Over the past forty years, the Burmese government has systematically stripped over 1 million Rohingya of their citizenship. Recognized as one of the most oppressed ethnic groups in the world, the Rohingya are granted few social, economic and civil rights. They are subjected to forced labor, arbitrary land seizure, religious persecution, extortion, the freedom to travel, and the right to marry. Because of the abuse they endure in Burma, hundreds of thousands of Rohingya have fled Burma to seek sanctuary in neighboring Bangladesh. In the refugee camps along the south east coast where they settle, most are not recognized as refugees and are considered illegal economic migrants. Unwanted and unwelcome, they receive little or no humanitarian assistance and are vulnerable to exploitation and harassment. In recent years, the Rohingya have paid brokers to smuggle them by boat from Bangladesh to Malaysia and even beyond to Australia, sparking the attention of governments throughout the region.

The Association of Southeast Asian Nations (ASEAN) has confirmed that the statelessness of the Rohingya is not just a Burma-related problem, but a problem with larger regional implications.

 

pulitzercenter.org/reporting/burma-bangladesh-muslim-mino...

pulitzercenter.org/reporting/rohingya-bangladesh-burma-my...

pulitzercenter.org/reporting/rohingya-burma-bangladesh-st...

www.doctorswithoutborders.org/publications/reports/2002/r...

blogs.mediapart.fr/edition/les-invites-de-mediapart/artic...

pulitzercenter.org/blog/week-review-inside-burma-presiden...

www.bbc.co.uk/news/world-asia-20264279

keroman le port de lorient

 

Un accès maritime indépendant de l’effet marée.

La diversité des approvisionnements et des espèces.

Un tissu d’entreprises dans le commerce, le transport et la transformation du poisson.

Une logistique permettant de rendre un haut niveau de prestation : accueil des bateaux, réparation navale, production de glace.

Avec une capacité de 650 tonnes, l'élévateur à bateaux est un des premiers d'Europe.

 

La pêche représente 3 000 emplois directs : 700 marins, 650 salariés du mareyage, 80 à l'exploitation portuaire, 1 600 dans la réparation navale, la logistique "marée", les services divers.

On compte 260 entreprises sur la concession dont 27 entreprises de mareyage.

24 000 tonnes de poisson sont débarqués par an à Keroman. Ils proviennent pour un quart de la pêche artisanale, pour un quart de bateaux étrangers, pour moitié de la pêche industrielle qui rapatrie par camion le poisson débarqué dans ses bases avancées d’Ecosse. Au total, 80 000 tonnes de poisson sont commercialisées à Lorient.

 

S315 NF (09/1996) du réseau Imagine exploité par Keolis.

The king penguin (Aptenodytes patagonicus) is the second largest species of penguin, smaller, but somewhat similar in appearance to the emperor penguin. There are two subspecies, A. p. patagonicus and A. p. halli; patagonicus is found in the South Atlantic and halli in the South Indian Ocean (at the Kerguelen Islands, Crozet Island, Prince Edward Islands, and Heard Island and McDonald Islands) and at Macquarie Island.

 

King penguins mainly eat lanternfish, squid, and krill. On foraging trips, king penguins repeatedly dive to over 100 metres (300 ft), and have been recorded at depths greater than 300 metres (1,000 ft). Predators of the king penguin include giant petrels, skuas, the snowy sheathbill, the leopard seal, and the orca.

 

The king penguin breeds on the Subantarctic islands at the northern reaches of Antarctica, South Georgia, southern Argentina, and other temperate islands of the region. It also lives on Macquarie Island in the Southern Ocean.

 

This bird was exploited commercially in the past for its blubber, oil, meat, and feathers. Today, it is fully protected.

 

Taxonomy

In 1778, the English illustrator John Frederick Miller included a hand-coloured engraving of the king penguin in his Icones animalium et plantarum. He coined the binomial name Aptenodytes patagonica and specified the type locality as the Mari antarctico, the Antarctic Ocean. The locality was restricted to South Georgia by Gregory Mathews in 1911. The species is monotypic: no subspecies are recognised.

 

Appearance

 

The king penguin stands at 70 to 100 cm (28 to 39 in) tall and weighs from 9.3 to 18 kg (21 to 40 lb). Although female and male king penguins are monomorphic they can be separated by their calls. Males are also slightly larger than females. The mean body mass of adults from Marion Island was 12.4 kg (27 lb) for 70 males and 11.1 kg (24 lb) for 71 females. Another study from Marion Island found that the mean mass of 33 adults feeding chicks was 13.1 kg (29 lb). The king penguin is approximately 25% shorter and weighs around a third less than the emperor penguin.

 

At first glance, the king penguin appears very similar to the larger, closely related emperor penguin, with a broad cheek patch contrasting with surrounding dark feathers and yellow-orange plumage at the top of the chest. However, the cheek patch of the adult king penguin is a solid bright orange whereas that of the emperor penguin is yellow and white, and the upper chest tends to be more orange and less yellowish in the king species. Both have colourful markings along the side of their lower mandible, but these tend towards pink in emperor penguin and orange in king penguin.

 

Emperor and king penguins typically do not inhabit the same areas in the wild, with the possible exception of vagrants at sea, but the two can be distinguished from one another by the king's longer, straighter bill, larger flippers, and noticeably sleeker body. The juvenile king penguin with its long bill and heavy dark brown down is completely different in appearance from the mostly grey emperor chick with its black and white mask. Once moulted of its brown juvenile plumage, the king chick resembles the adult, but is somewhat less colourful.

 

King penguins often breed on the same large, circumpolar islands as at least half of all living penguins, but it is easily distinguished from other species by its much larger size and taller frame, colorful markings, and grizzled sooty-greyish rather than blackish back.

 

Distribution and habitat

 

King penguins breed on subantarctic islands between 45 and 55°S, at the northern reaches of Antarctica, as well as Tierra del Fuego (Argentinian part), the Falkland Islands, and other temperate islands of the region. The total population is estimated to be 2.23 million pairs and is increasing. The largest breeding populations are on the Crozet Islands, with around 455,000 pairs, 228,000 pairs on the Prince Edward Islands, 240,000–280,000 on the Kerguelen Islands, and over 100,000 in the South Georgia archipelago. By the early 1920s, the King penguin population in South Georgia and the Falklands was nearly wiped out by whalers on these islands.

 

The Falklands and South Georgia had no trees to use for firewood, so the whalers burned millions of oily, blubber-rich penguins as fuel for the constant fires needed to boil whale blubber for extraction of the oil; the whalers also used penguin oil for lamps, heating, and cooking, in addition to eating the birds and their eggs. Macquarie Island currently has around 70,000 pairs. The non-breeding range is unknown due to many vagrant birds having been seen on the Antarctic peninsula as well as in South Africa, Australia, and New Zealand.

 

One of the largest known King penguin colonies, on Île aux Cochons in the Crozet Islands, is thought to have experienced a massive drop in its population over the last few decades, from about half a million breeding pairs in the 1980s to about 60,000 breeding pairs in 2017. The cause of this decline may be due to changes in the ecosystem related to climate change as their primary source of food is moving farther away from places where the penguins can breed. This may result in population declines and shifts in the locations of the King penguin breeding grounds.

 

The Nature Protection Society released several king penguins in Gjesvær in Finnmark, and Røst in Lofoten in northern Norway in August, 1936. Penguins were seen in the area several times during the 1940s; though none have been officially recorded since 1949, there were a few unconfirmed sightings of penguins in the area during the early 1950s.

 

Ecology and behavior

 

King penguin chick

American zoologist Gerry Kooyman revolutionized the study of penguin foraging behaviour in 1971 when he published his results from attaching automatic dive-recording devices to emperor penguins, and recording a dive of 235 metres (771 ft) by a king penguin in 1982. The current maximum dive recorded is 343 metres in the Falkland Islands region, and a maximum time submerged of 552 seconds was recorded at the Crozet Islands. The king penguin dives to depths of 100–300 meters (350–1000 feet), spending around five minutes submerged, during daylight hours, and less than 30 metres (98 ft) at night.

 

The majority (around 88% in one study) of dives undertaken by king penguins are flat-bottomed; that is, the penguin dives to a certain depth and remains there for a period of time hunting (roughly 50% of total dive time) before returning to the surface. They have been described as U-shaped or W-shaped, relating to the course of the dive. The remaining 12% of dives have a V-shaped or "spike" pattern, in which the bird dives at an angle through the water column, reaches a certain depth, and then returns to the surface. In contrast, other penguins dive in this latter foraging pattern. Observations at Crozet Islands revealed most king penguins were seen within 30 km (19 mi) of the colony. Using the average swimming speed, Kooyman estimated the distance travelled to foraging areas at 28 km (17 mi).

