Véhicule : VDL-BOVA Futura FL

Identification : 0715 (3311 RR 40)

Exploitant : SPL TRANS LANDES

Véhicule : IRISBUS IVECO Evadys H (12m.)

Identification : 0812 (8210 RZ 40)

Exploitant : SPL TRANS LANDES

Véhicule : IRISBUS IVECO Evadys H (12m.)

Identification : 0813 (8214 RZ 40)

Exploitant : SPL TRANS LANDES

Véhicule : IRISBUS IVECO Evadys H (12,80m.)

Identification : 0910 (1301 SB 40)

Exploitant : SPL TRANS LANDES

Véhicule : IRISBUS IVECO Evadys H (12,80m.)

Identification : 0912 (AB-017-HJ)

Exploitant : SPL TRANS LANDES

Véhicule : BOVA Futura FH

Identification : 0415 (4474 RD 40)

Exploitant : SPL TRANS LANDES

Dépôt : Saint-Vincent-de-Paul

Merci au Responsable de la SPL TRANS LANDES qui a permis cette visite.

11/05/2019 15:28

Dépôt SPL TRANS LANDES, Route de Carrère ; Saint-Vincent-de-Paul

Exploitant : CAB Solution

Réseau : Navette Substitution SNCF Île-de-France

Ligne : Navette Transilien J

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

Lien TC Infos : tc-infos.fr/id/43819

Exploitant : Cars Hourtoule

Réseau : SQY Terre d'Innovations

Ligne : 10

Lieu : Gare de Plaisir – Grignon (Plaisir, F-78)

Lien TC Infos : tc-infos.fr/id/41511

Exploiting the unseasonal light this week; saw me revisiting one of my favourite outdoor locations in West Melbourne.

One of several projects, that explore photography as evidence amongst other ideas.

Blog | Tumblr | Twitter | Website | Instagram | Photography links | altfotonet.org | Sunshine Tumblr Project

Maison forte du 12ème siècle, vendue comme bien national sous la Révolution, transformée en exploitation agricole puis finalement ra-chetée par la famille Chauvigny de Blot à la fin du 19ème siècle, qui entreprit sa restauration. Très remaniée au fil des siècles, la bâtisse, malgré les dégradations successives, a conservé son esprit originel.

Le château se compose:

- au Sud-Ouest, d'un donjon de plan carré portant sur chaque face deux trous de hourdage et recouvert d'un toit en pavillon;

- exposé Nord et Sud, d'un corps de logis auquel on accède depuis la cour par un escalier extérieur en pierre à double volées, remanié au 15ème siècle;

- à l'angle Nord de la cour, d'une tourelle octogonale renfermant un escalier en vis, réalisée entre la fin du 15ème et le début du 16ème siècles.

Inscrit au titre des monuments historiques, le château n'est que très épisodiquement ouvert au public, et encore partiellement (propriété d'Alain Suguenot, ex-député et maire de Beaune depuis 1995).

Omega Sound Festival 2022

This is what Aroe calls "A Job" as opposed to proper graffiti but he says he likes it so that must be good enough. Done for The Body Shop's 40th.

ENDING VIOLENCE AGAINST

WOMEN AND GIRLS

Violence against women and girls is a grave violation of human rights. Violence happens in public and private places.

It has many forms which range from domestic or intimate

partner violence to sexual harassment and assault, female

genital mutilation, trafficking, sexual violence in conflict

and gender-related killing.

The impact of violence ranges from immediate to longterm physical, sexual and mental health consequences

for women and girls, including death. It negatively affects

women’s general well-being and prevents women from

fully participating in society. Violence not only has longlasting consequences for women but also their families,

the community and the country at large. It also has tremendous costs, from greater health care and legal expenses to productivity losses, impacting national budgets and overall development.

#EndVAW #HearMeToo

Photo by Firoz Ahmad

All rights reserved

Location: New Delhi, India

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I was originally enrolled into the GETTY IMAGES collection as a contributor on April 9th 2012, and when links with FLICKR were terminated in March 2014, I was retained and fortunate enough to be signed up via a second contract, both of which have proved to be successful with sales of my photographs all over the world now handled exclusively by them.

On November 12th 2015 GETTY IMAGES unveiled plans for a new stills upload platform called ESP (Enterprise Submission Platform), to replace the existing 'Moment portal', and on November 13th I was invited to Beta test the new system prior to it being officially rolled out in December. ESP went live on Tuesday December 15th 2015 and has smoothed out the upload process considerably.

These days I take a far more leisurely approach to my photographic exploits, a Nikon D850 FX Pro body as my trusted companion, I travel light with less constraints and more emphasis on the pure capture of the beauty that I see, more akin to my original persuits and goals some five decades previously when starting out. I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 32.454+ Million visitors to my FLICKR site.

***** Selected for sale in the GETTY IMAGES COLLECTION on December 12th 2018

CREATIVE RF gty.im/1080233028 MOMENT OPEN COLLECTION**

This photograph became my 3,665th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

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Photograph taken at an altitude of Twenty three metres at 10:36pm on Friday 9th November 2018, off Þjóðvegur 1 , the ring road which connects most of the inhabited parts of Iceland, just past Seljalandsfoss heading towards Ásólfsskáli in southern Iceland.

This is one of many small unamed waterfalls that fall from the vulcanic mountains along the ring road.

