Wattie, Rob and Matt from The Exploited @Astra, Berlin

 

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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.

During World War II, Western Allied tank development tended to lag behind their German enemies and Soviet counterparts: the British split their armored forces into infantry support tanks like the Matilda and Churchill, and exploitation tanks such as the Cruiser series. The former were tough but very slow; the latter were fast but thinly armored. None of them carried a large gun, as they were not meant to duel other tanks.

 

Experience in North Africa, where the British tanks were regularly outgunned by German Panzers and blown apart by 88mm antitank guns, led to a major change in British tank design. The success of the Germans with the Panther and the Russians with the T-34/85 led the British to begin designing a new main battle tank, the Comet--the Comet combined the speed of a Cruiser tank with the superb 17 pounder (76mm) gun of the Sherman Firefly. The Comet's armor was still considered to be too thin to resist a direct hit from an 88, so a heavier tank was ordered. This would become the Centurion.

 

Whereas the Comet was the answer to the Panther, the Centurion was meant to take on the German heavies: the Tiger and King Tiger. The design specification called for armor thick enough to take multiple 88mm hits, yet retain the mobility (if not the top speed) of the Comet. It would also be equipped with the 17 pounder main gun. The designers were able to meet these requirements by using sloped armor: though the Centurion's armor was actually thinner than that of the Churchill, the sloped design made it more resistant to hits. Although the Centurion was larger than the Comet, it was just as mobile. Design changes (such as dropping the 17 pounder in favor of a more powerful 20 pounder main gun) meant that the first Centurions did not reach the British Armoured Corps until after the end of World War II, but crews were enthusiastic about the design all the same: the Centurion was a winner.

 

They were right. The Centurion might not have ever dueled a Tiger, but it would prove to be one of the most successful postwar tank designs, equal to (and in some cases superior to) the American M48 Patton series and the Soviet T-55. Centurions quickly replaced all other British tank designs, and was heavily exported.

 

It would also be combat proven. The British used their Centurions to superb effect in Korea, where Centurion regiments reinvented tank doctrine in mountainous terrain; the Australians would use them in Vietnam, where only six out of 58 were lost. India used Centurions against Pakistan, while South Africa used theirs in Angola. By far, however, the most experienced Centurion users were the Israelis. The IDF Armored Corps began to receive ex-British and Canadian Centurions just before the Six-Day War of 1968; during the 1973 Yom Kippur War, about 80 IDF Centurions destroyed 500 Syrian T-55s in the Battle of the Valley of Tears. In Israeli service, the Centurion was known as the Sho't (Scourge), and most were upgunned with American 105mm main guns.

 

Centurions would be replaced by the Chieftain in British Army units, but hundreds of Centurions would persist in service well into the 1990s; South Africa still uses heavily modified Centurions as the Olifant. The Centurion also underwent several dozen variants as engineering vehicles, self-propelled artillery, and even heavily modified in Israeli as turretless armored personnel carriers.

 

One would be forgiven for thinking that I've put the wrong description on this page, as the tank in the picture looks very much like a M1 Abrams. It is, however, a Centurion. During the production of the 1996 movie Courage Under Fire, the producers of the film did not have the assistance of the US Department of Defense. This was a problem, as Denzel Washington's character is a former M1 Abrams tank commander and a scene in the movie is based roughly on the Battle of 73 Easting. With no privately-owned M1s to draw on, the producers needed to find another solution, and did: they bought a few former Australian Army Centurions and heavily modified them to resemble the M1. To the casual moviegoer, they looked just like the real thing.

 

After Courage Under Fire was completed, the Centurions were sold to a private firm in California, ArmyTrucks, which rents out "vismods" and military surplus to Hollywood for film production. Since 1996, the modified Centurions have been used in movies and TV shows such as Cloverfield, Iron Man and The Walking Dead. The way to differentiate the modded Centurion from an actual Abrams is to count the road wheels between the tracks: if it has seven wheels, it is an Abrams; if it has six, it's a Centurion. The hull is also slightly narrower and the fake turret longer, though this is very difficult to see in a movie. (In Walking Dead, the character Rick Grimes actually gave away the tank's identity: he climbs through a bottom escape hatch to escape the zombies in downtown Atlanta. The Abrams does not have a bottom escape hatch.)