 

The king penguin's average swimming speed is 6.5–10 km/h (4–6 mph). On shallower dives under 60 m (200 ft), it averages 2 km/h (1.2 mph) descending and ascending, while on deeper dives over 150 m (490 ft) deep, it averages 5 km/h (3.1 mph) in both directions. King penguins also "porpoise", a swimming technique used to breathe while maintaining speed. On land, the king penguin alternates between walking with a wobbling gait and tobogganing—sliding over the ice on its belly, propelled by its feet and wing-like flippers. Like all penguins, it is flightless.

 

Diet

 

King penguins eat various species of small fish, squid, and krill. Fish constitute roughly 80% of their diet, except in the winter months of July and August, when they make up only around 30%. Lanternfish are the main fish taken, principally the species Electrona carlsbergi and Krefftichthys anderssoni, as well as Protomyctophum tenisoni. Slender escolar (Paradiplospinus gracilis) of the Gempylidae, and Champsocephalus gunneri, is also consumed. Cephalopods consumed include those of the genus Moroteuthis, the hooked squid or Moroteuthopsis longimana, the sevenstar flying squid (Martialia hyadesii), young Gonatus antarcticus, and Onychoteuthis species.

 

Predators

The king penguin's predators include other seabirds and aquatic mammals:

 

Giant petrels take many chicks of all sizes and some eggs. They will also occasionally kill adult king penguins, but very likely mostly sick or injured birds. Giant petrels also scavenge adult king penguins and chicks which have died from other causes.

Skua species (Stercorarius spp.) take smaller chicks and eggs. Some studies may have overstated the effect skua predation has on king penguin colonies, but large numbers of chicks and eggs are taken in areas where skua nest close to penguin colonies.

The snowy sheathbill (Chionis alba) and kelp gull (Larus dominicanus) scavenge for dead chicks and unattended eggs.

The leopard seal (Hydrurga leptonyx) takes adult birds and fledglings at sea.

Orcas also hunt king penguins.

Male and especially pre-adult male Antarctic fur seals on Marion Island have also been observed chasing, killing, and eating king penguins on the beach.

Courtship and breeding

 

The king penguin is able to breed at three years of age, although only a very small minority (5% recorded at Crozet Islands) actually do then; the average age of first breeding is around 5–6 years. King penguins are serially monogamous. They have only one mate each year, and stay faithful to that mate. However, fidelity between years is less than 30%. The unusually long breeding cycle probably contributes to this low rate.

 

The king penguin has an extremely prolonged breeding cycle, taking around 14–16 months from laying to offspring fledging. Although pairs will attempt to breed annually, they are generally only successful one year in two, or two years in three in a triennial pattern in South Georgia. The reproductive cycle begins in September to November, as birds return to colonies for a prenuptial moult. Those that were unsuccessful in breeding the previous season will usually arrive earlier. They then return to the sea for around three weeks before coming ashore in November or December.

 

The female penguin lays one pyriform (pear-shaped) white egg weighing 300 g (⅔ lb). It is initially soft but hardens and darkens to a pale greenish colour. It measures around 10 cm × 7 cm (3.9 in × 2.8 in). The egg is incubated for around 55 days with both birds sharing incubation in shifts of 6–18 days each. Like the closely related emperor penguin, the king penguin balances the egg on its feet and incubates it in a "brood pouch".

 

Hatching may take up to 2–3 days to complete and chicks are born semi-altricial and nidicolous. In other words, they have only a thin covering of down, and are entirely dependent on their parents for food and warmth. The guard phase begins with the hatching of the chick. Similar to the emperor penguin, the young king penguin chick spends its time balanced on its parents' feet, sheltered in the brood pouch formed from the abdominal skin of the latter. During this time, the parents alternate every 3–7 days, one guarding the chick while the other forages for food. The guard phase lasts for 30–40 days. By then the chick has grown much larger and is better able to both keep warm and protect itself against most predators. King chicks are very curious and will wander far when exploring their surroundings. The chicks form a group, called a crèche and are watched over by only a few adult birds; most parents leave their chick in these crèches to forage for themselves and their chick. Other species of penguins also practice this method of communal care for offspring.

 

By April, the chicks are almost fully grown but lose weight by fasting over the winter months, gaining it again during spring in September. Fledging then takes place in late spring/early summer.

 

King penguins form huge breeding colonies; for example, the colony on South Georgia Island at Salisbury Plain holds over 100,000 breeding pairs and the colony at St. Andrew's Bay holds over 100,000 birds. Because of the very long breeding cycle, colonies are continuously occupied year-round with both adult birds and chicks. During breeding, king penguins do not build nests, although they show strong territorial behaviour and keep a pecking distance to neighbouring penguins. Penguin positions in breeding colonies are highly stable over weeks and appear regularly spaced.

 

The king penguin feeds its chicks by eating fish, digesting it slightly, and regurgitating the food into the chick's mouth.

 

Because of their large size, king penguin chicks take 14–16 months before they are ready to go to sea. This is markedly different from smaller penguins, who rear their chicks through a single summer when food is plentiful. King penguins time their mating so the chicks will develop over the harshest season for fishing. In this way, by the time the young penguins are finally mature enough to leave their parents, it is summer when food is plentiful and conditions are more favorable for the young to survive alone at sea.

 

Conservation

Impact of climate change

Further information: Climate change and birds

70% of king penguins are expected to abruptly disappear in less than eighty years. Considered sensitive indicators of changes in marine ecosystems, king penguins serve as a key species for understanding the effects of climate change on the marine biome, especially throughout the sub-Antarctic and Antarctic areas.

 

King penguins primarily feed at the Antarctic Convergence, which provides 80% of their food biomass. King penguins currently travel 300–500 km over the course of over a week to complete the journey. However, ocean warming could easily move these fronts further away from breeding grounds. Continuous ocean warming could cause the convergence zone to move polewards, away from king penguin breeding sites like the Falklands and the Crozet Islands. It has been suggested that if carbon emissions continue to rise at their current rate, king penguins will need to travel an additional 200 km in order to reach their feeding areas. Breeding grounds will also suffer from the rise of emissions. Nearly half of the total population will likely lose their breeding grounds by the year 2100.

 

Resource competition

King penguins are also threatened by large-scale commercial fishing that could deplete their main source of food: myctophid fish. Over 200,000 tons of myctophid fish were commercially exploited by the beginning of the 1990s in the South Georgia region. Ongoing attempts to further develop this fishery for human consumption close to key penguin foraging areas are likely to have negative impacts on food provisioning.

 

Research and management

 

The Pew Charitable Trust recommends the Convention for the Conservation of Antarctic Marine Living Resources (CCAMLR) implement "large-scale, fully protected marine reserves in the waters surrounding Antarctica." The Trust also recommends precautionary management of the Antarctic krill fishery in order to protect king penguins' main source of food. The CCAMLR is made up of 24 countries (plus the European Union), among those are the United States and China, that withhold the authority to enact such protective measures. It has also been suggested that in conservation modeling, special attention be paid to the southernmost breeding locations, given the predicted rise in water temperature in the Southern Ocean, and that complete regular censuses of breeding populations be carried out to detect temporal trends and environmental changes.

 

The species is classified as Least Concern by the International Union for Conservation of Nature's Red List of Threatened Species. Since 2004, the IUCN has reported that the population size is large and has increased its breeding rates. Adult king penguins have maintained high survival rates since the 1970s. The steady population of king penguins is due largely to current conservation efforts to protect nesting habitats. Ecotourism and public access to all king penguin breeding sites are heavily restricted in order to prevent outbreaks of disease and general disturbance. All of the colonies in Crozet and Kerguelen Islands are protected under the oversight of the Reserve Naturelle Nationales des Terres australes et Antarctiques Françaises. Additionally, South Georgian penguins reside in a "special protected area within the Environmental Management Plan for South Georgia." And in the Falklands, all wildlife—including the king penguin—is protected under the Conservation of Wildlife and Nature Bill of 1999.

