+++ 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 Medium Mark E "Stinger" was a British tank of the late First World War. It was a development of the Medium Mark A "Whippet" and intended to complement the slower British heavy tanks by using its relative mobility and speed in exploiting any break in the enemy lines.

 

On 3 October 1916 William Tritton, about to be knighted for developing the Mark I tank, proposed to the Tank Supply Committee that a faster and cheaper tank should be built to exploit gaps that the heavier but slow tanks made, an idea that up till then had been largely neglected since it had been at that time a typical cavalry task. An armored vehicle would have a much higher survivability, though, and the new tank was to be able to move in the same environment as the rhomboid-shaped tanks of the first generation.

 

The proposal was accepted on 10 November and approved by the War Office on 25 November 1916. Actual construction of the new tank type started on 21 December and it was designated "Mark A". The first prototype, nicknamed "Whippet" due to its (relatively) light structure and high speed, was equipped with a revolving turret taken from an Austin armored car — the first for a British tank design. It was ready on 3 February 1917 and participated in the tank trials day at Oldbury on 3 March. The next day, in a meeting with the French to coordinate allied tank production, the Commander-in-Chief of the British forces Field Marshal Haig ordered the manufacture of two hundred vehicles, the first to be ready on 31 July. Although he was acting beyond his authority, as usual, his decisions were confirmed in June 1917.

 

The first production tanks left the factory in October and they differed from the prototype in having a fixed crew compartment instead of the turret, a polygonal structure at the rear of the vehicle. Two engines of the type used in contemporary double-decker buses were in a forward compartment, each one driving a track separately. The Mark A was armed with four air-cooled machine guns and lacked a heavier cannon.

Two Mark As were delivered to the first unit to use them, F Battalion of the Tank Corps (later 6th Battalion), on 14 December 1917. In December 1917 the order was increased from 200 to 385, but this was later cancelled in favor of more advanced designs, leading to the Mark B, C, D and finally the E types.

 

Medium Mark B-D remained prototypes and introduced several novelties like a separate engine compartment, new transmission systems (the Mark A was complicated to drive since it was steered through the separate throttle input to its two engines), a smoke screen device installed in the exhaust system. However, these medium tanks became bigger and heavier (in excess of 20 tons), and their development appeared like a dead end.

As a short-term alternative, and certainly influenced by the highly successful light Renault FT tank from France, William Tritton proposed a modified variant of the Medium Mark A. It would incorporate many lessons learned from the Mark A's initial operational use in France, as well as proven innovations that had been tested so far in the Mark B-D prototypes and in other vehicles.

 

The resulting Medium Mark E tank was based on the Mark A chassis, but actually only the suspension system, the tracks and the hull’s floor were actually the same. The hull with the engine and crew compartment was thoroughly redesigned and their positions exchanged: The engine was moved to the back, while the crew’s compartment was moved to the front. The fuel tank was re-located from the front to a low position between the engine bay and the cabin. Through this shift of the center of gravity the Mark E was expected to have a much better climbing ability, despite the relatively low front idler wheel.

The Mark A's twin powerplant was replaced by a single Ricardo 4-cylinder petrol engine, which produced 105 hp (76 kW). It not only offered more power and torque than the former arrangement, it also was lighter and was coupled with a new sliding gear transmission that drove the tracks at the rear and featured four speeds forward, one reverse. One main clutch plus two subsidiary clutches (one for each of the two tracks) were used for steering the tank, a much more efficient arrangement than the former dual throttle/gearbox mechanism.

 

Another novelty was the re-introduction of a turret, mounted on top of the crew compartment close to the vehicle's front and with a free 360° arc of fire. The octagonal turret, made from riveted steel plates, just like the rest of the hull, furthermore featured a cupola for the commander at the top. It was fully operated by hand, though, and did not have a rotating floor.

As main armament the turret carried a light Vickers 2-pounder “pom-pom” gun, a 40 mm caliber rapid-fire gun, outfitted with a water-cooled barrel and a Vickers-Maxim mechanism. This weapon was originally ordered in 1915 by the Royal Navy as an anti-aircraft weapon for ships of cruiser size and below, but it had already been earmarked for the use on board of the early "Little Willie" tank. It was successfully tested for this application, but actually never mounted to this experimental vehicle, which never got beyond the prototype stage.

The Vickers 2-pounder was a versatile weapon, though, and added considerable firepower to the Medium tank class. It could fire single shells like an ordinary gun, but it could also be fed with hand-loaded fabric belts and fire automatically at up to 200 rpm (even though this figure was only theoretical, since the barrel would quickly overheat under constant fire or the firing mechanism would jam, esp. in the hot environment of a tank). Typically, short belts of 5 rounds each were used, almost exclusively consisting of explosive shells. A total of 275 rounds could be carried, 45 ready in the turret and the rest in racks in the lower hull. Beyond explosive rounds, the Vickers 2-pounder could also fire armor-piercing shells against fortified bunkers or enemy tanks, as well as shrapnel rounds against soft targets.

Three air-cooled 0.303 inch Hotchkiss machine guns in ball mounts in the lower hull, firing to the sides and forward, completed the vehicle’s armament. 3.000 rounds for the machine guns were carried. While the 2-pounder in the turret was operated by the commander and a dedicated gunner, the machine guns were operated from case to case by one or two assistant drivers who were also tasked with re-supplying the cannon ammunition from the racks in the lower hull.

 

A prototype was built from an unfinished Mark A chassis at Fosters of Lincoln in just six weeks, and, since it was based on an existing design, the trials were radically shortened on behalf of the British Tank Supply Committee. 200 Medium Mark E tanks were almost blindly ordered in late 1917, and production immediately started, even though the output numbers were only limited and detail improvements were made while the tanks went through the workshops.

 

The Stingers' first operational use was, grouped in so-called “X-companies” attached to larger units made of heavy Mk. IV and V tanks, the Amiens offensive on 8 August 1918, which was described by the German supreme commander General Ludendorff, as "the Black Day of the German Army". Behind the heavy British tank the Stingers effectively broke through into the German rear areas causing the loss of the artillery in an entire front sector, a devastating blow from which the Germans were unable to recover.

 

Until the end of the war, only a total of 56 Stingers had been completed and delivered to the troops, the rest of the order was cancelled and the unfinished hulls scrapped. Only about twenty Medium Mark E tanks survived and were soon relegated to training units. In front line service, the Medium Mark E was soon replaced by the Vickers Medium Mark I from 1924 onwards, which introduced a suspension that allowed much higher road and cross-country speed, as well as many features that set the conceptual standard for modern tanks.

  

Specifications:

Crew: 4-5 (commander, gunner/loader, driver, 1-2x mechanic/assistant driver/machine gun operator)

Weight: 16.5 t

Length: 20 ft (6.10 m)

Width: 8 ft 7 in (2.62 m)

Height: 10 ft 1 in (3.06 m)

Suspension: none (unsprung)

Ground clearance: 1 ft 1 in (33 cm)

 

Armor:

14 – 22 mm (0.55 – 0.87 in)

 

Performance:

Speed: 8.5 mph (14 km/h) on even ground

Operational range: 240 km (150 mi)

Power/weight: 12,96 PS/tonne (11,5 hp/ton)

 

Engine:

1Í Ricardo 4-cylinder petrol engine with 105 hp (76 kW)

Transmission:

Fosters of Lincoln sliding gear transmission (four speeds forward, one reverse)

Armament:

1× Vickers 2-pounder (1.57”/40mm) rapid-fire gun

3× 7.92 mm Hotchkiss machine guns

  

The kit and its assembly:

This build was inspired by whiffy EMHAR 1:72 Medium Mark A, built by fellow modeler RAFF-35 at whatifmodelers.com. The WWI tank had been thoroughly modified through a simple reverse of the tracks, so that the engine would now be placed at the rear and the crew compartment at the front, with some modifications like a new driver’s hatch and an alcove for a forward-firing gun. I liked the idea and kept it in the back of my mind, and recently got hold of the EMHAR kit.

 

The basic concept would be the same, but I wanted a further update in the form of a turret, so that the tank would feature a “modern” layout like the next generation Vickers Medium tank.

 

The EMHAR kit is very simple, with molded tracks, and it basically goes together well. However, in my conversion almost nothing remained at its original place! The tracks were built and taken OOB, just the mud chutes had to be painted before the assembly because the interior remains well visible, but the opening don’t allow any delicate painting inside (see below).

 

The central hull was reversed and the new front end received a raised underside. Then the engine cover was added and the tank was installed – also onto the new front. Since the reversed tracks were now relatively higher than on the Whippet’s original layout, I decided to discard the original crew compartment and scratch a new one, also with regard to the addition of a turret which would necessitate a lower and flat roof.

The new superstructure was created from single panels from the original cabin (e.g. using the machine gun portholes) and styrene sheet material. The boxy design of WWI tanks made this feat quite easy, and only a few seams had to be filled with putty.