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Nikon D850 Focal length 86mm. Hand held with Nikkor VR vibration reduction enabled on Normal setting. Shutter speed 1/125s (Electronic front-curtain) Aperture f/4.5 iso1000 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Colour space. Adobe RGB. AF-C focus 51 point with 3-D tracking. Manual exposure. Matrix metering. Auto 0 white balance (8030K). Nikon Distortion control on. Vignette control Normal.

Nikkor AF-S 24-120mm f/4G ED VR. Phot-R ultra slim 77mm UV filter. Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.

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LATITUDE: N 63d 36m 3.40s

LONGITUDE: W 19d 58m 55.30s

ALTITUDE: 23.0m

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RAW (TIFF) FILE: 130.00MB NEF: 91.5MB

PROCESSED (JPeg) FILE: 25.10MB

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PROCESSING POWER:

Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB DATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.

France, Région Auvergne-Rhône-Alpes, département de l'Ain, Massif du Jura, Région géographique du Bugey, Vallée du Valromey, Brénod

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Le Valromey est à la fois une région historique et une vallée de France, qui au sein du Bugey, participe à la transition entre Haut-Bugey et Bas-Bugey ; elle est drainée par le Séran.

...

Toponymie

Une étymologie fausse prétend que Valromey signifie « vallée romaine » en ancien français, mais cette étymologie est sans doute victime des apparences. En effet, l'ancien français n'y était que peu parlé avant l'annexion en 1601, la langue vernaculaire était en effet le francoprovençal, langue dans laquelle cette vallée se nomme Verromey. Des attestations plus anciennes apparaissent dans les textes sous les noms de Verrumensi en 1110, Veromensi en 1142 et Verrometum en 1169. Ces évolutions de la dénomination dérivent sans doute de Venetonimagus ou plus anciennement de Vernemetonimagos.

...

Objectif entièrement manuel Laowa 12mm f/2.8 Zero-Distorsion

It's pretty well known that I had little love for Arriva Trains Wales. From their exploitative fares policy to their testy customer services, they just weren't a nice company to deal with.

They, of course, are gone now, St. Mary's House on the Penarth Road has a sticking plaster with a big 'T' logo over the Arriva signage, the staff have sticking plasters with a big 'T' over their Arriva logo jumpers, and the whole ramshackle operation lumbers on much as before.

Or does it?

Well, actually no, it doesn't.

And, I can't actually believe I'm saying this, but...

It's worse.

In the five weeks that have passed since the WAG finally got their dirty hands on the trains, it's absolutely gone down the pan.

Up here in never never land, timekeeping is just something that we fondly remember. Y'know, a bit like Izal toilet paper or Maxpax coffee. I've had the misfortune to travel on six TfW trains this week. The best performer was 17 down.

Cancellations are rife, again on the coast we now regularly have a ninety minute gap in eastbound trains at tea time. Two or three days a week, every week.

And, for the third Saturday in a row, there's cancellations and short running pretty much over the entire TfW network. Except for around Cardiff, of course.

The Cambrian is only two hourly, although they promise not to turf you out at Wolverhampton this week, half the Pembroke and Fishguard trains are caped, Wrexham to Bidston, the much vaunted North East Wales Metro, is only two hourly. Imagine that, a two hourly metro. Good eh?

And the North Wales to Manchester Airport trains will go no further than Oxford Road, the advice for pax heading to the airport is to use Northern or TPX forward.

Has no-one in Cardiff seen that, for the 915th Saturday in a row, the RMT Manchester and Northern division is having another unpaid holiday, and you'd be lucky to get on the TPX step boards as a result.

And you can forget going to Blaenau Ffestiniog by train. Again.

And there's still not a peep about when our promised 10% fares reduction will come. Probably after they've gone up by 20%...

(Historical note, fares in North Wales were hiked in the late 1980's to pay for those nasty things up above. Oddly, when the trains were paid for, the fares didn't go back down. Instead, they flogged the trains to a bank for three parts of fuck all...)

So, you'll be bored by now, so I'll finish here. But to Arriva Trains Wales, I humbly apologise. You are only the second worst Welsh TOC, not the first.

Sorry.

1D34 Manchester Oxford Road-Holyhead doesn't produce the loco-hauled goods, instead it's 158834 and 158838.

Sums it up, really.

Just one more thing, memo to Carwyn and Ken. Ain't it funny how you two have crawled back into the woodwork since it's all gone tits up?

World class my arse.

Rhyl, 15 November 2018.

The LJ-937, also named Wormhole explorer, was the first exploration ship built to exploit a gravity well generator to travel trough space. It was able to fold the universe and dig a hole from one place to another, hence decreasing greatly the travel time needed.

It's mission was to travel to unexplored planets and scan them to detect life form or exploitable resources.

There was a theory that linked the Octan corporation to the development of the LJ-937 and took advantage of the mission's finding to get their hands on usefull resources. Since the research on the gravity well generator and the funding of the missions were done using public funds, some people started to ask for the space police to investigate. Hark Mamil, the famous opposant to the Octan Corporation, officially complained to the authorities and a trial was planned. He disappeared two days before the chosen date...

In the early days of my digital camera exploits I relied on a pocket camera which was something of a marvel. It was well worth the outlay - a cut above the rest you might say.

Here in a remote part of Scotland, while staying at a lodge, the wildlife was excellent entertainment value.

Ducks would rap their beaks on the glass of the lodge door to announce their arrival for some breakfast. Clearly an established routine with some of the visitors to the place.

