A deposit of copper bearing ore 14km southeast of Duchess at Trekelano was exploited by the Hampden Co for use at its Kuridala smelter. The ore body was one of the richer ones in the Cloncurry area, averaging around 13% copper and lesser amount of silver and gold. Trekelano ore was particularly valuable as a smelting aid.

 

The deposit was first worked in about 1906 in a small way, mostly for development work, and gradually increased its output of economical volumes by 1915. In time, the mine was equipped with a semi-marine type Babcock & Wilcox boiler, a Walker geared winding engine, Fraser & Chambers compressor, electric light from a 40hp Hornsby gas engine and wood producer, a picking plant, and ore bins. Narrow gauge tramways were used to move the ore to the dumps to the loading state and to fart firewood to the boiler house. Associated facilities were a change room, an engine room, a boiler shed, magazines, offices, stores, and staff quarters. At its peak, the mine employed 60 men. A school and post office were provided from 1918 and these remained viable until 1928.

 

When the railway was extended from Malbon to Duchess, the company began sending Trekelano ore to Duchess using a traction engine and wagons. This arrangement was not satisfactory in the long term so as soon as the railway was extended from Duchess to Dajarra, the company immediately took steps to lay a connecting tramway. The link was 12.3km in length.

 

The line was funded and built by the company under the Tramways Act. Engineering specifications were based on QR standards but were more economical in regard to the road bed and ballasting. The company sourced the rails and sleepers from QR and secured them on time payment based on a rebate from a premium placed on every ton carried. The company also paid the line maintenance fees.

 

Construction commenced on the 10th of September 1917 some 7.5km from Duchess at 553 miles and 21 chains, later known as Juenburra. Accommodation comprised a loop siding on the left from which was laid the branch proper which consisted of a curve to the southeast where another loop was placed on the right. From here the line continued southeast to the mine, which was 130 rail kilometres from Cloncurry.

 

A passenger service was offered but it was minimally supported because the Trekelano community had a road coach service to Duchess station. The coach departed Duchess at 7am on Monday and Friday for a same day return. Passenger rail journeys were around 200 per year to 1921 and then tailed off to virtually nothing, ceasing altogether soon after.

 

From 1941 the train day became a Monday and was worked by the Cloncurry-Dajarra-Cloncurry weekly mixed running on a Sunday-Monday overnight rest schedule. Ore loadings had dropped by half at this time to around 3500 tons due to shortages of labour and machinery spare parts. One train a week sufficed. Loadings diminished even further to less then 2000 tons by 1943. The mine closed that year and the train service ceased at this time. A small community remained until the end, and this included several school aged children who were driven to Duchess each day for their education.

 

The mine owners retired to the coast and after the war put the mine and tramway on the market. There were no takers for the assets as a going concern so the plant was sold for scrap. The rails were purchased by the North Eton Sugar Mill and were removed by 1947. The telephone pole line was dismantled at the same time. The sleepers had no value and were left in situ. The official closure of the tramway is the 14th of May 1947.

 

The original Trekelano mine produced 220 000 tons of ore over its lifetime to yield 20 000 tons of copper and 3000 oz of gold. In the 1990s the site was gone over by the drivers of Mineral Commodities NL to locate and estimated 400 000 tonnes of 2.2% copper and 0.6 grams/tonne of gold. The deposit was reopened in 2005 by Osborne Mines and worked as a massive pit, this development swallowing the remains of the original mine and tramway. The Trekelano ore was carted to a concentrating plant at Mount Osborne, south of Selwyn, and the treated ore despatched by rail through to Phosphate Hill.

 

The mine is no longer in use.

 

Source: Copper in the Curry by Norman Houghton.

Ben Nevis and Glen Coe is a national scenic area (NSA) covering part of the Highlands of Scotland surrounding Ben Nevis and Glen Coe, in which certain forms of development are restricted. It is one of 40 such areas in Scotland, which are defined so as to identify areas of exceptional scenery and to ensure its protection from inappropriate development. The Ben Nevis and Glen Coe NSA covers 903 km2 (349 sq mi) of land, lying within the Highland, Argyll and Bute and Perth and Kinross council areas. A further 19 km2 (7.3 sq mi) of the NSA are marine, covering the sea loch of Loch Leven.

 

National scenic areas are primarily designated due to the scenic qualities of an area, however NSAs may well have other special qualities, for example related to culture, history, archaeology, geology or wildlife. Areas with such qualities may be protected via other national and international designations that overlap with the NSA designation. Glen Coe is designated as a national nature reserve, and there are several Special Areas of Conservation and Special Protection Areas within the NSA. Although the national scenic area designation provides a degree of additional protection via the planning process, there are no bodies equivalent to a national park authority, and whilst local authorities can produce a management strategy for each one, only the three national scenic areas within Dumfries and Galloway have current management strategies .

 

The idea that areas of wild or remote character such as Ben Nevis and Glen Coe should be designated to protect the scenic qualities of their landscapes grew in popularity throughout the nineteenth and early twentieth centuries. In 1931 a commission headed by Christopher Addison first proposed the creation of a national park in Scotland. Following the Second World War a committee chaired by Sir Douglas Ramsay to consider the issue proposed that five areas should receive a level of protection: Glen Coe-Ben Nevis-Black Mount was one of the areas listed. The area thus became one of five designated "national park direction areas", in which planning decisions taken by local authorities could be reviewed by central government under certain circumstances.

 

A 1974 report by the Countryside Commission for Scotland (CCS) entitled A Park System for Scotland recommended that the Glen Coe-Ben Nevis-Black Mount area should be designated as one of four proposed "Special Parks", considering the area of national importance due to its natural beauty and amenity value, however this recommendation was not acted on. Following a further review of landscape protection in 1978, it was suggested that additional areas, alongside the existing direction areas should receive protection, and in 1981 the direction areas were thus replaced by the 40 national scenic areas, which were based on the 1978 recommendations, and included the Ben Nevis and Glen Coe area.

 

A further report into protection of the landscape of Scotland was published by the CCS in 1990. Entitled The Mountain Areas of Scotland - Conservation and Management, it recommended that four areas were under such pressure that they ought to be designated as national parks, each with an independent planning board, in order to retain their heritage value. The four areas identified were similar to those proposed by the Ramsay Committee, and included Glen Coe-Ben Nevis-Black Mount. The government did not however choose to establish national parks and so the status of the Ben Nevis and Glen Coe area was not altered. Following the passage of the National Parks (Scotland) Act 2000, national parks were established in the Cairngorms and Loch Lomond and The Trossachs, two of the areas identified by the Ramsay committee, however the status of the other three Ramsay areas, including Ben Nevis and Glen Coe, was again not altered. In 2013 the Scottish Campaign for National Parks proposed seven areas deemed suitable for national park status, one of which was the Ben Nevis and Glen Coe area.

 

Although named after Ben Nevis and Glen Coe, the national scenic area covers a much wider area of land, as detailed below. Much of the northern part of the NSA lies within the Lochaber region.

 

Glen Nevis (Scottish Gaelic: Gleann Nibheis) lies in the north of the national scenic area, and runs south from Fort William. It is bordered to the south by the Mamore range, and to the north by the highest mountains in the British Isles: Ben Nevis (Scotland's highest mountain), Càrn Mor Dearg, Aonach Mòr, and Aonach Beag. It is home to the second highest waterfall in Scotland, Steall Falls. Below the waterfall is a steeply walled and impressive gorge.

 

The Mamores form an east–west ridge approximately fifteen kilometres in length lying between Glen Nevis to the north and Loch Leven to the south. Ten of the ranges are classified as Munros. The hills can be accessed from both Glen Nevis and the former aluminium smelting town of Kinlochleven.

 

Glen Coe (Scottish Gaelic: Gleann Comhann) is a glen of volcanic origins, in the heart of the national scenic area. A review of the national scenic areas by Scottish Natural Heritage in 2010 made reference to the "soaring, dramatic splendour of Glen Coe", and "the suddenness of the transition between high mountain pass and the lightly wooded strath" in the lower glen. It also described the journey through the glen on the main A82 road as "one of the classic Highland journeys". The main settlement is the village of Glencoe located at the foot of the glen. The glen is regarded as the home of Scottish mountaineering and is popular with hillwalkers and climbers.

 

Glen Etive (Scottish Gaelic: Gleann Èite) lies to the south of Glen Coe. The River Etive (Scottish Gaelic: Abhainn Èite) rises on the peaks surrounding Rannoch Moor, with several tributary streams coming together at the Kings House Hotel. From the Kings House, the Etive flows for about 18 km, reaching the sea loch, Loch Etive. The river and its tributaries are popular with whitewater kayakers and at high water levels it is a test piece of the area and a classic run. Glen Etive has been used as the backdrop to many movies, among them Braveheart and Skyfall.

 

The Black Mount is situated between Glen Orchy and Glen Coe, to the east of Glen Etive, forming the southernmost part of the national scenic area. Its four Munros are Stob Ghabhar, Stob a' Choire Odhair, Creise and Meall a' Bhuiridh. The hills of Ben Inverveigh and Meall Tairbh are located between Black Mount and the Bridge of Orchy. The Black Mount Deer Forest includes moorland, the mountain, as well as several rivers, burns, lochs, and tarns.

 

Much of the western part of Rannoch Moor (Scottish Gaelic: Mòinteach Raineach/Raithneach), an expanse of around 50 square miles (130 km2) of boggy moorland to the west of Loch Rannoch in Scotland, is included in the national scenic area. The A82 road crosses western Rannoch Moor on its way to Glen Coe and Fort William, as does the West Highland Line, which reaches Fort William via Glen Spean rather than Glen Coe. When the line was built across the moor, its builders had to float the tracks on a mattress of tree roots, brushwood and thousands of tons of earth and ashes. Corrour railway station, the UK's highest, and one of its most remote being 10 miles (16 km) from the nearest public road, is located on this section of the line at 1,339 feet (408 m). The line takes gentle curves totalling 23 miles (37 km) across the moorland.

 

A number of other conservation designation are defined within or overlapping with the NSA: Glen Coe is designated as a both national nature reserve (NNR), and a Special Area of Conservation (SAC) due to wide variety of montane habitats found within the glen. Glen Coe, along with most of the southwestern portion of the NSA including Glen Etive and the Black Mount, forms part of the Glen Etive and Glen Fyne Special Protection Area (SPA), which is protected due to its breeding population of golden eagles.

 

Rannoch Moor is also designated as an SAC, and is particularly famous as being the sole British location for the Rannoch-rush, named after the moor. It also has populations of otters and freshwater pearl mussels. The River Tay rises on the moor within the NSA, and is designated as a separate SAC for its entire length. The Ben Nevis massif is also an SAC, as are the woodlands at North Ballachulish in the westernmost part of the NSA. The final SAC within the NSA protects the woods on the western side of Loch Etive, in the southwestern extremity of the area.

 

The Highlands is a historical region of Scotland. Culturally, the Highlands and the Lowlands diverged from the Late Middle Ages into the modern period, when Lowland Scots language replaced Scottish Gaelic throughout most of the Lowlands. The term is also used for the area north and west of the Highland Boundary Fault, although the exact boundaries are not clearly defined, particularly to the east. The Great Glen divides the Grampian Mountains to the southeast from the Northwest Highlands. The Scottish Gaelic name of A' Ghàidhealtachd literally means "the place of the Gaels" and traditionally, from a Gaelic-speaking point of view, includes both the Western Isles and the Highlands.

 

The area is very sparsely populated, with many mountain ranges dominating the region, and includes the highest mountain in the British Isles, Ben Nevis. During the 18th and early 19th centuries the population of the Highlands rose to around 300,000, but from c. 1841 and for the next 160 years, the natural increase in population was exceeded by emigration (mostly to Canada, the United States, Australia and New Zealand, and migration to the industrial cities of Scotland and England.) and passim  The area is now one of the most sparsely populated in Europe. At 9.1/km2 (24/sq mi) in 2012, the population density in the Highlands and Islands is less than one seventh of Scotland's as a whole.

 

The Highland Council is the administrative body for much of the Highlands, with its administrative centre at Inverness. However, the Highlands also includes parts of the council areas of Aberdeenshire, Angus, Argyll and Bute, Moray, North Ayrshire, Perth and Kinross, Stirling and West Dunbartonshire.

 

The Scottish Highlands is the only area in the British Isles to have the taiga biome as it features concentrated populations of Scots pine forest: see Caledonian Forest. It is the most mountainous part of the United Kingdom.

 

Between the 15th century and the mid-20th century, the area differed from most of the Lowlands in terms of language. In Scottish Gaelic, the region is known as the Gàidhealtachd, because it was traditionally the Gaelic-speaking part of Scotland, although the language is now largely confined to The Hebrides. The terms are sometimes used interchangeably but have different meanings in their respective languages. Scottish English (in its Highland form) is the predominant language of the area today, though Highland English has been influenced by Gaelic speech to a significant extent. Historically, the "Highland line" distinguished the two Scottish cultures. While the Highland line broadly followed the geography of the Grampians in the south, it continued in the north, cutting off the north-eastern areas, that is Eastern Caithness, Orkney and Shetland, from the more Gaelic Highlands and Hebrides.

 

Historically, the major social unit of the Highlands was the clan. Scottish kings, particularly James VI, saw clans as a challenge to their authority; the Highlands was seen by many as a lawless region. The Scots of the Lowlands viewed the Highlanders as backward and more "Irish". The Highlands were seen as the overspill of Gaelic Ireland. They made this distinction by separating Germanic "Scots" English and the Gaelic by renaming it "Erse" a play on Eire. Following the Union of the Crowns, James VI had the military strength to back up any attempts to impose some control. The result was, in 1609, the Statutes of Iona which started the process of integrating clan leaders into Scottish society. The gradual changes continued into the 19th century, as clan chiefs thought of themselves less as patriarchal leaders of their people and more as commercial landlords. The first effect on the clansmen who were their tenants was the change to rents being payable in money rather than in kind. Later, rents were increased as Highland landowners sought to increase their income. This was followed, mostly in the period 1760–1850, by agricultural improvement that often (particularly in the Western Highlands) involved clearance of the population to make way for large scale sheep farms. Displaced tenants were set up in crofting communities in the process. The crofts were intended not to provide all the needs of their occupiers; they were expected to work in other industries such as kelping and fishing. Crofters came to rely substantially on seasonal migrant work, particularly in the Lowlands. This gave impetus to the learning of English, which was seen by many rural Gaelic speakers to be the essential "language of work".

 

Older historiography attributes the collapse of the clan system to the aftermath of the Jacobite risings. This is now thought less influential by historians. Following the Jacobite rising of 1745 the British government enacted a series of laws to try to suppress the clan system, including bans on the bearing of arms and the wearing of tartan, and limitations on the activities of the Scottish Episcopal Church. Most of this legislation was repealed by the end of the 18th century as the Jacobite threat subsided. There was soon a rehabilitation of Highland culture. Tartan was adopted for Highland regiments in the British Army, which poor Highlanders joined in large numbers in the era of the Revolutionary and Napoleonic Wars (1790–1815). Tartan had largely been abandoned by the ordinary people of the region, but in the 1820s, tartan and the kilt were adopted by members of the social elite, not just in Scotland, but across Europe. The international craze for tartan, and for idealising a romanticised Highlands, was set off by the Ossian cycle, and further popularised by the works of Walter Scott. His "staging" of the visit of King George IV to Scotland in 1822 and the king's wearing of tartan resulted in a massive upsurge in demand for kilts and tartans that could not be met by the Scottish woollen industry. Individual clan tartans were largely designated in this period and they became a major symbol of Scottish identity. This "Highlandism", by which all of Scotland was identified with the culture of the Highlands, was cemented by Queen Victoria's interest in the country, her adoption of Balmoral as a major royal retreat, and her interest in "tartenry".

 

Recurrent famine affected the Highlands for much of its history, with significant instances as late as 1817 in the Eastern Highlands and the early 1850s in the West.  Over the 18th century, the region had developed a trade of black cattle into Lowland markets, and this was balanced by imports of meal into the area. There was a critical reliance on this trade to provide sufficient food, and it is seen as an essential prerequisite for the population growth that started in the 18th century. Most of the Highlands, particularly in the North and West was short of the arable land that was essential for the mixed, run rig based, communal farming that existed before agricultural improvement was introduced into the region.[a] Between the 1760s and the 1830s there was a substantial trade in unlicensed whisky that had been distilled in the Highlands. Lowland distillers (who were not able to avoid the heavy taxation of this product) complained that Highland whisky made up more than half the market. The development of the cattle trade is taken as evidence that the pre-improvement Highlands was not an immutable system, but did exploit the economic opportunities that came its way.  The illicit whisky trade demonstrates the entrepreneurial ability of the peasant classes. 

 

Agricultural improvement reached the Highlands mostly over the period 1760 to 1850. Agricultural advisors, factors, land surveyors and others educated in the thinking of Adam Smith were keen to put into practice the new ideas taught in Scottish universities.  Highland landowners, many of whom were burdened with chronic debts, were generally receptive to the advice they offered and keen to increase the income from their land.  In the East and South the resulting change was similar to that in the Lowlands, with the creation of larger farms with single tenants, enclosure of the old run rig fields, introduction of new crops (such as turnips), land drainage and, as a consequence of all this, eviction, as part of the Highland clearances, of many tenants and cottars. Some of those cleared found employment on the new, larger farms, others moved to the accessible towns of the Lowlands.

 

In the West and North, evicted tenants were usually given tenancies in newly created crofting communities, while their former holdings were converted into large sheep farms. Sheep farmers could pay substantially higher rents than the run rig farmers and were much less prone to falling into arrears. Each croft was limited in size so that the tenants would have to find work elsewhere. The major alternatives were fishing and the kelp industry. Landlords took control of the kelp shores, deducting the wages earned by their tenants from the rent due and retaining the large profits that could be earned at the high prices paid for the processed product during the Napoleonic wars.

 

When the Napoleonic wars finished in 1815, the Highland industries were affected by the return to a peacetime economy. The price of black cattle fell, nearly halving between 1810 and the 1830s. Kelp prices had peaked in 1810, but reduced from £9 a ton in 1823 to £3 13s 4d a ton in 1828. Wool prices were also badly affected.  This worsened the financial problems of debt-encumbered landlords. Then, in 1846, potato blight arrived in the Highlands, wiping out the essential subsistence crop for the overcrowded crofting communities. As the famine struck, the government made clear to landlords that it was their responsibility to provide famine relief for their tenants. The result of the economic downturn had been that a large proportion of Highland estates were sold in the first half of the 19th century. T M Devine points out that in the region most affected by the potato famine, by 1846, 70 per cent of the landowners were new purchasers who had not owned Highland property before 1800. More landlords were obliged to sell due to the cost of famine relief. Those who were protected from the worst of the crisis were those with extensive rental income from sheep farms.  Government loans were made available for drainage works, road building and other improvements and many crofters became temporary migrants – taking work in the Lowlands. When the potato famine ceased in 1856, this established a pattern of more extensive working away from the Highlands.

 

The unequal concentration of land ownership remained an emotional and controversial subject, of enormous importance to the Highland economy, and eventually became a cornerstone of liberal radicalism. The poor crofters were politically powerless, and many of them turned to religion. They embraced the popularly oriented, fervently evangelical Presbyterian revival after 1800. Most joined the breakaway "Free Church" after 1843. This evangelical movement was led by lay preachers who themselves came from the lower strata, and whose preaching was implicitly critical of the established order. The religious change energised the crofters and separated them from the landlords; it helped prepare them for their successful and violent challenge to the landlords in the 1880s through the Highland Land League. Violence erupted, starting on the Isle of Skye, when Highland landlords cleared their lands for sheep and deer parks. It was quietened when the government stepped in, passing the Crofters' Holdings (Scotland) Act, 1886 to reduce rents, guarantee fixity of tenure, and break up large estates to provide crofts for the homeless. This contrasted with the Irish Land War underway at the same time, where the Irish were intensely politicised through roots in Irish nationalism, while political dimensions were limited. In 1885 three Independent Crofter candidates were elected to Parliament, which listened to their pleas. The results included explicit security for the Scottish smallholders in the "crofting counties"; the legal right to bequeath tenancies to descendants; and the creation of a Crofting Commission. The Crofters as a political movement faded away by 1892, and the Liberal Party gained their votes.

 

Today, the Highlands are the largest of Scotland's whisky producing regions; the relevant area runs from Orkney to the Isle of Arran in the south and includes the northern isles and much of Inner and Outer Hebrides, Argyll, Stirlingshire, Arran, as well as sections of Perthshire and Aberdeenshire. (Other sources treat The Islands, except Islay, as a separate whisky producing region.) This massive area has over 30 distilleries, or 47 when the Islands sub-region is included in the count. According to one source, the top five are The Macallan, Glenfiddich, Aberlour, Glenfarclas and Balvenie. While Speyside is geographically within the Highlands, that region is specified as distinct in terms of whisky productions. Speyside single malt whiskies are produced by about 50 distilleries.

 

According to Visit Scotland, Highlands whisky is "fruity, sweet, spicy, malty". Another review states that Northern Highlands single malt is "sweet and full-bodied", the Eastern Highlands and Southern Highlands whiskies tend to be "lighter in texture" while the distilleries in the Western Highlands produce single malts with a "much peatier influence".

 

The Scottish Reformation achieved partial success in the Highlands. Roman Catholicism remained strong in some areas, owing to remote locations and the efforts of Franciscan missionaries from Ireland, who regularly came to celebrate Mass. There remain significant Catholic strongholds within the Highlands and Islands such as Moidart and Morar on the mainland and South Uist and Barra in the southern Outer Hebrides. The remoteness of the region and the lack of a Gaelic-speaking clergy undermined the missionary efforts of the established church. The later 18th century saw somewhat greater success, owing to the efforts of the SSPCK missionaries and to the disruption of traditional society after the Battle of Culloden in 1746. In the 19th century, the evangelical Free Churches, which were more accepting of Gaelic language and culture, grew rapidly, appealing much more strongly than did the established church.

 

For the most part, however, the Highlands are considered predominantly Protestant, belonging to the Church of Scotland. In contrast to the Catholic southern islands, the northern Outer Hebrides islands (Lewis, Harris and North Uist) have an exceptionally high proportion of their population belonging to the Protestant Free Church of Scotland or the Free Presbyterian Church of Scotland. The Outer Hebrides have been described as the last bastion of Calvinism in Britain and the Sabbath remains widely observed. Inverness and the surrounding area has a majority Protestant population, with most locals belonging to either The Kirk or the Free Church of Scotland. The church maintains a noticeable presence within the area, with church attendance notably higher than in other parts of Scotland. Religion continues to play an important role in Highland culture, with Sabbath observance still widely practised, particularly in the Hebrides.

 

In traditional Scottish geography, the Highlands refers to that part of Scotland north-west of the Highland Boundary Fault, which crosses mainland Scotland in a near-straight line from Helensburgh to Stonehaven. However the flat coastal lands that occupy parts of the counties of Nairnshire, Morayshire, Banffshire and Aberdeenshire are often excluded as they do not share the distinctive geographical and cultural features of the rest of the Highlands. The north-east of Caithness, as well as Orkney and Shetland, are also often excluded from the Highlands, although the Hebrides are usually included. The Highland area, as so defined, differed from the Lowlands in language and tradition, having preserved Gaelic speech and customs centuries after the anglicisation of the latter; this led to a growing perception of a divide, with the cultural distinction between Highlander and Lowlander first noted towards the end of the 14th century. In Aberdeenshire, the boundary between the Highlands and the Lowlands is not well defined. There is a stone beside the A93 road near the village of Dinnet on Royal Deeside which states 'You are now in the Highlands', although there are areas of Highland character to the east of this point.

 

A much wider definition of the Highlands is that used by the Scotch whisky industry. Highland single malts are produced at distilleries north of an imaginary line between Dundee and Greenock, thus including all of Aberdeenshire and Angus.

 

Inverness is regarded as the Capital of the Highlands, although less so in the Highland parts of Aberdeenshire, Angus, Perthshire and Stirlingshire which look more to Aberdeen, Dundee, Perth, and Stirling as their commercial centres.

 

The Highland Council area, created as one of the local government regions of Scotland, has been a unitary council area since 1996. The council area excludes a large area of the southern and eastern Highlands, and the Western Isles, but includes Caithness. Highlands is sometimes used, however, as a name for the council area, as in the former Highlands and Islands Fire and Rescue Service. Northern is also used to refer to the area, as in the former Northern Constabulary. These former bodies both covered the Highland council area and the island council areas of Orkney, Shetland and the Western Isles.

 

Much of the Highlands area overlaps the Highlands and Islands area. An electoral region called Highlands and Islands is used in elections to the Scottish Parliament: this area includes Orkney and Shetland, as well as the Highland Council local government area, the Western Isles and most of the Argyll and Bute and Moray local government areas. Highlands and Islands has, however, different meanings in different contexts. It means Highland (the local government area), Orkney, Shetland, and the Western Isles in Highlands and Islands Fire and Rescue Service. Northern, as in Northern Constabulary, refers to the same area as that covered by the fire and rescue service.

 

There have been trackways from the Lowlands to the Highlands since prehistoric times. Many traverse the Mounth, a spur of mountainous land that extends from the higher inland range to the North Sea slightly north of Stonehaven. The most well-known and historically important trackways are the Causey Mounth, Elsick Mounth, Cryne Corse Mounth and Cairnamounth.

 

Although most of the Highlands is geographically on the British mainland, it is somewhat less accessible than the rest of Britain; thus most UK couriers categorise it separately, alongside Northern Ireland, the Isle of Man, and other offshore islands. They thus charge additional fees for delivery to the Highlands, or exclude the area entirely. While the physical remoteness from the largest population centres inevitably leads to higher transit cost, there is confusion and consternation over the scale of the fees charged and the effectiveness of their communication, and the use of the word Mainland in their justification. Since the charges are often based on postcode areas, many far less remote areas, including some which are traditionally considered part of the lowlands, are also subject to these charges. Royal Mail is the only delivery network bound by a Universal Service Obligation to charge a uniform tariff across the UK. This, however, applies only to mail items and not larger packages which are dealt with by its Parcelforce division.

 

The Highlands lie to the north and west of the Highland Boundary Fault, which runs from Arran to Stonehaven. This part of Scotland is largely composed of ancient rocks from the Cambrian and Precambrian periods which were uplifted during the later Caledonian Orogeny. Smaller formations of Lewisian gneiss in the northwest are up to 3 billion years old. The overlying rocks of the Torridon Sandstone form mountains in the Torridon Hills such as Liathach and Beinn Eighe in Wester Ross.

 

These foundations are interspersed with many igneous intrusions of a more recent age, the remnants of which have formed mountain massifs such as the Cairngorms and the Cuillin of Skye. A significant exception to the above are the fossil-bearing beds of Old Red Sandstone found principally along the Moray Firth coast and partially down the Highland Boundary Fault. The Jurassic beds found in isolated locations on Skye and Applecross reflect the complex underlying geology. They are the original source of much North Sea oil. The Great Glen is formed along a transform fault which divides the Grampian Mountains to the southeast from the Northwest Highlands.

 

The entire region was covered by ice sheets during the Pleistocene ice ages, save perhaps for a few nunataks. The complex geomorphology includes incised valleys and lochs carved by the action of mountain streams and ice, and a topography of irregularly distributed mountains whose summits have similar heights above sea-level, but whose bases depend upon the amount of denudation to which the plateau has been subjected in various places.

Climate

 

The region is much warmer than other areas at similar latitudes (such as Kamchatka in Russia, or Labrador in Canada) because of the Gulf Stream making it cool, damp and temperate. The Köppen climate classification is "Cfb" at low altitudes, then becoming "Cfc", "Dfc" and "ET" at higher altitudes.