 

Originally I planned to use an early Valentine turret, but found it to look too modern for the rest of the vehicle. Luckily I found an early M3 Stewart turret in my stash (from the Hasegawa kit) as an alternative donor part, and it turned out to be the much better choice. It was taken almost OOB, I just modified the gun barrel to resemble a typical Vickers 2-pounder barrel and muzzle, modified the gun mantlet, and the attachment point for the M3’s AA machine gun disappeared.

I also used the commander figure from the M3 kit and left the cupola hatch open – I just replaced the figure’s head, so that it would (more) resemble a British WWI officer.

 

Once the basic structure was completed, I added some air vents and visor slits made from styrene material and replaced/added rivets with white glue. As an additional detail I added a pair of prongs to the front – I found a help to overcome barbed wire obstacles with the relatively low front tracks to be quite plausible, and it supports the vehicle’s overall “edgy” look.

  

Painting and markings:

Well, this is not really authentic, but I wanted “something different”. British late WWI tanks were, after 1916, typically painted in a uniform dark khaki drab or earth brown, with red and white ID markings. However, I found this option to be quite dull, since there had been some, well, creative alternatives a little while earlier.

One of these were the Solomon schemes, christened by their inventor and typically applied to the early Mark I and IV tanks in France. These were disruptive multi-color schemes, sometimes edged with more or less wide black stripes. Even though there was a standard to be followed, frontline units painted the vehicles AFAIK with much freedom, and if you try to find references, there’s the impression of “anything goes”.

 

My interpretation of the Solomon scheme consists of no less than five colors (sand yellow, blue-grey, medium green, red brown and dark brown) plus black demarcation lines. Painting was done with Humbrol enamels (94, 87, 252, 113 and 173) and thinned Revell 9 (Tar black) for the lines, everything done with brushes. The tracks were painted separately, before the final assembly of the model, with an irregular mix of iron, grey and some red brown.

 

After that, decals were added (taken mostly from the OOB sheet, I just used a different vehicle name) and sealed with acrylic varnish. Next, the model received a wash with a highly thinned reddish brown (acrylic paints), a dry brushing treatment with light grey and sand, and finally some mud was simulated around the lower hull with an individual mix of brown artist pigments: initially, the lower model surfaces were wetted with water and then pigments were rubbed into it with a short brush, in order to create a mud-like paste for the running gear area. Then, once cured, more dry pigments were applied with a big, soft brush, simulating dust in the upper hull regions. This considerably toned the camouflage colors down, and confirms the real life practice of painting tanks in just a uniform brownish khaki tone, because the dirt and mud from the battlefield would soon cover any elaborate camouflage pattern!

  

An unusual project, and the result is certainly “different”. Creating the new superstructure from bits and pieces was a tedious effort, but I think the result does not look implausible? The resulting tank looks a lot like an XXL size Renault FT, and the silhouette reminds me a lot of the later French Somua S-35 tank? The paint scheme is certainly weird, but I think that – despite the bright colors – it would be quite effective in a “normal” environment. Not certain how it would have fared in the blasted no man’s land of WWI, though?

 

Exploitant : RATP

Réseau : RATP

Ligne : 105

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

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

This first-edition release of Mario Bava's classic "Hatchet for a Honeymoon" is actually the more common one. Seemingly under-exploited during the rental era, numerous shrinkwrapped copies of this kicked around until the early aughties. Now very rare.

LZOS MC MTO-11CA + adaptateur T2-µ4/3 modifié

Téléobjectif Russe à miroirs.

Compact et lourd.

Focale équivalente 35 mm = 2000 mm f:10

Pas de stabilisation, mise au point manuelle... Délicate!

Exploitable sur sujets statiques, trépied nécessaire, à moins de disposer d'un boîtier à capteur stabilisé.

Exploitation lighting

Exploiting the success of the V8 engine, fitted both to the Quattroporte and 4-seat Mexico coupé, in 1966 Maserati presented at the Turin Motor Show the most sports version of their range, a sleek 2-seat coupè which in the name recalled its exciting performance: Ghibli, the desert wind. Designed by Giorgetto Giugiaro and built by Carrozzeria Ghia, the Ghibli is believed one of the most beautiful example of the Italian styling of the Sixties: the engine position, in the front and very low, thanks to the dry oil sump lubrication, allowed Giugiaro to design a low, sports but at the same time elegant body which had a great sale success. Produced in both 4.7-liter and 4.9-liter engine version (the latter called Ghibli SS), both coupé and spider, the Ghibli could be fitted on request with the automatic transmission too.

 

The car shown in the Museum has had two owners prior to be acquired by Luciano Nicolis and has covered just 41,700 kms: its leather interior are still the original and allow to appreciate the constructive care which the Trident firm put on every detail of their cars.

 

4.709 cc

V8

330 bhp @ 5.500 rpm

Vmax : 265 km/h

1.149 ex. (all Series)

 

Museo Nicolis

Villafranca di Verona

Italy - Italia

February 2019

Ligne 37 - Arrêt : Cité de l'Espace

Exploitant : SMTC-Tisséo

Réseau Tisséo - Toulouse

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 : Autocars Groussin

Réseau Tourisme

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

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 : Transdev TVO

Réseau : Bus en Seine

Lieu : Centre Opérationnel Bus d'Argenteuil (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/id/27741

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

Town Hall Square (Vienna)

The inner part of the town square

Street sign town square

The Town Hall Square is located in the first District of Vienna, Inner City. It is named after the erected here (new) Vienna City Hall. Due to its size, design and architecture of the buildings bordering the square it is considered one of the most important places in the center of Vienna.

History

Vienna City Hall , View from 1891

In the area of today's town square was once the Josefstädterstraße Glacis, held as a free field of fire meadows before the walls of Vienna, and later the parade and parade ground of the Imperial Army. During the construction of the Ringstrasse from 1858 this military site remained untouched for some time until the army after long efforts of Mayor Cajetan Felder had abstained and the expansion of the city funds could develop a Baulinienplan (building line plan) for the area. During this time, other locations were considered for the Hall.

Now the Town Hall Square, the largest square in the recessed ring road zone was provided. The northern and southern part of the square shaped city gardener Rudolf Siebeck 1872/1873 as City Hall Park, the central square of the axis Town Hall-Burgtheater, was kept free. 1873, the foundation was laid for the construction of the New Town Hall. 1874, work began on the Town Hall at the former Franzensring opposite the Burgtheater and the south of the square adjacent parliament building (north side front: Town Square 6). From 1877 to the new main building of the University of Vienna (southern side front: Town Square 5 ) built. Are installed on the three sides of the square five blocks with nine home numbers (No. 1 to No. 9), the fourth side is bordered by the ring.

In course of time the name of the place changed four times. In 1870 he was created as Town Hall Square, renamed in 1907 after the incumbent Christian Social mayor in Dr.-Karl -Lueger -Platz. The dominant Red Vienna since 1919, this appeared to be inappropriate, as Lueger in Vienna had prevented the universal and equal male suffrage, in 1907 introduced at state level. Therefore, the of a private committee donated Luegerdenkmal under the rule of mayor Karl Seitz was not, as intended by the Committee, in the town square erected but built in 1926 on a previously unnamed square corner Wollzeile/Stubenring and this place in the same year Dr.-Karl-Lueger-Platz named. The town square was returned to its original name . In 1938, the place was again renewed to Adolf Hitler Platz, what was reversed in 1945.

Christmas Market at City Hall

The large space between City Hall and the Burgtheater was used by all the rulers for political rallies. Since 1921, with its current form dates back to 1929 and was interrupted from 1933 to 1945, it is the traditional final rally of the Vienna SPÖ Maiaufmarsches (May-Procession) on 1 In May at the Town Hall Square. In addition, the space is exploited for most of the year for cultural and social events. The most important of them since 1975, the Christmas market in November and December, the Vienna Ice Dream in January and February, the opening of the Vienna Festival in May and open-air cinema screenings with classical music in July and August. The Life Ball at Vienna City Hall refers also to the town square. Traditionally, a since 1959 every year from one of the states erected large Christmas tree as a gift to the federal capital.

Location and characteristics

The Town Hall Square is located between the extended Grillparzerstraße to the north, the University Ring to the east, the extended Stadiongasse in the south and the extended Reichsratsstrasse in the West. Except the ring on which there are no buildings on this street, bear the buildings that are on the place in the wake of these streets, house numbers of the town square. Stadiongasse and Grillparzerstraße end before the court, the Reichsratsstrasse is interrupted by the court.

About two- thirds of the space area of 40,000 m² are taken from the City Hall park, which is divided by a blocked to traffic, very wide access road between the Burgtheater and the Rathaus, which offers space for events, into a northern and southern half. The town square is lined by some of the most important monumental Ringstrassen-Zone in historicist style. In the square itself is a large number of monuments and statues. Thus, the town square is one of the most representative places in Vienna.