The next stage of the entertainment was the bunnies coming out to graze. Usually this is a night time event but up here at the time of the year, night is something of misleading description. Hours of darkness are few and we had to draw the curtains to get some sleep!

So perhaps this chap had gone past the usual time span, but he was getting the grass nice and short.

There were plenty of other rabbits and all quite skittish, even bolting if we were seen through the windows. They did have some entertainment themselves by chasing off small birds who came down onto the grass. It was quite a spectacle but just a bit too far away to be photographed.

The London School of Exploitation Under Occupation: London School of Economics and Political Science (LSE) Students Stand Against Exploitation and Corporate Education: Vera Anstey Suite: Old Building, London School of Economics, London, March 25, 2015.

The Demands of The LSE Occupation, 23/03/2015

March 23, 2015 at 5:44am

Below is a list of the finalised demands we have formulated and will be taking to negotiations with management.

Free Education

We believe that education should be universally accessible. Education is not only a service for those that can afford it. With the aim of universally accessible education, we demand that the university:

1. Publicise the fact that they are lobbying for financial and administrative independence and fee-hikes.

2. Publicly commit to not raising tuition fees.

3. Publicly lobby for education as a public good to be funded by a progressive taxation system and to be free from tuition fees for both domestic and international students.

4. Enforce public access to timetables and lectures by removing the password restriction, taking the turnstiles or any other form of barrier down in the university and commit to never build them again.

Workers’ Rights

We stand in solidarity with unions representing LSE staff (Unison, UCU and Unite) and we demand:

1. Commitment to a date in April when staff (catering, cleaning, security and Resource staff) and union representatives can open negotiations with university management. This is specifically related to Unison’s demand for negotiations which have been consistently sidelined by management.

2. Real job security and an end to the culture of fear. We demand the acknowledgement of the use of exploitative casual, variable and zero-hour contracts and replace them with fixed-term contracts which explicitly state the expected annual employment for all in-house staff.

3. Fair remuneration of time and a half to all employees for overtime regardless of whether they are security, porters, receptionists or catering staff and an end to the aggregated and unequal distribution of overtime pay.

4. Clear and transparent accounting of all overtime work for Professional Services, support and GTA staff. We demand a commitment to a cross-departmental forum facilitating the remiss of employment grievances.

In response to the concerns raised by academic staff we demand:

1. An end to the culture of fear and conformity created by the hierarchical structure of academic employment. This involves but is not limited to the introduction of a uniform teaching fellow position for all academic staff, with automatic incremental salary increases based on length of employment.

2. An end to the audit culture which makes academic output an object of assessment and measurement, which stifles free thinking and impoverishes innovation and student-staff relations.

Genuine University Democracy

The Occupy LSE group have held democratic consultations with a diverse group of students and staff, both academic and non-academic. Accordingly we have the following demands:

1. An open discussion with the directors and pro-directors of LSE, within the first week of summer term, on university democracy to clarify to students and staff how the current system works. This will be the starting point for a wider and more inclusive public discussion on the issue of accountability and failing democratic institutions, leading to concrete proposals for improvement to the current system.

2. We demand the formation of an Independent Review Committee comprising of academic staff (1/3), non-academic staff (1/3) and students (1/3). The role of this committee will be to investigate the current system and propose reforms.

3. All Committee meetings should be minuted and these minutes should be published in less than 7 working days so as to be publicly available to LSE students and staff.

Divestment

We demand that the school cuts its ties to exploitative and destructive organisations, such as those involved in wars, military occupations, the illegal blacklisting of workers and the destruction of the planet.

We demand that the school provide a conclusive list of investments, incoming funds, and ties to the aforementioned organisations.

Specifically, we demand that the school divest from fossil fuels, commencing with the following actions:

1. Freeze any new investments in fossil fuel companies.

2. Start an independent review on the financial impacts of divestment on the school, as was promised during the last investment committee meeting on 29th January 2015.

3. Set up a working group with representatives from the Finance Committee, the Ethics Policy Committee, the Divestment Campaign, the student body, and with anyone else appropriate, to compile all the information on divestment and come to a democratically informed proposal.

4. Present the working group’s decision on the 4th June 2015 to the Investment (or Finance) Committee which must then vote on and make a final, binding decision, without extension or delay.

We demand divestment from all companies which make a profit from the Israeli state’s occupation of Palestine, commencing with the following actions:

1. Freeze any new investments in such companies.

2. Start an independent review on the impact of divestment from companies that make a profit from the Israeli state’s occupation of Palestine.

3. Set up a working group with representatives from the Finance Committee, the Ethics Policy Committee, the Divestment Campaign, the student body, and with anyone else appropriate, to compile all the information on divestment and come to a democratically informed proposal.

4. Present the working group’s decision to the Investment (or Finance) Committee in the new academic year, which must then vote on and make a final, binding decision,without extension or delay.

Liberation

1. We demand that LSE becomes a liberated space that puts an end to all forms of institutional racism, sexism, ableism, class bias, homophobia, transphobia and religious discrimination.

2. For as long as LSE remains a non-liberated institution, we demand that a room or rooms on campus be officially given over to the sole use of the Free University of London for the purpose of continuing to pursue this aim.

This space is to be:

· Run autonomously in line with the principles of the Free University of London.

· Subject to the Free University’s pre-determined rules regarding access and safe space policy.

The Free University of London engages to fully collaborate with security and administration for the purposes of ensuring that the security, health and safety requirements regarding the space are met.