 

The Russell Military Museum acquired this "M1 Abrams" Centurion vismod from Army Trucks; it is the only one of the Centurion vismods on public display. It has seen better days: rust has broken out over most of the tank, marring its desert tan paint job. (The water around the tank is due to two days of heavy rain just before the day I was there in May 2018.) Though fake, the gun shows the larger bore evacuator of the M1A1 series, with the 120mm main gun instead of the earlier 105mm. Though not in great shape, it was still interesting seeing one of these vismods.

EXPLOIT YOURSELF I+D SPEC

Photo: Trams aux Fils.

 

Interdiction de reproduire cette photo à des fins commerciales, sans mon accord

 

Prise le 1er août 2019

 

Tracteur Tm 2/2 541

 

Gare d'Ins

 

La ligne du Bienne Tauffelen Ins a été ouverte à l'exploitation en décembre 1916, à voie métrique sa longueur et de 21 Kilomètres.

 

www.flickr.com/photos/trams-lisbonne/50558164187

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

    

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

  

With visits now in excess of 22.132+ Million to my FLICKR site, used primarily these days as a fun platform to reach friends and family as I have now sold my professional gear and now take a more leisurely approach to my photographic exploits, I would like to say a huge and heartfelt 'THANK YOU' to FLICKR, GETTY IMAGES and everyone who drops by.

  

***** Selected for sale in the GETTY IMAGES COLLECTION on May 7th 2017

  

CREATIVE RF gty.im/675173590 MOMENT OPEN COLLECTION**

  

This photograph became my 2,923rd frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

  

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Photograph taken at an altitude of Fifty eight metres at 11:42am on Tuesday April 18th 2017, looking over the Stadio Palatino on Via Dei Cherchi, and the remnants of Hippodrome of Domitian which extends over the Eastern side of the Domus Augustana. This forms part of the Palace of Domitian and sits on top of Palatine Hill.

  

The Palace remained the official residence of the Roman Emperors up until the end of the Empire.

  

An adult entry fee in April 2017 is twelve Euros, which allows a two day pass into the Colosseum and nearby Palatine Hill.

  

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Nikon D7200 10mm 1/100s f/13.0 iso100 RAW (14Bit) Size L (6000x4000), Hand held with Nikkor VR Vibration Reduction enabled. Auto focus AF-C with 3D-tracking enabled. Manual exposure. Matrix metering. Auto white balance.Auto Active D-lighting.

  

Nikkor AF-S 10-24mm f/3.5-4.5G ED. Phot-R 77mm UV filter.Nikon MB-D15 Battery grip pack. Nikon EN-EL battery (2). Hoodman H-EYEN22S soft rubber eyecup. Matin quick release neckstrap. My Memory 32GB Class 10 SDHC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.

  

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LATITUDE: N 41d 53m 15.96s

LONGITUDE: E 12d 29m 14.08s

ALTITUDE: 58.0m

  

RAW (TIFF) FILE SIZE: 69.00MB

PROCESSED (JPeg) SIZE: 30.20MB

  

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PROCESSING POWER:

 

Nikon D7200 Firmware versions A 1.10 C 1.02 (9/3/17) L 2.015 (Lens distortion control version 2)

 

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.4 24/11/2016). Adobe photoshop Elements 8 Version 8.0 64bit.

   

Exploitant : STIVO

Réseau : STIVO

Ligne : 34

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

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

Exploited By Power.

Imitant monotone intense nerfs voile,

magnus oculos perdidit voluptatem quia ignotus,,

Streitereien Schmerzen verlockend Vibrationen Schrecken Tiefen Himmel,

syllogisms trafferthion digyffelyb heidio rhwygo nebulously,

flotoare indolenței suflete crepusculare vise diafane parfumate,

alistaa johtajat kaihi Harmonyn kellertävän vihreä mielen uneliaaksi,

imbecis concentradas arrependimentos cruelmente ensurdecedores subiu,

kruhový monstra blábolení malomyslnosti marnosti kontaminaci uprostřed mizerně,

döbbenten által lakott contemplations erőteljes dokumentumok vádolják,

substance clos caves définies oniriquement construits,

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.

arte.tv/hellfest

© Titouan Massé

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.

