some crazy people in the middle of the snow on Mont Blanc -France

Ce soir là, nous sommes arrivés tard, visite du gouffre Armand, d'une fromagerie et de la ferme écomusée de Hyelzas oblige. J'ai donc mis à profit ce superbe bouquet de narcisses pour exploiter les dernières lumières.

Exploits A-geometry

Désert situé au Nord Est de l'Ethiopie près de la frontière avec l'Erythrée. Situé en dessous du niveau de la mer (-150 m), c'est une des zones les plus chaudes de la planète.

Le sel qui peut atteindre par endroit plus de 2000m d'épaisseur est exploité depuis l'Antiquité.

Au fond le volcan Erta Ale

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.

Locomotive à la gare d'Austerlitz (75 - Paris)

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Ne pas exploiter cette photo sur un site, blog ou tout autre média sans ma permission.

Copyright : All right reserved © pgauti

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© Copyright: The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use, personal or commercial, without my prior written permission is strictly prohibited.\101gopro\G0038210.

"Funeral"

Biarritz (Pyrénées-Atlantique - Pays Basque)

Website : www.fluidr.com/photos/pat21

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"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

Italian postcard by G. Vettori, Bologna, no. 173. Photo: Fox Film Corporation

Pearl White (1889 - 1938) was dubbed 'Queen of the Serials", and noted for doing her own stunts, in silent film serials such as The Perils of Pauline (1914) and The Exploits of Elaine (1914-1915). Often cast as a plucky onscreen heroine, White's roles directly contrasted those of the popularised archetypal ingénue. Until the end of the First World War White remained globally a popular action heroine.

Pearl Faye White was born in 1889 on her father's farm in Green Ridge, Missouri, the youngest of five children. She moved with her family to Springfield, Missouri, where she grew up. Her mother died when Pearl was only three years old. Pearl joined the Diemer Theatre Company during her second year of high school. At age 18, she went on the road with the Trousdale Stock Company, a repertoire group, in 1907. She was signed by the Powers Film Co. in New York in 1910. The following year, she moved to Philadelphia and joined the more professional film studio Lubin Film Company. She worked opposite some well-known actors, including Arthur Johnson and Florence Lawrence. Then White got a contract with Pathé Frères. She only appeared in a few films there, before starting to work for Crystal Film Company where she first gained public attention. She acted in a handful of films that met with great success, including Pearl as a Clairvoyant (Phillips Smalley, 1913), Pearl's Dilemma (Phillips Smalley, 1913), Pearl as a Detective (Phillips Smalley, 1913), and What Pearl's Pearls Did (Phillips Smalley, 1914). After this success, she returned to Pathé, where she became a star. In 1914, Pearl White starred in Pathe's 20-part film series The Perils of Pauline (Louis J. Gasnier, Donald MacKenzie, 1914), the fifth serial ever made. Another success was The Exploits of Elaine (1914-1915). In Europe, The Exploits of Elaine were re-edited with two subsequent serials into Les Mystères de New York. Around 1914-1915 she was the most popular female film star, and for a time she even topped Mary Pickford's popularity at the box office. She became an international star and was the leading heroine in a number of serials, which enjoyed immense popularity. She gained her initial fame by performing her own dangerous and life-threatening stunts. Stunt doubles were used after her popularity surged, and the studio became concerned for her safety. In 1922, during the filming of her final serial, Plunder, John Stevenson - her stand-in/stunt double - was killed while attempting a dangerous stunt. He was supposed to leap from the top of a bus on 72nd Street and Columbus Avenue onto an elevated girder. He missed the girder and struck his head. Stevenson died of a fractured skull. A rumor immediately spread that she had been killed, and a slight scandal arose when it was revealed that she had used a stand-in.