3. LSE as an institution should use its pre-existing powers to create and protect a safe educational and working environment for all. To that aim, we demand;

A) That LSE give out campus bans whilst investigations are ongoing in cases of harassment, sexual assault or rape, on a case-by-case basis. Policy is already in place to enforce this, and we demand that it be used.

In that respect, we demand that LSE utilise its powers to take a greater institutional defence of the victims of sexual assault on campus. We demand that the university issues campus bans in ongoing investigations into harassment, sexual assault and rape, on a case-by-case basis. This decision should not be made only at the discretion of the dean, and should involve either the Women’s, Men’s, LGBT+ and/or the Diversity Adviser and a representative from the Student’s Union.

We acknowledge that LSE already has policy in place to enforce campus bans in ongoing complaints (Point 19 of the Disciplinary Procedure for Students),and we believe that in such cases failing to give out a ban could jeopardise the safety, mental well-being, and educational progress of the complainant and other students.

B) That students launching a complaint against someone for harassment, sexual assault or rape not be bound by confidentiality.

At present, the policy of implementing a confidentiality order to prevent a complainant from sharing or confiding in others about an incident of harassment, sexual assault and/or rape may not assist the complainant, who is dealing with the trauma of the incident. We demand that the investigation is carried out without imposing on the complainant a confidentiality clause.

C) The creation of three new roles; ‘Diversity / LGBT+ / Disabled Student and Staff Adviser’ similar to the Women’s & Men's Advisers

At present, there are Women’s and Men’s advisers on campus. We demand that three paid, full-time roles created for a ‘Diversity/LGBT+/Disabled Students& Staff Adviser’. Those filling these positions must be adequately trained and provided with resources to assist and deal with issues which arise for BME/LGBT+/Disabled students and staff, and must identify as BME/LGBT+/Disabled respective to their position.

D) The implementation of a Zero Tolerance policy to sexual harassment.

It is necessary as a University institution to protect the interests of all students and staff. We demand that a Zero Tolerance policy to sexual harassment should be implemented. We note that the Students Union, the University of Cardiff and the University of Leeds already have in place a Zero Tolerance Policy. We demand that one is created at LSE, with the consultation of students and staff.

E) The publication of the guidance document on procedure with regards tos tudent-student harassment, and be open to suggestions of change, including but not limited to:

· Information on how punishments in cases of sexual harassment, sexual assault, & rape are decided, and the different factors influencing decisions, and be open to change.

· Information about the 'informal resolution' process and procedure, and be open to change.

F) The development of multiple channels for reporting incidents of sexual harassment.

The current procedure of reporting exclusively and directly to the Dean of Undergraduate Studies, Dean of Graduate Studies, and the Dean of the General Course, is insufficient and alienating to those suffering from trauma due to incidents of sexual harassment, assault, and rape.

We demand, amongst other measures, the creation of a team within thec ounselling service specialising in trauma relating to sexual harassment, assault, and rape. We note Cardiff University’s policy on this, specifically regarding the Zero Tolerance to sexual harassment procedure, and demand the implementation of similar policy at LSE.

G) Ensure that academic advisers, heads of societies and clubs, and all those in a position of responsibility for ensuring the welfare of students and staff are trained in how to respond to those with mental health problems and undergo mandatory sensitivity training.

H) We demand that counsellors have greater autonomy when deciding the number of counselling sessions offered to those in need. This involves but is not limited to the removal of the standard six session cap of offered sessions.

4. We stand with the Student Union and other campaigners in opposing the Counter-Terrorism and Security Bill (CTSB) which severely infringes on our civil liberties by monitoring students and staff at risk of “radicalism” and “extremism”. We note that this bill particularly targets Muslims and people with mental health issues. We demand that the LSE:

· Issues publications of how the policy is operating within the College and Students’Union, including access to materials used to train staff and students.

· Holds consultations with the student body regarding how this affects students.

· Publically lobbies the government to revoke the bill.

5. We note with dismay the violence that the Metropolitan Police inflicted on student protesters in London during the 2010-11 demonstrations and others at Senate House, Birmingham, Warwick and Sussex. We note the documented evidence of students being strip-searched, fingerprinted and wrongfully charged with offences that damage their futures. Furthermore, police have physically assaulted students without probable cause. Given this context, we demand:

· A clear guideline will be publicly issued to clarify cases where the university will allow police presence on campus.

· Transparency and consultations of students and staff with respect to police presence on campus outside of those guidelines on a case by case basis.

· A commitment from the University to use in-house security for any kind of dissent from the student body, especially political dissent.

6. We note that LSE100 has the lowest attendance rate and the lowest student satisfaction of any course. The school uses LSE100 to claim that it produces ‘all-rounded’students with an ‘interdisciplinary’ perspective, but we perceive its true function as to keep LSE at the top of the league tables and secure finance.

We note that most modules offer a narrow,watered-down and even vulgar overview of specific issues, for example:

· The gender module de-politicises feminism, neglects the roots of women’s oppression, the historical and ongoing women’s struggle and the political solutions that have been proposed from it.

· The module on climate change ignores the recent movement in academia and the world that attributes environmental issues to the economic system of capitalism.

· A general lack of queer studies, post colonialism, feminism and general critical theory across the modules.

We demand that the University management commit to organising a student and staff committee to review the LSE100 curriculum and reform it to be more pluralistic and critical, in line with the original principles on which the course was set up. We demand a similar review to be applied across curriculums in all other departments.