 

Places of interest

An Teallach

Aonach Mòr (Nevis Range ski centre)

Arrochar Alps

Balmoral Castle

Balquhidder

Battlefield of Culloden

Beinn Alligin

Beinn Eighe

Ben Cruachan hydro-electric power station

Ben Lomond

Ben Macdui (second highest mountain in Scotland and UK)

Ben Nevis (highest mountain in Scotland and UK)

Cairngorms National Park

Cairngorm Ski centre near Aviemore

Cairngorm Mountains

Caledonian Canal

Cape Wrath

Carrick Castle

Castle Stalker

Castle Tioram

Chanonry Point

Conic Hill

Culloden Moor

Dunadd

Duart Castle

Durness

Eilean Donan

Fingal's Cave (Staffa)

Fort George

Glen Coe

Glen Etive

Glen Kinglas

Glen Lyon

Glen Orchy

Glenshee Ski Centre

Glen Shiel

Glen Spean

Glenfinnan (and its railway station and viaduct)

Grampian Mountains

Hebrides

Highland Folk Museum – The first open-air museum in the UK.

Highland Wildlife Park

Inveraray Castle

Inveraray Jail

Inverness Castle

Inverewe Garden

Iona Abbey

Isle of Staffa

Kilchurn Castle

Kilmartin Glen

Liathach

Lecht Ski Centre

Loch Alsh

Loch Ard

Loch Awe

Loch Assynt

Loch Earn

Loch Etive

Loch Fyne

Loch Goil

Loch Katrine

Loch Leven

Loch Linnhe

Loch Lochy

Loch Lomond

Loch Lomond and the Trossachs National Park

Loch Lubnaig

Loch Maree

Loch Morar

Loch Morlich

Loch Ness

Loch Nevis

Loch Rannoch

Loch Tay

Lochranza

Luss

Meall a' Bhuiridh (Glencoe Ski Centre)

Scottish Sea Life Sanctuary at Loch Creran

Rannoch Moor

Red Cuillin

Rest and Be Thankful stretch of A83

River Carron, Wester Ross

River Spey

River Tay

Ross and Cromarty

Smoo Cave

Stob Coire a' Chàirn

Stac Polly

Strathspey Railway

Sutherland

Tor Castle

Torridon Hills

Urquhart Castle

West Highland Line (scenic railway)

West Highland Way (Long-distance footpath)

Wester Ross

Exploitant : RATP

Réseau : Navette Substitution SNCF Île-de-France

Ligne : Navette Transilien H

Lieu : Gare d'Ermont – Eaubonne (Ermont, F-95)

Lien TC Infos : tc-infos.fr/id/3929

E52

 

In recent times many motor manufacturers, particularly those with a significant sporting heritage, have felt the need to reference iconic models from the past when launching their latest. BMW has proved adept at exploiting this 'retro' trend, commencing in 1996 with the Z3 coupé and convertible, the styling of which brilliantly recalled its fabulous '328' sports car of pre-war days. Its next effort along similar lines - the 'Z07' concept car of 1997 - took its inspiration from the post-war Albrecht von Goetz-designed '507', a luxurious limited-edition roadster.

 

The sensation of the 1997 Tokyo Auto Show, the Z07 was received so enthusiastically that BMW took the decision to press ahead with a production version: the Z8. For the most part the Z8 remained remarkably faithful to the original concept, retaining the 507-like twin-nostril front grille and distinctive front-wing vents. A period-style interior had been one of the Z07's most remarked upon features, and that too made it into the Z8.

 

The Z8's body panelling and spaceframe chassis were fabricated in lightweight and corrosion resistant aluminium, while the 32-valve 4.941 cc V8 engine, shared with the M5 saloon, was built by BMW's Motorsport division. With 400 bhp on tap, the Z8 raced to 100 km/h (62 mph) in 4.7 seconds and only the built-in rev limiter stopped it from exceeding 250km/h (155mph). Power reached the run-flat tyres via a Getrag six-speed manual gearbox. Needless to say, the Z8 also came with all the modern appurtenances one would expect of a flagship model: traction control, stability control, front and side air bags, GPS navigation, climate control and power operation of the seats, steering wheel and convertible hood all being included in the package.

 

The fact that the Z8 was a low-volume model assembled, for the most part, by hand, enabled BMW to offer customers considerable freedom in personalising their cars. Further enhancing its appeal to collectors, the factory announced that a 50-year stockpile of Z8 parts would be maintained. Despite a (US) launch price of over $ 128.000, initial demand was so high that a bidding war broke out, with many Z8s selling for well in excess of that figure. By the time production ceased at the end of 2002, 5.703 of these fabulous cars had been built.

 

But that was not quite the end of the Z8 story, for BMW tuning specialist Alpina then introduced its own, even more exclusive version: the Alpina V8 Roadster. Alpina's product was less hard-edged and considerably more refined than the original, being equipped with a 4,8-litre engine from the 5-Series Alpina B10 V8 S and an Alpina-specified ZF five-speed 'Switchtronic' automatic transmission with paddle-shift operation. With a maximum of 375bhp on tap, the Roadster's slightly smaller engine was re-tuned for greater torque at lower revs, which better suited the automatic transmission. Top speed was limited to 161 mph, with 60 mph coming up in 5,0 seconds, only a couple of tenths slower than the original Z8.

 

The suspension was revised to provide a more supple ride, and the original 18" wheels and run-flat tyres replaced with 20" rims and tyres with taller sidewalls. Re-trimmed in softer Nappa leather, the interior boasted many Alpina-specific touches including the steering wheel, gauges, and gear selection display. As its specification suggests, the Alpina V8 was targeted at the North American market, which took 450 units out of the 555 scheduled for production.

 

Car & Driver reckoned the car was well suited to its newly acquired persona: 'In fact, some of us, who regard the Z8 more as a design icon than a serious sports car, reckon the Alpina Roadster V8, with its easygoing power delivery and automatic transmission, is what this car should have been all along.'

 

First registered on 1st September 2004, the limited edition Alpina V8 offered here has had only three owners – all collectors – from new. The first owner, David Michael of Florida, USA kept the car until March 2010 when it passed to a Mr Scholdra Germany. The current vendor purchased the BMW for his private collection in July 2014, by which time it had covered only 17.948 kilometres from new. The current odometer reading is circa 20.000 kilometres.

Superior to those of the original Z8, this car's special features include heated seats; climate control; AM/FM stereo; CD changer; centre-mounted Alpina gauges in blue; xenon headlights with Dynamic Auto-Levelling; hand-stitched Alpina steering wheel with shift buttons and Alpina centre cap; 20" Alpina Dynamic alloy wheels; and a battery charger for when the car is in storage. It has also had over mats fitted since new.

 

Finished in black with two-tone cream/black leather interior, the car comes complete with hardtop, hardtop cover, hardtop stand, and hardtop stand cover; wind deflector and cover; original tools; front cup holder; phone pack (new in box); original wallet; and the Alpina key pouch containing both numbered keys, chauffeurs key, and plastic key. Accompanying documentation consists of the original US Certificate of Title; original German registration document; German Klassische document (dated 2012) and a current UK V5C registration document and MoT certificate.

Recently serviced by Sytners BMW in the UK, this Z8 Alpina Roadster is in immaculate condition throughout.

 

Les Grandes Marques du Monde au Grand Palais

Bonhams

Estimated : € 320.000 - 380.000

 

Parijs - Paris

Frankrijk - France

February 2017

OPEL Kadett (1988) / RUE FOSSE-AUX-LOUPS / PHOTO JEAN-PIERRE MARISSENS

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 8

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

Lien TC Infos : tc-infos.fr/id/44809

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.

Character Creation

 

Illyana Nikolaievna Rasputina (Russian: Ильяна Николаевна Распутина) is a character appearing in American comic books published by Marvel Comics. Created by writer Len Wein and artist Dave Cockrum, the character first appeared in the Giant-Size X-Men #1 (May 1975). llyana Rasputin is a member of a fictional species of humanity known as mutants, who are born with superhuman abilities. She is known under the codename Magik.

 

llyana Rasputin is the younger sister of the Russian X-Men member Colossus and X-Men enemy Mikhail Rasputin. She became a powerful sorceress due to her time imprisoned in (and later ruling) Limbo. Her mutant power, which first manifested in that Limbo, is the ability to teleport via stepping discs utilizing that dimension's magic. Following her escape from Limbo, she became part of the New Mutants. She later joined the X-Men.

 

The character has been featured in various Marvel-licensed products, including video games, animated television series, and merchandise. Anya Taylor-Joy portrayed Illyana Rasputin in the 2020 film The New Mutants.

 

Publication history

 

llyana Rasputin debuted in Giant-Size X-Men #1 (May 1975), created by Len Wein and Dave Cockrum. Her first name was not revealed until The Uncanny X-Men #145 (May 1981). For the first eight years of the character's existence, she was an infrequently appearing background character known as Colossus' little sister. The means of changing this was set in The Uncanny X-Men #160 (August 1982), in which she ages seven years while in a paranormal dimension called Limbo, becomes a sorceress, and develops the mutant ability to create "teleportation discs." These changes were not immediately explored or explained, and for the next year she remained essentially a background character.

 

In December 1983, the limited series Magik (Illyana and Storm) was launched, chronicling Illyana's years in Limbo, which is also her origin story. Magik #1 (December 1983) is her first cover appearance as young Illyana, her second full appearance and the first time she get the name Magik. Magik #2 (Jan. 1984) is her first cover appearance as adult Magik. Immediately following the end of the series, she was added to the cast of the New Mutants, appearing regularly in that comic from The New Mutants #14 (April 1984), the first cover appearance of adult Magik in costume, to The New Mutants #77 (July 1989), in which she returns to her family in Russia after having reverted to childhood. As the younger sister of Colossus and a member of the New Mutants, she also sporadically appeared as a guest star in Uncanny X-Men.

 

In The Uncanny X-Men #303 (1993), she dies of the Legacy Virus. Other than flashbacks and alternate realities, she was absent from regular publication for most of the 1990s, though she does appear as a time-traveler in The New Mutants: Truth or Death #1-3 (1997). After being resurrected by Belasco, she returned to regular publication in 2007, in New X-Men #38-41 (2007), X-Infernus #1-4 (2009), X-Men: Hellbound #1-3 (2010) and New Mutants vol. 3 #1-29 (2009-2011). As a member of Cyclops' Extinction Team, she appears in The Uncanny X-Men vol. 2 #1-20 (2012), Avengers vs. X-Men #1-12 (2012), AVX: Versus #3 (2012), and AVX: Consequences #1-5 (2012). She appears in All-New X-Men, The Uncanny X-Men vol. 3, Extraordinary X-Men, and The New Mutants: Dead Souls (2018), as a regular character. She appears in Strange Academy #1 (2020) as a teacher in Dr. Strange's Sorcerer School.

 

Origin

 

To simply be a mutant didn't quite make you as different as it once would have. What made someone different was the type of mutant that they were. Specifically, their power level that would show their potential or ability as a mutant. The Rasputin children, Mikhail, Piotr, and Illyana, were all mutants. Each of them would have gifts that would/could affect many, even on a global level. Their futures would see them all go very different ways; their genetics ensured whichever way they chose to go, huge repercussions could be expected. These three mutant siblings would be no exception. From Mikhail's ability to manipulate matter on the subatomic level and his dimensional teleporting powers to Illyana's immensely powerful magical might and teleporting powers and even Piotr, who seemingly appears much weaker in comparison, but is prophesied to be the sole individual responsible for the destruction of an entire planet, Breakworld, and all of its inhabitants.

 

On the outward appearance it may seem that it must be purely coincidental that Illyana and her two older brothers, Mikhail and Piotr (Colossus), would all have massively powerful mutant powers and all be born to one family. But, not all is as it seems. These three siblings were born to a family that had been manipulated to ensure these outcomes. A bloodline refined to create power. Not only just Illyana, Mikhail and Piotr would have these substantial gifts, but all children born within the Rasputin bloodline would. Each would have the same genetics, share the same bloodline and lineage, each with the possibility to wield powerful mutant gifts. This was not a coincidence at all. This is all due to the manipulation, on a grand scale, by one of the foremost masters in genetics by the name of Nathaniel Essex, better known as Mr. Sinister.

 

Character Evolution

 

Illyana Nikolievna Rasputin, the indomitable mutant known as Magik, is a super-humanly powerful mutant with the power of teleportation, as well as being an unbelievably powerful and gifted sorceress. She has a potential that has yet to be reached. In her short life, she has seen and been through many things. From the experience of being kidnapped at a very young age by the evil Belasco, to life in a "Hell" dimension named Limbo for 7 years. Her gifts were exploited, and her soul was corrupted by black magic, turning a portion of it evil. After becoming the first victim to die of the Legacy Virus, she was eventually resurrected by her former master several years later. She is currently a member of the New Mutants. During the events of Avengers vs X-men, she has tasted even greater power; that of the Phoenix Force.

 

Major Story Arcs

 

Before Her Time...

 

More than 100 years ago, the patriarch of the Rasputin bloodline, the legendary Grigory Rasputin, would be the first to meet Sinister. The two would make unlikely allies. After their encounter, the Rasputin family would never be the same. When Grigory was younger, around the time of the emergence of his own mutant powers, Sinister would give him an offer he couldn’t refuse. Sinister or the "Pale Man" as Grigory referred to him as, would offer Grigory the chance to create a bloodline from his DNA that would lead a race of super humans. Grigory's importance to Sinister was quite simple. He was a mutant, and based on the time one of the few firsts. Not only was he a mutant, but a powerful one. Grigory was aware of his gifts or the "miraculous occurrences" that surrounded him. He enjoyed them and used them regularly. Though unrevealed, it’s assumed that Grigory may have had matter manipulating abilities. These powers seemed similar to that of his future descendant, Mikhail. Powerful or not, Sinister's offer appealed to him and he accepted promptly after. Sinister would go to work immediately.

 

He would seek out females similar to Grigory, mutants with special powers. Sinister would find around 15-20 women and impregnate them all by crossing their genes with that of Grigory's. Sinister would experiment on the unborn babies, with many dying in the process. There was one woman though that was a prefect match for Grigory, a woman by the name of Elena. Once Sinister found that the two could produce the outcome that he wished for he would put introduce the two. Shortly after meeting, two would marry each other. Elena would be his soon-to-be wife and bearer of his future army of super powered children. This would culminate with Grigory taking part in a mystical ceremony, led by Sinister, transferring his essence into his pregnant wife’s womb. His last words were that he promised to return to the world when the world was ready for him. With Elena giving birth to her baby months later, it would be the beginning of the powerful mutant bloodline that would lead to the eventual birth of one Illyana Nikolievna Rasputin.

 

Innocent Beginnings

 

Nikolai Rasputin and Alexandra Rasputin had three children, two boys, named Mikhail and Piotr and, their youngest, a girl named Illyana. Mikhail was already an adult when Illyana was born. He wanted more than a farmer's life and decided to become a cosmonaut working for the Russian government. As a result Illyana would never have the opportunity to meet her eldest brother and unfortunately never would as reports would come indicating that Mikhail had died while in duty. The reality was that his mutant powers manifested and the government decided to use him as a guinea pig. They wanted to see if they could find a way to harness his gift. Basically they were exploiting him, with no intention of releasing him. Illyana's family grieved, but she was relatively unaffected partially due to her age and she really didn't know him. Beyond that she had a fairly normal early childhood. She had a close-knit family, more love then she could ever know and a bond between her brother and her that death couldn't break, literally. The Rasputins would thrive and continue to live their lives as best they could. They managed to achieve a little normalcy in their lives right when another mutant would make their self known.

 

Professor X & the X-Men

 

Mikhail wouldn't be the only of his sibling to have mutant powers. Piotr would also have his powers emerge. Though he would attempt to keep his mutant gifts hidden, he would be forced to reveal them in a much unexpected way. Illyana was playing alone when an unmanned tractor came barreling in her direction. No one was near or had the ability to help her, save Piotr. He reacted instinctively, running to her aid and unconsciously activating his mutant powers. In a bright flash of light his entire body turned into that of a silver, shiny, armored giant. Standing in the way of the tractor, it would hit him and go no further as it would be destroyed upon impact. Like a knight in shinning armor, he was able to save his "Little Snowflake," as he referred to her. Relieved that he was able to protect his sister, he never noticed that a visitor had arrived and had watched the entire event unfold.

 

A man that would change not only Piotr's life, but that of his little sister, Illyana's as well. This man was Professor Charles Xavier and he had arrived wanting to speak with Piotr, hoping to recruit him as one of his new X-Men. After much conversation Piotr would accept and begrudgingly leave his family to start a new one in the United States. While a member of the team he took the codename Colossus and became one of the vaunted X-Men. As a member of the X-Men he would save the world many times over. But for Piotr it was a rough transition. He missed his family. He often suffered from homesickness, and as such he tended to stay alone and withdrawn. While on missions he often hid his feelings. Hiding them as he might, nothing could prepare him for the following events.

 

Abduction

 

The X-Men would do battle with many a foe, but one of the oddest was the eccentric, murderous Arcade. An assassin for hire and creator of Murderworld he was one of the best at what he did, but would bite off too much when Doctor Doom was involved. Arcade became involved in dealings that went bad with Doctor Doom. As a result he was held captive with no means of freedom. An associate of Arcade's, Miss Locke, would devise a plan that would have the X-Men do all the hard work and free Arcade for her. Of course they would never do this willingly, she would have to force them somehow. Miss Locke decided that she would blackmail them by kidnapping numerous members of each of the X-Men's family, this would include Piotr's little sister Illyana, and force them to assist.

 

And they did. The X-Men sent in two units, sending the larger of their forces in to get Arcade and the few remaining to free their captive loved ones. The X-Men would find themselves to be successful and would return home. Colossus though would make a decision that would change his little sister's life permanently.

 

He decided that Illyana should stay with them and not return to Russia. He felt that it would be safer for her as he and the X-Men could protect her better, so that another incident like her being abducted could never happen again. Professor X agreed with the decision. He even telepathically taught all of his X-Men how to speak the Russian language so that Illyana would feel more comfortable in her new environment. He, too, wanted to test Illyana to see if she had the mutant gene, like her brothers feeling that there was a strong chance that she would be one. A discussion would follow but it would be decided to not test her. Feeling that she had many more years before her potential mutant powers would emerge based on her age. Illyana's stay would be granted by a special student visa. She would attend tutored classes by Professor X while at the X-mansion.

 

While there she brought a happiness to Colossus, one that he hadn't felt in a long time since he left his home long ago. Illyana would get close to all the X-Men, but especially Kitty Pryde. Kitty would read her bedtime stories and interact with her a lot. This would be the start of a bond that would only grow over time.

 

Abducted by Balasco

 

Illyana stayed with the X-Men all the time, save when they embarked on missions. This included when they were in need of a new temporary headquarters. Due to a recent battle it had sustained major damage and Xavier's Institute had been destroyed. The X-Men with no other choice would be forced to take up base elsewhere. They would find and inhabit an island that Magneto once used as a base. It was a strange alien city on an island in the Bermuda Triangle. Coming to this island would be the event that would lead to Illyana's destiny and future self.

 

Illyana was a child, only 7 years old, when the X-Men came to the island. Having been on the island for only a couple of days the X-Men had managed to settle themselves in; though they were still held doubts over their new location. Storm, the field leader, deciding they needed to release some stress, had the X-Men participate in a training exercise while Illyana would play alone a short distance away so as to not get hurt.

 

However, when no one was paying attention, the young Illyana began to walk away as if she was being guided. Unable to control herself she would continue on until she reached a temple, which she entered without hesitation. Of all the other X-men it was only Kitty who had noticed her missing, and began to follow with the X-Men not too far behind. Illyana would reach her destination in the back of the dimly lit tunnel inside of the dilapidated temple. She stood in the middle of a circular shape with glowing yellow and white lights and disappeared. The X-Men would follow and also get teleported to another dimension, one of the many splintered realms of Hell. This one was called Limbo.

 

Limbo

 

As soon as Illyana arrived she was whisked away to the side of Belasco. He tempted her with many wonderful things, including a glorious future. All the while the X-Men made their way to Limbo as well. Through a string of events they were informed, by a second set of X-Men, that they had to leave in order for their Illyana to survive. The second set of X-Men, those stuck in Limbo, attempting to rescue their Illyana, were successful but they themselves found themselves unable to return; they too were stuck in Limbo. Immediately after, the X-Men were spirited away back to Earth and Illyana was left to fend for herself. Meanwhile, back with Illyana, Belasco had brought her to an altar and began a spell to withdraw the first of 5 pieces of Illyana's soul.

 

Effectively taking the first piece of her soul, it was transformed into a "Bloodstone" and he placed it into what he called the Beatrice Amulet. The Amulet once opened had a 5-pointed star with open holes. The first Bloodstone filled the spot of one of those points. Belasco's intentions for Illyana was to slowly take all 5 portions of her soul and turn them into bloodstones to complete the Beatrice Medallion. He needed time to further corrupt her soul, all the while step by step consecrating her to evil and making her the instrument of Belasco's masters the Elder Gods. He would also use her to free him from Limbo and allow him to roam Earth once again, where he would take over and rule supreme. He would leave immediately after the Bloodstone was removed and allowed time to take place.

 

Girl Interrupted

 

Still on the altar, Illyana would be saved and taken in by an older alternate Storm and an alternate version of Kitty Pryde, now calling herself Cat. Both were very different; Cat actually had been transformed in to a cat/human hybrid by Belasco and as a result hated magic. Differing from her mainstream counterpart, winds no longer listened to the elderly Storm, so she could not control the weather anymore and instead she focused purely on magic. Ororo attempted to break Illyana free of the link she had with Belasco immediately after saving her. After a trip to the astral plane, she finds that a part of Illyana was now and forever belonging to the side of evil, specifically to Belasco. When in Illyana's mind, the "evil" part of Illyana would attack and try to kill the elderly Ororo, but Ororo luckily would survive. Once back Ororo devised a plan to help the young Illyana. Wanting to equip Illyana for her future, Ororo decided to teach Illyana all the white magic she knew by making Illyana her magical apprentice.

 

The goal was to teach Illyana so that she would be enabled to keep her dark side at bay with white magic. All of her lessons would take place in Ororo's magic garden, from there they would proceed to administer the classes on the astral plane. Illyana was trained and became quite adept at white magic, tapping into her ancestral magical lineage. Storm felt it necessary to teach Illyana so that she was prepared for her next confrontation with Belasco. What Illyana didn't know, was that Belasco had once attempted to use both Storm and Cat to draw bloodstones from but was unsuccessful. Storm knowing this would only further her want to protect the young child. Cat disagreed partially because she despised magic, but also because she felt that Storm would be doing Belasco’s dirty work for him. She felt that Storm was making a huge mistake. Regardless, Storm began teaching Illyana white magic. While there she taught Illyana about life, white magic and the creation of life itself.

 

Their Illyana stayed for an entire year and learned everything that Storm could teach. Illyana learned fast but was quite angered by the fact that, try as she might, each and every spell she would cast would always be tainted by darkness. Where Ororo would magically have the ability to create life such as plants (or her entire garden), Illyana's attempts always seemed to fail. Though her spells were done properly and she had the magical aptitude to make them work, they would always turn out in a negative way.

 

Once the year was complete, in the middle of the night Cat would wake Illyana up and convince her to come with her leaving Ororo's garden. Cat was attempting to return Illyana to her home. During that night Illyana and Cat would get into a heated argument and during this time, Illyana's mutant powers first manifested. She accidentally created a stepping disc and fell through it. When she arrived she was still in Limbo, but here is when she first meets her future servant and enemy, S'ym. He taunts her and begins to attack her. She luckily is saved by Cat and together they escape from S'ym. While seeking a way to send Illyana home they came upon a desert and were informed that at the end of the desert would be the wall of Limbo.

 

Where if Cat used her phasing powers she could take Illyana through and free her from Limbo. Their trek through the desert would take two long years. Through that time Cat would teach Illyana how to fight, use a sword and survival skills. At the end of the 2 years they would finally reach their destination only to find that they were misled by one of Belasco's illusions. Belasco would first transform Cat even further into a cat-like being and took the young Illyana with him as his pupil. It would be during this time that Belasco would create his second Bloodstone out of Illyana's soul, effectively tainting the essence of the child even further making her even more evil. Illyana followed Belasco to his palace, worried but accepting her situation. She fully understood that Cat would no longer be able to provide help to her. Belasco's spell halted Cat's ability to think for herself and she was now bound to Belasco doing his every bidding. In the 3 years that followed, Belasco made Illyana his pupil, teaching her all that he knew.

 

Illyana learned the darkest of dark magic and the blackest of black magics. She took to it quite quickly, and unlike the spells that Ororo taught her, Illyana could produce all the black spells with ease, without error. She realized that the reason why she was unable to produce spells that created life was because her soul was permanently tainted with darkness. She would never produce white magic spells without them going awry. One day, while Illyana was brainstorming a way to get out of Limbo, she inadvertently activated her latent mutant powers of teleportation. Now a few years old, she had so much control learned from her magic teachings that she was able to practice her mutants powers without being afraid of them.

 

She began creating stepping discs and decided to walk through one to see where she would go. Her stepping disc took her to the future, unknown to her. Here she witnessed the arrival of her future teammates the New Mutants. Although at this point she had no clue who they were. The New Mutants were teleported to that very spot by a future Illyana. Seeing all she wanted to she, she created yet another stepping disc and teleported herself away. The disc this time sent her to the past. Here she witnessed a battle that took place many years ago in Limbo. The fight was between Belasco and a very young magician Storm.

 

Illyana watched as Storm was able to successfully defeat Belasco. As Storm was to make her killing stroke, she was taken over by darkness. In attempting to kill Belasco, Storm tainted her own soul, changing her. Scarred by what she saw, Illyana opened yet another disc and teleported to the current time. As she arrives, she sees yet another battle. The opponents were the same, but now Storm was very aged. The elderly Storm had attacked Belasco's palace in an attempt to free Illyana. Illyana immediately ran to Storm's aid but was cut off by the demonic Cat. They battled for a few short minutes but Illyana could tell that Cat was simply trying to hold Illyana back from helping Storm. Angered by this, Illyana lunged at Cat and snapped her neck, killing her immediately. When she finally gets to Storm she realizes that Storm too had fought against Cat and was dealt a mortal wound.

 

The elderly Storm was dying. Realizing it was all a trap, Illyana tried to take Storm when she found out that Belasco planned to used Storm's soul and life essence to create a 3rd Bloodstone. Not wanting to help Belasco get any closer to his goal she mercy-kills Storm, putting a halt to Belasco's plan. Belasco sees what Illyana has done and became enraged, but put plan B into play. Instead of using Storm for the 3rd Bloodstone, he would use Illyana to create it. She immediately teleports away using her mutant powers and reappears in Russia on the farm she grew up on directly in front of the house of her parents.

 

Overcome with happiness when she realized that she could use her power to leave Limbo, she ran to her parents' door and knocked. Her happiness would soon end when she sees her parents and tells them who she was. They, of course, did not recognize her and turned her away, under the assumption that their daughter was safe with their son Colossus in America and was a 6 year old little girl. Giving up she turned around and saw the corpses of the Limbo X-Men animated their to take her back to Limbo. When she gets back to Limbo, Belasco would quickly draw a 3rd Bloodstone from Illyana, even further tainting her soul and making it more demonic, and would exile her to the garden that the elderly Ororo taught her in many years ago. He would bind her powers disabling her use of her magics and mutant powers. Timing could not have been worse as it was the beginning of a harsh winter one that Illyana, likely, would not survive.

 

While in the garden Illyana used the skills taught to her by the now deceased Cat, managing to thrive in the unbearable cold. She also continued to practice the magic that the elderly Ororo taught her, attempting to find a way to free herself of the garden. Time and time again she was unable to produce magic that allowed creation, always coming out tainted as her soul was. She then had an epiphany; she was not able to produce magic like Ororo because they had differing motives. Ororo was attempting to help Illyana, Illyana's motive was quite simply revenge. She reconfigured the spell and used a small portion of her untainted, pure soul and a bright light grew directly in front of her. When she reached in she pulled out her Soulsword. Shortly after, she headed to Belasco and with the use of her newly created weapon, she battled and defeated Belasco. Just prior to her killing stroke she stopped, not wanting to become any more dark, any more like Belasco. She then exiled him from Limbo.