The tram lines 1 and D operate on the ring road and have at the City Hall Square opposite the Burg Theatre and at the corner of Parliament stops. Coming from the south and from the ring turning, operates tram line 2 on the southern edge of the town square to Stadiongasse. The individual passes through traffic heading north on the eastern edge of the square on the ring road in the opposite direction behind the Town Hall on the two-line (Zweierlinie). Cycling trails pass off on the ring road and at the Grillparzerstraße and Stadiongasse. Behind the town hall runs the subway line U2 to the City Hall with the subway station as shuttle to City Hall and City Hall Square.

Building

City hall

The central building in the middle of the west side of the town square is the City Hall, built in 1873-1883 by Friedrich von Schmidt, New Town Hall, Town Hall called only since about 1970. The powerful, dominating the square building was designed by the Dutch Gothic models. It should express the political power of the strengthened bourgeosie against the monarch and the aristocracy.

The City Council has at the Town Hall no main entrance or direct access to the arcade court, they are located on the side fronts of Felderstraße and Lichtenfelsgasse, another entrance is at the rear front at the Friedrich-Schmidt-Platz. The town hall itself is essentially the so-called People's Hall on the ground floor of the town hall via a staircase outdoors is accessible (inputs centered under the town hall tower and left and right). The People's Hall is occasionally used for exhibitions. The outlet is located at the corner of Felderstraße to City Hall basement.

Arcade, Town Hall Square 2-4

Foyer with ceiling painting Apotheosis of Vindobona, Town Hall Square 4

No. 2, 3 and 4: Arcade Shops

The block north of City Hall was built in 1880-1883 by Franz von Neumann. Plan requirement was to equip the buildings (such as on the west side of the Imperial Parliament Street, in the course of which they are) at the town square with arcades. Held in the old German style, houses have remarkable corner projections made ​​with domes. At the central projection there are respectively balconies on herma. The attic floor is decorated with stucco relief female figures. The rib-vaulted arcades are painted with grotesques by Franz and Carl Jobst and equipped with cast iron lanterns. Particularly important are the foyers on No. 4 (and at the back of the block on the Ebendorferstraße 4). Frieze reliefs show the allegories of commerce, the arts and commerce. A large ceiling painting depicts the apotheosis of Vindobona. Lanterns and railings are made of wrought iron.

No. 5: University of Vienna, Main Building

Town Hall Square and front side of the university 's main building in 1900

The Town Hall Square side facing the front of the main university building today (2007 )

On the north side of the town square is the front side of the main building of the University of Vienna. The main work of the late phase of the strict historicism was built in 1873-1884 by Heinrich von Ferstel. The 29-axle side facade is broken repeatedly by risalits as well as by half and full columns. Statues of Anton Schmidgruber and Franz Koch standing in relation to the philosophical faculty. The building has no open entrance here .

No. 6: Parliament

On the south side of the town square is the side front of the parliament building, which was built as Reichsratsgebäude for Cisleithania. It is the most important work of the architect Theophil von Hansen, the latter founded 1871-1883 by ancient Greek models. At the Town Hall Square, the Parliament has a covered side entrance, originally a carriage way.

No. 7, 8 and 9 houses with arcades

Dome on the corner risalt, Town Hall Square 7

South of the Town Hall is located one block of houses with arcades, built 1877/1878 of City Hall architect Friedrich von Schmidt and Franz Neumann in old German forms. These were the first houses with arcades of City Hall district. Dominant are domes on corner risalit and central dome, bay windows, balconies, putti frieze and statues of Venus and Mars on the facade. In the rib-vaulted arcades are embedded gates with half column portals and acroterion figures. The lobbies are decorated with stucco ceilings, among other rich and grotesque painting. At No. 8 is located under the arcades the in City Hall circles famous café and pastry shop Sluka.

City Hall Park

At the request of Mayor Felder the City Hall Park was created as a complementary recreation area in the Ring Road zone. It is a strictly historicist Park, which was created as the city park of city gardener Rudolf Siebeck. The green area is north and south of a link road from the Burgtheater on the Ring to the City Hall laid out, which extends space-like in front of City Hall. In each of the two parts is a Rondeau Park with fountains, which are intended to highlight the two Viennese spring water lines and were financed by the builder Antonio Gabrielli.

Orientation plan

Under the old trees of the park there are five trees that are designated as natural monuments in Vienna. A lime in the southern part of the park was planted on the occasion of the 50th anniversary jubilee of Emperor Franz Joseph I in 1898, an oak tree, also in the southern part of the park in 1906 for the then incumbent mayor Karl Lueger. Winding paths lead through the two parts of the park. The garden fence is original historicist. In the northern part of the park is a large children's play area. A 1890 in the southern part of the park built weather house, destroyed during the Second World War, was renewed in 1955 with mosaics of Mary Biljan-Bilger. The modern toilet facilities were designed by Luigi Blau.

Monuments

Waldmüllerdenkmal (Monument) by Josef Engelhart, 1913

The Town Hall Square is home of a number of monuments, they are described here from the ring road starting.

(Locked) Access from the Burgtheater to City Hall

At the beginning of this approach is, turning off the ring road, left the monument to Theodor Körner, mayor, then President of the Second Republic, by Hilde Uray, bronze statue, 1963,

right of the monument to Karl Seitz, first head of state of the First Republic, then mayor in Red Vienna, by Gottfried Buchberger, bronze statue, 1962.

Directly between the two parts of the park in 1902 eight stone monuments of significant figures in the history of Vienna were placed four at each park side facing each other. They had been established in 1867 on the balustrades of the former Elizabeth Bridge over the river (Wienfluss) on Karlsplatz. When in 1897 the bridge was demolished in this area because of the light rail construction and the resulting vaulting of the Wienfluss, the eight monuments first have been put along the then still in the incision extending new light rail line on the Karlsplatz, where they but heavily by the soot of steam locomotives polluted monuments were popularly called eight chimney sweepers. Therefore, they were transferred to the town square later:

left ( south side):

Margrave Henry II Jasomirgott from the House of Babenberg, by Franz Melnitzky

Duke Rudolf the founder of the House of Habsburg, of Josef Gasser

Ernst Rüdiger von Starhemberg, defender of Vienna (second Turkish siege), by Johann Baptist Fessler

Johann Bernhard Fischer von Erlach, Baroque architect, Josef Cesar

right (north side):

Duke Leopold the Glorious from the House of Babenberg, by Johann Preleuthner

Niklas Graf Salm, defender of Vienna (first siege of Vienna), by Matthias Purkartshofer

Archbishop Charles Leopold of Kollonitsch, spiritual leader of Vienna (second Turkish siege), Vincenz Pilz

Joseph of Sonnenfels, judicial and administrative reformer of Maria Theresa, by Hanns Gasser (replaced in the Nazi era in 1939 by a statue of the composer Christoph Willibald Gluck, re-erected after 1945)

Next to the town hall (tower), outside of the southern part of the park: replica of the Vienna City Hall man at the top of City Hall tower in scale 1: 1, by Fritz Tiefenthaler, 1985

Southern part of the city hall park (towards Parliament)

At the corner of Park Ring/Parliament, addressed to the ring: Karl Renner, the first Chancellor of the First and first president of the Second Republic, portrait head of Alfred Hrdlicka on monument structure of Josef Krawina, 1965-1967

Josef Popper-Lynkeus, social ethicist, stone bust of Hugo Taglang, 1926. As artists and represented were Jews , the bust was removed in the Nazi regime in 1938, restored in 1951 according to the plaster model.

Johann Strauss (father ) and Joseph Lanner, statues of Franz Seifert, 1905, Art Nouveau, the bronze sculptures stand in front of a curved wall with marble reliefs of ball scenes and a poem by Edward von Bauernfeld. This concept and the architecture created Robert Oerley .

Northern part of the city hall park (towards the University)

Ferdinand Georg Waldmüller, marble monument of Josef Engelhart, 1913 , Art Nouveau

Ernst Mach, physicist, of Heinz Peteri, 1926

Adolf Schärf, vice chancellor, then president of the Second Republic, bronze bust of Alfred Hrdlicka, 1985

The most recent monument in the park, built in 1993, commemorates the wartime destruction of Vienna in 1945 and was by Hubert Wilfan under the title Yesterday - Today created from stone.

de.wikipedia.org/wiki/Rathausplatz_(Wien)#Geschichte

Costume : me

Photo: me

Bodypainting : me

Postproduction: me

Model: Niko

 

Thanks Niko

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

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.

Fram Museum, Oslo, Norway.

 

Gjøa was the first vessel to transit the Northwest Passage. With a crew of six, Roald Amundsen traversed the passage in a three-year journey, finishing in 1906.

 

The 70 by 20 ft (21.3 by 6.1 m) square-sterned sloop of 45 net register tonnage (4,500 cu ft or 130 m3) was built by Knut Johannesson Skaale in Rosendal, Norway in 1872, the same year Amundsen was born.