 

In captivity

Considered a flagship species, 176 individuals were counted in captivity in North American zoos and aquaria in 1999. The species is exhibited at SeaWorld Orlando, Indianapolis Zoo, Detroit Zoo, Saint Louis Zoo, Kansas City Zoo, Newport Aquarium in Newport, Kentucky, Edinburgh Zoo and Birdland in the United Kingdom, Berlin Zoological Garden in Germany, Zurich Zoo and Zoo Basel in Switzerland, Diergaarde Blijdorp in the Netherlands, Antwerp Zoo in Belgium, 63 Seaworld in Seoul, South Korea, Melbourne Aquarium in Australia, Mar del Plata Aquarium in Argentina, Loro Parque in Spain and Ski Dubai in United Arab Emirates, Calgary Zoo and the Montreal Biodome in Canada, Odense Zoo in Denmark, Asahiyama Zoo in Hokkaido, Japan, and many other collections.

 

Notable king penguins

Major General Sir Nils Olav, the Edinburgh-based mascot and colonel-in-chief of the Royal Norwegian Guard

Misha, a central character and metaphor in two novels by Ukrainian writer Andrey Kurkov

The king penguin is also the species of penguin represented by the popular character Pondus, an image found on various paraphernalia in many retail stores throughout Canada. Pondus originates in Danish children's books written and photographed by Ivar Myrhøj and published in 1997 by Lademann publisher in the late 1960s. These penguins appeared in the production of Batman Returns.

Lala the Penguin became a viral video star after an Animal Planet special featured him venturing to a nearby market in Japan to fetch a fish with a specially made backpack. Lala had been accidentally caught by a fisherman. The fisherman and his family nursed Lala back to health and then adopted him as a pet.

Premier jour d'exploitation de la Ligne C16 du réseau TCL avec les nouveaux bus électriques Heuliez GX337 Linium E ! Le 3913 assure la Voiture n°1 de la Ligne C16, et fait le tout premier départ de la journée depuis Surville Route de Vienne à 4h50, à destination de Charpennes Charles Hernu.

Daix - Dijon (Bourgogne - Côte d'Or)

 

Website : www.fluidr.com/photos/pat21

picssr.com/photos/pat21?ref=user

 

"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."

The Postcard

 

A postally unused Norman Series postcard that was published by Shoesmith & Etheridge of Hastings.

 

The card has a divided back.

 

Hastings

 

Hastings is a large seaside town in East Sussex on the south coast, 24 miles (39 km) east of the county town of Lewes, and 53 mi (85 km) south east of London.

 

The town gives its name to the Battle of Hastings.

 

In the 19th. century, Hastings was a popular seaside resort, as the railway allowed tourists and visitors to reach the town.

 

Today, Hastings is a fishing port with the UK's largest beach-based fishing fleet. The fleet has been based on the same beach, below the cliffs, for at least 400, and possibly up to 600, years. Its longevity is attributed to the prolific fishing ground of Rye Bay nearby.

 

The town had a population of 92,855 in 2018.

 

Hastings in Pre-History

 

Evidence of prehistoric settlements has been found at the town site, including flint arrowheads and Bronze Age artefacts.

 

Iron Age forts have been excavated on both the East and West Hills. The settlement was already based on the port when the Romans arrived in Britain for the first time in 55 BC. They began to exploit the iron (Wealden rocks provide a plentiful supply of the ore), and shipped it out by boat.

 

Iron was worked locally at Beauport Park, to the north of the town. It employed up to a thousand men, and is thought to have been the third-largest mine in the Roman Empire.

 

With the departure of the Romans, the town suffered setbacks. The Beauport site was abandoned, and the town suffered attacks from nature and early adversaries.

 

The Sussex coast has always suffered from occasional violent storms, and with the additional hazard of longshore drift (the eastward movement of shingle along the coast), the coastline has been frequently changing. The original Roman port is probably now under the sea.

 

Medieval Hastings

 

The Battle of Hastings heralded the start of the Norman Conquest. The battle was fought on the 14th. October 1066, although it actually took place 8 miles (13 km) to the north at Senlac Hill, and William had landed on the coast between Hastings and Eastbourne at Pevensey.

 

Muslim scholar Muhammad al-Idrisi, writing circa 1153, described Hastings as:

 

"A town of large extent and many inhabitants,

flourishing and handsome, having markets,

workpeople and rich merchants".

 

Hastings and the Sea

 

By the end of the Saxon period, the port of Hastings had moved eastward to near the present town centre in the Priory Stream valley, whose entrance was protected by the White Rock headland (since demolished).

 

It was to be a short stay: Danish attacks and huge floods in 1011 and 1014 motivated the townspeople to relocate to the New Burgh.

 

In the Middle Ages Hastings became one of the Cinque Ports.

 

Much of the town and half of Hastings Castle was washed away in the South England flood of February 1287.

 

During a naval campaign of 1339, and again in 1377, the town was raided and burnt by the French, and seems then to have gone into a decline. As a port, Hastings' days were finished.

 

Hastings had suffered over the years from the lack of a natural harbour. Attempts were made to build a stone harbour during the reign of Elizabeth I, but the foundations were destroyed by the sea in terrible storms. Accordingly the town's fishing boats are still stored on, and launched from, the beach.

 

Hastings was then just a small fishing settlement, but it was soon discovered that the new taxes on luxury goods could be made profitable by smuggling; the town was ideally located for that purpose.

 

Near the castle ruins, on the West Hill, are St. Clement's Caves, partly natural, but mainly excavated by hand by smugglers from the soft sandstone.

 

Their trade came to an end with the period following the Napoleonic Wars, for the town became one of the most fashionable resorts in Britain, brought about by the so-called health-giving properties of seawater, as well as the local springs and Roman baths.

 

The double decker promenade that runs from Hastings Pier beyond Marine Court, with a break at Warrior Square, was built by the borough engineer Sidney Little.

 

The building of Pelham Crescent necessitated cutting away of the Castle Hill cliffs. Once that move away from the old town had begun, it led to the further expansion along the coast, eventually linking up with the new St. Leonards.

 

Judges Postcards

 

Between 1902 and 1919, Fred Judge FRPS photographed many of the town's events and disasters. These included storms, the first tram, the visit of the Lord Mayor of London, Hastings Marathon Race, and the pier fire of 1917.

 

Many of these images were produced as picture postcards by the firm he founded which is now known as Judges Postcards.

 

Hastings' Bathing Pool

 

In the 1930's, an Olympic-sized bathing pool was erected. Regarded in its day as one of the best open-air swimming and diving complexes in Europe, it later became a holiday camp before closing in 1986. It was demolished, but the area is still known by locals as "The Old Bathing Pool".

 

Hastings' Sunshine

 

Hastings, tied with Eastbourne, recorded the highest duration of sunshine of any month anywhere in the United Kingdom - 384 hours - in 1911.

 

A new record temperature of 34.7 °C (94.5 °F) was recorded for the town on the 19th. July 2022.

 

St. Leonards

 

The original part St. Leonards was bought by James Burton and laid out by his son, the architect Decimus Burton, in the early 19th. century as a new town: a place of elegant houses designed for the well-off.

 

It also included a central public garden, a hotel, an archery, assembly rooms and a church. Today's St. Leonards has extended well beyond that original design, although the original town still exists within it.

 

Priory Meadow Shopping Centre

 

Hastings' main shopping centre is the Priory Meadow Shopping Centre. It was built on the site of the old Central Recreation Ground which had played host to some Sussex CCC first-class fixtures, and famous cricketers such as Dr. W. G. Grace and Sir Don Bradman.

 

The Central Recreation Ground was one of England's oldest, most scenic and most famous cricket grounds. The first match was played there in 1864, and the last in 1989, after which the site was redeveloped into the shopping centre. The centre houses 56 stores, and covers around 420,000 square feet.

 

Marine Court

 

On the seafront at St. Leonards is Marine Court, a 1938 block of flats in the Art Deco style that was originally called 'The Ship' due to its style being based upon the ocean liner RMS Queen Mary.

 

Marine Court can be seen from 20 miles (32 km) away on a clear day from Eastbourne.

 

The Memorial

 

An important former landmark was the Memorial, a clock tower commemorating Albert the Prince Consort which stood for many years at the traffic junction in the town centre, but was demolished following an arson attack in the 1970's.

 

The Hastings Miniature Railway

 

The Hastings Miniature Railway operates along the beach from Rock-a-Nore to Marine Parade, and has provided tourist transport since 1948. The railway was considerably restored and re-opened in 2010.

 

Hastings' Tram Network

 

Hastings had a network of trams from 1905 to 1929. The trams ran as far as Bexhill, and were worked by overhead electric wires.

 

Notable People

 

Many notable figures were born, raised, or lived in Hastings, including computer scientist Alan Turing, poet Fiona Pitt-Kethley, actress Gwen Watford, comedian Jo Brand and Madness singer Suggs.