Another test with TMax 100 and FD Developer. Nice shadow details, meaning that we are exploiting full film speed: this is shot at EI 100, despite being a 2009-expired film.

Selenium-toned in Lightroom but that's how I'd print it

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

Title / Titre :

"Les femmes docteur." Les exploits fantastiques de Monsieur Mystère, l'homme au cerveau diabolique. No. 248 (1950s) /

 

« Les femmes docteur », Les exploits fantastiques de Monsieur Mystère, l'homme au cerveau diabolique, no 248 (années 1950)

 

Creator(s) / Créateur(s) : Michel Bernard

 

Date(s) : circa / vers 1950s

 

Reference No. / Numéro de référence : OCLC Unknown / Inconnu

 

www.collectionscanada.gc.ca/pulp/027019-150-e.php?uid=027...

www.collectionscanada.gc.ca/romansfascicules/027019-150-f...

 

Location / Lieu : Montreal, Quebec, Canada / Montréal, Québec, Canada

 

Credit / Mention de source :

Michel Bernard. Éditions Bigalle. Library and Archives Canada. Rare Books. Pulp Art collection. Les femmes docteur, [195?]. Box 20, nlc010015

/

 

Michel Bernard. Éditions Bigalle. Bibliothèque et Archives Canada. Livres rares. Collection de romans en fascicules canadiens. Les femmes docteur, 195?. Boîte 20, nlc010015

 

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

Identification : 4435 (DV-155-DS)

Exploitant : CFTI Transports David (Groupe Transdev)

Réseau : TransGironde (Région Nouvelle-Aquitaine)

Dépôt : Salles

Ligne : 102

Service : n.a.

Destination : n.c.

 

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

Identification : 4249 (CJ-981-NR)

Exploitant : CFTI Transports David (Groupe Transdev)

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

Dépôt : Salles

Ligne : 102 et 681

Service : n.a.

Destination : n.c.

 

16/04/2019 14:41

Rue Félix Arnaudin ; Mios

LLWYNYPIA COLLIERY, LLWYNYPIA, RHONDDA.

Any recollection of this colliery and its workforce is inseparable from the name of Archibald Hood, a Scotsman who bestrode mid-Rhondda and elsewhere as a colossus of the mining world, and beyond that distinction too. A brief summary of this man’s career –where to do justice, a volume is needed – is that in 1860, when he arrived in Wales from Kilmarnock, Ayrshire, he was merely thirty-seven, but in a brief twenty-five of those years in Scotland, he achieved more than most men of that time would achieve in a lifetime, becoming a qualified mining engineer and coal-owner, genuinely highly-respected in both spheres by his mining peers and workforce. His interest and concern in the latter extended beyond their daily duties, with the provision of good accommodation complete with gardens for food production, and also encouraging their purchase of domestic needs from co-operative initiatives. But, as illustrious as he was in Scotland, he would, over the next forty-two years in Wales, carve a second career that would overtake his first.

Hood’s first Welsh mining involvement was at Tylcha Fach Level in Coed Ely, which exploited the thin bituminous Ty Du seam of less than a yard thickness. The colliery was owned by the Ely Valley Coal Company, and its office and winding-engine house are still in existence, modified into three residences, sitting above Tylcha Fach Estate, an elevated, relatively-new housing development which sits on the valley-side opposite the former Coedely Colliery. He had arrived there in 1860, commissioned by Messrs. Campbell and Mitchell-Innes to determine if a proposed investment in small mines in the area would be profitable, but in an interim period and inexplicably not seeking Hood’s advice, Campbell and Mitchell-Innes were persuaded, unwisely, to buy the level. Although Hood later joined them there, his thoughts were focussed on deep mining at Llwynypia, and when the Ely Valley Coal Company was liquidated, he, Campbell and Mitchell-Inness formed the new Glamorgan Coal Company and began shaft sinkings at Llwynypia Colliery. Eventually, under Hood’s leadership two more deep mines were established at Penrhiwfer and Gilfach Goch.