Pearl White was married twice. In 1907, she met her first husband, Victor Sutherland when they were touring together. It was a problematic marriage and a divorce followed in 1914. In 1919, she married actor and war hero Wallace McCutcheon Jr., son of pioneering cinematographer and director Wallace McCutcheon Sr. He had been gassed in World War One and suffered mental problems. The couple divorced two years later. In 1919, she left Pathé for a film contract with Fox Film Corporation, where she appeared in nine films. Almost all of the films flopped, so White returned to Pathé in 1923. Her second husband was distraught over the dissolution of the marriage and had disappeared only weeks after the divorce. It was believed that he had committed suicide. Pearl went to Paris and subsequently suffered a nervous breakdown. The breakdown was attributed in part to her guilt over Stevenson and McCutcheon. She remained in seclusion in France until McCutcheon's reappearance in May 1923. In 1928, he fatally shot himself. When found, his pockets were bulging with clippings about Pearl. With her health deteriorating, she retired. White was born into poverty, but by the time she retired from films in 1924, she had amassed a fortune of $2 million ($30 million in 2020). Pearl was a shrewd businesswoman, investing in a successful Parisian nightclub and a Biarritz resort hotel/casino. She owned a profitable stable of thoroughbred racehorses and divided her time between her townhouse in Passy and a 54-acre estate near Rambouillet. In later life, White suffered from all the stunts she had performed. In 1933, she was permanently hospitalised. She died five years later, in 1938 at the age of 49. She left her enormous fortune to her partner, Greek businessman Theodore Cossika. Pearl White was buried in the Passy Cemetery in Paris, her tombstone bears only her name.

Sources: Jim Beaver (IMDb), Wikipedia (Dutch and English), and IMDb.

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

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.

Delhi.

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.

My night-time exploits with the UV light have a beneficial impact on my friendly neighbourhood spiders. Sorry moth….

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

The Al Adamson-helmed exploitation oater "Jessi's Girls" gets another roll-out in this still-rare second edition, with more English text along with the cunningly linguistic retitle of "Two Pistol (Double Pistol) Jessica."

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

Le château de Suscinio, construit à la fin du Moyen Âge (au xiiie et dans la seconde moitié du xive siècle1), résidence des ducs de Bretagne, est situé au bord de Mor braz (océan Atlantique) dans la commune de Sarzeau (Morbihan).

Le château est classé monument historique en 1840, alors qu'il était en ruines

Conçu comme le centre de la gestion d'un domaine agricole, entre une forêt giboyeuse et le bord de mer, le château sera fortifié progressivement.

Le premier logis, un manoir pour la chasse, est bâti pour le duc de Bretagne Pierre de Dreux, en 1218.

En 1229, son fils, Jean Ier le Roux poursuit la construction du château, et fait clôturer une bonne partie de la forêt de Rhuys qui deviendra des parcs de chasse. L'extension du domaine et du château entraînera petit à petit la disparition du Prieuré de Saint-Pabu et la fondation de l'Abbaye de Prières, situé non loin de là à titre de pénitence.

Le château est agrandi à la fin du xive siècle. Les ducs Jean IV et Jean V entreprennent des travaux de consolidation et la construction d'une nouvelle tour. Au xve siècle une casemate est aménagée pour abriter des pièces d'artillerie. Ensuite le château est progressivement abandonné puis devient propriété de la couronne de France sous François Ier (1515-1547) qui le donnera un temps à l'une de ses maîtresses.

La fontaine dite de la Duchesse, près du village de Folperdrix (au nord de Suscinio), alimentait en eau le château, par des conduits souterrains.

En 1798, le château — déjà très dégradé — est vendu pour cinq mille francs comme bien national à un marchand qui l'exploite comme carrière de pierres à bâtir.

Acheté en 1852 par le vicomte Jules de Francheville, sa famille fait tout son possible pour sauver l'existant jusqu'au rachat en 1965 par le conseil général du Morbihan qui entreprend sa restauration.

En 1975, on découvre à proximité, la chapelle du prieuré, incendiée en 1370, qui possède un pavement remarquable, d'environ 300 m2. Celui-ci est étudié, restauré et exposé dans une salle du château.

Au début du xxie siècle, le château de Suscinio a retrouvé sa forme de forteresse médiévale intacte, même si les travaux continuent. En 2014, il faisait encore l'objet de fouilles archéologiques.

Costume : me

Photo: me

Bodypainting : me

Postproduction: me

Model: Niko

Thanks Niko

Exploitant : Cars Lacroix

Réseau : Valoise

Lieu : Léon Feix (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/20708

Isfandiyâr's fifth exploit - he kills the sîmurgh [1616] -

Spencer Coll. Persian MS. 3

NYPL

digitalcollections.nypl.org/collections/shhnmah#/?tab=abo...

+++ 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.

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).

"Domestic scene"

Zoo de la Palmyre (Poitou-Charente - Charante-Maritime)

Album "Zoo de la Palmyre" :

www.flickr.com/photos/pat21/sets/72157652283970665

Website : www.fluidr.com/photos/pat21

picssr.com/photos/pat21?ref=user

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."