 

Additionally :

 

-- John Logie Baird lived in Hastings in the 1920's where he carried out experiments that led to the transmission of the first television image. In 1938, Baird Noel Gordon (of Crossroads fame) to take part in his colour television experiments. She became the first woman to be transmitted in colour from a camera to television sets later that year. (Earlier tests had shown static photos in colour, this was the first motion transmission of colour).

 

-- Robert Tressell wrote 'The Ragged-Trousered Philanthropists' in Hastings between 1906 and 1910.

 

-- Gareth Barry, who holds the record number of appearances in the Premier League, was born in Hastings.

 

-- The author who worked as Grey Owl was born In Hastings and lived there for several years.

 

-- Harry H. Corbett (Steptoe & Son) lived in Hastings up until his death in 1982.

 

-- Anna Brassey, a collector and feminist pioneer of early photography, was based in Hastings until her death in 1887.

 

Anna Brassey

 

Baroness Anna "Annie" Brassey was born in London on the 7th. October 1839. Annie was an English traveller and writer. Her bestselling book 'A Voyage in the Sunbeam, our Home on the Ocean for Eleven Months' (1878) describes a voyage around the world.

 

Anna Brassey - The Early Years

 

Annie Brassey was born Anna Allnutt. As a child, she faced serious health problems. In his preface to Annie's book 'The Last Voyage', her husband recalled that she suffered from an inherited "weakness of the chest", apparently a form of chronic bronchitis.

 

As a young woman, she also suffered severe burns when she stood too close to a fireplace and her skirt caught fire. It took six months for her to recover from them.

 

Annie's Marriage to Lord Brassey

 

In 1860, she married the English Member of Parliament Thomas Brassey (knighted in 1881, becoming Earl Brassey in 1886), with whom she lived near his Hastings constituency. Thomas was born in 1836 and died in 1918.

 

The couple had five children together before they travelled aboard their luxury yacht Sunbeam. The yacht was said to have been named after their daughter - Lady Constance Alberta - who was nicknamed Sunbeam; she died of scarlet fever, aged four, on the 24th. January 1873.

 

The golden figurehead of the yacht depicting Constance is at the National Maritime Museum, Greenwich, London.

 

Annie's Travels and Publications

 

'A Voyage in the Sunbeam', describing their journey round the world in 1876–1877 with a complement of 43, including family, friends and crew, ran through many English editions, and was translated into at least five languages.

 

Her accounts of later voyages include 'Sunshine and Storm in the East' (1880); 'In the Trades, the Tropics, and the Roaring Forties' (1885); and 'The Last Voyage' (1889, published posthumously).

 

Annie had published privately earlier works including 'A Flight of the Meteor', detailing two cruises in the Mediterranean on their earlier yacht Meteor, and 'A Voyage in the Eothen', a description of their travels to Canada and the United States in 1872.

 

In July 1881, King Kalākaua of Hawaii, who had been greatly pleased with her description of his kingdom, was entertained at Normanhurst Castle, and invested Lady Brassey with the Royal Order of Kapiolani.

 

Annie was also involved with the publication of Colonel Henry Stuart-Wortley's 'Tahiti, a Series of Photographs' (1882).

 

The Death and Legacy of Lady Brassey

 

Lady Brassey's last voyage on the Sunbeam was to India and Australia, undertaken in November 1886 in order to improve her health. On the way to Mauritius, Annie died of malaria at the age of 47 on the 14th. September 1887, and was buried at sea.

 

At home in England, she had performed charitable work, largely for the St. John Ambulance Association. Her collection of ethnographic and natural history material was shown in a museum at her husband's London house until it was moved to Hastings Museum in 1919. There are also several photograph albums and other ephemera held at Hastings Library.

 

However, the vast majority of her photograph albums are now housed in the Huntington Library, San Marino, California. The collection of 70 albums, each containing 72 to 80 thick board pages, contains pre-eminent examples of historical travel.

 

The albums contain works by Annie and others she collected, including those of commercial photographers. Annie herself was an accomplished photographer. She joined the Royal Photographic Society in 1873 and remained a member until her death. She exhibited some of her work in its exhibitions in 1873 and 1886.

 

Lady Brassey was survived by four of her five children:

 

-- Thomas Brassey, 2nd Earl Brassey

-- Lady Mabelle Brassey

-- Muriel Sackville, Countess De La Warr

-- Marie Freeman-Thomas, Marchioness of Willingdon.

synopsis

This biker gang exploitation picture from director Roger Corman and co-writer and editor Peter Bogdanovich earned critical respect in Europe for its gritty documentary style. Peter Fonda stars as Heavenly Blues, the leader of a wild, roving band of leather-clad bikers. When his best friend Loser (Bruce Dern) is injured in the midst of an attempt to steal a police motorcycle, the boys kidnap their debilitated buddy from the hospital, raping a black nurse and trashing the place in the process. Blues and his friends believe they've set Loser free, but he dies not long after the escape. Staging a funeral and drunken orgy in a small town church, the gang flees is set upon by the enraged locals, leaving Blues alone to face the law. Nancy Sinatra and a then-pregnant Diane Ladd co-star; a number of real-life Hell's Angels were hired to appear in scenes, adding authenticity to the picture.

Roger Corman didn't invent the biker movie (The Wild One blazed the trail in 1954), but, with The Wild Angels, he gave it a new lease on life. Peter Fonda and Nancy Sinatra stand out like sore thumbs among the real-life Hell's Angels hired to give the film its grubby atmosphere, but Fonda's studied cool nicely contrasts with the aggressive surliness of the rest of the male cast -- and enough rock bands have sampled Fonda's "We wanna be free to ride our bikes and not get hassled by the man!" speech to turn it into a classic moment in sleaze-movie history. The film's beer-swilling, pot-smoking, and unfocused brawling may have become screen clichés in record time, but they were newer and more shocking in 1966, and the film's rough, unpolished visual style gives it a ring of truth missing from most of the films that followed in its wake. Add Davie Allen and the Arrows's classic theme song, which sent a generation of garage rockers scurrying for fuzz boxes, and you get perhaps the definitive 1960s biker flick. The film also offers the curiosity factor of knowing that Diane Ladd was pregnant with Laura Dern during filming.

 

Processed with VSCOcam with a6 preset

The Lost World (20th Century Fox, 1960).

youtu.be/h1CLA-gJbmA?t=5s Trailer

Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.

Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.

Synopsis

When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.

The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.

The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.

Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.

Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.

Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.

The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.

Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's

classic adventure novel, given the constraints of Hollywood culture.

 

The Movie Club Annals … Review

The Lost World 1960

Introduction

There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.

Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.

Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:

"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972

Review

A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.

The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.

Vitina Marcus, as The Cave Girl

She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.

By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.

Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.

Vitina, as Sarit

Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.

Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.

And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.

For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with

unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.

The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.

In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.

Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:

Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.

Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.

Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.

Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.

Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.

With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.

Claude Rains, as Professor George Edward Challenger

And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.

I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.

Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.

To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.

In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.

1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.

And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.

The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.

But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.

While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.

The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.

Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.

Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.

Carl R.

 

The initial five creatures in this collection all hail from the planet Joltendio, located in the Alpha Octant and being the first planet from said octant's sun, Shinnes.

 

• Mexotrill: A large, brutish carnivore that falls under the same general classification as the Sardoompa, Grobehom and Dredurcoz of other planets (Xekawiy, Alfriiden and Ergnoplis, respectively) in regards to its role in the ecosystem of its own planet. The Mexotrill is cyclopic and semi–cephalothoracic, lacking a neck of any description and with its "head" containing some of the internal organs that would, in almost any other creature, instead be found in a more clearly–defined torso than this one has. Its most prominent feature is its massive, gaping mouth, which has ten teeth, five of which are small and standard and the other five of which are multi–layered and almost Treymoz–esque, and three separate tongues, the middle specimen of which is larger, stronger and more essential than the peripheral two. Mexotrills have several bluish or yellowing tufts of hair similar to those of the Silahsomes, which is a manifestation of Joltendio's small gene pool in which some genetically–determined physical traits are shared between different creatures (similar phenomena are also present in the ecosystems of Logdlind, Poulbrim and Hulptos). Note that the limbs and extremities of both the humanoids and the beasts share some similarities as well and for the same reason. The Mexotrill's main natural enemy/rival, which it will attempt to eat but which will also attempt to kill and devour it, is the Tinkorement, and while individual Tinkorements are generally unlikely to be able to overpower their larger, stronger and more durable rivals, they often make up for this through teamwork whereas Mexotrills are loners that are rarely found in close proximity to others of their kind. As Tinkorements are concerned, Mexotrills generally wait for their enemies to come to them rather than seeking their rivals out and are thus rarely the first to attack, which is convenient for the Tinkorements considering that they are passive and defenseless approximately half of the time.