 

Due to this defeat, Illyana was now the unquestioned ruler of Limbo. And due to the 6 years of teaching she received while there, she had the ability to fight for her title if need be. Finally gaining confidence she would create a "stepping disc" and would return herself to home. When she arrived it would only be seconds from when they originally lost the younger Illyana. After a small conversation they believed her and took her to Professor X for further examination. He found that he was unable to probe her very much but did see, for the most part, that what she claims happened, did.

 

She would stay at the mansion with the rest of the X-Men uneventfully for a short while. She would be roomed with Kitty Pryde. They became quick friends and would lay the foundation for a relationship as best friends that would be unending. But even to Kitty she revealed nothing. She made sure not to tell anyone of her magical or mutant powers, wanting to keep them a secret. Illyana was attempting to try and cope with all the events and changes she went through while in Limbo. Try as she might, Illyana could not hide forever and her secrets would be revealed.....well one of them at least.

 

An unexpected arrival of Belasco would force her to use her mutant powers to teleport the New Mutants (mutant students who attend the Xavier Institute) to Limbo for their safety. Coincidentally, this would be what she saw when she was stuck in Limbo many years ago. When all was said and done the New Mutants were returned to Earth unharmed. Illyana would use a forgetting spell ensuring the New Mutants would not remember any of what occurred except for the fact that Illyana was a mutant. Once Professor X was informed of Illyana's mutant nature, she would be granted to ability to study with and join the New Mutants, which she gladly did.

 

Enter the New Mutants

 

While apart of the New Mutants, Illyana would finally allow herself to let her guard down....a little. In a short time she became a powerful and valued member of the team. Although they knew she was a mutant, she still guarded her magical side intensely. Due to the barriers she kept up she sometimes felt misunderstood and alone but the others truly cared for her. As a team, the New Mutants would go through more than their fair share of battles. Though they had many successes, they too had many great loses. First Professor X stepped down and left the school in the hand of the villainous Magneto. Magik and the New Mutants were none too happy about this change. Amidst the ups and downs of life Illyana finally revealed her magical side to her teammates, receiving mixed reviews. Shortly after that they would suffer yet another lose, this time the death of teammate Douglas Ramsey (Cypher).

 

As if that wasn't enough, the New Mutants all would then have their lives snuffed out by the Beyonder during the Secret Wars. He made it as if they never existed. The Beyonder was bent on the idea of humanity and the attempt to gain one. He would have a machine created that if working properly give one life or bring one back to life. Needing guinea pigs he would test it on the recently departed members of the New Mutants. Though they were alive again, the experiences of their deaths and resurrections was far too traumatic for them. They were all severely mentally affected by their experiences. Magik and the New Mutants were mere husks of their former selves and showed no human emotions. Once they returned to the Institute, Magneto would decide to send his students to Emma Frost, the White Queen of the Hellfire Club and leader of the Hellions. Emma was to use her vast telepathic powers to help repair the already damaged psyches of each of the New Mutants.

 

While under the care of Emma Frost, the New Mutants enrolled at her school and were recruited into her team of Hellions. This was her true plan all along. To her surprise, though, once Magik and the New Mutants were healed they would returnimmediately to the Xavier Institute.

 

The Inferno

 

During a standard trip through Limbo, something went wrong and the New Mutants were stuck. Illyana's evil and demonic side started to take over her body. The demons there wanted her to become the full lord of Limbo. When she tried to escape, the demon N'astirh used this as a way to open a huge teleportation disc between Earth and Limbo, which started an invasion of Earth by the demons of Limbo. Magik then managed to defeat the powerful demon S'ym . After the battle the New Mutants examined the remains of Magik's armor and found the seven-year old Illyana inside it. However, she still possessed the bloodstone amulet. The 7 year old Illyana was then brought home and returned to Russia where she lived with her parents until they were murdered by the Russian government in order to make sure Illyana had her abilities to defeat a powerful psionic being, which posed a threat to Russia. After this, Illyana returned to the X-Mansion.

 

Death

 

Illyana was brought back to America and the X-mansion. However, shortly afterward, Illyana caught the Legacy Virus, a deadly and incurable disease that only affected mutants. At this time, the young X-woman Jubilee and Illyana made a special friendship. Although she was a fighter, and her brother was at her side almost always, Illyana succumbed to the virus a few weeks later and died in the X-Mansion. This happened at a time during which her brother was on a mission with the X-Men, something he would never forgive himself for. She was buried at the Xavier Institute and was mourned by everybody, especially by her brother and good friend Kitty Pryde. Her spirit would later go on to visit Wolverine and her brother, Piotr.

 

Magik Returns

 

During the House of M storyline, the Scarlet Witch used her reality-warping abilities to recreate the world as we knew it, transforming it into way she wished it was. Illyana came back to life and joined many of the new X-Men as students at S.H.I.E.L.D. She was placed in the Hellions training squad and, during their last mission, was told to take a group of mutated humans somewhere safe. She teleported just as chaos took over, and the House of M came to an end reverting back to the way it was before. In a world where Illyana was no longer alive. No one remembers ever meeting Magik because none of them remembered the House of M. Later, the evil Belasco came looking for Magik, as he sensed her presence that was left behind during the House of M, and used his powers to take most of the students at the school prisoner. He smelled Magik on them but none of them remembered meeting her. All clues began to point to Magik being alive.

 

A group of free students on the run in Limbo ran into a version of Illyana in her Darkchild self. She revealed that she was recreated by Belasco, but in body and mind only. Her soul resided in her Soulsword, and that had been lost. She sought to create a new soulsword, and five new bloodstones of power, from the pure soul of Pixie. The process was only partially successful, resulting in only one bloodstone being created. Pixie ended up with a soul dagger instead of a soul sword. Illyana then taught Pixie a teleportation spell, which allowed the students to reach Belasco's castle which lead to their confrontation with Belasco. In the ensuing fight, Pixie stabbed Belasco with the dagger, allowing Illyana to use the bloodstone's power to presumably destroy Belasco. With Belasco defeated, she once again became queen of Limbo. Despite an emotional reunion with her brother, Piotr, she banished the X-Men from Limbo and sealed it off, not content to rest until she recovered her soul and became whole once again.

 

Divided We Stand

 

llyana wants her soul back, thinking back to the ones she once loved, like Kitty and Piotr she tries to reclaim her soul through these connections and teleports to the Xavier Institute only to find it destroyed and abandoned after the events of Messiah Complex. Angrily she decides that she will not get her soul back through love but through hate and suffering and she will target those who have wronged her and make them pay with their souls.

 

Infernus

 

Infernus is the Quest for Illyana to regain her soul and to later rejoin the X-Men. The story begins with Illyana in Limbo searching for the Beatrice Amulet. Flustered that she can't find it, she sends hordes of Limbo Demons to search the earth and find it. Meanwhile, the X-Men are back in their danger room and Pixie goes crazy and stabs Nightcrawler. After she stabs him with her Souldagger, she pulls the weapon from his body cavity and out comes Illyana's Soulsword with it. Nightcrawler is unharmed by the Souldagger, and the Soulsword that his ex girlfriend Amanda Sefton (another ruler of Limbo), locked inside of him for safe keeping. Instantly back in Limbo, Illyana feels her Soulsword emerge and teleports to the Danger Room to reclaim what is rightfully hers.

 

Everyone is shocked to see Illyana again, as most believed her to be dead. Illyana demands her sword, promising that no one will be hurt if they just hand it over to her. The X-Men refuse and one by one are struck down by Illyana. First Rockslide, then Mercury, followed by Beast. Then Pixie comes along and starts a fight against Illyana but loses, so Illyana takes her Soulsword back and she changes, becoming more human but still incomplete so she runs away to Limbo again only to find out that Witchfire, Belasco's daughter is there and wants her head. The X-men go to Limbo after her and encounter demons but Pixie feels her soul and goes to the castle. The mutants go after her only to be taking down by Witchfire who has Illyana in chains and starts to take another piece of Pixie's soul. Nightcrawler stabs Illyana with the Souldagger and pull out the Soulsword. He calls Pixie and tells her that she is the only one that can save them all. She frees Illyana and together they banish Witchfire but she took along Illyana's and Pixie's soul, that make the young X-Men fly away. Illyana takes everybody back to the Danger Room and there Illyana decides to stay with them.

 

Back to the New Mutants

 

After another brief disappearance, Illyana reappears at the X-Men's new San Francisco home, exhausted and injured. Disoriented and sounding more than a little insane than usual, she gets fellow New Mutants Cannonball, Sunspot and Magma to help her find Dani and Shan, who she says will die soon if aid doesn't come quickly. She goes with her old friends to Colorado, where Dani and Shan had gone earlier based on reports that a young mutant there might have been endangering the local populace. On the way there, she plays mind games with Amara, teasing her that she can cure Empath of the injury caused by Pixie's Souldagger. Once there, she splits up with Amara to track down a missing little girl, empathizing acutely with her as she was also kidnapped in her youth.

 

Tracking her down to a certain home, Illyana and Amara think they've found Shan being held prisoner. But when they open the small cell, they instead find a grinning Legion waiting inside. Conferring with Sam and Bobby, who had found Shan's body in another location, they find out that Shan is inside Legion's mind with a benign little girl personality, but are being chased by the more violent personalities in David Haller's mindscape. When Shan and the little girl are overwhelmed, the violent persona take over. One with superhuman strength punches Amara away, and another one uses an energy blast to down Illyana. The mutant sorceress quickly recovers, and tells Sam and Bobby to find Dani. As one of the beings who previously tried to "fix" David Haller's mind, Dani has become one of Legion's intended targets.

 

Meanwhile, Sam and Bobby find Dani imprisoned in a local jail, about to be attacked by Legion. Bobby knocks Legion away from Dani's cell before she can be harmed, but Sam leaves her inside, thinking that she will be safer. Sam realizes his mistake when Legion uses another of his powers to manipulate the earth in Dani's cell in a second attempt to kill her. That attempt is stopped when Magik and Magma arrive. Magma melts the earth golem Legion created, preventing Dani from being strangled. Furious at Sam, Dani punches him, then leaves to arm herself in order to be useful when they bring the fight back to the insane mutant.

 

Determined to put an end to the threat and save Shan, Illyana teleports to Shan's body and touches it, initiating a transfer of her mind into Legion's. Once there, Illyana shows that she means business by threatening harm if they didn't release Shan to her immediately. When she is accused of bluffing, Illyana manifests her soul sword and, ignoring Sam's plea not to harm any of Legion's personalities, proceeds to cleave and decapitate three of Legion's personas in short order. When a fourth persona attempts to stop Illyana and fails, the remaining personalities acquiesce and lead her to where they're holding Shan and the little girl prisoner. Illyana frees them both, and in the process also frees David Haller's base personality. Guided by David, Illyana discovers that the doll, named "Moira," is the basis for conscious control of Legion's body. Illyana takes the doll away from the remaining hostile personalities just in time to save Dani and the others.

 

Second Coming and Hellbound

 

When Cable returns to the present timeline with Hope Summers in tow, Illyana is dispatched along with a group of other X-Men to retrieve the pair and return them to the safety of the island nation of Utopia. Unfortunately, Bastion's forces nearly kill the trio in an explosion, but Illyana manages to take the brunt of the attack. Before she can use magic to mend herself, Illyana is dragged into Limbo via a stepping disc by demons, much to Colossus's dismay. The next day, Colossus confronts Cyclops, and demands that he be allowed to rescue his sister. Cyclops declines his request, explaining that he needs him by his side, and that he has already ordered Cannonball to form a team of X-Men to retrieve the teleporter from the hellish dimension. They include Northstar, Anole, Pixie, Trance, Dazzler, and Gambit. Although some of the mutants are more willing to help than others, they are all teleported to Limbo thanks to the spell Magik taught Pixie during the events of Quest For Magik. They are quickly attacked by the monstrous hordes belonging to the demon N'astirh, and Gambit succumbs to the realm's evil mystical influence.

 

Facing seemingly insurmountable odds, Dazzler and Northstar both fall victim to Gambit's corruption, and proceed to attack the remaining X-Men sent to aid illyana. Meanwhile, Pixie is visited by N'astirh, and given a choice. He offers to restore the portion of her soul that has been corrupted by Magik. All she has to do is use her Souldagger to kill Magik, and retrieve the Soul Sword for him. Pixie seems reluctant, but allows the demon to take her to Magik. Magik pleads with Pixie to take her life, and end her suffering, but Pixie tricks N'astirh, and stabs the demon with her weapon. With the aid of Cannonball and Anole, The trio manage to free Magik from her imprisonment, and liberate Gambit, Dazzler, and Northstar from Limbo's wicked influence. Magik explains that the reason she hates the new crop of X-Men so much is that they remind her of the monster she has become, and of everything she has lost since Inferno.

 

Once Pixie and the X-Men free Magik, the pair use their weapons to stab N'astirh, and Illyana reclaims Limbo as her own realm. Illyana makes a tentative pact with Pixie to work together in order to reclaim what they have lost as the result of dark magic. Magik and her teammates then leave Limbo to rejoin the rest of the X-Men, and combat the threat posed to mutankind during the events of Second Coming.

 

Avengers vs. X-Men

 

During the conflict, Magik becomes one of the mutants empowered by the Phoenix Force to help defeat the Avengers. Magik intervenes during a battle between Rogue and the Avenger Ms. Marvel, using her powers to gag the heroine and trap her in Limbo. Upon Namor's defeat, Magik, along with her brother, Cyclops and Emma are empowered by Namor's portion of the Phoenix Force. Magik and Colossus defeat Thor and they throw him into a portion of Limbo that Magik raised into the Earthly plane that they are using a prison for the Avengers. The Rasputin siblings end up fighting the Avengers trying to break their team out. In order to buy some time for the Avengers to break the team free, Spider-Man stands up to the two of them. Colossus punches him telling him he does not wish to harm anyone. Magik tells him that he should kill him now and Colossus tells her he does not like what the Phoenix Force is doing to her, and them in general. Spider-Man tricks the two into fighting each other. The Rasputins clash in a fiery blaze of the flaming cosmic energy and both are knocked out and lose their respective portions of the Phoenix Force which then goes to the remaining avatars, Emma and Cyclops. Magik teleports Colossus and herself away to Siberia. In a dark moment for Colossus where he feels doomed, Magik reveals that she planned Colossus becoming the Juggernaut from the beginning. She wanted him to truly understand how she felt when she was a demon from his own demonic experience. In his anger, he attacks her as the Juggernaut but she teleports away leaving him with her final gift; regret.

 

Illyana later returns to her brother with the aim of finishing their 'business'. As Colossus attacks her, she teleports the both of them to Limbo and, being empowered there, removes Cyttorak's corruption from her brothers soul. When asked if she could have done this any time, she replies that she could put that she wanted her brother to learn both of her experiences and to not sacrifice someone who "simply does not deserve it". Colossus threatens to kill her if he ever sees her again and, satisfied that he learned that lesson, Illyana teleports away again.

 

She is next seen at the Jean Grey School For Higher Learning. She hides in Storm's room and upon seeing her, gives her a letter with her brothers location and the suggestion to arrest him. When Storm finds Colossus she is shocked by his animosity he has for the very image of his sister.

 

All New X-Men and the New Revolution

 

Illyana plays a crucial role in the breakout that frees Cyclops, summoning demonic arms to tear away the wall of his cell. She is also seen banishing prisoners murdered a mutant inmate to her dimension of Limbo.

 

Now known as a public enemy to the US Magik has joined Cyclops' team of renegade X-Men alongside with Emma Frost and Magneto. Magik plays a pivotal role in the new All New X-Men series. Magik helps teleport the team around saving innocent mutants from mutant hate groups and law enforcements.

 

Due to the Phoenix Force's influence on the hosts, their powers have been altered and Magik's have been upgraded. Her, Magneto, Cyclops, Emma Frost, and the two new students named Eva Bell and Christopher Muse, show up to save a new mutant by the name of Fabio Medina. During the rescue, the team is attacked by a horde of sentinels and Magik destroyed a massive one with utter ease. After Cyclops lays waste to the rest, Magik teleports the new mutant to the New Xavier Institute where they will be taught how to control their powers. Magik attends the meeting with the other veteran X-Men where they go over the new institute lay-out with the new students and explain the current world's mutant situation. Eva Bell wishes to go home to check on her mother so Magik volunteers to take her and the others, but the whole group goes save for Magneto. Once in Australia, Magik keeps an out for trouble and eventually a group of the Avengers led by Captain America make their way to the scene.

 

Cyclops' team show up the Avengers on live TV by having Scott's team appear as victims of persecution and Eva freezing the Avengers in a temporal bubble. Magik continues to be their primary source of transportation as she teleports the team to the Jean Grey Institute where Cyclops attempts to clear the air and offer a chance for the younger mutants to join his school. When they leave and return home, Magik's powers show her broken side-effects as she writhes in pain, disappears in a hellish portal, and the reemerges with a burst of flames before running off on her own. Her powers act up a second time when the team returns once again with new students in the Stepford Cuckoos and the original, younger version of Angel.

 

Magik is pulled into Limbo after discovering Dormammu has tried taking over. Dormammu forces Magik back into Limbo, along with the rest of the team, and is held captive by the demon as he forces her to watch as his teammates fight for their lives against the mindless ones. Magik manages to break free and casts the team out of the dimension, all the while she absorbs the entirety of Limbo into herself. She then finds the demon in the desolate Limbo and is suggested to have killed him. With her revelation and after absorbing Limbo, Illyana decides she needs help and finds a Dr. Strange back in time before he ever becomes an Avenger to help her control her powers.

 

Magik and the Cuckoos rescue and recruit a new mutant by the name of David Bond. After receiving word of Fabio's kidnapping at the hands of S.H.I.E.L.D., Magik is one of the team members that helps rescue him. Magik is seen training with Eva, but gets caught in Eva's bubble and displaced somewhere in time before coming back. Magik joins the X-Men team to a pro-Cyclops rally, but the team is suddenly attacked by a new sentinel called the blockbuster sentinel. Since the Blockbuster sentinel attack, Magik has helped in training the students and fighting with the alternate timeline versions of the X-Men during the Battle of the Atom event. When the X-Men get a notification of a new mutant, it turns out to be a trap from more sentinels. Thinking it is SHIELD, Cyclops tries to get a distraction going when he learns the sentinel is somehow disabling their mutant abilities. Illyana taps into her training from Dr. Strange and unleashes a magical dragon attack that destroys a bunch of the sentinels. The large one ends up fleeing and the team declares war on whoever is sending these sentinels, whether it be SHIELD or someone using SHIELD.

 

The Last Will & Testament of Charles Xavier

 

When lawyer Jennifer Walters, aka She-Hulk, received the last will and testament of Charles Xavier, she left for the Jean Grey School to read it to the X-Men listed by Xavier, who also included Scott Summers on the list. In order to have the will read, Scott needed to be contacted and brought to the school. Hank McCoy revealed that he'd always known where Scott's secret base was, but he never told anyone else, not wanting his life to be directed by Scott Summers any longer. The X-Men flew to the New Charles Xavier School for Mutants in the Canadian wilderness, and were greeted by the Uncanny X-Men. The situation was explained, and Magik quickly teleported to JGS and back to verify the story. Scott, Emma, Illyana, Kitty, and Ali teleported to JGS for the reading of the will. It was revealed that Charles Xavier had married Mystique, and that he'd covered up the discovery of an omnipotent mutant by the name of Matthew Malloy. He'd suppressed the boy's memories in order to suppress his powers, but it was all beginning to become undone. He charged the X-Men with the final task of finding and suppressing this mutant. Scott left along with Storm and Rachel Grey to find the mutant. With a wave of his hand, Malloy destroyed a S.H.I.E.L.D. helicarrier, and proved to be telepathically immune to Rachel's provocations. He teleported the X-Men away, back to their respective schools. Scott had Magik teleport him back to Malloy, and made a deal with the man. Together, the trio teleported away to Devil's Tower. Scott ordered Magik to give him time to talk to Malloy. During this time, Magneto intervened telling Scott that he'd gone too far, and needed to back down. Malloy, angered, teleported Magneto away and continued his conversation with Scott.

 

In the meantime, Magik visited Doctor Strange in the past again, and, after interrupting one of his more private sessions with a woman, asked if he knew of a way to stop someone as powerful as Malloy. Strange gave Magik the Eye of Agamotto to use on Malloy. Teleporting back to the present, Magik attempted to explain how she would use the artifact, when SHIELD attack forces appeared and blew the entirety of Devil's Tower to smithereens, resulting in the unfortunate and untimely demise of Scott Summers, Matthew Malloy, and Illyana, herself.

 

Guardians of the Galaxy & X-Men: The Black Vortex

 

Responding to a distress call from her friend and teammate Kitty Pryde, Illyana takes the All-New X-Men and teleports to the Jean Grey School. Once there, she is able to quickly and vaguely inform Storm and Beast that there is a problem that requires their attention. She teleports the group to a the planet Spartax where Kitty and her boyfriend, Peter Quill aka the Legendary Star-Lord are waiting for them with the Guardians of the Galaxy. They have gathered to discuss the dangers of the mysterious Black Vortex, and begin to argue over what should be done with it. While some, like Gamora, want to use the artifact, others, like Storm, want to destroy it. The cosmically empowered Slaughter Lords working for Mister Knife attack the assembled heroes to steal back the Black Vortex. While they battle, Gamora uses the Vortex to enhance herself. With her new skills, she easily battles all of the Slaughter Lords at once, giving Magik time to teleport everyone away. Once safely spirited away by Magik, an argument erupts once again over what should be done, with Kitty spearheading the argument against using the Black Vortex. During the commotion, Beast uses it and becomes cosmically empowered. He agrees with Gamora. All his questions have been answered. He urges the others to use the artifact, tilting the mirror so that they can see what they would look like if cosmically empowered by the Black Vortex.

 

Powers and Abilities

 

Illyana has two very distinctive powers, one is her mutant power to generate spacial/temporal warps in the form of stepping discs, the other is her magic, learned while she was in Limbo. As more and more of her soul was removed, it was replaced and filled with Black Magic granting vast mystical abilities. The two powers will be described separately below.

 

Mutant Power

 

Stepping Disc

Illyana Rasputin has the mutant ability to create and control teleportation energies in the form of "stepping discs". These yellow rings of glowing light, once created, provide the ability to teleport. Not only just herself but a group of individuals as well, to a multitude of different places including destinations in both time and space. The only limitation to her teleportation power is that she must use Limbo as her stopping point prior to her final destination, wherever that may be. Magik can also teleport herself or others into her domain, Limbo or "Hell" dimension or out of it. As Limbo is her domain, Illyana is able to mentally scan Limbo, while on Earth in order to locate whomever she wishes to teleport to Earth from it. Magik has succeeded in teleporting herself and another person across a continent on one occasion, and to travel through time on a few others.

 

However, Magik has not yet mastered her teleportation ability. The greater the distance over which she teleports, the greater the possible margin of error in terms of her arriving at the point in time she desires. Hence, when she once teleported herself and a friend from New York to California, hoping to arrive within seconds of the time she left, Magik and her friend instead arrived one week later, having accidentally traveled into the future. Magik is continuously practicing the use of her teleportation power in order to master it. Although already quite adept in the use of the mutant powers she still has a lot to learn especially considering how new she is to them.

 

In terms of potential Illyana's is nearly limitless. She was once told by Dr. Strange that she had the potential for great feats of manipulating time on a very wide scale. Never one to accept the status quo, Illyana continuously and regularly practices the use of her mutant powers in order to master them and have them grow in strength.

 

Ever since having her powers altered by the Phoenix Force, Magik has undergone an upgrade. She has been shown to be able to conjure and project powerful blasts of energy from her Limbo dimension as an extension of her powers rather than her magic. She has been shown consistently adept at teleporting people away before others can react. Since Dormammu attempted to take over Limbo, Illyana has absorbed the entire dimension into her body.

 

Magical Power

 

Sorceress

As a result of the time Illyana was forced to spend in Limbo, she was permanently changed both physically and mentally. She would spend a total of 6 years in Limbo during which she would learn valuable skills and abilities taught to her by different teachers that would help her in becoming the future Sorceress Supreme & Ruler of Limbo, that she was destined to become. During her first year in Limbo, Illyana was an apprentice to an alternate reality version of Storm. One who unfortunately was stuck in Limbo and lost the ability to control the weather instead becoming a powerful magician highly skilled in the use of white magic. So skilled was she, that she was nearly able to best Belasco in their very first battle only faltering in the very end. During Illyana's time with the now elderly Ororo, she was taught in the uses and practices of white magic. Different from black magic, white magic usually helped rather then hurt when used. She was also taught about life, the creation of it and astral projection. It would be during the time that she would spend with the elderly Ororo that Illyana would learn, much later master, the ability to mystically heal herself. She would spend an entire year apprenticing under the tutelage of the elderly Ororo.

 

Following Illyana's first year with Ororo, Illyana then was trained by Cat. Cat was an alternate reality version of Kitty Pryde. No longer fully human in appearance, due to an interaction with Belasco, she had been transformed into a cat-like hybrid making her more animal in nature. As a result of the magical transformation forced on Cat, she had a hate for magic and wanted Illyana to have nothing to do with it. Illyana would train with Cat for 2 years, during which she would be taught how to fight, specifically, unarmed-combat and in the effective use of bladed weapons. Initially Cat taught Illyana how to use a dagger then moved on to that of swords. Illyana would become quite comfortable in the use of both weapons; comfortable and very effective. It was during her time with Cat that she was also taught valuable survival skills allowing her to thrive in the most unlikely places. Illyana would grow to become best friends with Cat and look at her like family, willing to do anything to protect her.

 

It would be during her time with Limbo's, then, ruler Belasco that Illyana would learn and be changed the most. It was Belasco's goal to transform all 5 parts of Illyana's soul into Bloodstones. This was for two very different reasons. Firstly, with the 5 Bloodstones, Belasco could complete the magical Beatrice Medallion thus allowing him the ability to traverse to and from Limbo. An ability he had lost when he was exiled to Limbo by his masters the Elder Gods, for failing them. As a result of her soul being removed, it would be filled completely with black magic and would permanently make her a tool of both his, Belasco, and that of his evil masters the Elder Gods. This would make her a being of pure evil and thus helping the Elder Gods take over the Earth dimension.

 

Belasco would be unsuccessful in his ploy to remove all 5 parts of Illyana's soul. In the 3 years that she would learn under his tutelage, he would only manage to take 3/5 of her soul. This would still permanently taint her soul and as a result give her a partial demonic soul instead. It would be during her time as a pupil of Belasco's that he would teach her the darkest of the dark arts and the blackest of black magic. While at his palace she, too, had full access to Belasco's library of books of magic, that he had collected through this long, unnatural life. Belasco taught the young Illyana everything he knew. As a result of this, Illyana could produce virtually any and all spells that Belasco could and would be able to manipulate the forces of magic for a variety of effects to include.

 

-Mind Control (both humans and animals)

 

-Metamorphing (herself, others or objects. living or otherwise)

 

-Astral Projection

 

-Necromancy

 

-Generate and release concussive bolts of pure magic energy

 

-Creation of magical force fields

 

-Inter-dimensional travel

 

-Ability to generate and manipulate fire

 

-Mental Possession

 

-Dark force manipulation

 

-Creation of constructs purely of magical energies

 

As a result of Illyana's diverse training and multiple years learning while in Limbo, she gained an aptitude for sorcery and control over magic that was unlike no other. She had created a unique blend of both white and black magic that she would wield. Additionally, due to her now partially demonic soul, Illyana had also naturally gained formidable psionic shielding granting her immunity to mental probing. This shielding was effective enough to hinder the vaunted telepathic abilities of both Professor X and Marvel Girl (Rachel Summers) arguably two of the most powerful mutant minds the world has seen.

 

After Illyana bested Belasco in battle, she chose to exile him from the Limbo, allowing him to live rather than kill him. As the winner, Illyana, was granted the title of Sorceress Supreme of Limbo. The full extents of her powers have not yet been fully defined. It have been stated that in Limbo, Illyana's power is unmatched and her word is law. With but a single thought she can completely alter the physical appearance of Limbo. As stated previously, she too, potentially, could cast all spells that Belasco could have. This especially since she has unlimited access to Balesco's sorceress knowledge.