7. We demand that the school immediately reinstates the old ethics code and makes it legally binding, in line with the recently passed SU motion.

8. We demand that the University engage to lobby actively on behalf of international students for:

· The extension of the legal time restriction on Tier 4 visas to twelve months following graduation.

· The extension of legal rights concerning the recourse to legal aid to include non-EU students,

· We further demand that the University lobby to stop professors from being forced to register their non-EU international students.

They said if I add some cute animals to my pictures I'd get more likes. Lets put this to the test! :D

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.

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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.

Rosia Poieni

Billboards can be interesting, fun, or artistic. They tend to reflect our popular culture. BUT ... Does this billboard for Calvin Klein Jeans, on Houston Street in New York City, constitute youth exploitation in advertising? This model looks a bit young to me. You be the judge. Post your comments below.

Taken at Pembroke Bay on October 30th 2021, CT Plus Guernsey 1952 27718 is one of a highly standardised fleet of Wright Streetvibes used around the island. The tower behind is one of the Loophole Towers built to defend the island from French invaders in Elizabethan times.

Exploits River, NL,Canada

Exploitant : Transdev Val d'Europe Airports

Réseau : Magical Shuttle

Lieu : Centre Opérationnel Bus de Bailly-Romainvilliers (Bailly-Romainvilliers, F-77)

Lien TC Infos : tc-infos.fr/id/27300

Exploitant : Transdev TVO

Réseau : Valmy

Ligne : 16

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

Lien TC Infos : tc-infos.fr/id/14765

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 8

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

Lien TC Infos : tc-infos.fr/id/37468

French postcard by Europe, no. 650. Photo: Paramount. Lupe Velez in The Wolf Song (Victor Fleming, 1929).

Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.

Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina, and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist, and friend of the Vélez sisters recommended Lupe to stage producers, Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.

While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.

In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.

Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.

Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

A charcoal-seller trudges past the secure building of yet another Sri Lankan sapphire dealer.

A general lack of electricity supply to homes drives the demand for charcoal for cooking. charcoal production assists the poor to scrape a living but continues the decline of unprotected woodlands and of course adds to atmospheric pollution and global warming.

From Wikipedia: 'Madagascar's sapphires are highly valued internationally, with many stones being exported, often through unofficial channels, to Sri Lanka and Thailand for cutting and resale.'

Ligne 12 - Arrêt : Perray

Exploitant : SEMITAN

Réseau TAN - Nantes

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 9

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

Lien TC Infos : tc-infos.fr/id/37466

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Here is a couple of images from a shoot I did earlier this week to help a friend with her graded unit which is a campaign against sexual exploitation. The shoot itself as a disaster! Pushed for time with them being late and me having work later in the night we only got about 20 minutes shooting time and right at the beginning a light blew over in the wind luckily only the reflector crumpled in and the light was still working. Glad I managed to pull a few good shots from it though. :)

The Wee MacGregor tram and rail complex and the former towns of Ballara and Hightville’ is located in the Argylla Ranges between Cloncurry and Mount Isa in North West Queensland, in the traditional country of the Kalkadoon people. Constructed during an early 20th century boom in copper prices, the place includes the sites of two abandoned mining towns, Hightville and Ballara (surveyed in 1913 and 1914 respectively); the former western terminus (near Ballara) of a private 3ft 6in (1.1m) narrow gauge railway line, constructed 1913 - 1914; and the route of an associated private 2ft (0.6m) gauge tramway, constructed 1914 - 1915, between Ballara and the Wee MacGregor mine. The complex includes a 48m long ore transfer stage (1914), and a 77m long tunnel (1914 - 1915).

The town of Cloncurry was surveyed in the 1870s to support the local mining and pastoral industries. Pastoralist Ernest Henry had discovered copper nearby in 1867 and established the ‘Great Australia’ (or Great Australian) mine. Part of the area was proclaimed a goldfield in 1874, and the Cloncurry Mining District (later the Cloncurry Gold and Mineral Field) was proclaimed in 1883. Copper was discovered south of Cloncurry in 1884, and a town was formed in 1898 called Hampden (later called Kuridala). At Mount Elliot, south of Hampden, copper was discovered in 1899 and mining commenced in 1906.

The absence of a railway initially hampered the effective exploitation of Cloncurry’s mineral resources. The closure of the Great Australia Mine in 1887 meant a proposed railway from Normanton was diverted to Croydon (1888 - 1891), but when copper prices rose in 1905 the Queensland Government decided to extend the Great Northern Railway west from Richmond, and the first construction train reached Cloncurry in December 1907.

Mining activity was increasing on the Cloncurry field even before the railway arrived. By March 1906, copper had been discovered as an outcrop at the Wee MacGregor lease, west-southwest of Cloncurry. The Leichhardt Development Syndicate was formed in October 1906 to develop the Wee MacGregor ‘group’ of mines, which included the Wee MacGregor, Grand Central, Wattle, and Wallaroo leases, and two months later MacGregor Cloncurry Copper Mines (the MacGregor Company) was floated in London. Hampden Cloncurry Copper Mines Ltd, and Mount Elliot Limited, two companies which later dominated the Cloncurry field during World War I (WWI), were also floated in 1906.

By October 1907 there were three prospecting shafts on the Wee MacGregor lease. That year, with a population of 650 miners (almost double that of 1906), the Cloncurry field produced 5.6% of Queensland’s copper. By July 1908 the MacGregor Company was employing 70 men, not including mine officials, and during 1908 a telephone link with Cloncurry was established and tenders were called for a mail service.