Full–grown Mexotrills stand between seven and ten feet tall; at birth, they are roughly a third of their final size, and grow at a steady rate over the first ten–to–fifteen years of their fifty–plus–year lives. Mexotrill durability values range from 1,600 to 2,500. Like all beings from Joltendio, they have a very high threshold for heat and thirst, and they are most often found in the particularly "dust bowl"–like areas of the planet, rarely crossing paths with the Silahsomes and usually leaving the humanoids alone when they do encounter one another.

 

• Kiselount: A small (basically Flufewog–sized), mammalian beast that has the reputation of being "Silahsome's Best Friend", and with good reason; the Kiselounts and Silahsomes share one of the best relationships between man and beast that can be observed in any part of the Prime Galaxy. Originally herbivores that made their natural homes amid the more forest–or–jungle–like regions of Joltendio, most Kiselounts are presently found living among the settlements of the humanoids that have domesticated their race over the years and to whom they now serve as guardian pets. Some, though, can still be found in the wild, and the Silahsomes leave this portion of the Kiselount population alone, having no intention of removing the creatures from the natural element of the Joltendion environment entirely. Kiselounts are both highly intelligent and highly empathetic for non–humanoid animals. In the wild, they are/were very resourceful and adept at survival, being able to cobble together simple structures to serve as dens or "houses" as well as basic handheld tools and frequently using reasoning and cunning to evade predators such as Tinkorements and other potential dangers. They mate for life, are very caring and protective of their young, which they devote several years to raising, and have even displayed long–term recognition of specific individuals of their kind (and eventually of the Silahsome race) outside of their immediate family units. The characteristic vocal noise produced by Kiselounts is a sort of low purring, and they have durability values between 300 and 500.

Since as far back as can be recorded, Kiselounts and Silahsomes had gotten along well when initially encountering one another in the wild, and the development of the relationship between the humanoids and the animals, including the latter's domestication, was a gradual process, and neither its beginning nor its completion can be assigned to any singular date. While the creatures initially served as simple "cute" pets to their masters after starting to be domesticated, the Silahsomes, in time, began to further explore the potential of the Kiselounts and what they could be taught to do, eventually training the diminutive animals in basic martial arts and the ability to stand and walk upright. Today, most of the Kiselounts living with Silahsomes are more than capable of aggressively protecting their masters in the event that they are attacked, and thankfully, the humanoids are not exploitative of their pets' willingness to fight and die for them.

 

• Silahsome: Joltendio's humanoids. Silahsomes are blessed, honorable warriors with strictly average body shape and size for a humanoid race but multiple, just as noticeable distinctions that make them more physically unique than most of their peer species in the mortal realm, to say nothing of their personalities and culture. They are solar–powered beings that actively thrive in and gain power from exposure to sunlight, whose negative effects they are largely exempt from. As a result of this, Silahsomes are significantly stronger and healthier, both physically and mentally, during the day than during the night. The primary color of their skin is, rather appropriately, a golden yellow hue, which becomes brighter or, in some cases, even glows when they are particularly "saturated" with solar energy. Although it is, for obvious reasons, almost never a life–or–death issue for them, Silahsomes do indeed need sunlight to live; as a biological necessity, it is secondary only to oxygen, water and food for them, and if one is deprived of it for several consecutive days, it will die. Although they are at their very strongest when their entire bodies are exposed to the sun, they wear at least some clothing or armor at almost all times, for the sake of modesty and decency. Silahsomes have third eyes that provide, in addition to more acute vision, enhanced general willpower and concentration, and even more notably, two mouths, one strictly for eating and the other strictly for speaking (while it is possible for them to at least try to form words with the "eating" mouth, the "speaking" mouth can do so much, much, much more clearly and easily). Three separate tufts of bluish hair atop the head of a Silahsome constitute the only hair on its body. The default durability value of a Silahsome is 750; when an individual is fully "charged" with solar energy, it may raise to more than 1,000.

Silahsomes are presently fairly technologically advanced, having efficiently evolved their civilization over the years from one of basic, isolated villages to one consisting of small but respectable cities with working trade and communication lines between them. They consider it their most important duty as a people to be willing and able to serve the greater good should a major crisis arise, and to this end they have always produced strong warriors, most notably thwarting two separate Skellen invasion attempts on their planet without any outside help during the Fourth Century Relative. The Silahsomes as a whole are very devout and equally as level–headed; most notably, they have never fallen for the tricks of the wandering sun–possessing Primal Deity Alth'Solda, despite their kind being by far the most obvious candidate for turning to such a deity. As explained above in the creature's "biography", the small mammals known as the Kiselounts have long served as the loyal pets of the noble humanoids.

 

• Tinkorement: A cold–blooded creature of dubious classification, effectively being halfway between a reptile and an insectoid. Tinkorements are tall, slender creatures with four tentacle–like legs and hands consisting of a large, scooping claw and a single articulate tendril. In addition to various plants and small, generic insects and rodents, their dietary options include Poxiwolps, Kiselounts (although they are now scarce in the wild) and Mexotrills (with which they are mutual predators). Despite being known to prey on most other local forms of animate life, it would be inaccurate to call the Tinkorements the most hostile creatures on Joltendio, seeing as they are not always so vicious. The Tinkorement possesses what essentially amounts to a split personality, with its default disposition being harmless and passive and its alternate "form", which gradually emerges and takes over as the beast grows hungry, being just about as vicious as any non–demonic predator anywhere. And while most predatory creatures attack and kill only when they are hungry and feel the need to, none have as evident a duality as the Tinkorement, whose passive state, as it reemerges after eating, appears to be oblivious to the very existence of its counterpart; the "transformation" from either state to the other is clearly involuntary. In their peaceful state, Tinkorements will never attack even if threatened, though this is largely a non–issue, as the only creatures that will ever naturally attack them are the Mexotrills, who rarely, if ever, leave their own territory to seek their rivals out; when the two creatures fight, the Tinkorement(s) is/are almost always the initial aggressor.

Tinkorements live mainly in the deeper parts of Joltendio's pseudo–forests/jungles, with their legs possessing great speed and stamina and allowing them to easily travel well beyond the immediate regions where they make their homes. They each operate alone most of the time, being apathetic towards one another, but sometimes form temporary groups, mainly for the purpose of taking down Mexotrills, which they are seldom able to outmatch when attacking alone. Tinkorements notably have two pairs of eyes, with the outer, very "buggy" eyes on the sides of their heads providing a completely standard range of vision and the inner, bright red eyes providing infrared and X–ray vision when active, during which times they glow dimly but visibly. Whether it be by coincidence or intelligent design, this trait heavily compliments the creature's dual nature. The durability value of the average adult Tinkorement is 800.

 

• Poxiwolp: An amphibious crustacean that is generally seen as being useful for little more than food. Poxiwolps are the most water–dependent animals on Joltendio (which is to say that their hydration needs are average by general standards), and they make their homes in and near the large, shaded oases sprinkled across the planet's otherwise drier–than–most landscape. They are omnivores, mainly eating the leafy greens and small marine life forms found in said areas, are not a predatory threat to any of the other Joltendion species showcased in this very entry, and are, indeed, the only animals listed here that the Silahsomes hunt and eat. Physically, Poxiwolps are short and stout, having rather large craniums and lower bodies with five point–ended legs that resemble hands/feet and their digits. Their actual hands consist of claws similar to those of the Tinkorements; another example of the often–overlapping genes present in Joltendio's creatures. Poxiwolps are of very little intelligence, with their activities largely being limited to eating, excreting, breeding and aimlessly waddling or swimming around. The durability value range of the Poxiwolp is 400–500.

 

The next three creatures, seen to the right of the former five, are inhabitants of the Demioid homeworld of Zornemim.

 

• Kingletort: A large, lumbering and lumberingly large quadruped that has long been used by Demioid aggressor forces, both of the original military and of the Dynamo Legion, as a weaponized war beast, and the only significant creature to be prominently and successfully exploited by the Demioids in this way, as opposed to being one of many varieties as is the case with Gorlunian war beasts. Kingletorts possess elevated bodies held up by very long legs, necks that are (proportionally) even longer than said legs and support rather small heads, and lengthy, segmented tails with large, blunt and heavy end–pieces. They may stand up to or even more than twenty feet tall, though their overall body mass is lesser than that of the comparable Ergnoplian Treymozes, and have durability values ranging from 3,000 to 4,000. Other physical features of the Kingletort that are worth mentioning are the four arced, pillar–like structures on its back and the thick beard on the chin of most males. Despite being herbivores, Kingletorts are highly aggressive and territorial, attacking at the slightest provocation, or even for no apparent reason. In nature, they live among traveling herds of their own kind, which are each led by what Demioids have insistently termed an "Omega–male". The role of omega–male is frequently fought over, often leading to fights but rarely to deaths – after all, a Kingletort can take a lot of abuse, and is intelligent enough to know when it is outmatched without needing to be fatally wounded to realize this.