"First paid holidays"

2CV & 4CV en vente

Rétro-Passion à Chevigny St Sauveur (COTE D'OR 2012)

<Website : www.fluidr.com/photos/pat21

"Copyright © – Patrick Bouchenard

The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved

Véhicule : IVECO BUS Crossway Pop (13m.) €6

Identification : 4435 (DV-155-DS)

Exploitant : CFTI Transports David (Groupe Transdev)

Réseau : TransGironde (Région Nouvelle-Aquitaine)

Dépôt : Salles

Ligne : 102

Service : n.a.

Destination : n.c.

Véhicule : IRISBUS IVECO Récréo II (12,80m.) EEV

Identification : 4249 (CJ-981-NR)

Exploitant : CFTI Transports David (Groupe Transdev)

Réseaux : TransGironde (Région Nouvelle-Aquitaine) et COBAN Transports Scolaire (Communauté d'Agglomération du Bassin d'Arcachon Nord)

Dépôt : Salles

Ligne : 102 et 681

Service : n.a.

Destination : n.c.

16/04/2019 14:41

Rue Félix Arnaudin ; Mios

John Rae is undoubtedly one of Orkney's greatest unsung heroes.Although his memorial is prominent in St Magnus Cathedral, the truth is that, until recently, few Orcadians knew of the man, or his deeds. John Rae was born at the Hall of Clestrain in Orphir on September 30, 1813. He was the fourth son of John Rae senior.Rae Senior was the factor of Sir William Honeyman's Orkney estate, so while most Orcadian families faced a harsh life of near-poverty, the Rae family lived in comfort in affluent surroundings. But forsaking the pleasures of hearth and home, the young John Rae thrived on the outdoor life. Making the most of the rural location, Rae spent most of his boyhood sailing, climbing, trekking, hunting and fishing â activities that served him well for his future exploits.

Then, in 1819, John Rae Senior was made the Orkney agent of the Hudson's Bay Company. As a boy, Rae would accompany his father on the short sea crossing between Clestrain and Stromness, where the HBC had their offices. Here, the young Rae would watch the company's many supply ships visit the town â their final port of call before crossing the Atlantic.n 1833, shortly after qualifying as a surgeon in Edinburgh, John Rae signed on as a surgeon aboard the HBC ship Prince of Wales. The shipâs destination was Moose Factory in James Bay â an area at the southern end of Hudson Bay in Canada.Intending only to serve a single season, the early âarrivalâ of ice meant Rae was forced to spend the winter on the desolate and windswept Charlton Island. There he faced a rough introduction to the âNor' Wastâ. Despite the conditions, Rae found himself captivated by "the wild sort of life to be found in the Hudson's Bay Company service". So much so that he accepted the post of surgeon at Moose Factory and remained there for ten years.

During his time at Moose Factory, Rae learned much about the area and, in particular, the Canadian natives. He regarded himself as a student of the native Cree Indians, learning skills from them such as making and maintaining snowshoes and how to hunt caribou and store the meat.

From the Inuit he learned how to ice the runners of a sled, how to combat snow-blindness and how to construct a shelter â all vital survival skills. It was this association with "natives" that contributed to Raeâs eventual downfall. Many considered his âhabitâ of dressing like a native a disgrace and frowned upon his methods. Despite this, Rae's time with the Native Americans saw him acquire a great deal of their knowledge, as well as a great respect for their culture, traditions and skills. Eventually, Rae became regarded as the foremost authority of Native American methods of Arctic survival and travel. For example, Rae was said to be the best snowshoe walker of his time. Over two months in 1844/45, he covered 1,200 miles on foot, a feat that earned him the nickname âAglookaâ - "he who takes long strides" - from the Inuit. His resilience and survival skills led to him being commissioned to go north to the west coast of Melville Peninsula from Fury and Hecla Strait southwards, and westwards to Dease, filling in the "blanks" that existed on the maps of northern Canadaâs coastline. By the winter of 1849, Rae had taken over the charge of the Mackenzie River district at Fort Simpson.