Evidence of the beginning of Llwynypia Colliery, dated February 27th,1861, is shown on page four (pages 1-3 missing) of Glamorgan Coal Company’s Cash Book, which over the following twenty-eight days showed directors’ cash injections of £3,600, including £300 by Archibald Hood. It provides early-years evidence that though Hood was undoubtedly the driving force at Llwynypia, his periodical purchase of company shares was always much less than his fellow directors! A search for this colliery through officially-recognised sources will be unsuccessful if ‘Glamorgan’ or ‘Scotch’ is used as a search-word, for the correct name is ‘Llwynypia’, which broadly translates as ‘Magpies Grove’. However, for good reason, ‘Glamorgan’ and ‘Scotch’ soon became every-day alternatives, and they are unquestioned and accepted to this day – but why did they originate? Imagine, you are a Scot, beginning work as a miner in a very sparsely populated area, where the native language is predominantly Welsh, a tongue completely foreign to you. Inevitably, at some time, you will be asked your place of residence or employment: do you invite ridicule, by attempting to pronounce ‘Llwynypia’, or do you use your wits, replying with the easily-pronounced ‘Scotch’, a reference to the colliery’s predominantly Scottish workforce imported by Archibald Hood – or the equally easy ‘Glamorgan’, the name of the company owning the colliery?

To accommodate his workforce, Hood found it necessary to build, and eventually, 271 homes were constructed in fifteen terraces adjacent to, and overlooking the colliery, of which 256 are still in occupied existence, together with several impressive managers’ residences built in the proximity of the colliery. More dwellings were built near his Penrhiwfer and Gilfach Goch mines, and to this day, in all three villages, there remain references to the Glamorgan Coal Company, Hood’s nationality, and Scottish landmarks. Sherwood (several), Gilmour, Anderson, Thistle, St. Andrew, Ayton, Campbell, Argyll, Grange, Holyrood, Rosedale, Bruce (Penrhiwfer), Scotch and Dundonnell (both at Gilfach Goch), all are overtly Scottish-influenced place-names, but there were acknowledgements to Wales, with Cambrian, Glamorgan, Llewelyn, Glandwr, Llwynypia, Glyncornel, Iscoed, etc. Missing from all these is a landmark dubbed ‘Hood’ by Hood himself, and perhaps this remarkable, extraordinary man knew there was no need for self-acclaim, for in his modest way he probably realized that his achievements in South Wales would render that self-perpetuation superfluous.

There were six vertical shafts and two levels at Llwynypia. On the Llwynypia side of the River Rhondda Fawr were shafts 1, 2, 3 and 4. Nos 1, and 2 shafts were sunk to exploit the shallow Nos. 2 and 3 Rhondda seams but were eventually deepened to exploit the steam coals in the deeper seams; No. 3 shaft worked the shallow seams too, but, whilst reportedly sunk to also exploit the lower seams, it closed in 1908. The coal in the Nos. 2 and 3 Rhondda seams was bituminous, used as a domestic fuel and also as the basic element in coke production, fuelling the 281 ovens at Llwynypia and Gilfach Goch collieries, where an impressive 1,400 tons was produced weekly. Additionally important, at the floor of these seams was fireclay, a mineral consisting of the roots of dead plants, extracted along with the coal, the decayed vegetation above the plant-roots, both having undergone change, metamorphosis, through heat and deep burial over millions of years. This clay was a valuable by-product, an essential constituent of the 10,000 or so bricks made daily by women in the colliery’s above-ground brick-making plant.