 

She was named Gjøa after her then owner's wife. (Gjøa is a modern form of the Norse name Gyða - this again is a compressed form of Guðfríðr, a compound of guð 'god' and fríðr 'beautiful'.) For the next 28 years the vessel served as a herring fishing boat.

 

On March 28, 1901, Amundsen bought her from Asbjørn Sexe of Ullensvang, Norway, for his forthcoming expedition to the Arctic Ocean.

 

Gjøa was much smaller than vessels used by other Arctic expeditions, but Amundsen intended to live off the limited resources of the land and sea through which he was to travel, and reasoned that the land could sustain only a tiny crew (this had been the cause of the catastrophic failure of John Franklin's expedition fifty years previously).

 

Her shallow draught would help her traverse the shoals of the Arctic straits. Perhaps most importantly, the aging ship was all that Amundsen (who was financing his expedition largely by spending his inheritance) could afford.

 

Amundsen had little experience of Arctic sailing, and so decided to undertake a training expedition before braving the Arctic ice. He engaged Hans Christian Johannsen, her previous owner, and a small crew, and sailed from Tromsø in April 1901.

 

The next five months were spent sealing on the pack ice of the Barents Sea. Following their return to Tromsø in September, Amundsen set about remedying the deficiencies in Gjøa that the trip had exposed.

 

He had a 13 horsepower marine paraffin motor driving a single screw installed. She had hitherto been propelled only by sail and had proved to be sluggish. Much of the winter was spent upgrading her ice sheathing; Amundsen knew she would spend several winters iced-in.

 

In the spring of 1902, her refit complete, Amundsen sailed her to Christiania (now Oslo), the capital of Norway. At this time Norway was still in a union with Sweden, and Amundsen hoped the nationalistic spirit which was sweeping the country would attract sponsors willing to underwrite the expedition's growing costs.

 

After much wrangling, and a donation from King Oscar, he succeeded. By the time Amundsen returned, Norway had gained its independence, and he and his crew were among the new country's first national heroes.

 

Amundsen served as the expedition leader and Gjøa's master. His crew were Godfred Hansen, a Danish naval lieutenant and Gjøa's first officer; Helmer Hanssen, second officer, an experienced ice pilot who later accompanied Amundsen on subsequent expeditions; Anton Lund, an experienced sealing captain; Peder Ristvedt, chief engineer; Gustav Juel Wiik, second engineer, a gunner in the Royal Norwegian Navy; and Adolf Henrik Lindstrøm, cook.

 

Gjøa left the Oslofjord on June 16, 1903, and made for the Labrador Sea west of Greenland. From there she crossed Baffin Bay and navigated the narrow, icy straits of the Arctic Archipelago. By late September Gjøa was west of the Boothia Peninsula and began to encounter worsening weather and sea ice. Amundsen put her into a natural harbour on the south shore of King William Island; by October 3 she was iced in.

 

There she remained for nearly two years, with her crew undertaking sledge journeys to make measurements to determine the location of the North Magnetic Pole and learning from the local Inuit people. The harbour, known as Uqsuqtuuq ("lots of fat") in Inuktitut, has become the only settlement on the island—Gjoa Haven, Nunavut, which now has a population of over a thousand people (1,279 at the 2011 census).

 

Gjøa left Gjoa Haven on August 13, 1905, and motored through the treacherous straits south of Victoria Island, and from there west into the Beaufort Sea.

 

By October Gjøa was again iced-in, this time near Herschel Island in the Yukon. Amundsen left his men on board and spent much of the winter skiing 500 miles south to Eagle, Alaska to telegraph news of the expedition's success.

 

He returned in March, but Gjøa remained icebound until July 11. Gjøa reached Nome on August 31, 1906. She sailed on to earthquake ravaged San Francisco, California, where the expedition was met with a hero's welcome on October 19.

 

Rather than sail her round Cape Horn and back to Norway, the Norwegian American community in San Francisco prevailed on Amundsen to sell her to them.

 

The ship was donated to the city of San Francisco, and the ship was dragged up the beach to the northwest corner of Golden Gate Park, surrounded by low fence and put on display.

 

Amundsen knew that because of the notoriety that his exploits aboard Gjøa had earned, he would be able gain access to Nansen's ship Fram which had been custom-built for ice work and was owned by the Norwegian state.

 

Therefore Amundsen left Gjøa in San Francisco. He and his crew traveled back to Norway by commercial ship. Of the original expedition members, only Wiik failed to return to Norway, since he had died of illness during the third Arctic winter.

 

Over the following decades Gjøa slowly deteriorated, and by 1939 she was in poor condition. Refurbishment was delayed by World War II, and repairs were not completed until 1949.

 

Being displayed outdoors and having faced 66 years of high winds, ocean salt and sand, the boat once again suffered deterioration, until in 1972, with the help of Erik Krag, a Danish American shipping company owner of San Francisco, Gjøa was returned to Norway. Erik Krag was knighted by the King of Norway for his efforts in shipping home Gjøa.

 

The Gjøa was displayed in the Norwegian Maritime Museum (Norwegian: Norsk Maritimt Museum) in Bygdøy, Oslo. In May 2009 the Norwegian Maritime Museum and the Fram Museum (Norwegian: Frammuseet) signed an agreement for the Fram Museum of Bygdøy to take over the exhibition of the Gjøa. It is currently displayed in a separate building at Fram Museum.

 

A bauta (memorial pillar) now stands near Gjøa's former home in San Francisco.

 

The Gjøa was also featured as a filming location in the 2005 documentary, The Search for the Northwest Passage, in which Kåre Conradi played Amundsen.

en.wikipedia.org/wiki/Gj%C3%B8a

  

Véhicule : IVECO BUS Evadys €6

Identification : 1718 (ES-032-EW)

Exploitant : SPL TRANS LANDES

 

Dépôt : Saint-Vincent-de-Paul

 

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

 

11/05/2019 13:45

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

My wife brought this flower home yesterday for me to exploit, and it's huge. About the size of a dinner plate. The botanical name for the flower is Magnolia grandiflora, but I used creative license and employed a more made up name.

 

Lighting stuff for those who care: Simple lighting with one YN560-III in a 24 inch softbox at camera left about 6 inches from the flower. I used side lighting because it creates the shadows that reveal shapes and texture. The flash, in manual mode, was triggered by a Yongnuo RF-603N.

 

Other plants, flowers, fruit or thingys that I've photographed using strobes can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422

View on black:...

Processed with VSCOcam with a6 preset

 

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.

Inglourious Basterds is a 2009 war film written and directed by Quentin Tarantino and released in August 2009 by The Weinstein Company and Universal Pictures.

Inglourious Basterds in an alternate history of the Second World War in which the entire top leadership of Nazi Germany, namely Hitler, Goering, Goebbels and Bormann attend a film premiere in Paris celebrating the exploits of a German sniper who had managed to kill 250 American soldiers in Italy. The timeframe of the film is set in early June 1944, after the D-Day landings but before the liberation of Paris.

William Bradley is an American actor and film producer commonly known as Brad Pitt who starred in Inglourious Basterds

The House was built between about 1822 and 1837 in grand "highland baronial" style by the Pennant family, the Barons Penrhyn. As a scion of a south Wales mining family the name Pennant brings ancestral memory of the slate miners lock-out from the Pennant owned quarries around 1901-1903 and solidarity with the mining valleys in the south so I was already badly disposed to the family before arrival.

 

Worse however, was that I hadn't realised that the castle was built with the profits of the Pennant family's slaveholdings in Jamaica. The compensation that the Pennants got from the British state for the emancipation of their slaves was almost identical to the sum used for the construction of the castle. It could be said that the British state directly funded the building of this castle by its payment of a ransom price for the Pennants slaves

 

The castle is sensitively curated and recognises the link. There is a lot of culture war debate over "contested heritage" in the UK as elsewhere and there is a lot of criticism from the usual suspects about the National Trust's recognition of links to slavery and other exploitative gains. But far from being "woke" a place like this cannot be presented without an appreciation of its darker side and the Trust is pitch perfect in its approach

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.

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

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.

A man pulls open an egg to show a chick to the children.

 

This was taken at a 4H display.

 

Animals have the right to not be used as property. Please reject speciesism and go vegan!

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"Copyright © – Jean-marie Boyer

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. All rights reserved."A

  

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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

Exploitant : Cars Lacroix

Réseau : ValParisis

Ligne : 30-23

Lieu : Gare de Montigny – Beauchamp (Beauchamp, F-95)

Lien TC Infos : tc-infos.fr/vehicule/25451

Processed with VSCOcam with a6 preset

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

 

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

 

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

 

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

Plaque beneath this image of Jimmy Melrose reads:-

“Charles James (Jimmy) Melrose (1913–1936)

During the glamorous mid 1930s, few rivalled the celebrity of charismatic South Australian aviator Jimmy Melrose. Image a young 19 year old boy, 6 feet tall, blue eyes, unruly blond hair with a freckled face.