Before long, Rae was drawn into the search for a lost Royal Navy expedition. The expedition, led by Sir John Franklin, had disappeared after leaving England in 1845 to search for the Northwest Passage - a navigable Arctic route from the Atlantic Ocean to the Pacific. Franklin's expedition was made up of two ships, HMS Erebus and HMS Terror, and 134 men. Its failure to return resulted in one of the largest, most expensive, searches ever mounted. In charge of the search was Sir John Richardson, who wanted Rae as his second-in-command. Rae ended up leading two missions in an attempt to locate the missing sailors. Throughout this period, Rae continued charting the unknown territories of the north Canadian coast. Because of this, he succeeded where Franklin had failed and proved the existence of the North West passage. Rae abandoned the search for Franklin in 1854 after learning that the expedition had ended in disaster and that the last survivors having been forced to resort to cannibalism. In April 1854, Rae had heard from an Inuit that a group of 40 white men had been seen four years previously. Watched by a group of native seal hunters, the white men had been dragging a boat and sledges south along the west coast of King William Island.Going on the native accounts, Rae concluded the men had perished in the winter of 1850, after ice had crushed their ships. Some time later, Rae learned that the Inuit had discovered around 30 bodies and a number of graves. Some of these were on the mainland, with five on an island which Rae wrote was: "about a long day's journey to the north west of a large stream, which can be no other than Great Fish River". The men had died of starvation.

Rae wrote: "Some of the bodies had been buried (probably those of the first victims of famine); some were in a tent or tents; others under the boat, which had been turned over to form a shelter, and several lay scattered about in different directions." He added: "From the mutilated state of many of the bodies and the contents of the kettles, it is evident that our wretched Countrymen had been driven to the last dread alternative - cannibalism - as a means of prolonging existence." John Rae later acquired some of the dead menâs possessions from the Inuit. Items such as cutlery, watches and a medal that had once belonged to Franklin proved the expedition had perished. Going solely on the accounts of the Inuit, Rae did not actually visit the site, saying that the Inuit were reluctant to make the 10 or 12 day trek to the site of the lost expedition. This "failure" to visit the site led to considerable criticism after Raeâs report was published. The document damned the doctor in the eyes of Victorian England.

Raeâs conclusions as to the fate of the Franklin Expedition stirred up a hornetâs nest.The establishment condemned the documentâs contents and Rae's integrity was immediately called into question. How dare this man, who dressed and mingled with Canadian natives, suggest that men of the Royal Navy indulged in cannibalism? And more to the point imagine accepting the word of the natives without verifying it! Particularly vitriolic in her attacks was Franklin's wife. Lady Jane Franklin sought to glorify the memory of her husband as the man who found the Northwest Passage, so unsurprisingly Rae's discoveries did not go down well. Aiding Lady Franklin was the writer Charles Dickens. Dickens published articles rejecting Raeâs conclusions and the manner in which he had reached them. According to Dickens, it was unthinkable that the English Navy "would or could in any extremity of hunger, alleviate that pains of starvation by this horrible means". But Rae refused to back down. He stood by the content of his report and the circumstances surrounding the fate of the Franklin Expedition. The full story was only revealed when an expedition sent by Lady Franklin found a small cairn at Point Victory, on the north west coast of King William Island. Here, one Lieutenant Crozier, second in command, had left a message confirming that Sir John Franklin had died on June 11, 1847. Franklin had been the 25th man to perish on the expedition. The cairn was found in May 1859, 11 years after Crozier had written that the survivors were starting out for Great Fish River. Skeletons of some of the last survivors appeared to confirm that the men had resorted to cannibalism. Dr John Rae retired from the Hudson's Bay Company in 1856 at the age of 43. But his exploring days were far from over. When the Atlantic telegraph cable failed, a route was suggested through the Faroe Islands, Iceland and Greenland to North America. Rae was called upon to explore the landward side of this route.

Then, in 1884, he accepted a task that brought him back, for the time being, into the service of the Hudson's Bay Company. The HBC, in partnership with the Western Telegraph Union Company, was exploring the possibility of a telegraph route through Siberia, the Bering Strait, Alaska and British Columbia. Rae was asked to survey a section of the proposed route from Red River to Victoria. In the course of this survey he negotiated a considerable stretch of the Fraser River in a dugout canoe, without a guide. His survey notes proved of value in the later development of the Canadian west. But following the Franklin controversy, John Rae, and his exploits, began to slip from the pages of the history books. His achievements were ignored or, at best, grudgingly acknowledged. Although they had failed to find the North West passage, Franklin and his officers were posthumously knighted. Aside from his other achievements, Rae had found the Passage but received no recognition or award. He was the only major explorer of the era not to receive a knighthood.Dr John Rae died in London on July 22, 1893, aged 79.