By 1909 a settlement, including company offices and a store, was developing near the Wallaroo mine, located about 1km southeast of the Wee MacGregor mine. That year John Frost constructed the MacGregor Hotel on the site of Hightville. The hotel was listed under ‘Hightville’ in Wise’s Post Office Directory of 1911, although the town of Hightville was not surveyed until November 1913.

Isolation threatened the economic viability of the Wee MacGregor group of mines. Ore was first drayed to Cloncurry along a rough road in May 1909, but this form of transport was uneconomic. One option for the MacGregor Company was to build a private mining railway, as had been done elsewhere in Queensland. Such railways were part of a wider pattern in Queensland during the late 19th-early 20th century: the construction of private and local government railways and tramways to transport the products of primary industry. However, the MacGregor Company could not afford a private railway to the closest point on the Mount Elliott Railway, 39km away.

Another option was for the company to contribute towards a state-owned railway, as had occurred with the railway from Cloncurry to Mount Elliott, via Hampden. The cost of this railway, which opened in 1910, was split 50/50 between the Kidston Government and the Mount Elliott Company. In September 1910 the MacGregor Company proposed a branch line from Malbon, on the Mount Elliott railway, under similar terms, and the government agreed to split the cost of a line survey and plans.

In June 1911 the MacGregor Company sought government support for a shorter branch line, this time linking to the state railway being built southwest from Malbon towards Sulieman Creek. Government officials were sceptical about the profitability and lifespan of the Wee MacGregor group of mines, despite the company estimating reserves of 100,000 tons of ore (most from the Wee MacGregor mine). Instead of a 50-50 funding arrangement for a state owned branch line, the government agreed to rent the MacGregor Company the rails they needed to construct a private line.

Queensland’s Railways Commissioner, Charles Evans, inspected the proposed route to the Wee MacGregor mine in July 1912, and the Railway Department’s Engineer, Percy Ainscow, proposed a ‘no-frills’ railway, with a 10ft (3m) wide formation, reduced earthworks, less side drainage, cheap concrete culverts and the minimum of bridges.

The company’s branch line was proposed at an opportune time. In 1912, the Cloncurry field produced 45% of Queensland’s annual production of copper, with annual copper earnings now exceeding gold’s earnings. There were 1485 copper miners on the field, which was the ‘foremost producer of copper in the State’.

The Wee MacGregor Tramway Agreement Bill was introduced to Parliament in November 1912. It proposed that the MacGregor Company pay for the construction and maintenance of a private 3ft 6in ‘tramway’ (actually a narrow gauge railway), 24 miles and 40 chains (39.4km) long, from the Malbon to Sulieman Creek Railway to a terminus at or near the Wee MacGregor mine. The Commissioner for Railways would provide steel rails, fish plates, fastenings, sleepers, and other permanent way materials. The company would pay 5% per year ‘rent’ on the cost of the materials supplied by the government, which had the power to acquire the line. By the 2nd of December 1912, the company involved in the proposal had become the Hampden Company, which purchased the Wee MacGregor group of mines from the Macgregor Company for £108,750.

Despite the Labor Party’s concern about a company gaining a competitive advantage from a private railway line, The Wee MacGregor Tramway Agreement Act 1912 was passed on the 4th of December 1912. Walter Paget, Minister for Railways, noted the difference from previous private sector-government railway agreements, with less government exposure to risk.

Work started on the 3ft 6in railway in early 1913, supervised by Ainscow. MacGregor Junction (Devoncourt), on the Malbon to Sulieman Creek railway, was the location of the main construction camp. The steepest grade for the railway was 1 in 40, with a minimum curve radius of 5 chains (100m). By April 1913 about 200 men were employed on the project.

The railway was planned as far as the Wallaroo mine, located east of the town of Hightville, but in late 1913 the Hampden Company decided that, due to the steep, difficult terrain near Hightville, the railway would be shortened, with the terminus now 22 miles, 49 chains (35.9km) from MacGregor Junction. The remainder of the route to Hightville, and beyond to the Wee MacGregor mine, would now be traversed by a 2ft gauge tramway, which could accommodate tighter curves and steeper grades than the railway.

A railway station and goods shed were constructed on the northern side of the town of Ballara, where a triangular junction was located. Ballara, situated at ‘Lady Lease Flats’, was surveyed in June 1914. A sale of town lots was scheduled for the 14th of August 1914, with upset prices for the quarter acre (0.1ha) lots ranging from £10 to £30. The outbreak of WWI led to the sale’s cancellation, and by the time a sale of 36 lots was held on the 24th of February 1915, prices had trebled. Facilities at Ballara included a Post Office, established in late 1914, and a police reserve was gazetted at the west end of the town in 1915. A district hospital was established by August 1918, on 5 acres north of the turning triangle. The Ballara Hotel existed by 1918, although it burnt down on the 27th of April that year, and again in April 1919. A state school was approved in May 1919, and opened in July 1919. A cemetery reserve was also gazetted, northeast of the hospital reserve, replacing the previous cemetery south of Hightville.

Hightville slowly declined after the 1913 decision to shorten the railway and relocate its terminus to Ballara, although a sale of 45 town lots still occurred in May 1914, with prices for a quarter acre (0.1ha) ranging from £5 to £25. As well as the Macgregor Hotel, Hightville had a butcher by 1913; a storekeeper and postmaster by 1914; and a boarding house by 1915. A state school was also approved in May 1917, and sites were reserved for the school and police in 1918. By 1917, however, Hightville listings were included under ‘Ballara’ in Wise’s Post Office Directory. When the MacGregor Hotel burnt down in 1914, its replacement, the former Cosmopolitan Hotel from Ravenswood, was moved to Hightville, and later to Ballara. The school and its pupils moved to Ballara in 1919.