The three shafts (1, 2 and 3) were sunk in a line, parallel to and near the Taff Vale Railway, their extremes contained within an incredible 35.33 yards. No. 4 shaft did not conduct minerals, it was sunk purely to accommodate water pumped from the whole of the colliery’s workings, and its former location is today bordered by a fast-food outlet adjacent to Llwynypia Road. When the colliery ceased production in 1945, the yard remained in use as a rescue-station and central workshop, and the shaft remained open at the No. 3 Rhondda seam, 108 yards level, for water-pumping only until 1966, when total colliery closure took place. The writer recalls, during the mid-1960s, many times travelling to his ventilation duties there, in a very small, single-deck cage, the only one that could be accommodated in this extremely narrow shaft. No. 5 shaft, on the Trealaw side of the river, did not conduct minerals, it was sunk purely to conduct the whole of the colliery’s stale air to the surface, but at times through the colliery’s life this function was fulfilled by other shafts, including No. 6, when No. 5 closed. No. 6 shaft, close to the Collier’s Arms at Ynyscynon Road, was sunk to exploit the deep, steam coals.

In descending order, the seams worked at Llwynypia Colliery were: No. 1 Rhondda (only at an inconsequential, almost mountaintop level, see below); No. 2 Rhondda; No. 3 Rhondda; Pentre; Two Feet Nine Inches; Lower Six Feet; Upper Nine Feet (Red Vein): Lower Nine Feet and Bute; Bute; Five Feet; Lower Five Feet. The Lower Five Feet was the deepest-worked seam and was found at 517 yards in the 525 yards deep No. 1 shaft. The two levels were established on the Trealaw side of the river, with the highly-productive Sherwood Level, whose entrance was adjacent to No. 5 shaft, shallowly traversing under Ynyscynon Nursery as it commenced its 950 yard journey into Rhondda Fach, extracting the No. 2 Rhondda seam. It was opened in 1905, in anticipation of the closure of No. 3 shaft, thereby maintaining the essential supply of bituminous coal and fireclay for the production of coke and bricks, but it closed in 1923 when those reserves were exhausted. That year also saw the closure of Llwynypia Colliery Mountain Level, situated high on the Trealaw mountainside; it was a largely-exploratory, short-lived venture into the No. 1 Rhondda seam for its much-sought bituminous coal and fireclay, but one which was of limited presence due to glacial action and erosion by the elements. Reliable and complete manpower and production figures for Llwynypia are not available, but the colliery was certainly prolific in both, with 4,200 employees in 1902, and 700,000 tons output in 1923 being quoted, although the latter figure, is much lower than the widely-held figure of one million tons per annum.

Archibald Hood was that rarity, a truly-respected coal-owner. He was canny and conservative but also a humanitarian, and at Llwynypia, as in Scotland, he sought to beneficially influence the lives of his workmen and their families. Whereas D. A Thomas, Chairman of Cambrian Collieries Ltd, injected nothing into the Clydach Valley communities, Hood’s hand was everywhere in Llwynypia, manifested by the provision of schools, St. Andrews Church, a Miners Institute, complete with library and billiards tables — a swimming pool, tennis courts, cricket, football and rugby fields, and even the winter-time provision of a large, outdoor ice-skating area! He encouraged his workforce to grow food by providing large garden areas at the fronts of their dwellings, simultaneously seeking to divert the male occupants from alcohol, an imperative, given the volatile temperaments of the Welsh, Scots, and the Irish that later inhabited the community! He was known for his attention to detail, often involved in matters which his minions might have been expected to supervise – the writer’s grandmother lost an arm at Llwynypia when sixteen in 1893, amputated when caught in brick-making machinery, and Hood, then seventy, personally attended the matter, obtaining a job for the one-armed girl at the Tonypandy ironmongery of John Cox – Hood, probably not needing to remind Cox of Glamorgan Coal Company’s patronage!

When he died, aged 79, in 1902, a fund was established to erect a statue, the first in Rhondda, and this likeness, with an arm horizontal, pointing to his colliery, stands to this day, overlooking Llwynypia Road. Such was the respect of his workmen that the fund was heavily over-subscribed, with the surplus being used to provide a gas-lit statue and animal drinking-trough, now modified and situated near Tonypandy Library, removed from its original site at Tonypandy Square. Six years after his death, Llwynypia Colliery was taken under the control of D. A. Thomas’s Cambrian Collieries Ltd, of whom Leonard Llewelyn was General Manager. Today, it is known that Llewelyn was a liar, impostor and opportunist, but when he and Llwynypia Colliery became newspaper headlines in the Tonypandy Coal Strike and the associated rioting of 1910-11, he excelled in concealing and distorting the truth, by manipulating Establishment-based newspapers, the only information source of those times. To expose Llewelyn, one needed mining experience and a source of publication, both possessed by, and available to the writer, but not so in the latter-essential to miners in the 1910-11 period. So, critically, the untruths in those newspapers passed unchallenged, and became immediate history, creating false perceptions of events that deceived many historians and others to the present day. Llewelyn’s lies would not have sat well with Hood, and one wonders, when at the peak of his powers, would he have vetoed the Cambrian purchase of Llwynypia? Had it been possible to configure that time-span, he might have prevented the immense suffering that occurred in mid-Rhondda in 1910-11.