 

For this reason and more Illyana is most powerful during her time in Limbo. This is clearly a result of her should being connected to the dimension, allowing for the two being intertwined by the very essences that they are created from. On the flip side, while on the Earth dimension, cut off from Limbo, Illyana's magical prowess and abilities are dramatically reduced. Illyana has preformed a handful of magical skills on Earth but nothing comparable to that of what she can do in Limbo. While on Earth, Illyana has effectively preformed; Astral projection, an abilities to sense magical presences and the ability to magically scan her Limbo dimension, allowing her to track and/or see all that occurs in Limbo while she is away. Illyana's most notable power while on Earth though are largely limited to her magical weapon, of her own making, called the Soulsword.

 

Recently,Illyana has been using her abilities to travel back in time to Dr. Strange before he became an Avenger to help train her in her magical abilities.

 

The Soulsword

 

The Soulsword is the ultimate embodiment of Illyana's magical strength that was forged during a time of great need and despair. Illyana was desperate to find a way to free herself of Belasco and find a way to leave Limbo.

 

⚡ Happy 🎯 Heroclix 💫 Friday! 👽

_____________________________

 

A year of the shows and performers of the Bijou Planks Theater.

 

Secret Identity: Illyana Nikolaievna Rasputina

 

Publisher: Marvel

 

First appearance: As Illyana Rasputina: Giant-Size X-Men #1 (May 1975)

As Magik: Magik (Storm and Illyana) #1 (December 1983)

 

Created by:

Illyana Rasputina:

Len Wein (Writer)

Dave Cockrum (Artist)

 

Magik:

Chris Claremont (Writer)

Sal Buscema (Artist)

 

Illyana has not been seen on the Bijou Planks stage prior to this, but she has been seen outside the theater, such as in Paprihaven issue 1269!

www.flickr.com/photos/paprihaven/27683661579/

+++ DISCLAIMER +++

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

  

Some background:

The P-51H (NA-126) was the final production Mustang, embodying the experience gained in the development of the lightweight XP-51F and XP-51G aircraft. This aircraft, brought the development of the Mustang to a peak as one of the fastest production piston-engine fighters to see service in WWII.

In July of 1943, U.S. Army approved a contract with North American Aviation to design and build a lightweight P-51. Designated NA-105, 5 aircraft were to be built and tested. Edgar Schmued, chief of design at NAA, began this design early in 1943. He, in February of 1943, left the U.S. on a two-month trip to England. He was to visit the Supermarine factory and the Rolls Royce factory to work on his lightweight project.

 

Rolls Royce had designed a new version of the Merlin, the RM.14.SM, which was proposed to increase the manifold pressure to 120 (from 67 max) and thus improve military emergency horsepower to 2,200. Schmued was very eager to use this powerplant, since the new Merlin was not heavier than the earlier models. In order to exploit the new engine to the maximum, he visited the engineers at Rolls Royce in Great Britain. However, British fighters were by tendency lighter than their U.S. counterparts and Schmued also asked for detailed weight statements from Supermarine concerning the Spitfire. Supermarine did not have such data, so they started weighing all the parts they could get a hold of and made a report. It revealed that the British had design standards that were not as strict in some areas as the U.S, and American landing gear, angle of attack and side engine design loads were by tendency higher. When Schmued returned, he began a new design of the P-51 Mustang that used British design loads, shaving off weight on any part that could yield. The result was an empty weight reduction by 600 pounds, what would directly translate into more performance.

 

This design effort led to a number of lightweight Mustang prototypes, designated XP-51F, XP-51G and XP-51J. After their testing, the production version, NA-126 a.k.a. P-51H, was closest to the XP-51F. The project began in April 1944 and an initial contract for 1,000 P-51Hs was approved on June 30, 1944, which was soon expanded.

The P-51H used the V-1650-9 engine, a modified version of the new Merlin RM.14.SM that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW) and a continuous output of up to 1,490 hp (1.070 kW).

Even though the P-51H looked superficially like a slightly modified P-51D, it was effectively a completely new design. External differences to the P-51D included lengthening and deepening the fuselage and increasing the height of the tailfin, which reduced, together with a lower fuel load in the fuselage tank, the tendency to yaw. The landing gear was simplified and lightened. The canopy resembled the P-51D bubble top style, over a raised pilot's position. The armament was retained but service access to the guns and ammunition was improved, including the introduction of ammunition cassettes that made reloading easier and quicker. With the new airframe several hundred pounds lighter, extra power, and a more streamlined radiator, the P-51H was faster than the P-51D, able to reach 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m), making it one of the fastest piston engine aircraft in WWII.

 

The high-performance P-51H was designed to complement the P-47N as the primary aircraft for the invasion of Japan, with 2,000 ordered to be manufactured at NAA’s Inglewood plant. Variants of the P-51H with different versions of the Merlin engine were produced in limited numbers, too, in order to ramp up production and deliveries to frontline units. These included the P-51L, which was similar to the P-51H but utilized the V-1650-11 engine with a modified fuel system, rated at maximum 2,270 hp (1,690 kW), and the P-51M, or NA-124. The P-51M, of which a total of 1629 was ordered, was built in Dallas and utilized the V-1650-9A engine. This variant was optimized for operations at low and medium altitude and lacked water injection, producing less maximum power at height. However, it featured attachment points for up to ten unguided HVAR missiles under the outer wings as well as improved armor protection for the pilot against low-caliber weapons esp. from ground troops, which ate up some of the light structure’s weight benefit.

 

Most P-51H and L were issued to USAF units, while the P-51M and some Hs were delivered to allied forces in the Pacific TO, namely Australia and New Zealand. Only a few aircraft arrived in time to become operational until the end of hostilities, and even less became actually involved in military actions during the final weeks of fighting in the Pacific.

 

The RAAF received only a handful P-51Hs, since Commonwealth Aircraft Corporation (CAC) had recently started license production of the P-51D (as CA-18) and the RAAF rather focused on this type. However, there were plans in early 1945 to build the P-51H locally as the CA-21, too, but this never came to fruition.

 

New Zealand ordered a total of 370 P-51 Mustangs of different variants to supplement its Vought F4U Corsairs in the PTO, which were primarily used as fighter-bombers. Scheduled deliveries were for an initial batch of 30 P-51Ds, followed by 137 more P-51Ds and 203 P-51Ms. The first RNZAF P-51Ms arrived in April 1945 and were allocated to 3 Squadron as well as to the Flight Leaders School in Ardmore (near Auckland in Northern New Zealand) for conversion training. The machines arrived as knocked-down kits via ship in natural metal finish, but the operational machines were, despite undisputed Allied air superiority, immediately camouflaged in field workshops to protect the airframes from the harsh and salty environment, esp. on the New Guinean islands. The RNZAF Mustangs also received quick identification markings in the form of white tail surfaces and white bands on the wings and in front of and behind the cockpit, in order to avoid any confusion with the Japanese Ki-61 “Hien” (Tony) and Ki-84 (Frank) fighters which had a similar silhouette and frequently operated in a natural metal finish.

During the final weeks of the conflict, the RNZAF only scored three air victories: two Japanese reconnaissance flying boats were downed and a single Ki-84 fighter was shot down in a dogfight over Bougainville. Most combat situations of 3 Squadron were either fighter escorts for F4U fighter bombers or close air support and attacks against Japanese strongholds or supply ships.

 

After the war, many USAF P-51Hs were immediately retired or handed over to reserve units. The surviving P-51Js were, due to their smaller production numbers, were mostly donated to foreign air forces in the course of the Fifties, in order to standardize the US stock. Despite its good performance, the P-51H/J/M did not take part in the Korean War. Instead, the (by the time re-designated) F-51D was selected, as it was available in much greater numbers and had a better spares supply situation. It was considered as a proven commodity and perceived to be stouter against ground fire – a misconception, because the vulnerable ventral liquid cooling system caused heavy losses from ground fire. The alternative P-47 would have been a more effective choice. The last American F-51H Mustangs were retired from ANG units in 1957, but some of its kin in foreign service soldiered on deep into the Sixties. The F-51D even lasted into the Eigthies in military service!

 

After the end of hostilities in the PTO, the RNZAF’s forty-two operational P-51Ms met different fates: The twenty-six survivors, which had reached frontline service in New Guinea, were directly scrapped on site, because their transfer back to New Zealand was not considered worthwhile. Those used for training in New Zealand were stored, together with the delivered P-51Ds, or, together with yet unbuilt kits, sent back to the United States.

In 1951, when New Zealand’s Territorial Air Force (TAF) was established, only the stored P-51D Mustangs were revived and entered service in the newly established 1 (Auckland), 2 (Wellington), 3 (Canterbury), and 4 (Otago) squadrons. Due to the small number, lack of spares and communality with the P-51D, the remaining mothballed RNZAF F-51Ms were eventually scrapped, too.

  

General characteristics:

Crew: 1

Length: 33’ 4” (10.173 m)

Wingspan: 37‘ (11.28 m)

Height: 13‘ 8” (4.17 m) with tail wheel on ground, vertical propeller blade

Wing area: 235 sq ft (21.83 m²)

Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100

Empty weight: 7.180 lb (3,260 kg)

Gross weight: 9,650 lb (4,381 kg)

Max takeoff weight: 11,800 lb (5,357 kg)

Fuel capacity: 255 US gal (212 imp gal; 964 l)

Aspect ratio: 5.83

 

Powerplant:

1× Packard (Rolls Royce) V-1650-9A Merlin 12-cylinder liquid cooled engine, delivering 1,380 hp

(1,030 kW) at sea level, driving a 4-blade constant-speed Aeroproducts 11' 1" Unimatic propeller

 

Performance:

Maximum speed: 465 mph (750 km/h; 407 kn) at 18,000 ft (5,500 m)

Cruise speed: 362 mph (583 km/h, 315 kn)

Stall speed: 100 mph (160 km/h, 87 kn)

Range: 855 mi (1,375 km, 747 nm) with internal fuel

1,200 mi (1,930 km, 1,050 nmi) with external tanks

Service ceiling: 30,100 ft (9,200 m)

Rate of climb: 3,200 ft/min (16.3 m/s) at sea level

Wing loading: 30.5 lb/sq ft (149 kg/m²)

Power/mass: 0.19 hp/lb (315 W/kg)

Lift-to-drag ratio: 14.6

Recommended Mach limit 0.8

 

Armament:

6× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with a total of 1,880 rounds

2× underwing hardpoints for drop tanks or bombs of 500 pounds (227 kg) caliber each,

or 6 or 10 5” (127 mm) T64 HVAR rockets

  

The kit and its assembly:

A relatively simple project, a whiffy color variant based on RS Model’s 1:72 P-51H kit – which I quickly turned into a P-51M, which was planned as mentioned in the background, but never produced in real life.

The model was strictly built OOB, and while this short-run kit goes together quite well, I encountered some problems along the way:

- There are massive and long ejector pin markers, sometimes in very confined locations like the radiator intake. Without a mini drill, getting rid of them is very difficult

- Somehow the instructions for the cockpit are not correct; I put the parts into place as indicated, and the pilot’s seat ended up way too far forward in the fuselage

- The canopy, while clear, is pretty thick and just a single piece, so that you have to cut the windscreen off by yourself if you want to show the otherwise very nice cockpit.

- The separated windscreen section itself includes a piece of the cowling in front of the window panes, which makes its integration into the fuselage a tricky affair. However, this IMHO not-so-perfect construction became a minor blessing because the separated windscreen turned out to be a little too narrow for the fuselage – it had to be glued forcibly to the fuselage (read: with superglue), and the section in front of the window panes offered enough hidden area to safely apply the glue on the clear piece.

- While there are some resin parts included like weighted wheels, it is beyond me why tiny bits like the underwing pitot or most delicate landing gear parts have been executed in resin, as flat parts of a resin block that makes it IMHO impossible to cut them out from.

- The tail wheel is a messy three-piece construction of resin and IP parts, with a flimsy strut that’s prone to break already upon cutting the part from the IP sprue. Furthermore, there’s no proper location inside of the fuselage to mount it. Guess and glue!

- The fit of the stabilizers is doubtful; it’s probably best to get rid of their locator pins and glue them directly onto the fuselage

- The propeller consists of a centerpiece with the blades, which is enclosed by two spinner halves (front and back). This results in a visible seam between them that is not easy to fill/PSR away

 

On the positive side I must say that the engraved surface details, the cockpit interior and the landing gear are very nice, and there is even the complete interior of the radiator and its tunnel included. PSR requirements are also few, even though you won’t get along well without cosmetic bodywork.

 

The only personal modification is a styrene tube inside of the nose for the propeller, which was mounted onto a metal axis for free rotation; OOB, the propeller is not moveable at all and is to be glued directly to the fuselage.

While the kit comes with optional ordnance (six HVARs or a pair of 500 lb bombs, both in resin), I just used the bomb pylons and left them empty, for a clean look.

  

Painting and markings:

Even though the model was a quick build, finding a suitable color concept took a while; I had a whiffy P-51H on my agenda for a long time (since the RS Models kit came out), and my initial plan was to create an Australian aircraft. This gradually changed to an RNZAF aircraft during the last weeks of WWII in the PTO, and evolved from an NMF finish (initial and IMHO most logical idea) through am Aussie-esque green/brown camouflage to a scheme I found for a P-40: a trainer that was based in New Zealand and (re)painted in domestic colors, namely in Foliage Green, Blue Sea Grey and Sky. This might sound like a standard RAF aircraft, but in the end the colors and markings make this Mustang look pretty exotic, just as the P-51H looks like a Mustang that is “not quite right”.

 

The Foliage Green is Humbrol 195 (Dark Green Satin, actually RAL 6020 Chrome Oxide Green), which offers IMHO a good compromise between the tone’s rather bluish hue and yellow shades – I find it to be a better match than the frequently recommended FS 34092, because RAL 6020 is darker. The RNZAF “Blue Sea Grey”, also known as “Pacific Blue” or “Ocean Blue”, is a more obscure tone, which apparently differed a lot from batch to batch and weathered dramatically from a bluish tone (close to FS 35109 when fresh) to a medium grey. I settled for Humbrol 144 (FS 35164; USN Intermediate Blue), which is rumored to come close to the color in worn state.

The undersides were painted with Humbrol 23 (RAF Duck Egg Blue), which I found to be a suitable alternative to the more greenish RAF Sky, even though it’s a pretty light interpretation.

Tail and spinner were painted white, actually a mix of Humbrol 22 (Gloss White) and 196 (Light Grey, RAL 7035) so that there would be some contrast room left for post-shading with pure white.

The interior of cockpit and landing gear wells was painted with zinc chromate primer yellow (Humbrol 81), while the landing gear struts became Humbrol 56 (Aluminum Dope). The radiator ducts received an interior in aluminum (Revell 99).

 

In order to simulate wear and tear as well as the makeshift character of the camouflage I painted the wings’ leading edges and some other neuralgic areas in aluminum (Revell 99, too) first, before the basic camouflage tones were added in a somewhat uneven fashion, with the metallized areas showing through.

Once dry, the model received an overall washing with thinned black ink and a through dry-brushing treatment with lighter shades of the basic tones (including Humbrol 30, 122 and 145) for post-panel-shading and weathering, esp. on the upper surfaces.

 

The decals are a mix from a Rising Decals sheet for various RNZAF aircraft (which turned out to be nicely printed, but rather thin so that they lacked opacity and rigidity), and for the tactical markings I stuck to the RNZAF practice of applying just a simple number or letter code to frontline aircraft instead of full RAF-style letter codes. The latter were used only on aircraft based on home soil, since the RNZAF’s frontline units had a different organization with an aircraft pool allocated to the squadrons. Through maintenance these circulated and were AFAIK not rigidly attached to specific units, hence there was no typical two-letter squadron code applied to them, just single ID letters or numbers, and these were typically painted on the aircraft nose and/or the fin, not on the fuselage next to the roundel. The nose art under the cockpit is a mix of markings from P-40s and F4Us.

 

The white ID bands on fuselage and wings are simple white decal strips from TL-Modellbau. While this, together with the all-white tail, might be overdone and outdated towards mid-1945, I gave the Kiwi-Mustang some extra markings for a more exciting look – and the aircraft’s profile actually reminds a lot of the Ki-61, so that they definitely make sense.

 

Towards the finish line, some additional dry-brushing with grey and silver was done, soot stains were added with graphite to the exhaust areas and the machine gun ports, and the model was finally sealed with matt acrylic varnish.

  

After the recent, massive YA-14 kitbashing project, this Mustang was – despite some challenges of the RS Models kit itself – a simple and quick “relief” project, realized in just a couple of days. Despite being built OOB, the result looks quite exotic, both through the paint scheme with RNZAF colors, but also through the unusual roundels and the striking ID markings (for a Mustang). I was skeptical at first, but the aircraft looks good and the camouflage in RNZAF colors even proved to be effective when set into the right landscape context (beauty pics).

Le métro de Paris est un des systèmes de transport en commun desservant la ville de Paris et son agglomération. Exploité par la Régie autonome des transports parisiens (RATP), il comporte seize lignes en site propre, essentiellement souterraines, totalisant près de 220 kilomètres. Devenu un des symboles de Paris, il se caractérise par la densité de son réseau au cœur de Paris et par son style architectural homogène influencé par l’Art nouveau. En 2012, le métro a transporté 5,23 millions de voyageurs par jour en moyenne.

 

La première ligne du métro de Paris a été construite à l'approche de l’Exposition universelle de 1900. Elle est inaugurée quelques mois après le début de l'exposition. Le réseau s’est ensuite rapidement densifié dans Paris intra-muros jusqu’à la Seconde Guerre mondiale. Après une pause durant les « décennies-voiture » (1950-1970), plusieurs lignes existantes ont été prolongées en proche banlieue. Les choix effectués à sa conception (faibles distances entre les stations, capacité réduite des rames) limitent aujourd’hui les possibilités d’extension du réseau. Le métro de Paris a cependant inauguré à la fin du siècle dernier une nouvelle ligne entièrement automatisée, la ligne 14, destinée notamment à soulager la ligne A du RER.

 

La desserte de Paris et de son agglomération est également assurée par d’autres moyens de transport en commun : le Réseau express régional d'Île-de-France (RER) (451 millions de voyageurs en 2006 sur le réseau RER RATP), le Transilien (réseau de trains de banlieue, 655 millions de voyageurs incluant le réseau RER SNCF), sept lignes de tramway en site propre (85 millions de voyageurs dans sa configuration de 2006), le réseau de bus (997 millions de voyageurs en 2006) ainsi que trois lignes qui assurent une desserte locale des aéroports en utilisant un véhicule automatique léger (VAL).

 

Source: Wikipédia

 

Betelnut girls (Binlang Xi Shi/檳榔西施) are a unique part of Taiwan culture. They sit in brightly-decorated glass booths wearing skimpy outfits, and sell cigarettes, drinks and betelnut to passing drivers. It’s a controversial trade but not actually illegal. The question of whether the girls are exploited is open to debate – certainly their own perception is mostly that they are doing a job like any other, and the less they choose to wear, the more they sell. For more info, see en.wikipedia.org/wiki/Betel_nut_beauty and follow the links to the video and pictures.

© Tobie Openshaw. If you wish to use this image, (for any purpose - yes, even if you just want to link to it from your blog) please contact me at topenshaw@hotmail.com

 

Sheep grazing in a peat field next to a mountain in Ireland.

 

Peat is an accumulation of partially decayed vegetation matter. Peat forms in wetlands or peatlands, variously called bogs, moors, muskegs, pocosins, mires, and peat swamp forests.

 

Peat deposits are found in many places around the world, notably in Russia, Ireland, Finland, Estonia, Scotland, Poland, northern Germany, the Netherlands and Scandinavia, and in North America, principally in Canada, Michigan, the Florida Everglades, and California's Sacramento-San Joaquin River Delta. Approximately 60% of the world's wetlands are peat. Peatlands cover a total of around 3% of global land mass or 3,850,000 to 4,100,000 km². About 7% of this total has been exploited for agriculture and forestry, with significant environmental repercussions. Under proper conditions, peat will turn into lignite coal over geologic periods of time.

 

Peat forms when plant material, usually in marshy areas, is inhibited from decaying fully by acidic and anaerobic conditions. It is composed mainly of peat moss or sphagnum, but may also include other marshland vegetation: trees, grasses, fungi, as well as other types of organic remains, such as insects, and animal corpses. Under certain conditions, the decomposition of the latter (in the absence of oxygen) is inhibited, and archaeologists often take advantage of this.

 

Peat layer growth and the degree of decomposition (or humification) depends principally on its composition and on the degree of waterlogging. Peat formed in very wet conditions will grow considerably faster, and be less decomposed, than that in drier places. This allows climatologists to use peat as an indicator of climatic change. The composition of peat can also be used to reconstruct ancient ecologies by examining the types and quantities of its organic elements.

 

Under the right conditions, peat is the earliest stage in the formation of coal. Most modern peat bogs formed in high latitudes after the retreat of the glaciers at the end of the last ice age some 9,000 years ago. They usually grow slowly, at the rate of about a millimetre per year.

 

The peat in the world's peatlands has been forming for 360 million years and contains 550 Gt of carbon.

 

Peat is soft and easily compressed. Under pressure, water in the peat is forced out. Upon drying, peat can be used as a fuel. It has industrial importance as a fuel in some countries, such as Ireland and Finland, where it is harvested on an industrial scale. In many countries, including Ireland and Scotland, where trees are often scarce, peat is traditionally used for cooking and domestic heating. Stacks of drying peat dug from the bogs can still be seen in some rural areas.

 

Peat is also dug into soil to increase the soil's capacity to retain moisture and add nutrients. This makes it important agriculturally, for farmers and gardeners. Its insulating properties make it of use to industry.

 

Peat fires are used to dry malted barley for use in Scotch whisky distillation. This gives Scotch whisky its distinctive smoky flavour, often called "peatiness" by its aficionados.

 

Although peat has many uses for humans, it also presents severe problems at times. When dry, it can be a major fire hazard, as peat fires can burn almost indefinitely (or at least until the fuel is exhausted), even underground, provided there is a source of oxygen. Peat deposits also pose major difficulties to builders of structures, roads and railways, as they are highly compressible under even small loads. When the West Highland Line was built across Rannoch Moor in western Scotland, its builders had to float the tracks on a mattress of tree roots, brushwood and thousands of tons of earth and ashes.

 

During prehistoric times, peat bogs had considerable ritual significance to Bronze Age and Iron Age peoples, who considered them to be home to (or at least associated with) nature gods or spirits. The bodies of the victims of ritual sacrifices have been found in a number of locations in England, Ireland, and especially northern Germany and Denmark, almost perfectly preserved by the tanning properties of the acidic water. (See Tollund Man for one of the most famous examples of a bog body).

 

Peat wetlands formerly had a degree of metallurgical importance as well. During the Dark Ages, peat bogs were the primary source of bog iron, used to create the swords and armour of the Vikings.

 

Many peat swamps along the coast of Malaysia serve as a natural means of flood mitigation. The peat swamps serve like a natural form of water catchment whereby any overflow will be absorbed by the peat. However, this is effective only if the forests are still present, since they prevent peat fires.

 

Peat is also an important raw material in horticulture, and it is used in medicine and balneology to produce filters, textiles etc.

 

Peat is sometimes used in freshwater aquaria, most commonly in soft water or blackwater river systems, such as those mimicking the Amazon River basin. In addition to being soft in texture and therefore suitable for demersal (bottom-dwelling) species such as Corydoras catfish, peat is reported to have a number of other beneficial functions in freshwater aquaria. It softens water by acting as an ion exchanger, it contains substances good for plants and for the reproductive health of fishes, and can even prevent algae growth and kill microorganisms. Peat often stains the water yellow or brown due to the leaching of tannins.

 

Peat is also used in cosmetic treatments, because they contain humic acids, which are able to absorb through skin and boost metabolism.

 

In Ireland, large-scale domestic and industrial peat usage is widespread. A state-owned company called Bord na Móna is responsible for managing peat production. It produces milled peat which is used in power stations. It sells processed peat fuel in the form of peat briquettes which are used for domestic heating. These are oblong bars of densely compressed, dried and shredded peat. Briquettes are largely smokeless when burned in domestic fireplaces and as such are widely used in Irish towns and cities where burning non-smokeless coal is banned. Peat moss is a manufactured product for use in garden cultivation. Turf (dried out peat sods) is no longer commonly used for home heating in Ireland, though it is still used, especially in rural areas.

 

Because of the challenging ecological conditions of peat wetlands, they are home to many rare and specialised organisms that are found nowhere else. Some environmental organisations and scientists have pointed out that the large-scale removal of peat from bogs in Britain, Ireland and Finland is destroying wildlife habitats. It takes centuries for a peat bog to regenerate.

 

Recent studies indicate that the world's largest peat bog, located in Western Siberia and the size of France and Germany combined, is thawing for the first time in 11,000 years. As the permafrost melts, it could release billions of tonnes of methane gas into the atmosphere, greatly exacerbating global warming. Such discoveries are causing climate scientists to have to revise upwards their estimates of the rate of increase in global temperatures.

 

The world's peatlands are thought to contain 180 to 455 petagrams of sequestered carbon, and they release into the atmosphere 20 to 45 teragrams of methane annually. The peatlands' contribution to long-term fluctuations in these atmospheric gases has been a matter of considerable debate.

 

Peat has a high carbon content and can burn under low moisture conditions. Once ignited by the presence of a heat source (e.g. a wildfire penetrating the subsurface), it smoulders. These smouldering fires can burn undetected for very long periods of time (months, years and even centuries) propagating in a creeping fashion through the underground peat layer. Peat fires are emerging as a global threat with significant economic, social and ecological impacts. Recent burning of peat bogs in Indonesia, with their large and deep growths containing more than 50 billion tons of carbon, has contributed to increases in world carbon dioxide levels. Peat deposits in southeast Asia could be destroyed by 2040.

 

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 4

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

Lien TC Infos : tc-infos.fr/id/35158

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

Little did I realise when my partner and I were having photographic fun amongst the oak trees, taking photo's of ourselves pretending to be the Green Man or Green Woman, that I would be using this particular image in an effort to save those very same trees. I wouldn't normally use flickr to air my grievances, social, political, religious or otherwise, but on this particular occasion I feel it necessary to do so.

 

As this shot was being taken, and unbeknown to me, the UK Government had put forward their plans to sell off to the highest bidder the rights of public ownership of our woodlands and forests (so far Wales, Scotland and Northern Ireland aren't involved…so far). They justify this action under the ethos of their current political agenda, which is to involve the public more in what goes on in our society thereby diminishing Government involvement or interference in our lives, or in their own words, 'Big Society!' rather than 'Big Government!'. All very admirable you might say but it's my personal belief, and it would appear to be many other people's also, that in this case it’s actually the window dressing to hide a very cynical ploy to divert the publics attention away from what this sale is truly about, a crude and incompetent attempt to make money fast to top up the Government coffers. Apparently, so we’re told, this sale is all for our benefit, local communities for instance, can get the chance own a wood, until, that is, they can't afford to run it year after year, and we then get to see woodlands sold, fenced off, cut down, bulldozed, built on with new luxury houses and new golf courses or charged entry fees to have access, the fact that it helps with the National Deficit is a bonus. That they want to sell back to us what we already own, I find particularly offensive and insulting. What they also conveniently forget to tell you is that today (Wednesday) in the House of Lords they start with their new underhanded strategy, which is to change the current laws which prevent them from selling off the truly big woodlands and forests like Sherwood Forest, The Forest of Dean and The New Forest, for they are the forests where the really big profits lie. It’s the same age old story, if a Government can't get its own way with the current laws, then it changes them so that it can!