The 2ft tramway ran west from the triangular junction at Ballara, over a raised concrete ore transfer stage, past the terminus of the railway, and then curved north. It passed between Hightville and the Wallaroo mine, and proceeded to the Wee MacGregor mine – a total route of about 3.8 miles (6.1km). A short branch tramway ran to the Wallaroo mine. Ore was transported via the tramway from the mines to the ore transfer stage, where it would be tipped from trucks on the tramway down into trucks on the railway. The railway would then convey the ore to the Hampden smelters (operational 1911). As the tramway was not part of the 1912 agreement, the company funded construction and purchased its 28 pound rails and steel sleepers.

By the 5th of May 1914 all earthworks, bridges, drains, and rails for the railway were completed to the terminal yard at Ballara, although the station building and earthworks beyond the station weren’t finished. The railway was operational during May 1914 and was officially opened to the public in July 1914, yet it was of little use for moving ore until the tramway was completed.

The tramway was under construction in early 1914, with earthworks extending for two miles (3.2km), and the ‘first five bridges and drains’ nearing completion, by the 5th of May 1914. Between Hightville and the Wee MacGregor mine a 77m long unlined tunnel, with concrete portals, and a 1 in 22 grade towards the mine, was constructed through MacGregor Hill. The tunnel was nearly completed by January 1915, with rails laid 5 chains (101m) through it by the 11th of March 1915.

The tramway was transporting ore by the 31st of May 1915. It had cost £11,005, and had curves as tight as 2 chains (40m) radius. The tunnel remains the most westerly railway tunnel in Queensland, and the 47.9m long, 2.65m high ore transfer stage is unique as the only recorded tramway-to-railway ore transhipment platform in Queensland.

The Annual Report of the Under Secretary of Mines for 1915 stated that ‘a 2-ft gauge tramway, four miles [6.4km] in length, from Ballara, connects the MacGregor and Wallaroo Mines with the main line, and carries 50 tons of ore per day in three train loads to Ballara, conveying firewood, mine timber, and general stores as return loading’.

Three trains a week had run along the railway from the 25th of May to 15 June 1914. However, the start of WWI on the 4th of August 1914 led to a temporary halt to mining, as German buyers held the contracts for the sale of copper. Only one supply train a week was run to Ballara until early 1915, when the Allied demand for copper revived mining and railway activity. Around 300 tons of ore was railed from Ballara each week during the war, and annual passenger numbers peaked at 4533 in 1916.

Wartime copper prices boosted the fortunes of the whole Cloncurry Gold and Mineral Field. The London market price for copper rose from under £60 a ton to £84 10s during 1915, and the Cloncurry district produced 53% of Queensland’s copper that year. During 1916, copper prices rose from £85 to £150 a ton, and in September 1917 British Munitions authorities fixed the price at £110 5s. The Cloncurry field produced 63.2% of Queensland’s copper in 1918, when the total population of the field reached 7795.

Copper prices dropped after the end of WWI, falling from £112 per ton in December 1918 to £75 per ton in April 1919. By March 1919 it was reported that the price slump and a scarcity of workers had ‘dealt a knockout blow to all’, although a new shaft was still being sunk on the Wee MacGregor mine. Copper production on the Cloncurry field fell in 1919, and only one train a week ran to Ballara, with 2170 tons of freight carried during the year – a 90% reduction from 1918.

Copper prices were £72 a ton at the end of 1920. This, along with high overheads, caused the closure of the Wee MacGregor mine in November 1920. Tenders were invited in December 1920 for purchase of the ‘MacGregor Mines tramway’, including ‘about 4 miles of 2 foot gauge tramway, built of 28lb. steel rails, iron sleepers, locomotive, and ten bogie trucks’. The tramway’s rails were removed during 1921 and stacked at Ballara. The train service to Ballara dropped to once a month from February 1921, when there were still 17 families in the town, plus ‘copper gougers’ (small mine operators) in the area. During 1921 the railway only carried 199 tons of freight.

Train services to Ballara were maintained by the government throughout most of the 1920s. In October 1922 a service from Cloncurry to Ballara ran on alternate Wednesdays. The discovery of a large silver-lead deposit at Mount Isa in 1923 raised hopes that the railway could be extended from Ballara to Mount Isa, but the line was constructed from Duchess instead. Services to Ballara alternated between a weekly and a fortnightly schedule until early 1927, when regular services ended.

The MacGregor Junction to Ballara railway survived for a short while longer, as 38 tons of minerals and 10 tons of other goods were carried in the 1928 - 1929 financial year, from Pindora siding. The rails between MacGregor Junction and Ballara were removed in 1929, and were stacked at Malbon. There were complaints that a final train was not even sent out to evacuate 30 copper gougers and their families.

After the mine’s closure in 1920, Ballara’s decline was inevitable. In 1920 Wise’s Post Office Directory listed a district and a maternity hospital at Ballara; plus a school teacher; butchers; refreshment rooms; stores; a boarding house; a station and post master; and the MacGregor and Ballara Hotels. By 1927 no names or institutions were listed under Ballara.