+++ 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 Yokosuka J1Y was a land-based interceptor for the Imperial Japanese Navy Air Service (IJN/大日本帝國海軍航空隊, Dai-Nippon Teikoku Kaigun Kōkū-tai) that was based upon a research aircraft and introduced into service during the final months of WWII. Work on the J1Y commenced at the Yokosuka Naval Air Technical Arsenal (海軍航空技術廠, Kaigun Kōkū Gijutsu-shō) during 1942 and 1943, in the midst of the Second World War. The J1Y was initially intended to test the benefits of different aircraft layouts in order to exploit the available engines’ potential further, albeit the aircraft had been designed from the start in a fashion that was suitable for combat and easily adaptable into a light fighter aircraft. It would eventually be developed into Yokusuka’s only fighter project.

 

The J1Y was an unorthodox twin-boom pusher configuration fighter aircraft. It featured a mid-mounted wing, a tricycle landing gear arrangement, and was furnished with heavy forward-firing armament. The fuselage was primarily composed of plywood for the forward section and aluminum throughout the aft section, in order to save critical war material. The advantages of the pusher design were of an unobstructed forward view for the pilot, while the armament could also be concentrated in the nose, so that most of the aircraft’s heavy elements were concentrated around the mutual center of gravity. However, a major drawback was difficulty in escaping from the aircraft in an emergency, as the pilot could get drawn into the propeller blades, and the tail surfaces posed an imminent danger, too.

 

The J1Y1 test aircraft was powered by a 700 kW (940 hp) Nakajima Sakae 12 engine. A pair of intakes in the wings’ roots ducted cooling air to the engine, which was mounted at the egg-shaped fuselage’s tail, as well as to a pair of oil coolers that were buried in the thickened wing roots. Despite the aircraft’s tubby shape, it was a very clean design with an excellent weight distribution.

During the ensuing tests and flight trials in late 1943, the J1Y1 proved to be superior to the comparable Mitsubishi A6M2 “Zero” in many respects, so that the Imperial Japanese Navy Aviation Bureau (海軍航空本部, Kaigun Kōkū Hombu) became interested enough to eventually order a fully capable combat aircraft variant in early 1944: the J1Y2.

 

Development of the J1Y2 lasted until mid-1944. Outwardly, the aircraft differed only slightly from the J1Y1 test aircraft, of which four had been built. The internal structure was strengthened, esp. around the engine mount, because the fighter version was to be powered by the Mitsubishi Kinsei Model 48 radial engine which delivered 1,080 hp (810 kW). Since this engine had a slightly bigger diameter, the tight cowling had to be modified and now featured small bulges for its fourteen-cylinder heads, creating a characteristic ring of small bumps around the rear fuselage. The dorsal carburetor air scoop had to be enlarged, too.

The J1Y1’s four-blade propeller was replaced by a six-blade propeller – a measure that was necessary to convert the engine’s raised power output into sufficient propulsion, while exploiting the limited possible propeller disc diameter between the tail booms and keeping sufficient ground clearance.