 

But, the Government has been taken aback by the furore that's followed since the announcement. Everyone from the 'man and woman in the street' to environmental groups and experts, actors, artists, politicians(?), and even celebs (this is one band wagon I don't mind them jumping on!), have all joined in the increasing chorus of condemnation. In response, the Government is falling over itself to reassure us by saying that they will create new laws, regulations, standards, government watch-dogs, anything in fact to fool us into believing we're not losing a valuable asset forever. They say they'll give priority to charities, local communities and environmental organisations etc to have first bite of the woodland apple when the properties come up for sale. That'll be an interesting day at the woodland fire sale, for as a Forestry Commission spokesman quitely rightly said, it's one thing to buy some woodland but it's quite another thing to have the knowledge, tools and more importantly the finances to look after that woodland and to care for it practically year on year. As for private business/corporations being in ownership, they have two people to keep happy, their bank manager and their shareholder, and that means profit margins and making money. If it's Forestry Commission conifer plantations they buy, they can clear fell the mature trees and then wait around for a few years as younger trees come to maturity, so it's not a fast way to make money. If it's mixed deciduous woodland then it's full of trees that are massively in demand for expensive furniture and veneers for our kitchen units and tables etc, unfortunately, once you cut that lot down you will be waiting for many, many years before any newly planted trees come to maturity and profit. Either way, its a slow way to make money, unless, that is, you convert the actual land itself to other uses; golf courses, industrial units, luxury housing, private estates, Centre Parcs…you get the idea. In the current financial climate and for the foreseeable future what do you think will be going through their minds as they look at a plot woodland? These people literally can't see the wood for the cash! The Forestry Commission is not perfect, not by a long mark but surely it's better to fix it than let the Government sell it off to line their own pockets. Better the devil you know, and can redeem, than the devil you don't. Once the current form of public ownership is broken up piecemeal, we've lost it all.

 

So, you ask, what's the point of this post then, you depressing bugger, Tony? The point is, I'm asking that you, the British person reading this, to just say, NO! No, to the Government selling off OUR woodland. No, to the short term profit gains and long term environmental and social losses. No, to them depriving us access to something that is currently free, to something that heals and mends us just by being there. No, to the destruction of wildlife habitats and the death of trees, flowers, animals, insects, fungi...all those innocents in this human folly. The word ‘No’ is a simple word, just two letters, but it’s also one of the most powerful words in the world. By saying ‘No!’ to their plans you’re saying ‘Yes!’ to life, ‘Yes!’ for the future of our children and nature. If enough people speak with one voice they will be heard, they will be listened to.

 

Personally, as a lover of nature in all its forms and manifestations, and as a photographer who loves to try and capture its awesome beauty, I feel sick to my gut that one day I might not be able to gain entry to my favourite woodland or worse still see it and others chopped down, destroyed for the sake of a profit margin, or stand on the other side of the fence and watch the privileged few enjoy what was once everyones pleasure, especially so if it was because I did nothing to stop it. I don't know about anybody else but as a photographer I just can’t sit on my hands and not give something back to the woodland that has given me so many photographs. But, and more importantly for me as a human being, it’s not just the photographs it’s also all the magical experiences that I’ve had in the woods, the moments that made my skin tingle with excitement and anticipation, the awe inspiring sights that have burned themselves into my eyeballs and memories, it's the countless times I’ve had my soul touched and healed by the innocent gaze of a deer, fox or blackbird, by the shafts of light on misty mornings, by the rustle of autumn leaves talking with the wind as the sun goes down, or standing in awe listening to bird song so insanely musical that it brings a lump to my throat and makes my heart leap with joy, and then... and then there are the soft, deep silences in between those songs, that penetrate my body and tremble my soul with their touch, and speak without words of profound mysteries... When I think of all those things that I’ve been given freely, is it really too much for the woods and all the living things therein to ask that I help them in their time of need?

 

So that's what I'm doing, I'm helping them because I choose to owe them that help, and I'm asking you to choose to help them too. There are two things you can do; 1) Sign the national on-line petition at this address, www.38degrees.org.uk/save-our-forests - nearly 400,000 people have signed it so far. 2) Take 5 or 10 minutes to log on to your MP's website and write to them telling them of your outrage at their plans, and what you WANT them to do about it, or just say whatever's within your heart to say. Don’t leave it for somebody else to do. If you're reading this then you DO have the time to do those two important but simple actions. As you sit there in front of your screen, enjoying your own space and doing what you want to do, ask yourself, which is more important, saving the woodland you love and photograph or clicking onto another stream, another photograph, making another comment. You don't have to worry, those things will continue to be there for you to do night after night but one day that woodland you photograph may not be…unless right now you just take a 10 minute time out and give a tree a hug by signing the petition and writing to your MP. And if you feel particularly pro-active there are many groups out there to lend your support to, lots of websites to view so you can get the real facts about this proposal rather than the Government propaganda, or you could even start up your own group or a website, as a 17 yr old teenager has just done near to me, or join a march…so go on, do something, if nothing else you could at least scare an MP to death by expressing your unwillingness to vote for them at the next election unless they stop this madness! We must all say No! to the faceless bureaucrats and career politicians who would deprive us and future generations from the simple and free pleasure of OUR woodlands.

 

I’ve gone on a bit, and I’ve probably bored people who don’t give a damn, or annoyed those that inexplicably agree with the sale but, I really don’t care if I have. I don’t care because nature is far more important to me than ruffling someone’s feathers or hurting someone’s feelings. The line has to be drawn somewhere, let’s draw it together. Remember, if enough people speak with one voice they will be heard, they will be listened to!

 

UPDATE We have won the battle against the sell-offs of our woods and forests but we may lose the war to save our countryside. The Government are still determined to press ahead with their exploitation and destruction of our countryside for the benefit of a rich, powerful elite and big business. They are now proposing via DEFRA a new concept of Biodiversity Offsetting whereby developers (housing and industrial) can come and cut our woods down, fill in ponds and lakes, build on heathland and village greens etc as long as they compensate for it by creating something 'green' to replace that which they destroyed. The thing is, how do you replace an environment that's taken hundreds or thousands of years to develop and grow? How do you uproot a woodland and transpose it to another site as one Tory Minister suggested? Are these people truly clueless, incompetent idiots with regards to nature and the environment? Judging by the statements that come out of their arrogant, condescending mouths, they are. They are prepared to say anything as a smokescreen to hide what they really want and to hide what's being done behind closed doors, even if it makes them seem idiots, as was the case when this government of profiteering parasites changed the planning laws to enable their financial backers, the developers and construction companies, total free rein over our countryside.

 

Owen Paterson Tory MP (Secretary of State for Environment, Food and Rural Affairs, supporter of the badger cull and GM foods) and Eric Pickles Tory MP (Secretary of State for Communities and Local Government, and the man who rubber stamps through any and all planning applications regardless of local opinions) have been working hard behind our backs to ensure that once again they and their supporters get what they want. Yet again the promises of David Cameron have been shown to be lies, just statements to con the public with in order to win votes and stay in power. Whatever happened to the 'Big Society', 'the greenest Party ever', 'local people deciding what's best for their local communities' and God knows how many more shallow sound-bites? There's no point expecting the Liberal Party to do anything, they just keep quiet and hang onto the apron strings of the Tories in a bid to stay in power.

 

What we as the people of this country want, and what politicians and big business want, are two totally different things, and right now the rich, ivory towered elite of politicians and big business are winning. I wonder what our children and future generations will think of us if we don't stop the destruction of this once beautiful country? They will probably wonder why we chose to watch the X Factor rather than the Axe Factor.

 

One last thing! DEFRA have announced that they have no money for at least 2 years to plant any more trees, and there are even doubts about whether they'll have any after that. Strange that they have more than enough money to pay gunmen to kill badgers, though!

1 UNCOMPROMISING IMAGE QUALITY

 

2 COMPATIBILITY AS A MATTER OF PRINCIPLE

 

3 ENDURING PERFORMANCE AND VALUE

 

4 SILENCE AND DISCRETION

 

5 SPEED AND FLEXIBILITY

 

6 COMPLETE CONTROL OF ALL PICTURE PARAMETERS

 

With its extremely high-resolution image sensor in full-frame 35-mm format and cutting-edge image-processing system, the Leica M9 is uncompromisingly dedicated to capturing images of the very highest quality. The photographer may choose between image storage in JPEG format for fast processing, or as raw data in DNG format that supports a multitude of post-processing options. Alternatively, both formats may be stored simultaneously. In the DNG format, photo- graphers may also choose between a compressed, but faster and greater space-saving option, or an uncompressed version that preserves maximum image quality.

 

Of course the Leica M9 offers photographers access to the complete Leica M lens system lenses, long acclaimed by experts and users as the best in the world. Its development began in 1954, and the M-System has been continually advanced and improved ever since. The high-resolution, full-format image sensor of the M9 fully exploits the performance of legendary Leica lenses from corner to corner.

 

It is hardly unusual that a Leica, once owned, becomes a lifelong companion. This also applies to the digital M9: Its closed, full-metal housing, crafted from a high-strength magnesium alloy, and its top deck and bottom plate machined from large blocks of brass, provide perfect protec- tion for its precious inner mechanisms. The digital components and shutter assembly of the M9 are similarly constructed with endurance in mind. Free firmware updates ensure that the camera benefits from the latest technology. In short: The Leica M9 is an investment for a lifetime.

 

Discretion and unobtrusiveness are particular strengths of the M-system. In operation, the shutter of the M9 is as quiet as a whisper. An extremely low noise level when cocking the shutter is ensured by a sophisticated motor and gearing system. In discreet mode, the shutter is only cocked after the photographer‘s finger is lifted from the shutter release button when, for instance, the camera is concealed under a jacket. When shooting handheld at long exposure times, or whenever extreme steadiness is essential, slight pressure on the shutter release button in ‘soft release’ mode is sufficient to trigger the camera. In addition to these advantages, the fact that the combination of camera and lens is significantly more compact than any other full-frame camera system contributes to the fact that M photographers are frequently unnoticed and often simply blend into the background.

 

The Leica M9 adapts to its intended uses in a seamlessly flexible manner. Its sensitivity ranges from ISO 80 for wide-open apertures on bright days to ISO 2500 for low-light image capture. Very low noise levels and finely detailed images are achieved throughout the sensitivity range, even at the highest ISO settings. Very low image noise characteristics, an extremely bright viewfinder/rangefinder, low-vibration shutter and the availability of super fast lenses make the M9 the perfect camera for available-light photography.

 

The Leica M9 aids photographers with automatic functions whenever they’re required, but it never dictates how to shoot or interferes with the picture-taking process. Depending on the light level, the automatic ISO shift function increases the sensitivity of the camera as soon as the shutter speed falls below a hand-holdable value. At the same time, it also limits the shift to a maximum value determined by the photographer. This means that correct exposure without camera shake and the lowest possible sensitivity is always available to guarantee the best possible image quality in all situations. In addition, the M9 also offers automatic exposure bracketing with a user-selectable number of shots and exposure increments. This function ensures that even high-contrast subjects are perfectly captured.

 

Like every M camera of the past half century, the M9 is concentrated, by design, on the most photographically relevant functions. Its manual focusing – based on the combined viewfinder and rangefinder concept – and aperture priority exposure mode enable photographers to achieve maximum creative expression without imposing any limitations on their creative freedom. In combination with the 2.5-inch LCD monitor on the back, the simple, intuitive menu navigation system controlled by only a few buttons ensures rapid access to the entire range of camera functions.

     

7 FULL FRAME 24 × 36 MM – WITHOUT ANY COMPROMISES

 

8 OPTIMIZED SENSOR

 

9 INTUITIVE CONTROLS

 

10 ALL INFORMATION AT THE PUSH

OF A BUTTON

 

The CCD image sensor in the M9 was specifically designed and developed for this camera and offers full 35-mm film format without any compromises. All M lenses mounted on the M9 offer the same exact angle of view they had when shooting film material and therefore can now be used to an optimum effect. In other words, all the outstanding characteristics of Leica M lenses are now fully maintained for digital photography as well. In short, the high resolution and superior image quality of the M9 has the ability to fully exploit the enormous potential of M lenses.

 

In the case of the M9, it wasn’t a matter of modifying the lenses to match the image sensor, but rather the other way around. Our dedication to further developing the image sensor has resulted in a component perfectly matched to its intended role in the very compact M-System as well as to the performance of M lenses. The special layout of the micro lenses found in the M9 sensor makes it tolerant of oblique light rays impinging on its surface, thus assuring uniform exposure and extreme sharpness from corner to corner in every image. As a result, future Leica M lenses can be designed and optimized with uncompromising dedication to the achievement of the highest performance and compact construction. A newly developed sensor filter ensures the suppression of undesirable infrared light. The conscious decision to do without a moiré filter, a cause of image deterioration through loss of resolution, ensures maximum resolution of fine detail. The optimized signal-noise ratio of the CCD image sensor reduces the need for digital post-processing and ensures that M9 images possess an unrivaled and natural visual impact.

 

The key control element of the M9 is an intuitive four-way switch and dial combination used in conjunction with the 2.5-inch LCD monitor on the back. To set the ISO sensitivity, simply maintain light pressure on the ISO button while simultaneously turning the dial to select the required setting. All other functions important for everyday situations are quickly and easily accessible by pressing the set button: white balance, image-data compression, resolution, exposure correction, exposure bracketing, and programmable user profiles. The user profiles can be programmed with any combination of camera and shooting settings, stored under an assigned name, and accessed quickly whenever required for a particular situation. An additional pre-defined snapshot profile is also available. In snapshot mode, the M9 automa- tically sets as many settings as possible, thus providing a valuable aid to spontaneous and discreet photography. All other functions – from automatic lens recognition via six-bit lens- mount coding and selection of the required color space to cleaning of the sensor – are easily found in the clearly arranged main camera menu.

Pressing the “info” button in shooting mode displays the precise charge level of the battery, the remaining number of frames on the installed memory card, and the most important basic shooting settings, for example the shutter speed, on the camera’s brilliant 2.5-inch LCD monitor. In image-view mode, users can switch between an image-only view (with a zoom option up to single pixel level) or access other information by simply turning the dial. The available data includes information on the ISO sensitivity setting and shutter speed in use, plus a precise histogram display.

The Leica M9 embodies the heritage and amassed experience of more than five decades of the M-System. It is also, simultaneously, a digital system camera at the absolute pinnacle of modern technology. For Leica designers, photography has always been their prime concern – whether film or digital. The combination of an extremely efficient image sensor, the latest digital components, and the classic viewfinder/rangefinder principle – consistently optimized over many years – make the Leica M9 absolutely unique in all the world.

   

1

WORKFLOW SOFTWARE IS INCLUDED

The digital image processing workflow solution Adobe® Photoshop® Lightroom® is included in the M9 package.

The M9 is supplied complete with Adobe® Photoshop® Lightroom®, a professional digital work- flow solution for Apple Mac® OS X and Microsoft Windows®. The software is available as a free of charge online download for all Leica M9 customers. This also ensures that the latest release is always readily available. Adobe® Photoshop® Lightroom® offers a vast range of functions for the administration, processing, and exporting of digital images. If the images from the M9 are saved as raw data in the standardized and future-proof Adobe Digital Negative Format (DNG), then the sophisticated and precise processing options of Adobe® Photoshop® Lightroom® guarantee direct and extremely high-quality image processing with maximum image quality. At the same time, the 16-bit per channel color information captured by the image sensor is maintained throughout the processing workflow from image import to image export, ensuring that the most delicate tonal differentiations are preserved in maximum quality after completion of the post-processing sequence.

The Leica M9 can display a precise RGB tonal value histogram of the captured image after each shot, and also offers optional integration of the histogram in the automatic image view display. The clipping warning display over- and underexposed zones in each image, warning the photographer of potentially unusable images. An innovative feature is that the histogram is recalculated every time a new part of the image is viewed, thus enabling a precise quality assessment of small image areas and even the finest image details.

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Eiffel Tower

From Wikipedia, the free encyclopedia

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This article is about the landmark in Paris, France. For other uses, see Eiffel Tower (disambiguation).

"300-metre tower" and "Tour Eiffel" redirect here. For other tall towers, see List of tallest towers. For other uses, see Tour Eiffel (disambiguation).

The Eiffel Tower

La tour Eiffel

Tour Eiffel Wikimedia Commons.jpg

Seen from the Champ de Mars

Wikimedia | © OpenStreetMap

Record height

Tallest in the world from 1889 to 1930[I]

General information

TypeObservation tower

Broadcasting tower

Location7th arrondissement, Paris, France

Coordinates48°51′29.6″N 2°17′40.2″ECoordinates: 48°51′29.6″N 2°17′40.2″E

Construction started28 January 1887; 134 years ago

Completed15 March 1889; 132 years ago

Opening31 March 1889; 132 years ago

OwnerCity of Paris, France

ManagementSociété d'Exploitation de la Tour Eiffel (SETE)

Height

Architectural300 m (984 ft)[1]

Tip324 m (1,063 ft)[1]

Top floor276 m (906 ft)[1]

Technical details

Floor count3[2]

Lifts/elevators8[2]

Design and construction

ArchitectStephen Sauvestre

Structural engineerMaurice Koechlin

Émile Nouguier

Main contractorCompagnie des Etablissements Eiffel

Website

toureiffel.paris/en

References

I. ^ Eiffel Tower at Emporis

File:Eiffel Tower Drone 4k-Qx c1X3zfEc-313-251.webm

Eiffel Tower Drone

The Eiffel Tower (/ˈaɪfəl/ EYE-fəl; French: tour Eiffel [tuʁ‿ɛfɛl] (About this soundlisten)) is a wrought-iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower.

 

Locally nicknamed "La dame de fer" (French for "Iron Lady"), it was constructed from 1887 to 1889 as the entrance to the 1889 World's Fair and was initially criticised by some of France's leading artists and intellectuals for its design, but it has become a global cultural icon of France and one of the most recognisable structures in the world.[3] The Eiffel Tower is the most visited monument with an entrance fee in the world; 6.91 million people ascended it in 2015.

 

The tower is 324 metres (1,063 ft) tall, about the same height as an 81-storey building, and the tallest structure in Paris. Its base is square, measuring 125 metres (410 ft) on each side. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until the Chrysler Building in New York City was finished in 1930. It was the first structure in the world to surpass both the 200-metre and 300-metre mark in height. Due to the addition of a broadcasting aerial at the top of the tower in 1957, it is now taller than the Chrysler Building by 5.2 metres (17 ft). Excluding transmitters, the Eiffel Tower is the second tallest free-standing structure in France after the Millau Viaduct.

 

The tower has three levels for visitors, with restaurants on the first and second levels. The top level's upper platform is 276 m (906 ft) above the ground – the highest observation deck accessible to the public in the European Union. Tickets can be purchased to ascend by stairs or lift to the first and second levels. The climb from ground level to the first level is over 300 steps, as is the climb from the first level to the second. Although there is a staircase to the top level, it is usually accessible only by lift.

  

Contents

1History

1.1Origin

1.2Artists' protest

1.3Construction

1.3.1Lifts

1.4Inauguration and the 1889 exposition

1.5Subsequent events

2Design

2.1Material

2.2Wind considerations

2.3Accommodation

2.4Passenger lifts

2.5Engraved names

2.6Aesthetics

2.7Maintenance

3Tourism

3.1Transport

3.2Popularity

3.3Restaurants

4Replicas

5Communications

5.1FM radio

5.2Digital television

6Illumination copyright

7Height changes

8Taller structures

8.1Lattice towers taller than the Eiffel Tower

8.2Structures in France taller than the Eiffel Tower

9See also

10References

10.1Notes

10.2Bibliography

11External links

History

Origin

The design of the Eiffel Tower is attributed to Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel. It was envisioned after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a world's fair to celebrate the centennial of the French Revolution. Eiffel openly acknowledged that inspiration for a tower came from the Latting Observatory built in New York City in 1853.[4] In May 1884, working at home, Koechlin made a sketch of their idea, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals".[5] Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of the company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments.

  

First drawing of the Eiffel Tower by Maurice Koechlin including size comparison with other Parisian landmarks such as Notre Dame de Paris, the Statue of Liberty and the Vendôme Column

The new version gained Eiffel's support: he bought the rights to the patent on the design which Koechlin, Nougier, and Sauvestre had taken out, and the design was put on display at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise

[n]ot only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude.[6]

 

Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade. A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel's design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars.[6] (A 300-metre tower was then considered a herculean engineering effort). On 12 May, a commission was set up to examine Eiffel's scheme and its rivals, which, a month later, decided that all the proposals except Eiffel's were either impractical or lacking in details.

 

After some debate about the exact location of the tower, a contract was signed on 8 January 1887. Eiffel signed it acting in his own capacity rather than as the representative of his company, the contract granting him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.[7]

 

Artists' protest

 

Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids, published in Le Temps, February 14, 1887.

The proposed tower had been a subject of controversy, drawing criticism from those who did not believe it was feasible and those who objected on artistic grounds. Prior to the Eiffel Tower's construction, no structure had ever been constructed to a height of 300 m, or even 200 m for that matter,[8] and many people believed it was impossible. These objections were an expression of a long-standing debate in France about the relationship between architecture and engineering. It came to a head as work began at the Champ de Mars: a "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the arts, such as William-Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet. A petition called "Artists against the Eiffel Tower" was sent to the Minister of Works and Commissioner for the Exposition, Adolphe Alphand, and it was published by Le Temps on 14 February 1887:

 

We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection … of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal.[9]

  

A calligram by Guillaume Apollinaire

Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian pyramids: "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way? And why would something admirable in Egypt become hideous and ridiculous in Paris?"[10] These criticisms were also dealt with by Édouard Lockroy in a letter of support written to Alphand, sardonically saying,[11] "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell this protest is the result of collaboration of the most famous writers and poets of our time", and he explained that the protest was irrelevant since the project had been decided upon months before, and construction on the tower was already under way.

 

Indeed, Garnier was a member of the Tower Commission that had examined the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"[12]

 

Some of the protesters changed their minds when the tower was built; others remained unconvinced.[13] Guy de Maupassant supposedly ate lunch in the tower's restaurant every day because it was the one place in Paris where the tower was not visible.[14]

 

By 1918, it had become a symbol of Paris and of France after Guillaume Apollinaire wrote a nationalist poem in the shape of the tower (a calligram) to express his feelings about the war against Germany.[15] Today, it is widely considered to be a remarkable piece of structural art, and is often featured in films and literature.

 

Construction

 

Foundations of the Eiffel Tower

Work on the foundations started on 28 January 1887.[16] Those for the east and south legs were straightforward, with each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg. The west and north legs, being closer to the river Seine, were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[17] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block of limestone with an inclined top to bear a supporting shoe for the ironwork.

 

Each shoe was anchored to the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were completed on 30 June, and the erection of the ironwork began. The visible work on-site was complemented by the enormous amount of exacting preparatory work that took place behind the scenes: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed.[18] The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 1 mm (0.04 in) and angles worked out to one second of arc.[19] The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from a factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, with the bolts being replaced with rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit, it was sent back to the factory for alteration. In all, 18,038 pieces were joined together using 2.5 million rivets.[16]

 

At first, the legs were constructed as cantilevers, but about halfway to the first level construction was paused to create a substantial timber scaffold. This renewed concerns about the structural integrity of the tower, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel Has Gone Mad: He Has Been Confined in an Asylum" appeared in the tabloid press.[20] At this stage, a small "creeper" crane designed to move up the tower was installed in each leg. They made use of the guides for the lifts which were to be fitted in the four legs. The critical stage of joining the legs at the first level was completed by the end of March 1888.[16] Although the metalwork had been prepared with the utmost attention to detail, provision had been made to carry out small adjustments to precisely align the legs; hydraulic jacks were fitted to the shoes at the base of each leg, capable of exerting a force of 800 tonnes, and the legs were intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold. Although construction involved 300 on-site employees,[16] due to Eiffel's safety precautions and the use of movable gangways, guardrails and screens, only one person died.[21]

  

18 July 1887:

The start of the erection of the metalwork

   

7 December 1887:

Construction of the legs with scaffolding

   

20 March 1888:

Completion of the first level

   

15 May 1888:

Start of construction on the second stage

   

21 August 1888:

Completion of the second level

   

26 December 1888:

Construction of the upper stage

   

15 March 1889:

Construction of the cupola

 

Lifts

 

The Roux, Combaluzier & Lepape lifts during construction. Note the drive sprockets and chain in the foreground.

Equipping the tower with adequate and safe passenger lifts was a major concern of the government commission overseeing the Exposition. Although some visitors could be expected to climb to the first level, or even the second, lifts clearly had to be the main means of ascent.[22]

 

Constructing lifts to reach the first level was relatively straightforward: the legs were wide enough at the bottom and so nearly straight that they could contain a straight track, and a contract was given to the French company Roux, Combaluzier & Lepape for two lifts to be fitted in the east and west legs.[23] Roux, Combaluzier & Lepape used a pair of endless chains with rigid, articulated links to which the car was attached. Lead weights on some links of the upper or return sections of the chains counterbalanced most of the car's weight. The car was pushed up from below, not pulled up from above: to prevent the chain buckling, it was enclosed in a conduit. At the bottom of the run, the chains passed around 3.9 m (12 ft 10 in) diameter sprockets. Smaller sprockets at the top guided the chains.[23]

  

The Otis lifts originally fitted in the north and south legs

Installing lifts to the second level was more of a challenge because a straight track was impossible. No French company wanted to undertake the work. The European branch of Otis Brothers & Company submitted a proposal but this was rejected: the fair's charter ruled out the use of any foreign material in the construction of the tower. The deadline for bids was extended but still no French companies put themselves forward, and eventually the contract was given to Otis in July 1887.[24] Otis were confident they would eventually be given the contract and had already started creating designs.[citation needed]

 

The car was divided into two superimposed compartments, each holding 25 passengers, with the lift operator occupying an exterior platform on the first level. Motive power was provided by an inclined hydraulic ram 12.67 m (41 ft 7 in) long and 96.5 cm (38.0 in) in diameter in the tower leg with a stroke of 10.83 m (35 ft 6 in): this moved a carriage carrying six sheaves. Five fixed sheaves were mounted higher up the leg, producing an arrangement similar to a block and tackle but acting in reverse, multiplying the stroke of the piston rather than the force generated. The hydraulic pressure in the driving cylinder was produced by a large open reservoir on the second level. After being exhausted from the cylinder, the water was pumped back up to the reservoir by two pumps in the machinery room at the base of the south leg. This reservoir also provided power to the lifts to the first level.[citation needed]

 

The original lifts for the journey between the second and third levels were supplied by Léon Edoux. A pair of 81 m (266 ft) hydraulic rams were mounted on the second level, reaching nearly halfway up to the third level. One lift car was mounted on top of these rams: cables ran from the top of this car up to sheaves on the third level and back down to a second car. Each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway by means of a short gangway. The 10-ton cars each held 65 passengers.[25]

 

Inauguration and the 1889 exposition

 

View of the 1889 World's Fair

The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower.[13] Because the lifts were not yet in operation, the ascent was made by foot, and took over an hour, with Eiffel stopping frequently to explain various features. Most of the party chose to stop at the lower levels, but a few, including the structural engineer, Émile Nouguier, the head of construction, Jean Compagnon, the President of the City Council, and reporters from Le Figaro and Le Monde Illustré, completed the ascent. At 2:35 pm, Eiffel hoisted a large Tricolour to the accompaniment of a 25-gun salute fired at the first level.[26]

 

There was still work to be done, particularly on the lifts and facilities, and the tower was not opened to the public until nine days after the opening of the exposition on 6 May; even then, the lifts had not been completed. The tower was an instant success with the public, and nearly 30,000 visitors made the 1,710-step climb to the top before the lifts entered service on 26 May.[27] Tickets cost 2 francs for the first level, 3 for the second, and 5 for the top, with half-price admission on Sundays,[28] and by the end of the exhibition there had been 1,896,987 visitors.[3]

 

After dark, the tower was lit by hundreds of gas lamps, and a beacon sent out three beams of red, white and blue light. Two searchlights mounted on a circular rail were used to illuminate various buildings of the exposition. The daily opening and closing of the exposition were announced by a cannon at the top.[citation needed]

  

Illumination of the tower at night during the exposition

On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was made. There was also a pâtisserie.[citation needed]

 

At the top, there was a post office where visitors could send letters and postcards as a memento of their visit. Graffitists were also catered for: sheets of paper were mounted on the walls each day for visitors to record their impressions of the tower. Gustave Eiffel described some of the responses as vraiment curieuse ("truly curious").[29]

 