Roughly one–third of all Kingletorts are presently kept in captivity by the Demioid population. Initially taming them was highly difficult on the part of the wicked humanoids, with the process of securing the animals as a loyal asset taking a matter of years and resulting in much loss of life for both concerned species. After the initial "batch" was successfully tamed, however, obtaining more of the creatures became much easier, since the offspring and subsequent descendants of those captured from nature could be trained starting at birth. Demioid–controlled Kingletorts are generally used in tank–like roles, being ridden by anywhere from one to several soldiers at a time and providing elevated positions to fire down at enemies on the ground from. They also can, and have been, further trained to demolish small or medium–sized buildings.

 

• Sisealiun: A hostile arthropod of moderate size and having an uncommon body shape in which the "upper" part of the body is positioned upright but the "lower" half is elapsed horizontally so that the creature can walk on all six of its slender legs. It possesses a long, muscly tail ending in a potent stinger that injects venom which is more often than not fatal to most humanoids and consistently carries the nearly immediate effects of severe swelling and paralysis. Death, when it does occur, strikes following a deceptive delay of several hours, after which the more immediate symptoms have usually started to subside, thus potentially giving victims a false sense of recovery, assuming they escaped the attacking creature in the first place after being stung. While this is obviously the Sisealiun's primary method of attack, it may also attempt to inflict harm using its clawed hands, which are basic as far as appendages of that description go. Sisealiuns exhibit significant amounts of the wrinkled, squishy flesh that is found in some form in all Zornemian creatures and which may or may not be an effect of the long–standing demonic influences on the planet, it being present mainly on their particularly wide craniums. They are immune to being harmed by most poisons (predictably including their own), acids and other volatile substances and are known for recovering from injuries the equivalents of which would be fatal to almost any other creature; this is to say that even when a Sisealiun appears to be dead or dying, it may very well not be. Despite this, they have ironically short natural lifespans, seldom living for more than twenty years. The durability value of any Sisealiun specimen can be expected to be no less than 500 and no more than 900.

Sisealiuns live in groups of six–to–twelve in hives/nests that are variably located either underground or in craters. These nests provide not only shelter for both living specimens and eggs (which are produced through standard intercourse–induced fertilization, are laid in batches of three–to–five, and hatch very quickly but have a high stillbirth rate), but also for storing food supplies in the form of victims whose decomposition is slowed by the very same venom that killed them. These creatures are considered vile even by the vile–in–their–own–right Demioids, whose various attempts to tame Sisealiuns for usage as attack/guard animals have consistently failed.

 

• Naimosper: Considered the least repugnant of Zornemim's native creatures, which is not saying much, the Naimosper is a passive beast–hominid that eats only plants and small insects and attacks only when threatened. It is similar to a Trylepibe in both size and durability value (~500), and can be distinguished by its large, webbed hands and, even more strikingly, its secondary pair of eyes, the spheres comprising which sit atop thick, ropey tentacles that protrude from the sides of the creature's head. The Naimosper's large, heavy, semi–metallic feat which produce louder–than–average footsteps when hitting the ground are also worthy of note. The creature's "face" consists of two vertically–stacked eyes, between which is a small, simple slit of a mouth, surrounded by several bumps/splotches of varying color. It has no visible nose nor ears, and its sensory organs for both smell and hearing are instead collectively contained within the thousands of tiny pores that cover the surface of its body, with the greatest concentration being in/on the hands. When threatened or otherwise provoked, a Naimosper will attack with slaps and punches, and if it manages to incapacitate its attacker or attackers, it will usually flee as soon as they are incapacitated, rather than deliberately finishing them off. Naimospers are the most common prey of Sisealiuns, and Trylepibes have also been known to eat them on occasion. Due to longtime Demioid domination and exploitation of Zornemim and its resources, their numbers plummeted in the decades leading up to the evil humanoids' height of power under the Dynamo Legion, with the Naimosper species eventually becoming severely endangered shortly before the defeat of the Dynamo Legion by the Eggmen Super Team and their allies, after which its population returned to normal levels and became stable again due to the resultant collapse of Demioid society.

 

At the bottom–left is the sole demon variety that will be catalogued in this particular grouping of beings:

 

• Veksinpora: A small humanoid demon, being marginally larger than a Shindoke, with an armored physique and some mechanical qualities. Veksinporas are agents of toxicity, pollution and, more specifically, chemical warfare, with their main ability being the production and spreading of poisonous gases, mainly of the sulfuric and arsenic varieties. These gases are primarily emitted in streams through the pair of chimney–like structures jutting out diagonally from the top of the Veksinpora's head, but can also be manifested in small, functionally grenade–like spheres of energy conjured in the demon's hands. In either case, these poisonous attacks rely on Infernal Energy, of which a Veksinpora possesses a moderately deep, regenerating personal supply, to be activated. This demon is asexual in every way, although its voice, while still somewhat androgynous, resembles that of a male more–so than a female voice. On its lower face is a perpetually present gas mask–like mouthpiece that prevents it from eating, not that it requires any physical sustenance, which most demons do not. On a Veksinpora's back is an almost reptilian shell (pictured here to the left of the creature's frontal–view main image) which displays a hazard symbol positioned parallel to but distinct from another, different hazard symbol on its chest. If this shell is removed, which is extremely difficult to do by force, the Veksinpora will die, but not before releasing a massive payload of particularly deadly toxins that basically constitute an explosion. As a suicide attack, this can be trigger this voluntarily, but unlike other beings capable of offensive self–destruction, Veksinporas have an above–average sense of self–preservation, and because of this self–worth they will do this only as a true last resort; only in situations where death seems guaranteed either way.

The Veksinpora is usually said to have been one of the final extant species of demon to come into existence, with the first "batch" supposedly spawning in and around the City of Drenn near the time of the Relative Calendar's invention (i.e. shortly either before or after Age 0) and the first recorded sighting of one in the mortal realm taking place in Age 12. The Veksinpora's overall level of power is on par with that of the "Greater Beings" of each of the Seven Deadly Sins, and it is sometimes referred to by the colloquially–assigned title of "Being of Pestilence". Its durability value is a precise 800, and there seems to be little variation, in terms of both abilities and physical form, between individual specimens. Veksinporas are more intelligent and articulate than most demons, their personalities being much like the Hoilidants' would be were those demons not so inherently predisposed to subservience; this is to say that they are sophisticated and pragmatic, but usually disgruntled. Though Veksinporas can speak fluently in terms of wording, their speech, as it is heard by those around them, always ends up coming out in muffled form due to their "masks"; this contributes to their aforementioned general disgruntlement.

A great number of Veksinporas have worked for the Arcane Order, sometimes as "sleeper agents" and generally taking orders from Princess Tzsicsz (who has some powers similar to theirs). Most notably, the demons almost certainly provided the inspiration for and definitely provided much of the bodily material for the creation of Lord Reson's artificial bioweapon known as Toxie #6, for which potentially hundreds of them were cannibalized. The "terms" of their being sacrificed to create the pseudo–Abomination are uncertain, but given the relatively high value they tend to place on their own individual lives, it seems unlikely that all of these Veksinporas gave themselves up voluntarily.

 

The final three creatures in this meta–set are all mortal animals, each coming from a different planet.

 

• Pegushike: A hostile large insectoid found on Finngaed, the Omega Octant planet ruled by the vampiric but mostly peaceful Wabacawlers. It is the most prominent local hazard that said humanoids have to deal with when traveling, and furthermore, due to its lack of warm blood, they cannot use it for feeding (or any other constructive purpose, for that matter). The Pegushike is known for its obscene number of limbs, having exactly a dozen – six arms and the same number of legs – in total. While its six legs are identical in form to one another, having standard shafts and clawed, lightly armored feet, each of the creature's three pairs of hands, as well as their respective arms, are distinct from one another. All of the Pegushike's hands, however, are simple, and having only one pair of them would be inadequate for allowing the creature to survive and thrive in nature; as it stands, the three pairs it does have need to be frequently used in conjunction with one another for maximum efficiency. These beasts have torsos that are wide and rounded but not particularly tough, and structures atop their heads that may appear to be horns but are actually soft nervous muscles which constitute the most vulnerable points on the creatures' exteriors. They are rarely, if ever, found alone; the presence of one Pegushike usually signifies that more are nearby, even if their positions are not readily visible; note that they commonly use hide–and–ambush tactics. While attacking, the primary instruments used by Pegushikes for inflicting harm are their mouths and teeth; here, their hands are used mainly for getting a hold of prey, rather than for directly dealing fatal blows. Pegushikes vary considerably in size, stand anywhere from two to four feet tall during adulthood. Their durability values, which generally correspond with the relative sizes of various individuals, range from 300 to 600.