 

Born in Burnside and raised here on Glenelg’s Esplanade at Glenwood Mansions (now Melrose Apartments) Jimmy captivated the world with his aviation exploits across the globe.

He established several Australian flying records and set world records, all within 3 short years.

In August 1934 Jimmy flew his DH Puss Moth, affectionately named ‘My Hildergarde’ 8,000 miles (12,875 km) solo around Australia.

This slashed the previous record by 2 days to 5 days, 10 hours, 57 minutes.

 

Tragically, on 3 July 1936, aged 22, Jimmy died on a charter flight from Melbourne to Darwin when his Heston Phoenix broke up over South Melton, Victoria in turbulent conditions.

His death sent shock waves around the world as people mourned their chivalrous young knight of the air.”

 

*Jimmy Melrose was the youngest competitor in the 1934 MacRobertson Trophy London-Melbourne air race in October 1934 and the only Australian to finish the race. He made the record solo flight in 8 days and 9 hours coming third on handicap.

 

The event was held in 1934: dreamt up by the Lord Mayor of Melbourne, Harold Smith to celebrate Victoria’s centenary. It was sponsored by the Melbourne chocolate manufacturer Sir MacPherson Robertson, to test the feasibility of scheduled air services between Europe and Australia.

 

In 1936 Melrose was killed when his Heston Phoenix monoplane VH–AJM disintegrated in mid air at Melton South, Victoria. The tragedy was reported world-wide in the media at the time.

 

*Jimmy Melrose’s memorial is located on the edge of the Stirling Centenary Oval and was handed over to the District Council of Stirling. There was an infantile paralysis epidemic at the time and an unveiling was considered unwise.

It was erected by public subscription: Melrose was once a resident of the district. Of the £101 cost, £22 was raised by children of the following schools Stirling East, Bridgewater, Aldgate, Mylor, Scotts Creek, Heathfield, Upper Sturt and Crafers. [Ref: Mount Barker Courier and Onkaparinga and Gumeracha Advertiser 10-3-1938]

 

*Melrose Killed when Plane Crashes

MACHINE BURST INTO FRAGMENTS

Was on flight to Darwin

MR A G CAMPBELL ALSO A VICTIM

Charles James Melrose, 22, of Glenelg, Australia’s most popular airman, and Alexander George Campbell, 47 of Brighton, Victoria, who had a distinguished career as a soldier and as a mining engineer, were killed instantly when Melrose’s Heston Phoenix high-wing monoplane broke to pieces in dense clouds and crashed at South Melton, Victoria on Sunday morning.

 

They were on their way from Melbourne to Parafield on the stage of a flight to Darwin. Miss Lily Melrose, a cousin of the aviator, was about to leave Adelaide for the flying field to join the fliers when she received news of the fatality.

 

The wreckage was found over an area of two square miles, and the bodies of the two men were 400 yards apart.

 

Warm tributes were paid to the young airman by the Prime Minister (Mr Lyons), and by the Premier (Mr Butler), who recently took the air for the first time with Melrose as his pilot.

 

Melrose's place in the affection of South Australians was strikingly evidenced when the news was received. Mention of his death was made in many churches, and the Government immediately decided to arrange for a State funeral, subject to the approval of Mrs Melrose.

 

The tragedy of the disaster was increased by the fact that Mr Campbell had intended originally to go to Adelaide by train and join Mr Melrose there. Mr Melrose, however, flew his mother to Melbourne on Thursday for a holiday visit and then waited to fly Mr Campbell to Adelaide.

 

Mr Campbell had chartered Mr Melrose's machine on behalf of a syndicate of Melbourne and Adelaide business men. He intended to fly to Darwin, where he was to inspect gold mining areas at Pine Creek. He expected to be away for between 10 and 14 days.

 

The party was to comprise Miss Lily Melrose, cousin of Mr Melrose, and Mr O V Roberts, both of Adelaide, who intended to make the flight an opportunity for a holiday. Mr J Smith Roberts, a mining expert, was to be picked up at Tennant Creek.

 

Mrs Melrose went to the scene of tragedy and she wished to see her son's body at the City Morgue, but she was suffering from such prostration that it was considered inadvisable for her to do so.

The body was identified by the manager of the Oriental Hotel.

A watch which Mr Melrose was wearing had stopped at 8.34 am, indicating the time of the crash. A police wireless patrol prevented the souveniring of fragments from the main wreckage.

 

On the way to the Essendon aerodrome Mr Melrose and Mr Campbell were in high spirits, joking and discussing the projected flight to Darwin.

Mr Campbell had travelled in a taxi cab from his home in Brighton, and joined Mr Melrose at the Oriental Hotel, Collins street.

 

Light rain was sweeping over the aerodrome when they arrived, and Mr R Hart, of the Hart Aircraft Service Pty, Ltd, in whose hangar Mr Melrose had left his plane, advised Mr Melrose not to fly because of the inclement weather.

 

Mr Melrose had on Saturday postponed his flight because of the bad flying conditions, and when he saw a break in the clouds this morning he decided to make the flight, as he wished to reach Oodnadatta before night. He told Mr Hart that he expected to reach Port Augusta or Adelaide in three hours by flying at a height of 3,000 feet above the clouds.

 

Ascending toward a patch of clear sky, the machine reached a height of about 2,500 feet before it passed out of sight of the party on the aerodrome. Apparently Mr Melrose experienced difficulty in finding the break in the clouds, because the time which the machine took to travel the 15 miles to South Melton - 24 minutes - indicates that he spent some time searching for a clear sky.

 

Residents of South Melton saw the machine emerge from low-lying clouds above the railway station. Almost immediately there was a loud roar and many fragments were seen falling from the machine and drifting in the wind.

 

The engine and most of the fuselage spun at a steep angle toward the ground, while the starboard wing drifted in another direction towards the Toolern Creek, and hundreds of smaller fragments were carried by the wind to paddocks near the Ballarat road, which is about a mile and a half from the scene of the crash.

 

The two occupants were hurled out of the machine, but so many fragments were falling that none of the residents was certain of having seen them fall.

Mr Melrose's body was found on the southern end of the gorge of the Toolern Creek, about 50 yards from the engine, and the remnants of the fuselage, while Mr Campbell's body was found about 400 yards away in a paddock on the north side of the gorge. Both men had been killed instantly.

 

The two petrol tanks were found on different sides of the gorge. Tools and luggage were on the cliffs or in the flooded creek, and innumerable pieces of wood and fabric were scattered over an area of nearly two square miles to the north of the creek.

 

The desperate thoughts which must have passed through the minds of the victims in the few seconds before the crash were indicated by the condition of the safety belts. The pin had been drawn to release one safety belt, but in the other belt the pin was bent but still in the socket.

Apparently Mr Campbell had undone his belt so that, if he survived the crash, he could crawl from the machine.

Mr Melrose, who was probably struggling with the controls, apparently did not have time to withdraw the pin of his belt, consequently Mr Campbell was hurled further from the plane than Mr Melrose.

 

A close examination of the area over which the wreckage was strewn was made by the Air Accidents Investigation Committee soon after the tragedy.

The committee has no theory of the cause of the crash at present, but it is understood that it has reached several interesting conclusions.

 

From the range and position of the fragments it is considered possible that the machine disintegrated while it was in a wide spin with the engine running. If the spin was fast enough the strain might have caused the machine to collapse.

 

Because the port wing was found much farther from the engine and fuselage than the starboard wing, it is considered probable that the port wing was the first to crumple. The machine would then have become wholly out of control, and the increased strain would have quickly caused the collapse of the other wing, the tailplane, and other light parts of the machine.

 

The breaking up of the machine was described by Mr. Edward Wickham, of Melton South, who was gathering wood in the back yard of his home.

“For some time I heard the drone of an aeroplane in the clouds,' he said, 'but I could not see it. The clouds were low and a strong southerly wind was driving misty rain. Suddenly there was a roar and the plane came spinning out of the clouds. Just as it came into full view, the machine appeared to burst into fragments and the roar stopped.

“The engine and fuselage hurtled at a fairly steep angle towards the ground, but the other fragments drifted quite slowly with the wind and fell in the paddocks between the Toolern Creek and the Ballarat Road.

“With three other residents, I ran over the paddocks. We lifted the refuse expecting to find someone beneath, but no one was there. Then we searched among the rocks at the edge of the gorge and we found Mr Melrose lying shockingly injured on two flat rocks, just below the top of the cliff about 50 yards from the wreckage. Mr Campbell's body was then found on the other side of the gorge.”

 

Although Mr Campbell had flown many miles on mining business, his wife did not like his flying, and had tried to dissuade him from continuing it. He insured his life for £2,000 for the period of the flight to Darwin.

 

“I regret exceedingly to learn that yet another of Australia's great airmen has passed away,” said the Prime Minister (Mr Lyons).