On Saturday, July 29, 1893, his body arrived in Kirkwall on board the paddle steamer St Magnus. A solemn crowd gathered to pay their respects as John Rae returned home for the last time. His coffin was carried to St Magnus Cathedral where he was buried with great ceremony. His remains lie in the Cathedral kirkyard, marked by a humble gravestone. Inside the cathedral nave is a memorial to the man - a recumbent figure carved in stone. Wearing his Arctic travelling clothes, Rae sleeps with his gun by his side, and a blanket, or sleeping bag, thrown over his body. As a boy I remember asking my parents why the "sleeping man" was there. The response sums it up - they didn't know. And neither do many. There is one consolation, however. A growing number people are becoming aware of John Rae and his achievements. So perhaps there is still a chance that his rightful place in history will be restored.

The Exploited are one of the U.K.'s most politically outspoken thrash bands. Based in Edinburgh, the band is led by vocalist Wattie Buchan, whose supporting cast has changed several times since the group's inception around the end of the '70s. The band has garnered a sizable hardcore audience in the U.K. for its anti-authoritarian stance and criticism of the government, particularly in the Reagan/Thatcher era, but their following is not quite as large in the U.S. and has declined somewhat in Britain over the years

Ligne 86 - Arrêt : Ampère

Exploitant : SEMITAN

Réseau TAN - Nantes

A typical scene in Malé, new buildings coming up and almost all the construction workers are foreign and there's almost no attention to safety. Exploitation of foreign workers rivals fishing as the second most profitable sector of the Maldivian economy after tourism.

read more: www.mvdemocracynetwork.org/348/

An excerpt:

"“Recently I caught one Maldivian man who was bringing in over 1800 people. I asked him, ‘what will you do with them?’ He said there were ‘many projects’. I asked him to show me the projects and he couldn’t.

“I asked him if he had cleared this with the Ministry of Human Resources, Youth and Sports. I rang to check and it had – it was attested by one of the ministries of this government.

“I signed but had questions in my mind – why were the terms and conditions so small? There should be pages and pages – for 1800 people there should be hundreds of pages, and details of the project.

“But I had doubts in my mind so declared my signature null and void within Bangladesh within 4-5 days. I checked the company – it took me months – and then I found out the whole thing was a scam totalling over US$300 million.

“Those people would have come [to Male'] had I not checked. Had I not done it, 1800 people would have sold their homes and become delinquent in the Maldives. This did not bother a Maldivian broker – hell is not good enough for the people who are doing this.”"

" Le DC3 DAKOTA F-AZOX sort des usines Douglas d’Oklahoma City fin mai 1945 pour l’U.S. Air Force mais rejoint l’Angleterre où il est exploité sous la bannière de la Royal Air Force anglaise avant un retour au Canada dès 1946 où il devient avion de transport VIP pour l’Armée de l’Air canadienne et transporte même la Reine d’Angleterre en visite officielle. En 1975 débute sa carrière civile jusqu’en 2001. Abandonné à son sort sur un terrain vague, il est sauvé de la végétation qui commençait à l’envahir par l’association « Un Dakota sur la Normandie » en 2009 après plus de huit ans d’immobilisation à Dinard. Il subit plusieurs mois de travaux avant de pouvoir retrouver les airs en avril 2010.

La cabine de l’appareil très luxueuse est équipée de 22 sièges en cuir, de boiseries en loupe d’orme, de luminaires et aérations Art déco datant des années 30 lui conférant un charme nostalgique unique. L’appareil connait désormais une carrière d’avion de collection avant un certificat limité à l’emport de seulement 5 passagers et se rend régulièrement sur différents meetings aériens comme à Biscarrosse ou à La Ferté-Alais et totalise aujourd’hui quelques 24.000 heures de vol. "

www.dakota-normandie.org/5/histoire-du-f-azox

actu-aero.fr/2016/09/18/un-tour-de-france-en-dc3-pour-la-...

www.aerocarpiquet.com/dc1.html

Wood, hair wall paper, paint

Dimensions Variable

2008

Asserting contemporary Tlingit art as continually evolving, despite the resistance of individuals and institutions that would limit Indigenous culture based on assumptions about Indigenous peoples prior to interaction with Europeans. The fetishization of early contact and pre-contact Tlingit art has resulted in skeletal, ghost like objects in gallery and museum collections. The Imaginary Indian series points to the romanticization of these works as a form of colonization of culture, dependent on devaluing current cultural artistic production. The works reflect the attempt to disappear the Indigenous into the European through hand painting the surface of the pole to match the Victorian era floral wallpaper. The use of a totem pole produced in Indonesia for the tourist industry, a market that exploits Tlingit and Indonesian carvers through removal of agency over cultural art production. This action resists assimilated and digested aesthetic production with these works, taking back creative agency, and momentarily disrupting an industry that separates economic return from the communities where the creative work originated.