 

• Mingoradra: An obscure and strange beast that inhabits the equally obscure and strange planet of Brinanzy, best known as the homeworld of the unintelligible Manciatents. Mingoradras are slug–like creatures of limited proportional girth but large body scale, the lengths of their partially–upright forms reaching upwards of twenty feet in some specimens and them being the largest native creatures on their planet. They are very chaotic and unpredictable beings with inconsistent behavior in terms of their dispositions toward Manciatents, being known to sometimes be so aggressive as to venture into Manciatent settlements and attack the inhabitants without provocation, while at other times remaining passive even when the humanoids venture into their territories within Brinanzy's swamps, forests and moist caves. Being a simple sort of folk and lacking much physical brawn with which to fight the creatures, the Manciatents usually play things safe by trying to avoid Mingoradras whenever possible, not just due to the possibility that they will attack but also, in part, because they are just plain creepy. The Mingoradra is one of the only creatures to possess multiple heads… of sorts. While the creature does have three separate articles resembling heads, only one of these, the central one which sits atop the torso in a fairly standard manner, contains a brain. This disproportionately small main head resembles raw flesh in texture and features a small mouth with very thick and prominent lips, three minuscule, pupilless eyes in a horizontal row, and no other features. The other, peripheral two "heads" are attached to long, flexible articles that largely resemble arms but are officially classified as necks, and consist mainly of large, singular eyes and sharp–toothed mouths that can flip open so widely as to make the head itself resembles a toilet bowl. Both the visual organs and the mouth organs on the Mingoradra's peripheral quasi–heads are far more powerful and useful than their weak counterparts on the creature's primary head, and thus it is them on which the beast primarily relies for seeing and eating, with its actual head mainly serving only as a control center. Behind each of the three heads is a cartilaginous half–cylinder–like structure that seems to be present to prevent decapitation. Each of the Mingoradra's actual arms, located further down the torso, branches into two "sub–arms" at the midway point equivalent to an elbow joint, resulting in the creature having four hands, the "extras" of which possess more claw–like fingers compared to the "normal" hands. The durability value of an average Mingoradra is 1,200–1,500.

 

• Critsauda: A mammal of average size found on Ithpinbo, the pseudo–jewel–laden home of the blissfully ignorant Wevaracti. It is currently listed as a "threatened" species and monitored as such, with dozens of specimens being kept in multiple off–world MetaQuariums just in case. Critsaudas are about four feet tall, and walk on four sturdy, closely packed legs and feet while having upright torsos, a body shape shared with relatively few other creatures. They have very long, gangly arms that are significantly hairier than any other parts of their bodies and each boast two upward–curving "spikes" projecting from their rear–sides. Similar protrusions are also present near the creature's waist level. The Critsauda has poor overall eyesight, constantly experiencing a visual filter that essentially amounts to moderate diplopia (double–vision), but this is compensated for by very acute hearing. Critsaudas are omnivorous but tend to lean towards primarily plant–based diets, and while normally living alone following the roughly three–year period for which they are raised by their mothers (fathers move on almost immediately after mating), they are known to sometimes form temporary cooperative groups, which individuals may join and leave as they please. The true defining trait of the Critsauda, however, is not any of these attributes, and relates neither to body shape nor behavior, but rather to body composition. This creature's body naturally contains and grows, particularly in the chest cavity and atop the head, a variation of sapphire crystal. This crystal, which naturally occurs only within the bodies of Critsaudas, is considered the rarest and most sought–after substance on Ithpinbo, where all the other jewel–like materials whose presence is a defining feature of the planet are too abundant for obtaining them to be a real issue, and the only Ithpinbon jewel that is worth significant coin off–world. This has caused Critsaudas to be hunted, or rather poached, by both Wevaracti and traveling seekers of profit for their crystals, the removal of which is fatal, which in turn is the reason for the creature's semi–endangered status and increasing rarity.

The Critsauda's maximum lifespan is about forty years, though crippling symptoms of old age begin to set in shortly after the age of thirty, and it is rare for one of the animals to survive long enough to be able to die of old age, especially given that it is frequently hunted by humanoids. Its mean durability value is 750; slightly higher than it would be were it not for the creature's crystalline features.

FORD Mondeo (1994) / DELTA

Ligne 79 - Arrêt : Baronnière

Exploitant : Transports Brodu

Réseau TAN - Nantes

The Alabama Hills are a range of hills and rock formations near the eastern slope of the Sierra Nevada in the Owens Valley, west of Lone Pine in Inyo County, California.

 

Though geographically separate from the Sierra Nevada, they are part of the same geological formation. The rounded contours of the Alabamas contrast with the sharp ridges of the Sierra Nevada to the west. Though this might suggest that they formed from a different orogeny, the Alabamas are the same age as the Sierra Nevada. The difference in wear can be accounted for by different patterns of erosion.

 

Dozens of natural arches are among the main attractions at the Alabama Hills. They can be accessed by short hikes from the Whitney Portal Road, the Movie Flat Road and the Horseshoe Meadows Road. Among the notable features of the area are: Mobius Arch, Lathe Arch, the Eye of Alabama and Whitney Portal Arch.

 

The Alabama Hills were named for the CSS Alabama, a Confederate warship deployed during the American Civil War. When news of the ship's exploits reached prospectors in California sympathetic to the Confederates, they named many mining claims after the ship, and the name came to be applied to the entire range. When the Alabama was finally sunk off the coast of Normandy by the USS Kearsarge in 1864, prospectors sympathetic to the North named a mining district, a mountain pass, a mountain peak, and a town after the Kearsarge.

 

The Alabama Hills are a popular filming location for television and movie productions, especially Westerns set in an archetypical "rugged" environment. Since the early 1920s, 150 movies and about a dozen television shows have been filmed here, including Tom Mix films, Hopalong Cassidy films, The Gene Autry Show, The Lone Ranger and Bonanza. Meanwhile, Classics such as Gunga Din, The Walking Hills, Yellow Sky, Springfield Rifle, The Violent Men, Bad Day at Black Rock (1955), the Budd Boetticher/Randolph Scott "Ranown" westerns, part of How the West Was Won, and Joe Kidd. In the late 1940s and early 50s the area was also a popular location for the films of B-western actor Tim Holt.

 

Source: Wikipedia

en.wikipedia.org/wiki/Alabama_Hills

 

Exploitant : Keolis Aude

Réseau : Citibus

Ligne : Été 6

Lieu : Pissevache (Saint-Pierre-la-Mer, F-11)

Lien TC Infos : tc-infos.fr/id/38906

Exploitant : RATP

Réseau : RATP

Ligne : 105

Lieu : Porte des Lilas (Paris, F-75)

Lien TC Infos : tc-infos.fr/vehicule/42504

Dans les exploitations agricoles vaudoises, le ressat désigne le repas qui clôture un dur labeur collectif, comme les moissons ou les vendanges. Il est offert par le chef d’exploitation pour remercier les gens ayant travaillé pour lui.

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 4

Lieu : Gare d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/36010

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.

 

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.

youtu.be/p0kjGOOZZog

 

Go-Go for a wild ride with the action girls! Russ Meyer, the king of exploitation, directs this lurid thrill-ride starring Tura Satana, Haji, and Lori Williams as a trio of dancers who turn to murder and mayhem on a road trip from hell. Varla is well-endowed, beautiful, physically powerful, savvy and conniving. She lives for kicks, but she's also got a serious mad on for the world, and anyone who crosses her finds out the hard way. Her job as a go-go dancer, supplemented by a part time career in petty crime has afforded her a sleek and fast sports car, which she enjoys riding in the desert with her fellow dancers. One of them, Rosie, has a crush on Varla, which she happily encourages, even if Varla is really more interested in the control it gives her over Rosie than in Rosie herself. The other dancer, Billie, is a little harder for Varla to manage, but Billie isn't bright enough to outmaneuver Varla.