“In his brief flying career, Melrose won considerable fame,” continued Mr Lyons. “Not the least of his achievements was his skilful search for Sir Charles Kingsford Smith last year. Australia loses a chivalrous young knight of the air whom it can ill afford to lose.

“The sympathy of all the Australian people will, I feel sure, go to his devoted mother.”

 

Before the evensong service at St Paul's Cathedral, Melbourne, the organist (Dr A E Floyd) extemporised in the form of a threnody.

The Precentor (Rev Oliver Hole) announced that, in view of the sudden and tragic death of a brave young airman, the anthem had been changed. The choir sang the Memorial Anthem by Sir George Elvey from the Book of Wisdom:— “The souls of the righteous are in the hands of God: in the sight of the unwise they seem to die, but they are in peace.” [Ref: Chronicle (Adelaide) Thursday 9 July 1936]

 

* MELROSE'S MEMORY HONOURED

Crowds Attend Mourning Services In Two Cathedrals

Moving tributes were paid in Melbourne and Adelaide yesterday to the memory of Mr C J Melrose, who was killed when his plane crashed at South Melton, Victoria, on Sunday. Melrose's body was cremated at the necropolis, Springvale. Melbourne, yesterday afternoon.

The ceremony was preceded by a simple service in St Paul's Cathedral, which was crowded. The Archbishop of Melbourne (Dr Head), in his address, referred to "this boy, who was so wonderfully young and so attractive in personality, that he can only be called just lovable”.

 

Adelaide mourned the loss of Melrose at a special memorial service in St Peter's Cathedral which, at the request of the aviator's mother, synchronised with the funeral service in Melbourne.

As the crowds left the Cathedral after an inspiring address by the Bishop of Adelaide (Dr Thomas), three Royal Aero Club machines soared overhead in a last tribute to the club's distinguished member.

Tributes were paid and the sittings of both Houses of Parliament were suspended, the Assembly rising until the evening. [Ref: Advertiser (Adelaide), Wednesday 8 July 1936]

 

*LONDON, July 5

The news of the death of Melrose has caused sorrow in aviation circles. Mr Pemberton Billing, the uncle of Melrose, said:— “What a rotten shame. Jimmie was a protege of mine, and always stayed with me. I do not know what his mother will do now. When Jimmie was here, his thoughts were always with his mother, in Adelaide”.

 

The Agent-General for South Australia (Mr McCann) who bade farewell to Melrose when he flew to Australia in April, says:— “I am dreadfully sorry. He was one of the most charming men it was possible to meet”. [Ref: Chronicle 9-7-1936]

 

*SIMPLE SERVICE IN MELBOURNE

St Pauls Cathedral Crowded July 7

Simplicity marked James Melrose's funeral today. There was no display, the only uniform to be seen being that worn by the officer representing the Air Board.

Long before the service in St Paul's Cathedral was timed to begin, all the available pews were occupied, and knots of silent people gathered in Flinders street.

Inside the Cathedral, the coffin of dark wood rested on a bier of flowers in the choir. Placed on it were only two wreaths, one of laurels from the dead airman's mother, and the other of purple flowers and dark green leaves, inscribed simply ''From Rosebank." [Rosebank has been the station home of Mr Melrose's family in South Australia for nearly a century.]

 

"We have come together today in very sad circumstances,” Archbishop Head said. "Your first thought will be of sadness and terribleness of such an event, and how frightful it is that so precious a life should have been cut off so suddenly.

 

After another hymn, the blessing was pronounced by Archbishop Head from the altar, and the congregation stood while Beethoven's "Funeral March on the Death of a Hero" was played.

 

Then the coffin was carried along the aisle down which Melrose had walked on the day he finished the Centenary air race to Evensong. The people in the crowded street stood bareheaded and silent. Through the suburbs, where streets were lined by children from the schools, the procession passed, and along the Prince's Highway to Springvale. Six planes circled overhead.

The service was brief. The last prayers were offered by Archbishop Head.

The chief mourners were Mr Melrose's mother and his cousins, Mr Melrose MP, and Mrs Melrose, and Miss L M Melrose, all of South Australia, and Mr Brian and Mr F Hickling, of Melbourne (second cousins).

 

Those who attended included Mr Schofield MHR (representing the Prime Minister and Commonwealth Government). Mr Hyland MLA, and Major H A F Wilkinson (representing the Premier and State Government), Mr McIntosh (South Australian Commissioner of Crown Lands and Minister of Repatriation), and Mr Young MLC, (representing the Premier and Government of South Australia), Mr J D Malcolm (NZ), Mr F Emerson (Queensland), Mr L F Bruce (Tasmania), Flight-Lieutenant C S Wiggins (Air Board), Mr R Bennett (Lord Mayor of Melbourne), Mr J W Collins (Australian Aerial Medical Services), Mr B Bremner (Australian Broadcasting Commission), and Mr A P Bevan (Elder, Smith & Co, Ltd, Adelaide).

The pallbearers were the Director-General of Civil Aviation (Captain E C Johnston). Mr T P Manifold (the Aero Clubs of Australia), Mr F Penny (Shell Company of Australia), Mr G R Lamprell (South Australian Government representative), Mr E H Chaseing (Holyman’s Airways), and Mr R Hart.

 

Mr Melrose MP, who is remaining in Melbourne with Mrs James Melrose, said tonight that she had no plans for the future.

It had been arranged, he said, that she should go to Sydney and wait there for her son to join her after his flight to Darwin, but it was now impossible to say what her movements would be or her plans for the future. In the meantime, she would remain in Melbourne.

 

At the funeral, Mrs Melrose wore a brown costume, a fur, and a green hat with a black armband. She thought that her son would have preferred that she wear the colours in which he liked her best.

 

Telegrams were received from persons in all parts of the world, including the Governor-General (Lord Gowrie) and Lady Gowrie, the Governor of South Australia (Sir Winston Dugan), the Prime Minister (Mr Lyons), and the Minister for Health (Mr Hughes). [Ref: Advertiser (Adelaide) Wednesday 8 July 1936:

 

* On his return today from Melbourne, where he represented the State at the memorial service in St Paul's Cathedral to the late Mr C J Melrose, the Commissioner of Crown Lands (Mr McIntosh) said that Melbourne's sorrow was a magnificent tribute to a wonderfully beloved young hero.

"Victoria had taken him to its heart equally with South Australia," said the Minister. "His fame in Melbourne was as renowned as in Adelaide. and his memory as dearly cherished”.

 

Mr McIntosh said that the cathedral was crowded long before the time for the commencement of the service, and thousands, unable to gain admission, congregated outside.

The route from the cathedral to the crematorium, a distance of 16 miles, was lined the whole way by thousands of citizens, who stood with heads bowed in final homage to a young hero, triumphant even in death.

The service at the crematorium, said Mr. McIntosh, was equally impressive as at the cathedral, and the wonderful fortitude and courage displayed by Mrs Melrose at both ceremonies provided an example and inspiration to all who mourned with her. There would be some solace for her in the wonderful tributes paid by the people to the memory of her son.

 

Combined with the deep sorrow for Mrs Melrose. there was a deep sympathy for Mrs A G Campbell and her young family in the death of Colonel Campbell, who was killed with Melrose. [Ref: News (Adelaide) 8-7-1936]

 

*Funeral of Mr A G Campbell

There were impressive scenes at the funeral of Mr Campbell.

Officers and men of the 8th Battalion, with whom Mr Campbell served in the Great War, and of the 39th Battalion, of which until recently he was Lieutenant-Colonel commanding, paid many touching tributes to his memory.

 

Every returned soldier present filed past the open grave and dropped his poppy on to the coffin, after which the whole gathering stood to attention as “Last Post” was sounded. [Ref: Chronicle 9-7-1936]

 

**From an article by Craig Cook, published in the Advertiser (Adelaide) 13 September 2013 –

The long lost possessions of world famous aviator Jimmy Melrose were recently discovered in Victoria. Among the items are his white leather flying helmet and documents signed by the aviator.

The possessions were given by his mother to Clive Hamer, who had dinner with Melrose the night before his last flight, and asked him to pack and store them. She never asked for their return. The artefacts were then passed on as part of the estate of a deceased relative, ending up with Wayne and Judy Perry of Victoria. Subsequently they were given to the South Australian Aviation Museum.

 

There also is a permanent exhibition of Melrose’s achievements at the Bay Discovery Centre in Glenelg. It is suitably entitled, Australia’s Forgotten Hero.

 

Such was Melrose’s fame at the time of his death the then state government of Sir Richard Butler considered a proposal to build him a memorial, to “fly over the city”, on Montefiore Hill. The idea was finally scrapped when the statue of Colonel Light, then situated in Victoria Square, was moved to the hill instead.

 

In the first clear sign the local hero’s story was already fading from history, Melrose failed to be recognised among the initial 170 “SA Greats”, that includes his uncle, Sir John Melrose, to have their name on a bronze plaque on the Jubilee 150 Walkway.