Famous visitors to the tower included the Prince of Wales, Sarah Bernhardt, "Buffalo Bill" Cody (his Wild West show was an attraction at the exposition) and Thomas Edison.[27] Eiffel invited Edison to his private apartment at the top of the tower, where Edison presented him with one of his phonographs, a new invention and one of the many highlights of the exposition.[30] Edison signed the guestbook with this message:

To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

 

Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for radio telegraphy, it was allowed to remain after the expiry of the permit, and from 1910 it also became part of the International Time Service.[31]

 

Eiffel made use of his apartment at the top of the tower to carry out meteorological observations, and also used the tower to perform experiments on the action of air resistance on falling bodies.[32]

 

Subsequent events

File:Vue Lumière No 992 - Panorama pendant l'ascension de la Tour Eiffel (1898).ogv

Panoramic view during ascent of the Eiffel Tower by the Lumière brothers, 1898

File:Reichelt.ogv

Franz Reichelt's preparations and fatal jump from the Eiffel Tower

For the 1900 Exposition Universelle, the lifts in the east and west legs were replaced by lifts running as far as the second level constructed by the French firm Fives-Lille. These had a compensating mechanism to keep the floor level as the angle of ascent changed at the first level, and were driven by a similar hydraulic mechanism to the Otis lifts, although this was situated at the base of the tower. Hydraulic pressure was provided by pressurised accumulators located near this mechanism.[24] At the same time the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. The original lift in the south pillar was removed 13 years later.[citation needed]

 

On 19 October 1901, Alberto Santos-Dumont, flying his No.6 airship, won a 100,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St. Cloud to the Eiffel Tower and back in less than half an hour.[33]

 

Many innovations took place at the Eiffel Tower in the early 20th century. In 1910, Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are known today as cosmic rays.[34] Just two years later, on 4 February 1912, Austrian tailor Franz Reichelt died after jumping from the first level of the tower (a height of 57 m) to demonstrate his parachute design.[35] In 1914, at the outbreak of World War I, a radio transmitter located in the tower jammed German radio communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.[36] From 1925 to 1934, illuminated signs for Citroën adorned three of the tower's sides, making it the tallest advertising space in the world at the time.[37] In April 1935, the tower was used to make experimental low-resolution television transmissions, using a shortwave transmitter of 200 watts power. On 17 November, an improved 180-line transmitter was installed.[38]

 

On two separate but related occasions in 1925, the con artist Victor Lustig "sold" the tower for scrap metal.[39] A year later, in February 1926, pilot Leon Collet was killed trying to fly under the tower. His aircraft became entangled in an aerial belonging to a wireless station.[40] A bust of Gustave Eiffel by Antoine Bourdelle was unveiled at the base of the north leg on 2 May 1929.[41] In 1930, the tower lost the title of the world's tallest structure when the Chrysler Building in New York City was completed.[42] In 1938, the decorative arcade around the first level was removed.[43]

  

American soldiers watch the French flag flying on the Eiffel Tower, c. 25 August 1944

Upon the German occupation of Paris in 1940, the lift cables were cut by the French. The tower was closed to the public during the occupation and the lifts were not repaired until 1946.[44] In 1940, German soldiers had to climb the tower to hoist a swastika-centered Reichskriegsflagge,[45] but the flag was so large it blew away just a few hours later, and was replaced by a smaller one.[46] When visiting Paris, Hitler chose to stay on the ground. When the Allies were nearing Paris in August 1944, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order.[47] On 25 June, before the Germans had been driven out of Paris, the German flag was replaced with a Tricolour by two men from the French Naval Museum, who narrowly beat three men led by Lucien Sarniguet, who had lowered the Tricolour on 13 June 1940 when Paris fell to the Germans.[44]

 

A fire started in the television transmitter on 3 January 1956, damaging the top of the tower. Repairs took a year, and in 1957, the present radio aerial was added to the top.[48] In 1964, the Eiffel Tower was officially declared to be a historical monument by the Minister of Cultural Affairs, André Malraux.[49] A year later, an additional lift system was installed in the north pillar.[50]

 

According to interviews, in 1967, Montreal Mayor Jean Drapeau negotiated a secret agreement with Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company operating the tower out of fear that the French government could refuse permission for the tower to be restored in its original location.[51]

  

Base of the Eiffel Tower

In 1982, the original lifts between the second and third levels were replaced after 97 years in service. These had been closed to the public between November and March because the water in the hydraulic drive tended to freeze. The new cars operate in pairs, with one counterbalancing the other, and perform the journey in one stage, reducing the journey time from eight minutes to less than two minutes. At the same time, two new emergency staircases were installed, replacing the original spiral staircases. In 1983, the south pillar was fitted with an electrically driven Otis lift to serve the Jules Verne restaurant.[citation needed] The Fives-Lille lifts in the east and west legs, fitted in 1899, were extensively refurbished in 1986. The cars were replaced, and a computer system was installed to completely automate the lifts. The motive power was moved from the water hydraulic system to a new electrically driven oil-filled hydraulic system, and the original water hydraulics were retained solely as a counterbalance system.[50] A service lift was added to the south pillar for moving small loads and maintenance personnel three years later.[citation needed]

 

Robert Moriarty flew a Beechcraft Bonanza under the tower on 31 March 1984.[52] In 1987, A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the police.[53] On 27 October 1991, Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures while bungee jumping from the second floor of the tower. Facing the Champ de Mars, Devaux used an electric winch between figures to go back up to the second floor. When firemen arrived, he stopped after the sixth jump.[54]

  

The tower is the focal point of New Year's Eve and Bastille Day (14 July) celebrations in Paris.

For its "Countdown to the Year 2000" celebration on 31 December 1999, flashing lights and high-powered searchlights were installed on the tower. During the last three minutes of the year, the lights were turned on starting from the base of the tower and continuing to the top to welcome 2000 with a huge fireworks show. An exhibition above a cafeteria on the first floor commemorates this event. The searchlights on top of the tower made it a beacon in Paris's night sky, and 20,000 flashing bulbs gave the tower a sparkly appearance for five minutes every hour on the hour.[55]

 

The lights sparkled blue for several nights to herald the new millennium on 31 December 2000. The sparkly lighting continued for 18 months until July 2001. The sparkling lights were turned on again on 21 June 2003, and the display was planned to last for 10 years before they needed replacing.[56]

 

The tower received its 200,000,000th guest on 28 November 2002.[57] The tower has operated at its maximum capacity of about 7 million visitors per year since 2003.[58] In 2004, the Eiffel Tower began hosting a seasonal ice rink on the first level.[59] A glass floor was installed on the first level during the 2014 refurbishment.[60]

 

In 2016, during Valentine's Day, the performance UN BATTEMENT [61] by French artist Milène Guermont unfolds among the Eiffel Tower, the Montparnasse Tower and the contemporary artwork PHARES installed on the Place de la Concorde. This interactive pyramid-shaped sculpture allows the public to transmit the beating of their hearts thanks to a cardiac sensor. The Eiffel Tower and the Montparnasse Tower also light up to the rhythm of PHARES. This is the first time that the Eiffel Tower has interacted with a work of art.[citation needed]

 

Design

Material

 

The Eiffel Tower from below

The puddled iron (wrought iron) of the Eiffel Tower weighs 7,300 tonnes,[62] and the addition of lifts, shops and antennae have brought the total weight to approximately 10,100 tonnes.[63] As a demonstration of the economy of design, if the 7,300 tonnes of metal in the structure were melted down, it would fill the square base, 125 metres (410 ft) on each side, to a depth of only 6.25 cm (2.46 in) assuming the density of the metal to be 7.8 tonnes per cubic metre.[64] Additionally, a cubic box surrounding the tower (324 m × 125 m × 125 m) would contain 6,200 tonnes of air, weighing almost as much as the iron itself. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) due to thermal expansion of the metal on the side facing the sun.[65]

 

Wind considerations

When it was built, many were shocked by the tower's daring form. Eiffel was accused of trying to create something artistic with no regard to the principles of engineering. However, Eiffel and his team – experienced bridge builders – understood the importance of wind forces, and knew that if they were going to build the tallest structure in the world, they had to be sure it could withstand them. In an interview with the newspaper Le Temps published on 14 February 1887, Eiffel said:

 

Is it not true that the very conditions which give strength also conform to the hidden rules of harmony? … Now to what phenomenon did I have to give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be … will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[66]

 

He used graphical methods to determine the strength of the tower and empirical evidence to account for the effects of wind, rather than a mathematical formula. Close examination of the tower reveals a basically exponential shape.[67] All parts of the tower were overdesigned to ensure maximum resistance to wind forces. The top half was even assumed to have no gaps in the latticework.[68] In the years since it was completed, engineers have put forward various mathematical hypotheses in an attempt to explain the success of the design. The most recent, devised in 2004 after letters sent by Eiffel to the French Society of Civil Engineers in 1885 were translated into English, is described as a non-linear integral equation based on counteracting the wind pressure on any point of the tower with the tension between the construction elements at that point.[67]

 

The Eiffel Tower sways by up to 9 cm (3.5 in) in the wind.[69]

 

Accommodation

 

Gustave Eiffel's apartment

When originally built, the first level contained three restaurants – one French, one Russian and one Flemish — and an "Anglo-American Bar". After the exposition closed, the Flemish restaurant was converted to a 250-seat theatre. A promenade 2.6-metre (8 ft 6 in) wide ran around the outside of the first level. At the top, there were laboratories for various experiments, and a small apartment reserved for Gustave Eiffel to entertain guests, which is now open to the public, complete with period decorations and lifelike mannequins of Eiffel and some of his notable guests.[70]

 

In May 2016, an apartment was created on the first level to accommodate four competition winners during the UEFA Euro 2016 football tournament in Paris in June. The apartment has a kitchen, two bedrooms, a lounge, and views of Paris landmarks including the Seine, Sacré-Cœur, and the Arc de Triomphe.[71]

 

Passenger lifts

The arrangement of the lifts has been changed several times during the tower's history. Given the elasticity of the cables and the time taken to align the cars with the landings, each lift, in normal service, takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each level. The average journey time between levels is 1 minute. The original hydraulic mechanism is on public display in a small museum at the base of the east and west legs. Because the mechanism requires frequent lubrication and maintenance, public access is often restricted. The rope mechanism of the north tower can be seen as visitors exit the lift.[72]

 

Engraved names

Main article: List of the 72 names on the Eiffel Tower

 

Names engraved on the tower

Gustave Eiffel engraved on the tower the names of 72 French scientists, engineers and mathematicians in recognition of their contributions to the building of the tower. Eiffel chose this "invocation of science" because of his concern over the artists' protest. At the beginning of the 20th century, the engravings were painted over, but they were restored in 1986–87 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company operating the tower.[73]

 

Aesthetics

The tower is painted in three shades: lighter at the top, getting progressively darker towards the bottom to complement the Parisian sky.[74] It was originally reddish brown; this changed in 1968 to a bronze colour known as "Eiffel Tower Brown".[75]

 

The only non-structural elements are the four decorative grill-work arches, added in Sauvestre's sketches, which served to make the tower look more substantial and to make a more impressive entrance to the exposition.[76]

 

A pop-culture movie cliché is that the view from a Parisian window always includes the tower.[77] In reality, since zoning restrictions limit the height of most buildings in Paris to seven storeys, only a small number of tall buildings have a clear view of the tower.[78]

 

Maintenance

Maintenance of the tower includes applying 60 tons of paint every seven years to prevent it from rusting. The tower has been completely repainted at least 19 times since it was built. Lead paint was still being used as recently as 2001 when the practice was stopped out of concern for the environment.[56][79]

  

Panorama of Paris from the Tour Eiffel

Panorama of Paris and its suburbs from the top of the Eiffel Tower

Tourism

Transport

The nearest Paris Métro station is Bir-Hakeim and the nearest RER station is Champ de Mars-Tour Eiffel.[80] The tower itself is located at the intersection of the quai Branly and the Pont d'Iéna.

 

Popularity

 

Number of visitors per year between 1889 and 2004

More than 250 million people have visited the tower since it was completed in 1889.[3] In 2015, there were 6.91 million visitors.[81] The tower is the most-visited paid monument in the world.[82] An average of 25,000 people ascend the tower every day which can result in long queues.[83]

 

Restaurants

The tower has two restaurants: Le 58 Tour Eiffel on the first level, and Le Jules Verne, a gourmet restaurant with its own lift on the second level. This restaurant has one star in the Michelin Red Guide. It was run by the multi-Michelin star chef Alain Ducasse from 2007 to 2017.[84] Starting May 2019, it will be managed by three star chef Frédéric Anton.[85] It owes its name to the famous science-fiction writer Jules Verne. Additionally, there is a champagne bar at the top of the Eiffel Tower.

 

From 1937 until 1981, there was a restaurant near the top of the tower. It was removed due to structural considerations; engineers had determined it was too heavy and was causing the tower to sag.[86] This restaurant was sold to an American restaurateur and transported to New York and then New Orleans. It was rebuilt on the edge of New Orleans' Garden District as a restaurant and later event hall.[87]

 

Replicas

 

Replica at the Paris Las Vegas Hotel, Nevada, United States.

Main article: List of Eiffel Tower replicas

As one of the most iconic landmarks in the world, the Eiffel Tower has been the inspiration for the creation of many replicas and similar towers. An early example is Blackpool Tower in England. The mayor of Blackpool, Sir John Bickerstaffe, was so impressed on seeing the Eiffel Tower at the 1889 exposition that he commissioned a similar tower to be built in his town. It opened in 1894 and is 158.1 m (518 ft) tall.[88] Tokyo Tower in Japan, built as a communications tower in 1958, was also inspired by the Eiffel Tower.[89]

 

There are various scale models of the tower in the United States, including a half-scale version at the Paris Las Vegas, Nevada, one in Paris, Texas built in 1993, and two 1:3 scale models at Kings Island, located in Mason, Ohio, and Kings Dominion, Virginia, amusement parks opened in 1972 and 1975 respectively. Two 1:3 scale models can be found in China, one in Durango, Mexico that was donated by the local French community, and several across Europe.[90]

 

In 2011, the TV show Pricing the Priceless on the National Geographic Channel speculated that a full-size replica of the tower would cost approximately US$480 million to build.[91] This would be more than ten times the cost of the original (nearly 8 million in 1890 Francs; ~US$40 million in 2018 dollars).

 

Communications

 

Top of the Eiffel Tower

The tower has been used for making radio transmissions since the beginning of the 20th century. Until the 1950s, sets of aerial wires ran from the cupola to anchors on the Avenue de Suffren and Champ de Mars. These were connected to longwave transmitters in small bunkers. In 1909, a permanent underground radio centre was built near the south pillar, which still exists today. On 20 November 1913, the Paris Observatory, using the Eiffel Tower as an aerial, exchanged wireless signals with the United States Naval Observatory, which used an aerial in Arlington, Virginia. The object of the transmissions was to measure the difference in longitude between Paris and Washington, D.C..[92] Today, radio and digital television signals are transmitted from the Eiffel Tower.

 

FM radio

FrequencykWService

87.8 MHz10France Inter

89.0 MHz10RFI Paris

89.9 MHz6TSF Jazz

90.4 MHz10Nostalgie

90.9 MHz4Chante France

Digital television

A television antenna was first installed on the tower in 1957, increasing its height by 18.7 m (61.4 ft). Work carried out in 2000 added a further 5.3 m (17.4 ft), giving the current height of 324 m (1,063 ft).[56] Analogue television signals from the Eiffel Tower ceased on 8 March 2011.

 

FrequencyVHFUHFkWService

182.25 MHz6—100Canal+

479.25 MHz—22500France 2

503.25 MHz—25500TF1

527.25 MHz—28500France 3

543.25 MHz—30100France 5

567.25 MHz—33100M6

Illumination copyright

Further information: Freedom of panorama § France

 

The Eiffel Tower illuminated in 2015

The tower and its image have been in the public domain since 1993, 70 years after Eiffel's death.[93] In June 1990 a French court ruled that a special lighting display on the tower in 1989 to mark the tower's 100th anniversary was an "original visual creation" protected by copyright. The Court of Cassation, France's judicial court of last resort, upheld the ruling in March 1992.[94] The Société d'Exploitation de la Tour Eiffel (SETE) now considers any illumination of the tower to be a separate work of art that falls under copyright.[95] As a result, the SNTE alleges that it is illegal to publish contemporary photographs of the lit tower at night without permission in France and some other countries for commercial use.[96][97] For this reason, it is often rare to find images or videos of the lit tower at night on stock image sites,[98] and media outlets rarely broadcast images or videos of it.[99]

 

The imposition of copyright has been controversial. The Director of Documentation for what was then called the Société Nouvelle d'exploitation de la Tour Eiffel (SNTE), Stéphane Dieu, commented in 2005: "It is really just a way to manage commercial use of the image, so that it isn't used in ways [of which] we don't approve".[100] SNTE made over €1 million from copyright fees in 2002.[101] However, it could also be used to restrict the publication of tourist photographs of the tower at night, as well as hindering non-profit and semi-commercial publication of images of the illuminated tower.[102]

 

The copyright claim itself has never been tested in courts to date according to the 2014 article of the Art Law Journal, and there has never been an attempt to track down millions of netizens who have posted and shared their images of the illuminated tower on the Internet worldwide. It added, however, that permissive situation may arise on commercial use of such images, like in a magazine, on a film poster, or on product packaging.[103]

 

French doctrine and jurisprudence allows pictures incorporating a copyrighted work as long as their presence is incidental or accessory to the subject being represented,[104] a reasoning akin to the de minimis rule. Therefore, SETE may be unable to claim copyright on photographs of Paris which happen to include the lit tower.

 

Height changes

The pinnacle height of the Eiffel Tower has changed multiple times over the years as described in the chart below.[105]

 

FromToHeight mHeight ftType of additionRemarks

18891957312.271,025FlagpoleArchitectural height of 300 m 984 ft. Tallest freestanding structure in the world until surpassed by the Chrysler building in 1930. Tallest tower in the world until surpassed by the KCTV Broadcast Tower in 1956.

19571991320.751,052AntennaBroadcast antenna added in 1957 which made it the tallest tower in the world until the Tokyo Tower was completed the following year in 1958.

19911994317.961,043Antenna change

19942000318.71,046Antenna change

2000Current3241,063Antenna change

Taller structures

The Eiffel Tower was the world's tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out.[106] The tower also lost its standing as the world's tallest tower to the Tokyo Tower in 1958 but retains its status as the tallest freestanding (non-guyed) structure in France.

 

Lattice towers taller than the Eiffel Tower

Further information: List of tallest towers in the world, Lattice tower, and Observation deck

NamePinnacle heightYearCountryTownRemarks

Tokyo Skytree634 m (2,080 ft)2011JapanTokyo

Kyiv TV Tower385 m (1,263 ft)1973UkraineKyiv

Dragon Tower336 m (1,102 ft)2000ChinaHarbin

Tokyo Tower333 m (1,093 ft)1958JapanTokyo

WITI TV Tower329.4 m (1,081 ft)1962United StatesShorewood, Wisconsin

St. Petersburg TV Tower326 m (1,070 ft)1962RussiaSaint Petersburg

Structures in France taller than the Eiffel Tower

Further information: List of tallest structures in France

NamePinnacle heightYearStructure typeTownRemarks

Longwave transmitter Allouis350 m (1,150 ft)1974Guyed mastAllouis

HWU transmitter350 m (1,150 ft)1971Guyed mastRosnayMilitary VLF transmitter; multiple masts

Viaduc de Millau343 m (1,125 ft)2004Bridge pillarMillau

TV Mast Niort-Maisonnay330 m (1,080 ft)1978Guyed mastNiort

Transmitter Le Mans-Mayet342 m (1,122 ft)1993Guyed mastMayet

La Regine transmitter330 m (1,080 ft)1973Guyed mastSaissacMilitary VLF transmitter

Transmitter Roumoules330 m (1,080 ft)1974Guyed mastRoumoulesSpare transmission mast for longwave; insulated against ground

See also

flagFrance portal

Eiffel Tower in popular culture

List of tallest buildings and structures in the Paris region

List of tallest buildings and structures in the world

List of tallest towers in the world

List of tallest freestanding structures in the world

List of tallest freestanding steel structures

List of transmission sites

Lattice tower

Eiffel Tower, 1909–1928 painting series by Robert Delaunay

References

Notes

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Eiffel Tower at Emporis

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Engineering News and American Railway Journal. 22. G. H. Frost. 1889. p. 482.

Harvie, p. 78.

Loyrette, p. 116.

Loyrette, p. 121.

"Diagrams - SkyscraperPage.com". skyscraperpage.com.

Loyrette, p. 174.

Paul Souriau; Manon Souriau (1983). The Aesthetics of Movement. University of Massachusetts Press. p. 100. ISBN 0-87023-412-9.

Harvie, p. 99.

Loyrette, p. 176.

"The Eiffel Tower". News. The Times (32661). London. 1 April 1889. col B, p. 5.

Jill Jonnes (2009). Eiffel's Tower: And the World's Fair where Buffalo Bill Beguiled Paris, the Artists Quarreled, and Thomas Edison Became a Count. Viking. pp. 163–64. ISBN 978-0-670-02060-7.

Guillaume Apollinaire (1980). Anne Hyde Greet (ed.). Calligrammes: Poems of Peace and War (1913–1916). University of California Press. pp. 411–414. ISBN 978-0-520-01968-3.

SETE. "Origins and construction of the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 31 July 2015. Retrieved 1 January 2014.

Loyrette, p. 123.

Loyrette, p. 148.

Eiffel, G; The Eiffel TowerPlate X

Harvie, p. 110.

"Construction of the Eiffel Tower". wonders-of-the-world.net.

Vogel, pp. 20–21.

Vogel, p. 28.

Vogel, pp. 23–24.

Eiffel, Gustave (1900). La Tour de Trois Cents Mètres (in French). Paris: Société des imprimeries Lemercier. pp. 171–3.

Harvie, pp. 122–23.

SETE. "The Eiffel Tower during the 1889 Exposition Universelle". Official Eiffel Tower website. Archived from the original on 25 April 2016. Retrieved 16 April 2016.

Harvie, pp. 144–45.

Eiffel, Gustave (1900). La Tour de Trois Cents Mètres. Paris: Lemercier. p. 335.

Jill Jonnes (23 May 2009). "Thomas Edison at the Eiffel Tower". Wonders and Marvels. Retrieved 2 January 2014.

Michelin Paris: Tourist Guide (5 ed.). Michelin Tyre Public Limited. 1985. p. 52. ISBN 9782060135427.

Watson, p. 829.

"M. Santos Dumont's Balloon". News. The Times (36591). London. 21 October 1901. col A, p. 4.

Theodor Wulf. Physikalische Zeitschrift. Contains results of the four-day-long observation done by Theodor Wulf at the top of the Eiffel Tower in 1910.

"L'inventeur d'un parachute se lance de le tour Eiffel et s'écrase sur le sol". Le Petit Parisien (in French). 5 February 1912. p. 1. Retrieved 26 November 2009.

Barbara Wertheim Tuchman (1994). August 1914. Papermac. p. 236. ISBN 978-0-333-30516-4.

Smith, Oliver (31 March 2018). "40 fascinating facts about the Eiffel Tower". The Daily Telegraph. Retrieved 14 November 2019.

Stephen Herbert (2004). A History of Early Television. 2. Taylor & Francis. p. 40. ISBN 978-0-415-32667-4.

Piers Letcher (2003). Eccentric France: The Bradt Guide to Mad, Magical and Marvellous France. Bradt Travel Guides. p. 105. ISBN 978-1-84162-068-8.

"An air tragedy". The Sunday Times. Perth, WA. 28 February 1926. Retrieved 2 January 2012.

Harriss, p. 178.

Claudia Roth Pierpont (18 November 2002). "The Silver Spire: How two men's dreams changed the skyline of New York". The New Yorker. Archived from the original on 27 February 2012.

Harriss, p. 195.

Harriss, pp. 180–84.

"HD Stock Video Footage – The Germans unfurl Nazi flags at the captured Palace of Versailles and Eiffel Tower during the Battle of France". www.criticalpast.com.

Smith, Oliver (4 February 2016). "Eiffel Tower: 40 fascinating facts". The Telegraph – via www.telegraph.co.uk.

Carlo D'Este (2003). Eisenhower: A Soldier's Life. Henry Holt and Company. p. 574. ISBN 978-0-8050-5687-7.

SETE. "The major events". Official Eiffel Tower website. Archived from the original on 31 March 2015. Retrieved 13 March 2014.

Harriss, p. 215.

SETE. "The Eiffel Tower's lifts". Official Eiffel Tower website. Archived from the original on 7 April 2016. Retrieved 15 April 2016.

Nick Auf der Maur (15 September 1980). "How this city nearly got the Eiffel Tower". The Montreal Gazette. Retrieved 29 May 2013.

Robert J. Moriarty. "A Bonanza in Paris". Air & Space Magazine. Retrieved 4 April 2008.

Jano Gibson (27 February 2007). "Extreme bid to stretch bungy record". Sydney Morning Herald. Retrieved 24 May 2010.

"Tour Eiffel". Thierry Devaux (in French). Retrieved 19 March 2019.

SETE. "The Eiffel Tower's illuminations". Official Eiffel Tower website. Archived from the original on 22 August 2015. Retrieved 31 May 2014.

SETE. "All you need to know about the Eiffel Tower" (PDF). Official Eiffel Tower website. Retrieved 15 April 2016.

"The Eiffel Tower". France.com. 23 October 2003. Retrieved 16 April 2016.

Denis Cosnard (21 April 2014). "Eiffel Tower renovation work aims to take profits to new heights". The Guardian. Retrieved 14 April 2016.

Darwin Porter; Danforth Prince; G. McDonald; H. Mastrini; S. Marker; A. Princz; C. Bánfalvy; A. Kutor; N. Lakos; S. Rowan Kelleher (2006). Frommer's Europe (9th ed.). Wiley. p. 318. ISBN 978-0-471-92265-0.

"Eiffel Tower gets glass floor in refurbishment project". BBC News. 6 October 2014. Retrieved 6 October 2014.

User, Super. "PHARES (2015)". Milène GUERMONT.

David A. Hanser (2006). Architecture of France. Greenwood Publishing Group. p. 66. ISBN 978-0-313-31902-0.

DK Eyewitness Travel Guide: Europe. Dorling Kindersley. 2012. p. 163. ISBN 978-1-4093-8577-6.

Harriss, p. 60.

Harriss, p. 231.

SETE. "Debate and controversy surrounding the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 8 September 2015. Retrieved 2 January 2013.

"Elegant shape of Eiffel Tower solved mathematically by University of Colorado professor". Science Daily. 7 January 2005. Retrieved 24 May 2010.

Watson, p. 807.

SETE. "FAQ: History/Technical". Official Eiffel Tower website. Archived from the original on 8 April 2016. Retrieved 16 April 2016.

Caitlin Morton (31 May 2015). "There is a secret apartment at the top of the Eiffel Tower". Architectural Digest. Conde Nast. Retrieved 30 June 2015.

Mary Papenfuss (20 May 2016). "Tourists have the chance to get an Eiffel of the view by staying in the Tower for a night". International Business Times. Retrieved 21 May 2016.

Eiffel Tower, Paris, France hisour.com. Retrieved 29 August 2021

SETE (2010). "The Eiffel Tower Laboratory". Official Eiffel Tower website. Archived from the original on 12 February 2017. Retrieved 25 January 2017.

SETE. "The Eiffel Tower gets beautified" (PDF). Official Eiffel Tower website. Archived from the original (PDF) on 21 November 2015. Retrieved 8 November 2015.

SETE. "Painting the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 26 October 2016. Retrieved 25 January 2017.

"History: Development of clear span buildings – Exhibition buildings". Architectural Teaching Resource. Tata Steel Europe, Ltd. Archived from the original on 5 October 2013. Retrieved 4 January 2014.

"The Eiffel Tower". France.com. Retrieved 27 January 2018.

"Eiffel Tower (Paris ( 7 th ), 1889)". Structurae. Retrieved 27 February 2021.

Bavelier, Ariane (3 December 2013). "Coup de pinceau sur la tour Eiffel". Lefigaro. Retrieved 28 March 2009.

SETE. "Getting to the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 14 April 2016. Retrieved 16 April 2016.