 

When the little gang run into a square drag racer, he winds up getting into a fight with Varla, losing of course. Varla makes sure he never talks back again, then kidnaps his girlfriend and makes a run for it. BIllie and Rosie tag along, and they soon become involved in intrigue with an old letch in the desert rumored to have a stash of cash hidden away somewhere. When Varla starts to lose control of the situation, things (again) become violent, leading to a revved-up climax! Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his two sons in the desert, reputedly hiding a tidy sum of cash. They become houseguests of the old man and try and seduce the sons in an attempt to locate the money, not realizing that the old man has a few sinister intentions of his own.

synopsis

Exploitation maven Russ Meyer created a cult classic with this turbo-charged action film. Three curvaceous go-go dancers in a cool sports car go on a desert crime spree, led by Varla (the amazing Tura Satana), a busty, nasty woman dressed entirely in black. Varla's lesbian moll, Rosie (Haji) -- who has an extremely overwrought accent -- and reluctant bimbo Billie (Lori Williams) are along for the ride. When they meet a naïve young couple, Tommy and Linda (Ray Barlow and Sue Bernard), Varla challenges the man to a race then kills him by breaking his back. They take Linda hostage and drive to a house owned by a crippled old lecher (Stuart Lancaster) and his muscular but retarded son, Vegetable (Dennis Busch). Varla discovers that the old man has money hidden on the property, so the girls try to find it. Meanwhile, Vegetable's perverted father tries to trick him into assaulting one of the girls as he watches, but his other son (Paul Trinka) finally shows up to save the day. A great deal of bloodshed, campy catfighting, and funny dialogue fills the bulk of this fast-paced comic book of a movie.

Born 1946 Quebec,Canada

Passed on 2013

Birth Name - Barbarella Catton Nickname - Haji

Haji was a Cando-American actress renowned for starring in Russ Meyer's sexploitation classic Faster, Pussycat! Kill! Kill! (1965), in which she made her theatrical film debut. Barbarella Catton was born in Quebec City, Quebec on January 24, 1946, and at the age of 14, began dancing topless. The renamed Haji caught the eye of cinema's "King Leer" while performing as an exotic dancer.

He also cast her as one of three go-go dancers who turn into avenging furies in "Pussycat", which was her theatrical film debut as it was released before Motor Psycho (1965). She also appeared in Meyer's potboiler Good Morning... and Goodbye! (1967), his big budget Hollywood sextravaganza Beyond the Valley of the Dolls (1970), and his cartoonish amalgamation of sex and violence, Supervixens (1975).

Haji died on August 10, 2013 at the age of 67.

Was a fervent supporter of animal rights and environmentalism. Interviewed in the book "Invasion of the B-Girls" by Jewel Shepard. Began as an exotic dancer. Moved to California at the age of fourteen and was discovered by filmmaker Russ Meyer performing in a topless bar. Her only child, a daughter she had at age 15, is named Cerlette. Haji was of British and Filipino descent, and her nickname was bestowed on her by an uncle. Was a friend and co-star of former stripper and long-time Russ Meyer paramour Kitten Natividad.

Haji, an Actress Featured in Cult Films by Russ Meyer, Dies at 67

By DANIEL E. SLOTNIK

Published: August 17, 2013

Haji, a voluptuous actress who played one of three homicidal go-go dancers in Russ Meyer’s 1965 cult film “Faster, Pussycat! Kill! Kill!,” died on Aug. 9 in Southern California. She was 67.

Her death was confirmed by the dancer and actress Kitten Natividad, a friend, who said she did not know the cause. She said Haji had high blood pressure and heart problems in recent years and was taken to a hospital after falling ill at a restaurant in Newport Beach.Haji, a brunette of Filipino and British descent, met Meyer, the celebrated B-movie director, in the mid-1960s while she worked in a strip club in California. He cast her as the lead in his biker movie “Motorpsycho” (1965) even though she had no acting experience.Later that year Haji appeared in “Faster, Pussycat! Kill! Kill!,” the tale of three dancers who beat a young man to death, kidnap his girlfriend and flee into the desert. She played the lesbian paramour of the lead character, Varla, played by Tura Satana. The film has acquired a devoted following and has been embraced by the filmmakers John Waters and Quentin Tarantino and even some feminists, including the film critic B. Ruby Rich, who praised it in The Village Voice as a “female fantasy.”“You just didn’t see women taking over and beating up men in those days,” Haji said in an interview posted on Russ Meyer’s Ultravixens, a Web site devoted to Meyer, who died in 2004, and his films. “Russ did something no one else had the imagination to do. And he was smart to use three bodied-up women, so whether the picture’s good or not, you still sort of stare at it.”Haji played a scantily clad bartender in Meyer’s “Supervixens” in 1975 and appeared in “Beyond the Valley of the Dolls,” the story of an all-woman rock band’s descent into debauchery. It was the first of Meyer’s films produced by a mainstream studio. She also acted in John Cassavetes’s gritty drama “The Killing of a Chinese Bookie” in 1976.

Haji was born in Quebec on Jan. 24, 1946. Ms. Natividad said that Haji’s last name at birth was Catton, and that she thought her given name was Cerlette. (The name Haji, she said, was a nickname given to her by an uncle.) Haji left school before finishing the sixth grade and began stripping at 14. She had a daughter, also named Cerlette, at 15. She lived in Oxnard, Calif. Her survivors include her daughter and a granddaughter. Haji’s last screen role was in the 2003 comedy “Killer Drag Queens on Dope.”

www.nytimes.com/2013/08/18/arts/haji-an-actress-featured-...;

 

Exploitant : Transdev STRAV

Réseau : Marne et Seine

Lieu : Joliot Curie (Valenton, F-94)

Lien TC Infos : tc-infos.fr/vehicule/26864

Ligne L - Arrêt : Hôpital

Exploitant : Transdev Bassin Annécien

Réseau Sibra - Annecy

Processed with VSCOcam with a6 preset

HMS Exploit (P167) is an Archer-class (P2000) patrol vessel of the British Royal Navy, built in Woolston by Vosper Thornycroft and commissioned in 1988.

 

She is assigned to the Royal Navy Coastal Forces Squadron, carrying out a range of activities both in the U.K. and overseas.

 

Pictured here returning to Gosport marina during sea trials after maintenance.

 

In the foreground is a rowing gig crewed by members of Portsmouth Royal Navy Gig Club.

I picked this hibiscus in the garden this afternoon and brought it inside to exploit where it's easier to control the light.

 

I placed the flower on a mirror and then setup the main light as a Yongnuo flash in a 24 inch gridded soft box at camera right. Back lighting is from another Yongnuo flash in a Rogue grid hand held and behind the flower at camera left. The strobes and my tripod mounted camera were triggered with a Yongnuo RF-603N.

 

I've photographed a lot of plants and flowers, because they're all around us, work cheap, and never complain. I have an album of these images with over 1200 pictures, and for each one, I have described how I lit them, in case you're interested in that kind of thing.

www.flickr.com/photos/9422878@N08/sets/72157628079460544

suffer from misuse and abuse

EXPLOIT YOURSELF I+D SPEC

Staff recommends that FWC take the lead in addressing concerns expressed by stakeholders about harvesters exploiting mutton snapper spawning aggregations and current year-round mutton snapper recreational bag limits and commercial trip limits.

 

To accomplish this, staff recommends conducting public workshops on specific potential management changes to reduce mutton snapper harvest both during the spawning season and throughout the year. These changes would reduce the recreational bag limit during the spawning season to two fish per person and implement a new vessel limit of 12 fish. During the rest of the year, mutton snapper recreational bag limits would be reduced from 10 fish within the 10-fish snapper aggregate bag limit to five fish within the snapper aggregate. This would reduce the legal bag limit for mutton snapper, while retaining anglers ability to harvest 10 snappers in total. Commercial harvest changes would include matching the proposed recreational bag limit of two fish per person and 12 fish per vessel during the spawning season, as well as considering gear-specific commercial trip limits during the rest of the year. These gear-specific limits could be 300 pounds per trip for hook-and-line vessels and some other limit for long-line vessels in Gulf federal waters that would allow long-line vessels to retain mutton snapper caught as bycatch. Staff would also seek feedback on the timing of spawning season regulations.

 

During this process, staff would collaborate with the South Atlantic and Gulf Councils to maximize public input on this issue and to advocate for uniform regulations across jurisdictions.

 

If the Commission directs staff to proceed with workshops, staff will return with stakeholder feedback on these items and a draft rule at the April 2016 Commission meeting in south Florida.