Although the tramway and railway had closed, and Hightville and Ballara were abandoned, copper gougers retained an interest in the Wee MacGregor area over the following decades. In 1954, prospectors also discovered uranium deposits at Ballara. Several concrete slabs at the site of Hightville date from the early 1970s, during a period of renewed mining activity at the Wee MacGregor mine, and in 2018, exploratory drilling work was underway at the mine.

Source: Queensland Heritage Register.

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From yesterday... #2 Taken one evening with my bud Grantthai while sipping a cool one looking for an alluring capture to take place.. along she came hustling to us the perfect shoeshine... Just a kid driven by some greedy individuals.. who thrive on exploiting kids... all is done in a good natured way but you can see and feel their pain.. while on the other side of the street a man is watching... smoking and drinking the fruits of his labor..:-(

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Suite d'hier de la meme serie #2... Prise voici deja un petit bout de temps avec mopn pote Grantthai.. Elle est venue cette gamine avec son approche de vente directe a qui veut bien l'entendre.. Une gentille mais aguerrie petire gamine sous la tutelle d'idiots de premiere qui en profite et exploite leur jeunesse pendant qu'eux se gavent de Mekong avec une cigarette tout en surveillant leur proie..

Du classique en Asie helas.. Celle-ci etait tres lucide et affaires... On sent aussi qu'ils sont surveilles par des connards de la pire espece.. On exploite les gamins ici et en pleine vue du tout venant.. Pas rellement drole :-( Mais une realite tres dure ..

Ian "Shack" sits in the passenger seat reading the map as it dawns on him just how far we have to travel this late in the day! Had spent most of day moving buses and freeing off brakes etc before we could head North to Ahoghill for the night.

ERF C series ex-BRS truck rental with Rolls-Royce Eagle265 engine towing Dennis/ Alexander Irish School bus. October 2006

Exploitant : Transdev Ecquevilly

Réseau : Bus O'Mureaux

Lieu : Médiathèque (Les Mureaux, F-78)

Isfandiyâr's fifth exploit - he kills the sîmurgh

Shahnama de Firdawsi

Copenhagen, David Collection

Miniature from a copy of Firdawsi’s Shahnama.

‘Isfandiyar’s Fifth Ordeal; He Must Slay the Simurgh’

www.davidmus.dk/?culture=en-us

Exploitant : SAVAC

Réseau : Express (Île-de-France)

Ligne : Express 307

Lieu : Vélizy 2 (Vélizy-Villacoublay, F-78)

Lien TC Infos : tc-infos.fr/id/57820

Véhicule : RENAULT.V.I. GBC 180 €?

Identification : _ (6063 0298)

Exploitant : Armée de Terre Française

Dépôt : n.c.

Véhicule : RENAULT.V.I. GBC 180 €?

Identification : _ (6023 0279)

Exploitant : Armée de Terre Française

Dépôt : n.c.

Véhicule : RENAULT.V.I. GBC 180 €?

Identification : _ (6033 0051)

Exploitant : Armée de Terre Française

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Merci à Anthony Levrot.

27/03/2019 14:38

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Rue de la Prairie ; F-73 VOGLANS

Fotos del Tour of Chaos 2014 organizado por la gente del Resurrection Fest para REVOLVER España

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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 : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 501

Lieu : Parmentier (Sartrouville, F-78)

Lien TC Infos : tc-infos.fr/id/20716

HMS Exploit

Pennant number: P167

Operator: Royal Navy

Builder: Vosper Thornycroft

Commissioned:1988

Identification

MMSI number: 235009900

Callsign: GABD

Motto: Actis Inclitis - With Illustrious Deeds

Status: In active service

Class and type: Archer-class patrol vessel

Displacement: 54 tonnes

Length: 20.8 m (68 ft 3 in)

Beam: 5.8 m (19 ft 0 in)

Draught: 1.8 m (5 ft 11 in)

Propulsion: 2 shafts, Rolls-Royce M800T diesels, 1,590 bhp

Speed: 20 kn (37 km/h)

Range: 550 nmi (1,020 km)

Complement: 5 ship's company plus up to 1 training officer and 12 URNU students

Sensors and

processing systems: Decca 1216 navigation radar

HMS Exploit on its way up the River Thames yesterday: it moored at Tilbury landing stage just beyond this.

HMS Exploit is one of 14 "Archer" class patrol vessels and in based at Portsmouth. It has a crew of 5. It was commissioned in 1988 and built in the UK.

The recent commemorations of the Dunkirk evacuations were marked by a fleet of Dunkirk Little Ships sailing from Ramsgate to Dunkirk last week: they are returning this week. The were accompanied by a number of Navy patrol vessels (7, I believe) and I imagine HMS Exploit was one of these. Another was further down the river a I shot this (I left when it began to rain...). I'd been hoping to see any of the Little Ships which were returning but wasn't successful.

The Little Ships were private vessels that sailed from Ramsgate across the channel to help in the evacuation of over 300,000 Allied troops. There were over 800 Little Ships. One of the owners of a surviving vessel made the point that, with the passage of time, the Little Ships themselves are our last link with an extraordinary episode from a terrible time. I love to see them, whatever the reason.

(Just visible behind the greenery across the river: 3 tower blocks, masked by smoke from a fire a short distance up river).

[IMG_2227a]

Exploitant : Autocars Groussin

Réseau Aléop - Pays de la Loire

Substitution SNCF en raison de travaux pendant le week-end du 11 novembre 2022.