"Number of Eiffel Tower visitors falls in wake of Paris attacks". France 24. 20 January 2016. Retrieved 15 April 2016.

Jean-Michel Normand (23 July 2007). "Tour Eiffel et souvenirs de Paris". Le Monde. France. Retrieved 24 May 2010.

"Eiffel Tower reopens to tourists after rare closure for 2-day strike". Fox News. Associated Press. 27 June 2013. Retrieved 16 April 2016.

Dali Wiederhoft. "Eiffel Tower: Sightseeing, restaurants, links, transit". Bonjour Paris. Archived from the original on 6 January 2014.

"Eiffel Tower in Paris". Paris Digest. 2018. Retrieved 14 September 2018.

Marcus, Frances Frank (10 December 1986). "New Orleans's 'Eiffel Tower'". The New York Times. Retrieved 22 November 2018.

Thomas, Jabari (15 September 2015). "Where you can find pieces of the Eiffel Tower in New Orleans". WGNO. Retrieved 22 November 2018.

"The Blackpool Tower". History Extra. Retrieved 6 March 2014.

"The red and white Eiffel Tower of Tokyo". KLM. Retrieved 16 April 2016.

Todd van Luling (19 August 2013). "The most legit Eiffel Tower replicas you didn't know existed". Huffpost Travel. Retrieved 16 April 2016.

"Eiffel Tower". Pricing the Priceless. Season 1. Episode 3. 9 May 2011. National Geographic Channel (Australia).

"Paris time by wireless". The New York Times. 22 November 1913. p. 1.

"Why it's actually illegal to take pictures of Eiffel Tower at night". The Jakarta Post. 9 December 2017.

"Cour de cassation 3 mars 1992, Jus Luminum n°J523975" (in French). Jus Luminum. Archived from the original on 16 November 2009.

Jimmy Wales (3 July 2015). "If you want to keep sharing photos for free, read this". The Guardian. Retrieved 15 April 2016.

"The Eiffel Tower image rights". Société d'Exploitation de la Tour Eiffel.

Hugh Morris (24 June 2015). "Freedom of panorama: EU proposal could mean holiday snaps breach copyright". The Telegraph. Retrieved 15 April 2016.

Nicholls, Will (14 October 2017). "Why Photos of the Eiffel Tower at Night are Illegal". PetaPixel. Retrieved 24 February 2021.

Cuttle, Jade (1 July 2019). "Why Photos of the Eiffel Tower at Night are Illegal". The Culture Trip. Retrieved 24 February 2021.

"Eiffel Tower: Repossessed". Fast Company. 2 February 2005. Retrieved 15 April 2016.

James Arnold (16 May 2003). "Are things looking up for the Eiffel Tower?". BBC News. Retrieved 16 April 2016.

Steve Schlackman (16 November 2014). "Do night photos of the Eiffel Tower violate copyright?". Artrepreneur Art Law Journal. Retrieved 13 July 2020.

Larsen, Stephanie (13 March 2017). "Is it Illegal to Take Photographs of the Eiffel Tower at Night?". Snopes. Retrieved 24 February 2021.

Notions Fondamentales Du Droit D'auteur (in French). World Intellectual Property Organization. 2002. p. 277. ISBN 978-92-805-1013-3. La représentation d'une œuvre située dans un lieu public n'est licite que lorsqu'elle est accessoire par rapport au sujet principal représenté ou traité

"Eiffel Tower, Paris - SkyscraperPage.com". skyscraperpage.com.

Chrysler (14 June 2004). "Chrysler Building – Piercing the Sky". CBS Forum. CBS Team. Retrieved 21 May 2017.

Bibliography

Chanson, Hubert (2009). "Hydraulic engineering legends Listed on the Eiffel Tower". In Jerry R. Rogers (ed.). Great Rivers History: Proceedings and Invited Papers for the EWRI Congress and Great Rivers History Symposium. American Society of Civil Engineers. ISBN 978-0-7844-1032-5.

Frémy, Dominique (1989). Quid de la tour Eiffel. R. Laffont. ISBN 978-2-221-06488-7.

The Engineer: The Paris Exhibition. XLVII. London: Office for Advertisements and Publication. 3 May 1889.

Harriss, Joseph (1975). The Eiffel Tower: Symbol of an Age. London: Paul Elek. ISBN 0236400363.

Harvie, David I. (2006). Eiffel: The Genius Who Reinvented Himself. Stroud, Gloucestershire: Sutton. ISBN 0-7509-3309-7.

Jonnes, Jill (2009). Eiffel's Tower: The Thrilling Story Behind Paris's Beloved Monument …. Penguin. ISBN 978-1-101-05251-8.

Loyrette, Henri (1985). Eiffel, un Ingenieur et Son Oeuvre. Rizzoli. ISBN 978-0-8478-0631-7.

Musée d'Orsay (1989). 1889: la Tour Eiffel et l'Exposition Universelle. Editions de la Réunion des Musées Nationaux, Ministère de la Culture, de la Communication, des Grands Travaux et du Bicentenaire. ISBN 978-2-7118-2244-7.

Vogel, Robert M. (1961). "Elevator Systems of the Eiffel Tower, 1889". United States National Museum Bulletin. Washington, D.C.: Smithsonian Institution. 228: 20–21.

Watson, William (1892). Paris Universal Exposition: Civil Engineering, Public Works, and Architecture. Washington, D.C.: Government Publishing Office.

External links

Eiffel Tower

at Wikipedia's sister projects

Definitions from Wiktionary

Media from Wikimedia Commons

Texts from Wikisource

Travel guides from Wikivoyage

Data from Wikidata

Official website Edit this at Wikidata

Eiffel Tower at Structurae

Records

Preceded by

Washington MonumentWorld's tallest structure

1889–1931

312 m (1,024 ft)[1]Succeeded by

Chrysler Building

World's tallest tower

1889–1956Succeeded by

KCTV Broadcast Tower

Preceded by

KCTV Broadcast TowerWorld's tallest tower

1957–1958Succeeded by

Tokyo Tower

 

en.wikipedia.org/wiki/Eiffel_Tower

 

Tightrope walking

From Wikipedia, the free encyclopedia

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"Tightrope" redirects here. For other uses, see Tightrope (disambiguation).

 

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.

Find sources: "Tightrope walking" – news · newspapers · books · scholar · JSTOR (November 2007) (Learn how and when to remove this template message)

 

The feet of a tightrope walker

Tightrope walking, also called funambulism, is the skill of walking along a thin wire or rope. It has a long tradition in various countries and is commonly associated with the circus. Other skills similar to tightrope walking include slack rope walking and slacklining.

  

Contents

1Types

2Ropes

3Biomechanics

4Famous tightrope artists

5Metaphorical use

6See also

7References

Types

 

Tightrope walking, Armenian manuscript, 1688

Tightwire is the skill of maintaining balance while walking along a tensioned wire between two points. It can be done either using a balancing tool (umbrella, fan, balance pole, etc.) or "freehand", using only one's body to maintain balance. Typically, tightwire performances either include dance or object manipulation. Object manipulation acts include a variety of props in their acts, such as clubs, rings, hats, or canes. Tightwire performers have even used wheelbarrows with passengers, ladders, and animals in their act. The technique to maintain balance is to keep the performer's centre of mass above their support point—usually their feet.

 

Highwire is a form of tightwire walking but performed at much greater height. Although there is no official height when tightwire becomes highwire, generally a wire over 20 feet (6 m) high are regarded as a highwire act.

 

Skywalk is a form of highwire which is performed at great heights and length. A skywalk is performed outdoors between tall building, gorges, across waterfalls or other natural and man-made structures.

 

Ropes

If the "lay" of the rope (the orientation of the constituent strands, the "twist" of a rope) is in one direction, the rope can twist on itself as it stretches and relaxes. Underfoot, this could be hazardous to disastrous in a tightrope. One solution is for the rope core to be made of steel cable, laid in the opposite direction to the outer layers, so that twisting forces balance each other out.

 

Biomechanics

Acrobats maintain their balance by positioning their centre of mass directly over their base of support, i.e. shifting most of their weight over their legs, arms, or whatever part of their body they are using to hold them up. When they are on the ground with their feet side by side, the base of support is wide in the lateral direction but narrow in the sagittal (back-to-front) direction. In the case of highwire-walkers, their feet are parallel with each other, one foot positioned in front of the other while on the wire. Therefore, a tightwire walker's sway is side to side, their lateral support having been drastically reduced. In both cases, whether side by side or parallel, the ankle is the pivot point.

 

A wire-walker may use a pole for balance or may stretch out his arms perpendicular to his trunk in the manner of a pole. This technique provides several advantages. It distributes mass away from the pivot point, thereby increasing the moment of inertia. This reduces angular acceleration, so a greater torque is required to rotate the performer over the wire. The result is less tipping. In addition, the performer can also correct sway by rotating the pole. This will create an equal and opposite torque on the body.

 

Tightwire-walkers typically perform in very thin and flexible, leather-soled slippers with a full-length suede or leather sole to protect the feet from abrasions and bruises, while still allowing the foot to curve around the wire. Though very infrequent in performance, amateur, hobbyist, or inexperienced funambulists will often walk barefoot so that the wire can be grasped between the big and second toe. This is more often done when using a rope, as the softer and silkier fibres are less taxing on the bare foot than the harder and more abrasive braided wire.

 

Famous tightrope artists

 

Maria Spelterini crossing Niagara Falls on July 4, 1876

 

Jultagi, the Korean tradition of tightrope walking

Charles Blondin, a.k.a. Jean-François Gravelet, crossed the Niagara Falls many times

Robert Cadman, early 18th-century British highwire walker and ropeslider

Jay Cochrane, Canadian, set multiple records for skywalking, including The Great China Skywalk[1] in Qutang Gorge, China, 639-metre-long (2,098 ft), 410-metre-high (1,340 ft) from one cliff wall to the opposite side above the Yangtze River; the longest blindfolded skywalk, 800-foot-long (240 m), 300-foot-high (91 m) in 1998, between the towers of the Flamingo Hilton in Las Vegas, Nevada, and broadcast on FOX Network's "Guinness World Records: Primetime" on Tuesday, February 23, 1999; In 2001, he became the first person to perform a skywalk in Niagara Falls, Canada, in more than a hundred years. His final performances took place during Skywalk 2012[2] with a world record submission[3] of 11.81 miles (19.01 km) in cumulative distance skywalking from the Skylon Tower at a height of 520 feet (160 m) traversing the 1,300 feet (400 m) highwire to the pinnacle of the Hilton Fallsview Hotel at 581 feet (177 m).

Con Colleano, Australian, "the Wizard of the Wire"

David Dimitri, Swiss highwire walker

Pablo Fanque, 19th-century British tightrope walker and "rope dancer", among other talents, although best known as the first black circus owner in Britain, and for his mention in the Beatles song, Being for the Benefit of Mr. Kite!

The Great Farini, a.k.a. Willie Hunt, crossed the Niagara Falls many times

Farrell Hettig, American highwire walker, started as a Wallenda team member, once held record for stee

WE ARE HERE!

Before the G20-summit in Hamburg, where the mightiest heads of government responsible for exploitation, war and flight will talk about their further strategies, we want to show our face. All of us, united on the streets!

We are not to be overlooked! We are loud! We are angry, because again they speak about us instead with us. We want to create spaces for all those that are usually not heard or that are supposed to remain unheard. Like us. We say: Welcome United!

When we take to the streets, we want to be many. Everyone who cares about the common good and solidarity should come out. Everyone who can no longer bear that people are forced to stay in miserable conditions or left to suffer and die at Europe’s borders, should come out. Everyone should come, who cannot endure to see humans isolated in camps for years, who wants to stop the division which is being made between those who were born here and those just arrived, between ‚good’ and ‚bad’ refugees. We fight for our future. Now is the time to act together. We are more than we think! We’ll come united!

We further invite you to participate with us in a national demonstration on the 16th of September in Berlin, one week ahead of the general elections – come and join a large parade struggling for societal participation, equal rights, and solidarity. Because: Our voices count!

Welcome united! We’ll come united!

 

Water exploitation-waste

 

Example of water wastage and exploitation from the aquifers in the Viacha and El Alto regions of Bolivia. 27 April 2016

 

Photo Credit: Louise Potterton / IAEA

Captain Frederic John Walker, CB, DSO and three Bars, RN (3 June 1896 – 9 July 1944) (his first name is given as Frederick in the Oxford Dictionary of National Biography and some London Gazette entries) was a British Royal Navy officer noted for his exploits during World War II. Walker was the most successful anti-submarine warfare commander during the Battle of the Atlantic and was known more popularly as Johnnie Walker (after the whisky).

  

Early life and career

 

Walker was born in Plymouth, the son of Frederic Murray and Lucy Selina (née Scriven) Walker. He went to Britannia Royal Naval College, Dartmouth, where he excelled. First serving on the battleship Ajax as a midshipman, Walker as a sub-lieutenant went on to join the destroyers Mermaid and Sarpedon in 1916 and 1917 respectively. Following the end of the First World War, Walker joined the Queen Elizabeth-class battleship Valiant. He married Jessica Eileen Ryder Stobart, with whom he had three sons and a daughter.Inter-war Period, 1920s-1930s

 

During the inter-war period Walker partook in the particularly unglamorous unfashionable field of anti-submarine warfare. He took a course at the newly founded anti-submarine training school of HMS Osprey, Portland which was established in 1924. Walker would consequently become an expert in this particular type of warfare, and would be appointed to a post specialising in this field, serving on a number of capital ships. In May 1933 he was promoted to commander and took charge of the First World War destroyer Shikari. In December 1933 Walker took command of the Shoreham-class sloop Falmouth based on the China Station. In April 1937 Walker became the Experimental Commander at HMS Osprey.

 

World War II

 

When the Second World War began, in 1939, Walker's career seemed at an end. Still a Commander, he had been ignored for promotion to captain and indeed had been scheduled for early retirement. He gained a reprieve, however, due to the commencement of war and in 1940 was appointed as Operations Staff Officer to Vice-Admiral Sir Bertram Ramsay. Even so, Walker still had not been given a command, despite expertise in anti-submarine warfare that would no doubt be indispensable in the Battle of the Atlantic. During Walker's time in that role the legendary Dunkirk evacuations took place, in which the British Expeditionary Force (BEF) was evacuated from France. The evacuation was an immense success, with over 330,000 British and French troops being taken to the United Kingdom. He was Mentioned in Despatches for his work during the evacuation.

Walker finally received a command in October 1941, taking control of the 36th Escort Group, commanding from the Bittern-class sloop Stork. The escort group comprised two sloops (including Stork) and six corvettes and was based in Liverpool, home of Western Approaches Command. Initially his Group was primarily used to escort convoys to and from Gibraltar.

His first chance to test his innovative methods against the U-boat menace came in December when his group escorted Convoy HG76 (32 ships). During the journey five U-boats were sunk, four by Walker's group, including U-574 which was depth-charged and rammed by Walker's own ship on 19 December. The RN's loss during the Battle for HG76 was one escort carrier (Audacity), one destroyer (Stanley) and two merchant ships. This is sometimes described as the first true Allied convoy victory in the Battle of the Atlantic. He was given the Distinguished Service Order (DSO) on 6 January 1942 for, "For daring, skill and determination while escorting to this country a valuable Convoy in the face of relentless attacks from the Enemy, during which three of their Submarines were sunk and two aircraft destroyed by our forces".[3] Walker's group succeeded in sinking at least three more U-boats during his tenure as commander of the 36th Group. He was awarded the first Bar to his DSO in July 1942.

 

HMS Starling

 

In 1942 Walker left the 36th Group and became Captain (D) Liverpool, granting him some time to recuperate. He finally returned to a ship command when he became commander of the 2nd Support Group in 1943, consisting of six sloops. Walker led from Starling, a newly-commissioned Black Swan-class sloop. The group was intended to act as reinforcement to convoys under attack, with the capacity to actively hunt and destroy U-boats, rather than be restricted to escorting convoys. Walker had suggested the innovative idea to Commander-in-Chief Western Approaches Command Sir Max Horton. The combination of an active hunting group and a charismatic, determined and innovative anti-submarine specialist such as Walker would prove to be a potent force. One eccentric aspect of his charismatic nature was the playing of the tune A Hunting We Will Go over the ship's Tannoy when returning to their base.

In June 1943 Walker's own ship Starling was responsible for the sinking of two U-boats. The first, U-202, was destroyed on 2 June by depth charges and gunfire, and the other, U-119, on 24 June by depth charges and ramming. Another U-boat, U-449, was sunk by his group on the same day. One highly successful tactic employed by Walker was the creeping attack, where two ships would work together to keep contact with a U –boat whilst attacking; a refinement of this was the barrage attack, which had three or more sloops in line to launch depth charges to saturate the area with depth charges in a manner similar to a rolling barrage by artillery in advance of an infantry attack. On 30 July Walker's group encountered a group of three U-boats on the surface (two were vital type XIV replenishment boats known as "Milk Cows") while in the Bay of Biscay. He signalled the "general chase" to his group and fired at them, causing damage that prevented them from diving. Two of the submarines, U-462, a Type XIV, and U-504, a Type IX/C40, were then sunk by Walker's group, and the second Type XIV, U-461, by Australian Short Sunderland flying boat.

Upon his return to Liverpool, Walker was informed that his son, Timothy, had been killed when the submarine HMS Parthian had been lost in early August 1943 in the Mediterranean. On 14 September 1943 he was appointed a Companion of the Bath (CB), "for leadership and daring in command of H.M.S. Starling in successful actions against Enemy submarines in the Atlantic."

 

HMS Kite of Escort 2 conducting a depth charge attack.

On 6 November 1943 Walker's group sank U-226 and U-842. In early 1944 Walker's group displayed their efficiency against U-boats by sinking six in one patrol. On 31 January 1944 Walker's group gained their first kill of the year when they sank U-592. On 9 February his group sank U-762,U-238, and U-734 in one action, then sank U-424 on 11 February, and U-264 on 19 February. On 20 February 1944 one of Walker's group, HMS Woodpecker, was torpedoed and sank seven days later while being towed home; all of her crew were saved. They returned to their base at Liverpool to the thrilled jubilation of the city's inhabitants and the Admiralty. The First Lord of the Admiralty was present to greet Walker and his ships. Walker was promoted to captain and awarded a second bar to his DSO.

In March Walker's group provided the escort for the American cruiser USS Milwaukee which was on its way to Russia as part of the lend-lease programme. Walker's group sank two U-boats on the outward trip and a third on the return trip. Walker's last duty was protecting the fleet from U-boats during D-Day, the immense Allied invasion of France. This he did successfully for two weeks; no U-boats managed to get past Walker and his vessels, and many were sunk or damaged in the process. During this concerted effort Walker's dedication to his tasks was tremendous; he took no respite from his duties, which would ultimately contribute to his death. He was awarded the third bar to his DSO on 13 June 1944, and was again Mentioned in Despatches on 20 June 1944.

 

Death

Walker suffered a cerebral thrombosis on 7 July 1944 and died two days later at the Naval Hospital at Seaforth, Merseyside aged 48; his death was attributed to overwork and exhaustion.

His funeral service took place at the Liverpool Anglican Cathedral with full naval honours and attended by about 1,000 people. The scene was emotional as the naval procession followed, travelling through the streets of Liverpool to the docks where he embarked aboard destroyer Hesperus for his final journey to be buried at sea. A further honour was a Mention in Despatches on 1 August 1944. As Walker's Group had already sailed, the sailors who undertook the procession and funeral and burial at sea were mostly Canadian.

 

Harley-Davidson, Inc. (H-D), or Harley, is an American motorcycle manufacturer, founded in Milwaukee, Wisconsin in 1903.

 

As one of two major American motorcycle manufacturers to survive the Great Depression (along with Indian), the company has survived numerous ownership arrangements, subsidiary arrangements (e.g., Aermacchi 1974-1978 and Buell 1987-2009), periods of poor economic health and product quality, as well as intense global competition — to become one of the world's largest motorcycle manufacturers and an iconic brand widely known for its loyal following — with owner clubs and events worldwide as well as a company sponsored brand-focused museum.

 

Noted for a style of customization that gave rise to the chopper motorcycle style, Harley-Davidson traditionally marketed heavyweight, air-cooled cruiser motorcycles with engine displacements greater than 700 cm³ — and has broadened its offerings to include its more contemporary VRSC (2002) and middle-weight Street (2015) platforms.

 

Harley-Davidson manufactures its motorcycles at factories in York, Pennsylvania; Milwaukee, Wisconsin; Kansas City, Missouri; Manaus, Brazil; and Bawal, India — and markets its products worldwide.

 

Besides motorcycles, the company licenses and markets merchandise under the Harley-Davidson brand, among them being apparel, home decor and ornaments, accessories, toys, and scale figures of its motorcycles, and video games based on its motorcycle line and the community.

 

HISTORY

BEGINNING

In 1901, 20-year-old William S. Harley drew up plans for a small engine with a displacement of 7.07 cubic inches (116 cc³) and four-inch (102 mm) flywheels. The engine was designed for use in a regular pedal-bicycle frame. Over the next two years, Harley and his childhood friend Arthur Davidson worked on their motor-bicycle using the northside Milwaukee machine shop at the home of their friend, Henry Melk. It was finished in 1903 with the help of Arthur's brother, Walter Davidson. Upon testing their power-cycle, Harley and the Davidson brothers found it unable to climb the hills around Milwaukee without pedal assistance. They quickly wrote off their first motor-bicycle as a valuable learning experiment.

 

Work immediately began on a new and improved second-generation machine. This first "real" Harley-Davidson motorcycle had a bigger engine of 24.74 cubic inches (405 cc³) with 9.75 inches (25 cm) flywheels weighing 28 lb (13 kg). The machine's advanced loop-frame pattern was similar to the 1903 Milwaukee Merkel motorcycle (designed by Joseph Merkel, later of Flying Merkel fame). The bigger engine and loop-frame design took it out of the motorized bicycle category and marked the path to future motorcycle designs. The boys also received help with their bigger engine from outboard motor pioneer Ole Evinrude, who was then building gas engines of his own design for automotive use on Milwaukee's Lake Street.

 

The prototype of the new loop-frame Harley-Davidson was assembled in a 10 ft × 15 ft (3.0 m × 4.6 m) shed in the Davidson family backyard. Most of the major parts, however, were made elsewhere, including some probably fabricated at the West Milwaukee railshops where oldest brother William A. Davidson was then toolroom foreman. This prototype machine was functional by September 8, 1904, when it competed in a Milwaukee motorcycle race held at State Fair Park. It was ridden by Edward Hildebrand and placed fourth. This is the first documented appearance of a Harley-Davidson motorcycle in the historical record.

 

In January 1905, small advertisements were placed in the Automobile and Cycle Trade Journal offering bare Harley-Davidson engines to the do-it-yourself trade. By April, complete motorcycles were in production on a very limited basis. That year, the first Harley-Davidson dealer, Carl H. Lang of Chicago, sold three bikes from the five built in the Davidson backyard shed. Years later the original shed was taken to the Juneau Avenue factory where it would stand for many decades as a tribute to the Motor Company's humble origins until it was accidentally destroyed by contractors cleaning the factory yard in the early 1970s.

 

In 1906, Harley and the Davidson brothers built their first factory on Chestnut Street (later Juneau Avenue),[12] at the current location of Harley-Davidson's corporate headquarters. The first Juneau Avenue plant was a 40 ft × 60 ft (12 m × 18 m) single-story wooden structure. The company produced about 50 motorcycles that year.

 

In 1907, William S. Harley graduated from the University of Wisconsin–Madison with a degree in mechanical engineering. That year additional factory expansion came with a second floor and later with facings and additions of Milwaukee pale yellow ("cream") brick. With the new facilities production increased to 150 motorcycles in 1907. The company was officially incorporated that September. They also began selling their motorcycles to police departments around this time, a market that has been important to them ever since.

 

In 1907 William A. Davidson, brother to Arthur and Walter Davidson, quit his job as tool foreman for the Milwaukee Road railroad and joined the Motor Company.

 

Production in 1905 and 1906 were all single-cylinder models with 26.84 cubic inch (440 cm³) engines. In February 1907 a prototype model with a 45-degree V-Twin engine was displayed at the Chicago Automobile Show. Although shown and advertised, very few V-Twin models were built between 1907 and 1910. These first V-Twins displaced 53.68 cubic inches (880 cm³) and produced about 7 horsepower (5.2 kW). This gave about double the power of the first singles. Top speed was about 60 mph (100 km/h). Production jumped from 450 motorcycles in 1908 to 1,149 machines in 1909.

 

By 1911, some 150 makes of motorcycles had already been built in the United States – although just a handful would survive the 1910s.

 

In 1911, an improved V-Twin model was introduced. The new engine had mechanically operated intake valves, as opposed to the "automatic" intake valves used on earlier V-Twins that opened by engine vacuum. With a displacement of 49.48 cubic inches (811 cm³), the 1911 V-Twin was smaller than earlier twins, but gave better performance. After 1913 the majority of bikes produced by Harley-Davidson would be V-Twin models.

 

In 1912, Harley-Davidson introduced their patented "Ful-Floteing Seat", which was suspended by a coil spring inside the seat tube. The spring tension could be adjusted to suit the rider's weight. More than 3 inches (76 mm) of travel was available. Harley-Davidson would use seats of this type until 1958.

 

By 1913, the yellow brick factory had been demolished and on the site a new 5-story structure had been built. Begun in 1910, the factory with its many additions would take up two blocks along Juneau Avenue and around the corner on 38th Street. Despite the competition, Harley-Davidson was already pulling ahead of Indian and would dominate motorcycle racing after 1914. Production that year swelled to 16,284 machines.

 

WORLD WAR I

In 1917, the United States entered World War I and the military demanded motorcycles for the war effort. Harleys had already been used by the military in the Pancho Villa Expedition but World War I was the first time the motorcycle had been adopted for military issue, first with the British Model H, produced by British Triumph Motorcycles Ltd in 1915. After the U.S. entry into the war, the U.S. military purchased over 20,000 motorcycles from Harley-Davidson.

 

BICYCLES

Harley-Davidson launched a line of bicycles in 1917 in hopes of recruiting customers for its motorcycles. Besides the traditional diamond frame men's bicycle, models included a step-through frame 3-18 "Ladies Standard" and a 5-17 "Boy Scout" for youth. The effort was discontinued in 1923 because of disappointing sales.

 

The bicycles were built for Harley-Davidson in Dayton, Ohio, by the Davis Machine Company from 1917 to 1921, when Davis stopped manufacturing bicycles.

 

1920s

By 1920, Harley-Davidson was the largest motorcycle manufacturer in the world, with 28,189 machines produced, and dealers in 67 countries.

 

In 1921, a Harley-Davidson, ridden by Otto Walker, was the first motorcycle ever to win a race at an average speed greater than 100 mph (160 km/h).

 

During the 1920s, several improvements were put in place, such as a new 74 cubic inch (1,212.6 cm³) V-Twin, introduced in 1921, and the "teardrop" gas tank in 1925. A front brake was added in 1928 although notably only on the J/JD models.

 

In the late summer of 1929, Harley-Davidson introduced its 45 cubic inches (737 cm³) flathead V-Twin to compete with the Indian 101 Scout and the Excelsior Super X. This was the "D" model, produced from 1929 to 1931. Riders of Indian motorcycles derisively referred to this model as the "three cylinder Harley" because the generator was upright and parallel to the front cylinder. The 2.745 in (69.7 mm) bore and 3.8125 in (96.8 mm) stroke would continue in most versions of the 750 engine; exceptions include the XA and the XR-750.

 

GREAT DEPRESSION

The Great Depression began a few months after the introduction of their 45 cubic inch (737 cm³) model. Harley-Davidson's sales fell from 21,000 in 1929 to 3,703 in 1933. Despite this, Harley-Davidson unveiled a new lineup for 1934, which included a flathead engine and Art Deco styling.

 

In order to survive the remainder of the Depression, the company manufactured industrial powerplants based on their motorcycle engines. They also designed and built a three-wheeled delivery vehicle called the Servi-Car, which remained in production until 1973.