 

The Walkway, commissioned as part of the celebrations commemorating the 150th anniversary of the founding of the state, was established along North Terrace in 1986. Fellow air pioneers, Sir Ross and Keith Smith are honoured but, despite the year being the 50th anniversary of Jimmy’s death, he missed out.

  

The greater irony is that Melrose had agreed to be a major attraction at the 100th anniversary of the founding of South Australia, distributing flyers in the lead-up and flying over Adelaide on the anniversary day, December 28, 1936. He died five months before the event.

 

An only child from a prosperous family, Jimmy Melrose grew-up with his mother, Hilda, in a grand house, on the Glenelg South esplanade. His prominent pastoralist father, James, had died in 1922 when his son was aged nine.

 

Throughout his life he had a fascination with the number 13, never regarding it as unlucky. It was both the date and year of his birth and the number of his imposing home, demolished in 1969.

 

A natural athlete, he exercised daily including a morning swim from the beach just outside his home. He was a fanatical early riser, neither smoked nor drank alcohol, and a devotee of the “Oslo lunch” that consisted of a wholemeal bread sandwich filled with cheese and salad, a glass of milk and an apple or other seasonal fruit.

 

While still a student at St Peter’s School he took flying lessons with the (Royal) Aero Club of South Australia at Parafield, gaining his licence at 19. As reward, his mother bought him his own plane, a DeH Puss Moth, which he named My Hildergarde, deliberately using 13 letters, in her honour.

 

In August 1934, aged 20, he flew 12,875km solo around Australia, reducing the previous record by almost two days, to five days, 10 hours, 57 minutes.

 

On his twenty-first birthday he left Parafield in his beloved Puss Moth for England, reaching Croydon in a record eight days, nine hours.

He became a global sensation, as the youngest entrant and only solo competitor, coming third, in the 1934 Centenary Air Race from England to Australia.

 

A dedicated diarist, he recorded the scenes as he left England: “Saturday 20 October 1934, the start of the greatest air race the world had ever seen. 60,000 people came around the aerodrome at Mildenhall at dawn. Thrilling is not the word: we raced across the countryside east of London, the Thames, the Channel off Dover. I shall never forget it!”

 

Soon after returning to Australia [After his search for the missing Sir Charles Kingsford Smith], and in his first major accident, Melrose crashed his Percival Gull, used in the search for Smith, at Penrose in New South Wales. Recovering quickly from severe injuries he sailed to England and flew back in a five-seater Heston Phoenix he intended to use to start the nation’s first flying taxi service.

 

An incredible crowd of 8000 assembled in Adelaide on Anzac Day, 1936, to greet him on his return. Just six weeks later he was dead.

 

In 1968, when his mother died, Jimmy Melrose’s ashes were buried with her at the North Road Anglican cemetery at Nailsworth, north of Adelaide.

 

There are some commemorations to the life and times of Jimmy Melrose. The suburbs of Melrose Park in South Australia and New South Wales, a look-out tower at the Glenelg Surf Life-Saving Club, Jimmy Melrose Park on the Glenelg foreshore and James Melrose Road bordering Adelaide airport are all named after him.

 

Mildenhall in Suffolk, England, where the 1934 Air Race began, has Charles Melrose Close and there is a simple inscribed cairn close to the fatal crash-site at Melton South.

    

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

 

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

 

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

 

ETYMOLOGY AND OTHER NAMES

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

 

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

 

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

 

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

 

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

 

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

 

ICONOGRAPHY

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

 

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

 

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

 

COMMON ATTRIBUTES

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

 

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

 

VAHANAS

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

 

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

 

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

 

ASSOCIATIONS

 

OBSTACLES

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

 

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

 

BUDDHI (KNOWLEDGE)

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

 

AUM

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

 

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

 

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

 

FIRST CHAKRA

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

 

FAMILY AND CONSORTS

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

 

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

 

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

 

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

 

WOSHIP AND FESTIVALS

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

 

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

 

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

 

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

 

GANESH CHATURTI

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

 

TEMPLES

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

 

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

 

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

 

RISE TO PROMINENCE

 

FIRST APEARANCE

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

 

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

 

POSSIBLE INFLUENCES

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

 

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

 

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

 

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

 

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

 

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

 

VEDIC AND EPIC LITERATURE

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

 

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

 

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

 

PURANIC PERIOD

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

 

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

 

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

 

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

 

SCRIPTURES

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

 

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

 

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

 

BEYOND INDIA AND HINDUISM

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

 

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

 

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

 

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

 

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

 

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

 

WIKIPEDIA

Exploitant : Keolis Dijon Mobilités

Réseau : Divia

Ligne : L7

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

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

EXPLOIT YOURSELF I+D SPEC

Exploitant : STIVO

Réseau : STIVO

Ligne : 34

Lieu : Croix Saint-Jacques (Jouy-le-Moutier, F-95)

Lien TC Infos : tc-infos.fr/id/11700

🇫🇷 Fr.

● Dimanche 17 décembre 2024 1er jour d’exploitation sur la ligne 1 du métro de Lille sous le nouveau système CBTC de Alstom.

 

● VAL208 d’origine Siemens équipé d’un PA.VAL (Pilote automatique VAL) puis modifié par Alstom en CBTC version U500. (1er Mondial)

 

● Cette évolution est un prérequis essentiel au future déploiement des nouvelles rames 52 mètres NMR ( Rame BOA ), qui doubleront la capacité de transport de la ligne 1 pour l’horizon en février 2026.

( VAL208 Longueur : 26 mètres)

 

CBTC ( Communication based train control )

Description :

Le système CBTC permet l'exploitation d'un système de transport en se basant sur la communication continue des trains avec un ordinateur chargé de la gestion du trafic.

 

Le système CBTC est décrit par une norme internationale IEEE 1474, définie en 1999. D'après cette norme, les principales caractéristiques d'un CBTC sont :

 

une localisation précise de la position des trains indépendante des circuits de voie ;

une transmission bi-directionnelle haut débit entre les équipements au sol et les trains ;

un système constitué par des ordinateurs (calculateurs de sécurité) situés à la fois au sol et dans les trains, capables de mettre en œuvre des fonctions de protection automatique des trains (en anglais : Automatic Train Protection ou ATP), ainsi que des fonctions optionnelles d'exploitation automatique des trains (communément appelée « pilotage automatique » ou en anglais : Automatic Train Operation ou ATO) et de supervision automatique des trains (en anglais : Automatic Train Supervision ou ATS).

Un ordinateur central gère les convois circulant sur des lignes situées dans sa zone d'action afin d'obtenir une fluidification du trafic et une réduction de l'intervalle de temps entre deux trains aux heures de pointe.

 

L'ordinateur central échange différentes informations avec un ordinateur situé à bord de chaque train à l'aide du réseau de communication.

 

Chaque train calcule en temps réel et communique son statut par radio aux équipements du réseau disposés le long des voies. Ce statut comprend, parmi d'autres informations, sa position exacte, sa vitesse, sa direction et sa distance de freinage minimale.

 

Les systèmes CBTC de dernière génération sont basés sur le concept de canton mobile déformable, évolution technologique du cantonnement. Ces cantons sont constitués de la partie de voie occupée par le train, incluant une marge de sécurité à l'avant et à l'arrière, et de la distance d'arrêt calculée à tout moment. Ils permettent de diminuer la distance de sécurité entre deux trains consécutifs.

 

Grâce aux systèmes CBTC, la position de chaque train et sa dynamique sont connues de manière plus précise que par les anciens systèmes de signalisation.

 

Le CBTC permet ainsi, de resserrer l’intervalle entre les rames, en le limitant à moins de 90 secondes, et par conséquent d’augmenter la capacité d’une ligne, et donc de retarder la mise en œuvre de travaux d’infrastructures beaucoup plus lourds à engager. On cherche continuellement à réduire ce temps, par exemple, Alstom optimise les cadences des nouveaux métros de Lille, avec un train toutes les minutes (solution Urbalis Fluence).

 

Les systèmes CBTC doivent conserver une haute disponibilité grâce à une architecture ne comprenant pas de point de défaillance unique.

 

Par sécurité, une deuxième technologie de signalisation peut être prévue pour assurer un niveau de service minimal en cas de perte partielle ou totale du système CBTC.

 

Les CBTC peuvent être employés pour automatiser un système existant ou bien lors de la construction d'un nouveau système de transport…………

Source :

fr.wikipedia.org/wiki/Communication_based_train_control#:....

 

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● Métro de Lille le VAL.