Miss Exploitation's entry photo for ReqiuiemArt's Miss World Domination 2010.

Among the things she exploits are her body and looks to get to what she wants.

S-Bahn 275-077/078 + another set; a so-called Halbzug (two double motorcars) at the yard waiting for a next duty. Built in the thirties (class ET 165) and stil going strong in the eighties when the BVG (Berlin Transport Company) took over the exploitation of the DR (Deutsche Reichsbahn / State Railway) and an era of neglecting (only the part in West-Berlin) came to a halt. Postcard published by Berliner Verkehrs Betriebe - Berlin.

I usually return home from North London exploits by LUL, however the kids came out of school early while I was in Costa, so I thought I'd bus it back today, having selected TE1074 due to its straight diesel credentials, much of the 332 being TEH now.

It's seen having a driver change opposite Cricklewood Garage. 29/3/18.

DNH39131 Charing Cross-Edgware Road 23

VH45251 Edgware Rd-Harlesden 18

VH45230 Harlesden-Wembley 18

TE731 Wembley-Preston Road 204

TEH1237 Preston Road-Colindale 204

ENL105 Colindale-Mill Hill Broadway 303

VLA122 Mill Hill Broadway-Colindale 303

VLA103 Colindale-The Hale 303

ENL103 The Hale-Colindale 303

TE1074 Colindale-Cricklewood Garage 32

TEH2082 Cricklewood Garage-Kilburn 332

TEH2074 Kilburn-Edgware Road Stn 332

9518 Edgware Road Stn-Hyde Park Cnr 414

VWH2394 Hyde Park Cnr-Charing Cross 6

View on black:...

Exploitant : Keolis Dijon Mobilités

Réseau : Divia

Ligne : L7

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

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

Processed with VSCOcam with a6 preset

suffer from misuse and abuse

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Exploitant : Transdev Montesson la Boucle

Réseau : Bus en Seine

Ligne : S7

Lieu : Parmentier (Sartrouville, F-78)

Lien TC Infos : tc-infos.fr/id/29279

New A330 GNV (05/2005) du réseau Divia exploité par Keolis Dijon.

Ce bus roule aujourd'hui à Budapest.

This morning (Tuesday 1 February 2022), we executed warrants at six properties in the Chadderton area.

A 25-year-old was arrested on suspicion of rape, sexual assault and trafficking a person within the UK for sexual exploitation.

A second 25-year-old was arrested on suspicion of sexual assault.

A 26-year-old was arrested on suspicion of sexual assault and trafficking a person within the UK for sexual exploitation.

A 27-year-old was arrested on suspicion of rape and trafficking a person within the UK for sexual exploitation.

A 28-year-old was arrested on suspicion of rape and trafficking a person within the UK for sexual exploitation.

The warrants were executed as part of Operation Gabel - an investigation into the child sexual exploitation of two teenage girls in 2012/2013.

Inspector Nick Helme, of GMP's Oldham district, said: "This morning's action at several properties in the Chadderton area was a result of just one of a number of ongoing investigations into historic child sexual exploitation in Greater Manchester.

"I can assure members of the public and warn offenders that investigating this type of crime is a top priority for the force. Regardless of time passed, dedicated teams in a specialist unit leave no stone unturned whilst gathering evidence to make arrests with the intention of bringing suspects to face justice.

"I hope these warrants build public trust and confidence that Greater Manchester Police is committed to fighting, preventing and reducing CSE to keep people safe and care for victims - giving them the faith they need in the force to come forward.

Greater Manchester is nationally recognised as a model of good practice in terms of support services available to victims.

If you or someone you know has been raped or sexually assaulted, we encourage you not to suffer in silence and report it to the police, or a support agency so you can get the help and support available.

- Saint Mary's Sexual Assault Referral Centre, Manchester provides a comprehensive and co-ordinated response to men, women and children who live or have been sexually assaulted within Greater Manchester. We offer forensic medical examinations, practical and emotional support as well as a counselling service for all ages. Services are available on a 24-hour basis and can be accessed by telephoning 0161 276 6515.

-Greater Manchester Rape Crisis is a confidential information, support and counselling service run by women for women over 18 who have been raped or sexually abused at any time in their lives. Call us on 0161 273 4500 or email us at help@manchesterrapecrisis.co.uk

- Survivors Manchester provides specialist trauma informed support to boys and men in Greater Manchester who have experienced sexual abuse, rape or sexual exploitation. Call 0161 236 2182.

Intouro (01/2014) du réseau Citéline exploité par SPL Trans Fensch.

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