In the mid-1930s, Alfred Rich Child opened a production line in Japan with the 74-cubic-inch (1,210 cm³) VL. The Japanese license-holder, Sankyo Seiyaku Corporation, severed its business relations with Harley-Davidson in 1936 and continued manufacturing the VL under the Rikuo name.

 

An 80-cubic-inch (1,300 cm³) flathead engine was added to the line in 1935, by which time the single-cylinder motorcycles had been discontinued.

 

In 1936, the 61E and 61EL models with the "Knucklehead" OHV engines was introduced. Valvetrain problems in early Knucklehead engines required a redesign halfway through its first year of production and retrofitting of the new valvetrain on earlier engines.

 

By 1937, all Harley-Davidson's flathead engines were equipped with dry-sump oil recirculation systems similar to the one introduced in the "Knucklehead" OHV engine. The revised 74-cubic-inch (1,210 cm³) V and VL models were renamed U and UL, the 80-cubic-inch (1,300 cc³) VH and VLH to be renamed UH and ULH, and the 45-cubic-inch (740 cc³) R to be renamed W.

 

In 1941, the 74-cubic-inch (1,210 cm³) "Knucklehead" was introduced as the F and the FL. The 80-cubic-inch (1,300 cc³) flathead UH and ULH models were discontinued after 1941, while the 74 inch (1880 mm) U & UL flathead models were produced up to 1948.

 

WORLD WAR II

One of only two American cycle manufacturers to survive the Great Depression. Harley-Davidson again produced large numbers of motorcycles for the US Army in World War II and resumed civilian production afterwards, producing a range of large V-twin motorcycles that were successful both on racetracks and for private buyers.

 

Harley-Davidson, on the eve of World War II, was already supplying the Army with a military-specific version of its 45 cubic inches (740 cm³) WL line, called the WLA. The A in this case stood for "Army". Upon the outbreak of war, the company, along with most other manufacturing enterprises, shifted to war work. More than 90,000 military motorcycles, mostly WLAs and WLCs (the Canadian version) were produced, many to be provided to allies. Harley-Davidson received two Army-Navy ‘E’ Awards, one in 1943 and the other in 1945, which were awarded for Excellence in Production.

 

Shipments to the Soviet Union under the Lend-Lease program numbered at least 30,000. The WLAs produced during all four years of war production generally have 1942 serial numbers. Production of the WLA stopped at the end of World War II, but was resumed from 1950 to 1952 for use in the Korean War.

 

The U.S. Army also asked Harley-Davidson to produce a new motorcycle with many of the features of BMW's side-valve and shaft-driven R71. Harley largely copied the BMW engine and drive train and produced the shaft-driven 750 cc 1942 Harley-Davidson XA. This shared no dimensions, no parts and no design concepts (except side valves) with any prior Harley-Davidson engine. Due to the superior cooling of the flat-twin engine with the cylinders across the frame, Harley's XA cylinder heads ran 56 °C cooler than its V-twins. The XA never entered full production: the motorcycle by that time had been eclipsed by the Jeep as the Army's general purpose vehicle, and the WLA - already in production - was sufficient for its limited police, escort, and courier roles. Only 1,000 were made and the XA never went into full production. It remains the only shaft-driven Harley-Davidson ever made.

 

SMALL HARLEYS: HUMMERS AND AERMACCHIS

As part of war reparations, Harley-Davidson acquired the design of a small German motorcycle, the DKW RT 125, which they adapted, manufactured, and sold from 1948 to 1966. Various models were made, including the Hummer from 1955 to 1959, but they are all colloquially referred to as "Hummers" at present. BSA in the United Kingdom took the same design as the foundation of their BSA Bantam.

 

In 1960, Harley-Davidson consolidated the Model 165 and Hummer lines into the Super-10, introduced the Topper scooter, and bought fifty percent of Aermacchi's motorcycle division. Importation of Aermacchi's 250 cc horizontal single began the following year. The bike bore Harley-Davidson badges and was marketed as the Harley-Davidson Sprint. The engine of the Sprint was increased to 350 cc in 1969 and would remain that size until 1974, when the four-stroke Sprint was discontinued.

 

After the Pacer and Scat models were discontinued at the end of 1965, the Bobcat became the last of Harley-Davidson's American-made two-stroke motorcycles. The Bobcat was manufactured only in the 1966 model year.

 

Harley-Davidson replaced their American-made lightweight two-stroke motorcycles with the Aermacchi-built two-stroke powered M-65, M-65S, and Rapido. The M-65 had a semi-step-through frame and tank. The M-65S was a M-65 with a larger tank that eliminated the step-through feature. The Rapido was a larger bike with a 125 cc engine. The Aermacchi-built Harley-Davidsons became entirely two-stroke powered when the 250 cc two-stroke SS-250 replaced the four-stroke 350 cc Sprint in 1974.

 

Harley-Davidson purchased full control of Aermacchi's motorcycle production in 1974 and continued making two-stroke motorcycles there until 1978, when they sold the facility to Cagiva.

 

OVERSEAS

Established in 1918, the oldest continuously operating Harley-Davidson dealership outside of the United States is in Australia.[4] Sales in Japan started in 1912 then in 1929, Harley-Davidsons were produced in Japan under license to the company Rikuo (Rikuo Internal Combustion Company) under the name of Harley-Davidson and using the company's tooling, and later under the name Rikuo. Production continued until 1958.

 

TARNISHED REPUTATION

In 1952, following their application to the U.S. Tariff Commission for a 40 percent tax on imported motorcycles, Harley-Davidson was charged with restrictive practices.

 

In 1969, American Machine and Foundry (AMF) bought the company, streamlined production, and slashed the workforce. This tactic resulted in a labor strike and lower-quality bikes. The bikes were expensive and inferior in performance, handling, and quality to Japanese motorcycles. Sales and quality declined, and the company almost went bankrupt. The "Harley-Davidson" name was mocked as "Hardly Ableson", "Hardly Driveable," and "Hogly Ferguson", and the nickname "Hog" became pejorative.

 

In 1977, following the successful manufacture of the Liberty Edition to commemorate America's bicentennial in 1976, Harley-Davidson produced what has become one of its most controversial models, the Harley-Davidson Confederate Edition. The bike was essentially a stock Harley with Confederate-specific paint and details.

 

RESTRUCTING AND REVIVAL

In 1981, AMF sold the company to a group of 13 investors led by Vaughn Beals and Willie G. Davidson for $80 million. Inventory was strictly controlled using the just-in-time system.

 

In the early eighties, Harley-Davidson claimed that Japanese manufacturers were importing motorcycles into the US in such volume as to harm or threaten to harm domestic producers. After an investigation by the U.S. International Trade Commission, President Reagan imposed in 1983 a 45 percent tariff on imported bikes with engine capacities greater than 700 cc. Harley-Davidson subsequently rejected offers of assistance from Japanese motorcycle makers. However, the company did offer to drop the request for the tariff in exchange for loan guarantees from the Japanese.

 

Rather than trying to match the Japanese, the new management deliberately exploited the "retro" appeal of the machines, building motorcycles that deliberately adopted the look and feel of their earlier machines and the subsequent customizations of owners of that era. Many components such as brakes, forks, shocks, carburetors, electrics and wheels were outsourced from foreign manufacturers and quality increased, technical improvements were made, and buyers slowly returned.

 

Harley-Davidson bought the "Sub Shock" cantilever-swingarm rear suspension design from Missouri engineer Bill Davis and developed it into its Softail series of motorcycles, introduced in 1984 with the FXST Softail.

 

In response to possible motorcycle market loss due to the aging of baby-boomers, Harley-Davidson bought luxury motorhome manufacturer Holiday Rambler in 1986. In 1996, the company sold Holiday Rambler to the Monaco Coach Corporation.

 

The "Sturgis" model, boasting a dual belt-drive, was introduced initially in 1980 and was made for three years. This bike was then brought back as a commemorative model in 1991. By 1990, with the introduction of the "Fat Boy", Harley once again became the sales leader in the heavyweight (over 750 cm³) market. At the time of the Fat Boy model introduction, a story rapidly spread that its silver paint job and other features were inspired by the B-29; and Fat Boy was a combination of the names of the atomic bombs Fat Man and Little Boy. However, the Urban Legend Reference Pages lists this story as an urban legend.

 

1993 and 1994 saw the replacement of FXR models with the Dyna (FXD), which became the sole rubber mount FX Big Twin frame in 1994. The FXR was revived briefly from 1999 to 2000 for special limited editions (FXR2, FXR3 & FXR4).

 

Construction started on the $75 million, 130,000 square-foot (12,000 m2) Harley-Davidson Museum in the Menomonee Valley on June 1, 2006. It opened in 2008 and houses the company's vast collection of historic motorcycles and corporate archives, along with a restaurant, café and meeting space.

 

BUELL MOTORCYCLE COMPANY

Harley-Davidson's association with sportbike manufacturer Buell Motorcycle Company began in 1987 when they supplied Buell with fifty surplus XR1000 engines. Buell continued to buy engines from Harley-Davidson until 1993, when Harley-Davidson bought 49 percent of the Buell Motorcycle Company. Harley-Davidson increased its share in Buell to ninety-eight percent in 1998, and to complete ownership in 2003.

 

In an attempt to attract newcomers to motorcycling in general and to Harley-Davidson in particular, Buell developed a low-cost, low-maintenance motorcycle. The resulting single-cylinder Buell Blast was introduced in 2000, and was made through 2009, which, according to Buell, was to be the final year of production.

 

On October 15, 2009, Harley-Davidson Inc. issued an official statement that it would be discontinuing the Buell line and ceasing production immediately. The stated reason was to focus on the Harley-Davidson brand. The company refused to consider selling Buell. Founder Erik Buell subsequently established Erik Buell Racing and continued to manufacture and develop the company's 1125RR racing motorcycle.

 

FIRST OVERSEAS FACTORY IN BRAZIL

In 1998 the first Harley-Davidson factory outside the US opened in Manaus, Brazil, taking advantage of the free economic zone there. The location was positioned to sell motorcycles in the southern hemisphere market.

 

CLAIMS OF STOCK PRICE MANIPULATION

During its period of peak demand, during the late 1990s and early first decade of the 21st century, Harley-Davidson embarked on a program of expanding the number of dealerships throughout the country. At the same time, its current dealers typically had waiting lists that extended up to a year for some of the most popular models. Harley-Davidson, like the auto manufacturers, records a sale not when a consumer buys their product, but rather when it is delivered to a dealer. Therefore, it is possible for the manufacturer to inflate sales numbers by requiring dealers to accept more inventory than desired in a practice called channel stuffing. When demand softened following the unique 2003 model year, this news led to a dramatic decline in the stock price. In April 2004 alone, the price of HOG shares dropped from more than $60 to less than $40. Immediately prior to this decline, retiring CEO Jeffrey Bleustein profited $42 million on the exercise of employee stock options.[80] Harley-Davidson was named as a defendant in numerous class action suits filed by investors who claimed they were intentionally defrauded by Harley-Davidson's management and directors. By January 2007, the price of Harley-Davidson shares reached $70.

 

PROBLEMS WITH TOURING MODELS

Starting around 2000, several police departments started reporting problems with high speed instability on the Harley-Davidson Touring motorcycles. A Raleigh, North Carolina police officer, Charles Paul, was killed when his 2002 police touring motorcycle crashed after reportedly experiencing a high speed wobble. The California Highway Patrol conducted testing of the Police Touring motorcycles in 2006. The CHP test riders reported experiencing wobble or weave instability while operating the motorcycles on the test track.

 

2007 STRIKE

On February 2, 2007, upon the expiration of their union contract, about 2,700 employees at Harley-Davidson Inc.'s largest manufacturing plant in York, Pennsylvania went on strike after failing to agree on wages and health benefits. During the pendency of the strike, the company refused to pay for any portion of the striking employees' health care.

 

The day before the strike, after the union voted against the proposed contract and to authorize the strike, the company shut down all production at the plant. The York facility employs more than 3,200 workers, both union and non-union.

 

Harley-Davidson announced on February 16, 2007, that it had reached a labor agreement with union workers at its largest manufacturing plant, a breakthrough in the two-week-old strike. The strike disrupted Harley-Davidson's national production and was felt in Wisconsin, where 440 employees were laid off, and many Harley suppliers also laid off workers because of the strike.

 

MV AGUSTA GROUP

On July 11, 2008 Harley-Davidson announced they had signed a definitive agreement to acquire the MV Agusta Group for $109M USD (€70M). MV Agusta Group contains two lines of motorcycles: the high-performance MV Agusta brand and the lightweight Cagiva brand. The acquisition was completed on August 8.

 

On October 15, 2009, Harley-Davidson announced that it would divest its interest in MV Agusta. Harley-Davidson Inc. sold Italian motorcycle maker MV Agusta to Claudio Castiglioni, ending the transaction in the first week of August 2010. Castiglioni is the company's former owner and had been MV Agusta's chairman since Harley-Davidson bought it in 2008.

 

OPERATIONS IN INDIA

In August 2009, Harley-Davidson announced plans to enter the market in India, and started selling motorcycles there in 2010. The company established a subsidiary, Harley-Davidson India, in Gurgaon, near Delhi, in 2011, and created an Indian dealer network.

 

FINANCIAL CRISIS

According to Interbrand, the value of the Harley-Davidson brand fell by 43 percent to $4.34 billion in 2009. The fall in value is believed to be connected to the 66 percent drop in the company profits in two quarters of the previous year. On April 29, 2010, Harley-Davidson stated that they must cut $54 million in manufacturing costs from its production facilities in Wisconsin, and that they would explore alternative U.S. sites to accomplish this. The announcement came in the wake of a massive company-wide restructuring, which began in early 2009 and involved the closing of two factories, one distribution center, and the planned elimination of nearly 25 percent of its total workforce (around 3,500 employees). The company announced on September 14, 2010 that it would remain in Wisconsin.

 

MOTORCYCLE ENGINES

The classic Harley-Davidson engines are V-twin engines, with a 45° angle between the cylinders. The crankshaft has a single pin, and both pistons are connected to this pin through their connecting rods.

 

This 45° angle is covered under several United States patents and is an engineering tradeoff that allows a large, high-torque engine in a relatively small space. It causes the cylinders to fire at uneven intervals and produces the choppy "potato-potato" sound so strongly linked to the Harley-Davidson brand.

 

To simplify the engine and reduce costs, the V-twin ignition was designed to operate with a single set of points and no distributor. This is known as a dual fire ignition system, causing both spark plugs to fire regardless of which cylinder was on its compression stroke, with the other spark plug firing on its cylinder's exhaust stroke, effectively "wasting a spark". The exhaust note is basically a throaty growling sound with some popping. The 45° design of the engine thus creates a plug firing sequencing as such: The first cylinder fires, the second (rear) cylinder fires 315° later, then there is a 405° gap until the first cylinder fires again, giving the engine its unique sound.

 

Harley-Davidson has used various ignition systems throughout its history – be it the early points and condenser system, (Big Twin up to 1978 and Sportsters up to 1978), magneto ignition system used on some 1958 to 1969 Sportsters, early electronic with centrifugal mechanical advance weights, (all models 1978 and a half to 1979), or the late electronic with transistorized ignition control module, more familiarly known as the black box or the brain, (all models 1980 to present).

 

Starting in 1995, the company introduced Electronic Fuel Injection (EFI) as an option for the 30th anniversary edition Electra Glide. EFI became standard on all Harley-Davidson motorcycles, including Sportsters, upon the introduction of the 2007 product line.

 

In 1991, Harley-Davidson began to participate in the Sound Quality Working Group, founded by Orfield Labs, Bruel and Kjaer, TEAC, Yamaha, Sennheiser, SMS and Cortex. This was the nation's first group to share research on psychological acoustics. Later that year, Harley-Davidson participated in a series of sound quality studies at Orfield Labs, based on recordings taken at the Talladega Superspeedway, with the objective to lower the sound level for EU standards while analytically capturing the "Harley Sound". This research resulted in the bikes that were introduced in compliance with EU standards for 1998.

 

On February 1, 1994, the company filed a sound trademark application for the distinctive sound of the Harley-Davidson motorcycle engine: "The mark consists of the exhaust sound of applicant's motorcycles, produced by V-twin, common crankpin motorcycle engines when the goods are in use". Nine of Harley-Davidson's competitors filed comments opposing the application, arguing that cruiser-style motorcycles of various brands use a single-crankpin V-twin engine which produce a similar sound. These objections were followed by litigation. In June 2000, the company dropped efforts to federally register its trademark.

 

BIG V-TWINS

F-head, also known as JD, pocket valve and IOE (intake over exhaust), 1914–1929 (1,000 cm³), and 1922–1929 (1,200 cm³)

Flathead, 1930–1949 (1,200 cm³) and 1935–1941 (1,300 cm³).

Knucklehead, 1936–1947 61 cubic inch (1,000 cm³), and 1941–1947 74 cubic inch (1,200 cm³)

Panhead, 1948–1952 61 cubic inch (1,000 cm³), and 1948–1965, 74 cubic inch (1,200 cm³)

Shovelhead, 1966–1984, 74 cubic inch (1,200 cm³) and 80 cubic inch (1,338 cm³) since late 1978

Evolution (a.k.a. "Evo" and "Blockhead"), 1984–1999, 80 cubic inch (1,340 cm³)

Twin Cam (a.k.a. "Fathead" as named by American Iron Magazine) 1999–present, in the following versions:

Twin Cam 88, 1999–2006, 88 cubic inch (1,450 cm³)

Twin Cam 88B, counterbalanced version of the Twin Cam 88, 2000–2006, 88 cubic inch (1,450 cm³)

Twin Cam 95, since 2000, 95 cubic inch (1,550 cm³) (engines for early C.V.O. models)

Twin Cam 96, since 2007. As of 2012, only the Street Bob and Super Glide Custom Models still use the 96.96 cubic inch (1,584 cm³)

Twin Cam 103, 2003–2006, 2009, 103 cubic inch (1,690 cm³) (engines for C.V.O. models), Standard on 2011 Touring models: Ultra Limited, Road King Classic and Road Glide Ultra and optional on the Road Glide Custom and Street Glide. Standard on most 2012 models excluding Sportsters and 2 Dynas (Street Bob and Super Glide Custom). Standard on all 2014 dyna models.

Twin Cam 110, since 2007, 110 cubic inch (1,800 cm³) (engines for C.V.O. models, 2016 Soft Tail Slim S; FatBoy S, Low Rider S, and Pro-Street Breakout)

Milwaukee-Eight

Twin-cooled 107 ci (1,750 cm³): Standard on touring and trike model year 2017+.

Twin-cooled 114 ci (1,870 cm³): Optional on touring and trike model year 2017+, standard on CVO models.

 

REVOLUTION ENGINE

The Revolution engine is based on the VR-1000 Superbike race program, co-developed by Harley-Davidson's Powertrain Engineering team and Porsche Engineering in Stuttgart, Germany. It is a liquid cooled, dual overhead cam, internally counterbalanced 60 degree V-twin engine with a displacement of 69 cubic inch (1,130 cm³), producing 115 hp (86 kW) at 8,250 rpm at the crank, with a redline of 9,000 rpm. It was introduced for the new V-Rod line in 2001 for the 2002 model year, starting with the single VRSCA (V-Twin Racing Street Custom) model. The Revolution marks Harley's first collaboration with Porsche since the V4 Nova project, which, like the V-Rod, was a radical departure from Harley's traditional lineup until it was cancelled by AMF in 1981 in favor of the Evolution engine.

 

A 1,250 cc Screamin' Eagle version of the Revolution engine was made available for 2005 and 2006, and was present thereafter in a single production model from 2005 to 2007. In 2008, the 1,250 cc Revolution Engine became standard for the entire VRSC line. Harley-Davidson claims 123 hp (92 kW) at the crank for the 2008 VRSCAW model. The VRXSE Destroyer is equipped with a stroker (75 mm crank) Screamin' Eagle 1,300 cm³ Revolution Engine, producing more than 165 hp (123 kW).

 

750 cc and 500 cc versions of the Revolution engine are used in Harley-Davidson's Street line of light cruisers. These motors, named the Revolution X, use a single overhead cam, screw and locknut valve adjustment, a single internal counterbalancer, and vertically split crankcases; all of these changes making it different from the original Revolution design.

 

DÜSSELDORF-TEST

An extreme endurance test of the Revolution engine was performed in a dynometer installation, simulating the German Autobahn (highways without general speed limit) between the Porsche research and development center in Weissach, near Stuttgart to Düsseldorf. Uncounted samples of engines crashed, until an engine successfully passed the 500 hour nonstop run. This was the benchmark for the engineers to approve the start of production for the Revolution engine, which was documented in the Discovery channel special Harley-Davidson: Birth of the V-Rod, October 14, 2001.

 

SINGLE-CYLINER ENGINES

IOE singlesThe first Harley-Davidson motorcycles were powered by single-cylinder IOE engines with the inlet valve operated by engine vacuum. Singles of this type continued to be made until 1913, when a pushrod and rocker system was used to operate the overhead inlet valve on the single, a similar system having been used on their V-twins since 1911. Single-cylinder motorcycle engines were discontinued in 1918.Flathead and OHV singlesSingle-cylinder engines were reintroduced in 1925 as 1926 models. These singles were available either as flathead engines or as overhead valve engines until 1930, after which they were only available as flatheads. The flathead single-cylinder motorcycles were designated Model A for engines with magneto systems only and Model B for engines with battery and coil systems, while overhead valve versions were designated Model AA and Model BA respectively, and a magneto-only racing version was designated Model S. This line of single-cylinder motorcycles ended production in 1934.

 

MODEL FAMILIES

Modern Harley-branded motorcycles fall into one of six model families: Touring, Softail, Dyna, Sportster, Vrod and Street. These model families are distinguished by the frame, engine, suspension, and other characteristics.

 

TOURING

Touring models use Big-Twin engines and large-diameter telescopic forks. All Touring designations begin with the letters FL, e.g., FLHR (Road King) and FLTR (Road Glide).

 

The touring family, also known as "dressers" or "baggers", includes Road King, Road Glide, Street Glide and Electra Glide models offered in various trims. The Road Kings have a "retro cruiser" appearance and are equipped with a large clear windshield. Road Kings are reminiscent of big-twin models from the 1940s and 1950s. Electra Glides can be identified by their full front fairings. Most Electra Glides sport a fork-mounted fairing referred to as the "Batwing" due to its unmistakable shape. The Road Glide and Road Glide Ultra Classic have a frame-mounted fairing, referred to as the "Sharknose". The Sharknose includes a unique, dual front headlight.

 

Touring models are distinguishable by their large saddlebags, rear coil-over air suspension and are the only models to offer full fairings with radios and CBs. All touring models use the same frame, first introduced with a Shovelhead motor in 1980, and carried forward with only modest upgrades until 2009, when it was extensively redesigned. The frame is distinguished by the location of the steering head in front of the forks and was the first H-D frame to rubber mount the drivetrain to isolate the rider from the vibration of the big V-twin.

 

The frame was modified for the 1994 model year when the oil tank went under the transmission and the battery was moved inboard from under the right saddlebag to under the seat. In 1997, the frame was again modified to allow for a larger battery under the seat and to lower seat height. In 2007, Harley-Davidson introduced the 96 cubic inches (1,570 cubic centimetres) Twin Cam 96 engine, as well the six-speed transmission to give the rider better speeds on the highway.

 

In 2006, Harley introduced the FLHX Street Glide, a bike designed by Willie G. Davidson to be his personal ride, to its touring line.

 

In 2008, Harley added anti-lock braking systems and cruise control as a factory installed option on all touring models (standard on CVO and Anniversary models). Also new for 2008 is the 6-US-gallon (23 l; 5.0 imp gal) fuel tank for all touring models. 2008 also brought throttle-by-wire to all touring models.

 

For the 2009 model year, Harley-Davidson redesigned the entire touring range with several changes, including a new frame, new swingarm, a completely revised engine-mounting system, 17-inch (430 mm) front wheels for all but the FLHRC Road King Classic, and a 2–1–2 exhaust. The changes result in greater load carrying capacity, better handling, a smoother engine, longer range and less exhaust heat transmitted to the rider and passenger. Also released for the 2009 model year is the FLHTCUTG Tri-Glide Ultra Classic, the first three-wheeled Harley since the Servi-Car was discontinued in 1973. The model features a unique frame and a 1,690 cm³ engine exclusive to the trike.

 

In 2014, Harley-Davidson released a redesign for specific touring bikes and called it "Project Rushmore".[125] Changes include a new 103CI High Output engine, one handed easy open saddlebags and compartments, a new Boom! Box Infotainment system with either 10 cm or 16.5 cm screens featuring touchscreen functionality 16.5 cm models only], Bluetooth (media and phone with approved compatible devices), available GPS and SiriusXM, Text-to-Speech functionality (with approved compatible devices) and USB connectivity with charging. Other features include ABS with Reflex linked brakes, improved styling, Halogen or LED lighting and upgraded passenger comfort.

 

WIKIPEDIA

explore.marcopix.com/profile/index.php?id=8930636@N05

 

www.darckr.com/username?username=8930636@N05

 

"Copyright © – Jean-marie Boyer

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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.

Surgut, Region de Tioumen, lieu de gisement de petrole et de gaz parmi les plus importants de Russie. La compagnie qui exploite ces gisements, Surgutneftigaz, extrait l'equivalent de 40 millions de tonnes de petrole par an actuellement, ce qui represente seulement la moitie du niveau atteint avant l'effondrement de l'URSS, dans une region tres marecageuse ou elle entretien un reseau routier locale de quelques 8 000 km de routes, et ou l'hiver les temperatures atteignent - 40, -50 avec seulement 4 a cinq heures de soleil par jour

Ligne 36 - Arrêt : Allende

Exploitant : SEMITAN

Réseau TAN - Nantes

Affectation exceptionnelle en raison de l'arrêt des nouveaux Iveco Urbanway 12 GNV à la fin de l'été 2022.

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.

Are you ready for one last ride furious family? Get ready as we continue the global exploits in this unstoppable franchise built on speed with Vin Diesel, Paul Walker and Dwayne Johnson lead the returning cast of Furious 7. James Wan directs this chapter of the hugely successful series that also welcomes back favorites Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Chris “Ludacris” Bridges, Elsa Pataky and Lucas Black. They are joined by international action stars new to the franchise including Jason Statham, Djimon Hounsou, Tony Jaa, Ronda Rousey, Nathalie Emmanuel and Kurt Russell.

Animal rights protesters marching down Whitehall on 26 August 2023. They were near the end of a march from Marble Arch to Parliament Square. According to an activist I talked to, they were demanding the end to all types of animal exploitation and highlighting universal veganism as not only the only ethical and humane option, but as also a vital tool to prevent catastrophic climate change.

 

Here are four good reasons to go vegan in 2023

 

Animal Welfare: By not using or consuming animal products you are helping to reduce harm to animals and supporting their well-being. You should choose veganism if you believe in treating animals with kindness and respect.

 

Health Benefits: Vegan diets can lower the risk of heart disease, certain cancers, and type 2 diabetes. They typically include more fruits, vegetables, and whole grains, which are good for your health.

 

Environmental Impact: Producing plant-based foods typically has a much smaller environmental footprint than raising animals for meat. It can help combat issues of immense importance to the planet's future, particularly by reducing methane emissions and deforestation and thereby mitigating climate change.

 

Resource Conservation: A vegan diet requires fewer resources like water and land compared to a diet heavy in animal products. It's a more sustainable choice for the planet's future.

  

Navette Aéroport - Arrêt : Aéroport

Exploitant : SEMITAN

Réseau TAN - Nantes

Affectation exceptionnelle en raison de l'arrêt des nouveaux Iveco Urbanway 12 GNV à la fin de l'été 2022.

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 : RATP

Réseau : RATP

Ligne : 350

Lieu : Gare de l'Est (Paris 10ème, F-75)

Lien TC Infos : tc-infos.fr/id/7670

Rowan had a sweet interaction with a cute conure at a "pet" store. I'm ethically opposed to the sale of animals by the "pet" industry, but I do hope that whatever home this little sweetie ends up in, it's a good one where they are treated with love and proper care.

 

~~~~~~~~~~~~~

Why veganism:

www.vegankit.com/why