Le métro de Lille est un système de transport en commun en site propre desservant Lille et son agglomération, dans le département français du Nord. Il a la particularité d'être le premier métro au monde à utiliser la technologie du véhicule automatique léger (VAL), cette technologie étant créée au début des années 1970 au sein de l'Université des sciences et technologies de Lille grâce notamment aux travaux du professeur Robert Gabillard. Le système VAL est ensuite exploité par un consortium mené par Matra qui se charge également des travaux avec le soutien de la communauté urbaine de Lille, alors dirigée par Arthur Notebart. Le métro est finalement inauguré le 25 avril 1983 par le président de la République François Mitterrand…………

Source :

fr.wikipedia.org/wiki/M%C3%A9tro_de_Lille

 

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ILEVIA ( Wikipedia )

Ilévia, ou Keolis Lille Métropole (appelé TCC jusqu'en 1994 et Transpole jusqu'en 2019), est une société anonyme créée en 1989 de la fusion des deux entreprises de transport en commun de l'agglomération lilloise. Elle a pour objectif l'exploitation du réseau de transport en commun de voyageurs sur le territoire de la Métropole européenne de Lille.

 

Ilévia exploite, pour le compte de la Métropole européenne de Lille (MEL), les deux lignes de métro automatique, le tramway du Grand Boulevard, les soixante-dix lignes de bus (dont les douze Lianes, des bus à haut niveau de service), ainsi que les plus de deux-cents stations V'Lille (2200 vélos en libre-service exploités via EFFIA, une filiale de Keolis) de l'agglomération lilloise…….

Source :

fr.wikipedia.org/wiki/Il%C3%A9via

 

ILEVIA ( Exploitant ) :

www.ilevia.fr/

 

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🇬🇧 GB. UK.

● Sunday, December 17, 2024 1st day of operation on line 1 of the Lille metro under the new Alstom CBTC system.

 

● VAL208 of Siemens origin equipped with a PA.VAL (VAL automatic pilot) then modified by Alstom in CBTC version U500. (World 1st)

 

● This development is an essential prerequisite for the future deployment of the new 52-meter NMR trains (BOA trains), which will double the transport capacity of line 1 by February 2026.

(VAL208 Length: 26 meters)

 

● Communications-based train control

en.wikipedia.org/wiki/Communications-based_train_control

 

● Lille Metro

en.wikipedia.org/wiki/Lille_Metro

  

🇳🇱 NL.

● Zondag 17 december 2024 1e exploitatiedag op lijn 1 van de metro van Rijsel onder het nieuwe Alstom CBTC-systeem.

 

● VAL208 van Siemens-oorsprong uitgerust met een PA.VAL (VAL automatische piloot) en vervolgens door Alstom aangepast tot CBTC-versie U500. (1e wereld)

 

● Deze ontwikkeling is een essentiële voorwaarde voor de toekomstige inzet van de nieuwe 52 meter NMR-treinen (BOA-trein), die de transportcapaciteit van lijn 1 tegen februari 2026 zullen verdubbelen.

(VAL208 Lengte: 26 meter)

 

● Communications-Based Train Control

nl.wikipedia.org/wiki/Communications-Based_Train_Control

 

● Metro van Rijsel

nl.wikipedia.org/wiki/Metro_van_Rijsel

  

🇩🇪 DE.

● Sonntag, 17. Dezember 2024 1. Betriebstag der Linie 1 der U-Bahn von Lille im neuen Alstom CBTC-System.

 

● VAL208 von Siemens, ausgestattet mit einem PA.VAL (VAL-Autopilot), dann von Alstom in die CBTC-Version U500 umgebaut. (1. Welt)

 

● Diese Entwicklung ist eine wesentliche Voraussetzung für den künftigen Einsatz der neuen 52-Meter-NMR-Züge (BOA-Zug), die die Transportkapazität der Linie 1 bis Februar 2026 verdoppeln werden.

(VAL208 Länge: 26 Meter)

 

● Communication-Based Train Control

de.wikipedia.org/wiki/Communication-Based_Train_Control

 

● Métro Lille

de.wikipedia.org/wiki/M%C3%A9tro_Lille

  

🇪🇸 ES.

● Domingo 17 de diciembre de 2024 Primer día de funcionamiento de la línea 1 del metro de Lille bajo el nuevo sistema CBTC de Alstom.

● VAL208 de origen Siemens equipado con un PA.VAL (piloto automático VAL) luego modificado por Alstom a CBTC versión U500. (1er mundo)

 

● Este desarrollo es un requisito previo esencial para el futuro despliegue de los nuevos trenes NMR de 52 metros (tren BOA), que duplicarán la capacidad de transporte de la línea 1 hasta febrero de 2026.

(VAL208 Longitud: 26 metros)

 

● Sistema CBTC

es.wikipedia.org/wiki/Sistema_CBTC

 

● Metro de Lille

es.wikipedia.org/wiki/Metro_de_Lille

  

🇮🇹 IT

● Domenica 17 dicembre 2024 1° giorno di operatività sulla linea 1 della metropolitana di Lille con il nuovo sistema Alstom CBTC.

● VAL208 di origine Siemens dotato di PA.VAL (pilota automatico VAL) poi modificato da Alstom nella versione CBTC U500. (1° Mondo)

 

● Questo sviluppo è un prerequisito essenziale per il futuro dispiegamento dei nuovi treni NMR da 52 metri (treno BOA), che raddoppieranno la capacità di trasporto della linea 1 entro febbraio 2026.

(VAL208 Lunghezza: 26 metri)

 

● Communication based train control

it.wikipedia.org/wiki/Communication_based_train_control

 

● Metropolitana di Lilla

it.wikipedia.org/wiki/Metropolitana_di_Lilla

 

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Exploited By Power.

Imitant monotone intense nerfs voile,

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Streitereien Schmerzen verlockend Vibrationen Schrecken Tiefen Himmel,

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flotoare indolenței suflete crepusculare vise diafane parfumate,

alistaa johtajat kaihi Harmonyn kellertävän vihreä mielen uneliaaksi,

imbecis concentradas arrependimentos cruelmente ensurdecedores subiu,

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döbbenten által lakott contemplations erőteljes dokumentumok vádolják,

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σπειροειδή διαδρομή κοσμική ανασταλεί αναλογίες τεράστια χαρτιά ανθίσει,

eigentijdse standpunten kwaad reproduceren getuige vrijheden verdwijnt,

פּאָלעמיקאַל אינטערעסן ינעקסטריקאַבאַל דיווערטיד סטייטמאַנץ כאַמערד סאָמנאָלענט,

centralization umfutho prospector likhipha izinkanuko obucindezela ubufakazi,

sealúchais casta arb éard iad gcliathán tuiscint cumarsáide,

推論の複雑なボードの一枚は、すべてだった!

Steve.D.Hammond.

Exploitant : Keolis Aude

Réseau : Citibus

Ligne : Été 4

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

"Hercules kills the Lernaean Hydra" - Detail of "Hercules and Omphale", portraits of roman married couple - bas relief (2nd century AD) from Rome, with Hercules' exploits and inscription CASSIA MANI FILIA PRISCILLA FECIT - Exhibition "Hero" up July 31, 2018 at Archaeological Museum of Naples

US military in row over Facebook breast-feeding picture

 

BBC News

1 June 2012

Last updated at 23:36 ET

 

The Washington National Guard has criticised two servicewomen for being photographed in military uniform while breast-feeding their babies.

 

The photos were posted on the Facebook website by a support group at Fairchild Air Force Base called Mom2Mom.

 

The group's leader, Trysta Chavez, said the photos were meant to promote World Breast-Feeding Week in August.

 

Military officials said it was a breach of the rules to use the uniform to promote non-military causes.

 

National Guard spokesman Captain Keith Kosik told the BBC that there was no regulation against breast-feeding in uniform.

 

But he said the National Guard took issue with the uniform being used "by an outside entity for a cause", regardless if it was a positive one.

 

Capt Kosik said the women were unlikely to face disciplinary action.

 

The Mom2Mom group posted a message on their Facebook page defending their actions, and insisting that they supported the military "110%".

 

"The military photographs were never meant to exploit, promote or to use the uniform to help our group," the message said.

 

"These were for our local community to raise awareness for World Breast-Feeding Week in August. Our mission is to help raise awareness, educate and support breast-feeding mothers."

 

The photos, taken by another military spouse at Fairchild, quickly went viral after being posted online.

 

"It's sad that this is such an issue," Ms Chavez said. "It's a taboo really."

The Exploits River is one of four large rivers that drain central Newfoundland. In the historic past, it served as the main route taken by the Beothuk Indians on their travels to the coast for the summer and to the interior for the fall caribou hunt and their winter camps.

 

This image was taken using a graduated neutral density filter to handle the extreme in tones.

 

A rain shower is approaching from the left.

FORD Transit (1991) / CHAUSSEE DE WAVRE / PHOTO JEAN-PIERRE MARISSENS

Exploitants : Voyages Quérard et Hervouet France

Réseaux Tourisme et Aléop

HMS Exploit entering Corpach sea lock. An Archer-class patrol vessel that is part of the Coastal Forces Squadron.

Italian postcard by Bromofoto, Milano, no. 1088. Photo: Universal-International.

 

Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'

 

Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.

 

Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.

 

Sources: Wikipedia and IMDb.