Armor plates were added to the nose section and behind the pilot’s seat, but protection remained relatively light. In order to extend the J1Y1’s limited range of only 750 km (470 mi, 400 nmi), two additional 150l fuel tanks were added to the inner wings behind the landing gear wells, partly extending into the tail booms, even though they were not self-sealing like the main fuel tank behind the cockpit. Tilting air brakes were installed on the wings, enabling the J1Y1 to manoeuvre into a stable firing position behind slower aircraft. Armament consisted of a pair of 20 mm Type 99-2 cannon, flanking the front wheel well, supplemented by a pair of 7.7 mm (.303 in) Type 97 machine guns, which were rather intended as spotting rifles: they fired tracer rounds with the same trajectory as the 20 mm rounds, and gave off a flash and puff of white smoke on impact, so that 20 mm ammunition could be saved. Upon IJN introduction in August 1944, the J1Y was christened “Akaei” (アカエイ, “Stingray”). The Allied reporting name was "Ron"

 

However, teething development problems stemming from the Kasei engine cooling system and the main undercarriage members led to a slowdown in production. And when the Boeing B-29 Superfortress appeared, the J1Y2’s performance, esp. at height, was not sufficient anymore. Being not suited for high-altitude operations, and lacking internal space to accommodate a turbocharger, the IJN’s interest in the aircraft waned and resources were rather allocated to more promising types like the Mitsubishi J2M, despite its development problems, too. However, the J1Y2’s heavy gun armament supplied effective firepower and the use of dive and zoom tactics allowed it to score occasionally. It was also a very agile aircraft, esp. at medium altitude, so that production switched in January 1945, after 75 J1Y2s had been built, to the J1Y3.

 

The ultimate variant of the “Akaei” featured a new, even more powerful Mitsubishi Kinsei 62 engine with 1,163 kW (1,560 hp). Outwardly, this variant differed from its predecessor by a different exhaust arrangement: instead of the J1Y2’s two exhaust pipes, the J1Y3 featured individual exhaust, hidden under seven aerodynamic fairings, in order to exploit residual thrust and therefore further improve performance – resulting in even more bumps and fairing around the engine cowling. For the more powerful engine, and also because of cooling problems, the carburetor scoop was enlarged even more, so that an auxiliary cooling intake could be integrated.

Even though the armament nominally remained unchanged, supply shortages and field modifications in order to lighten the aircraft saw many J1Y3s with only two Type 99 cannons installed and the empty machine gun ports faired over. Some J1Y3s also carried gun 13.2 mm (.51 in) Type 3 heavy machine guns instead of the cannons, becoming designated J1Y3a. Due to ammunition shortages, some machines were converted in field workshops to this standard, too.

 

The J1Y3 arrived at IJN units in March 1945, but only a few were operational until the end of hostilities in the PTO, probably only around 40 aircraft were eventually delivered.

  

General characteristics:

Crew: 1

Length: 30 ft 9 in (9.37 m)

Wingspan: 38 ft (12 m)

Height: 8 ft 10 in (2.69 m)

Wing area: 262 ft² (24.3 m²)

Empty weight: 2,839 kg (6,259 lb)

Gross weight: 3,211 kg (7,079 lb)

 

Powerplant:

1× Mitsubishi Kinsei 62 14 cylinder radial engine with 1,163 kW (1,560 hp)

 

Performance:

Maximum speed: 640 km/h (397 mph, 346 kn) at at 6,096 m (20,000 ft)

560 km/h (348 mph, 303 kn) at sea level

Cruising speed: 495 km/h (308 mph, 267 kn)

Range: 1,078 km (670 mi, 582 nmi) at 272 km/h (169 mph; 147 kn) at 457 m (1,500 ft)

Ferry range: 1,190 km (740 mi, 640 nmi)

Service ceiling: 10,200 m (33,500 ft)

Rate of climb: 15 m/s (3,000 ft/min)

 

Armament:

2× 20 mm belt-fed Type 99-2 Mark 4 cannon with 125 RPG and

2× 7.7 mm (.303 in) Type 97 machine guns with 250 RPG in the lower fuselage

2× hardpoints under the outer wings for 60 kg (132 lb.) bombs

or 200 l (53 US gal; 44 imp gal) drop tanks

  

The kit and its assembly:

This build followed a spontaneous inspiration, and it became another contribution to the “in the navy” group build at whatifmodlers.com in early 2020. I actually had the Vampire kit already stashed away for a while, and the plan to convert it into a propeller-driven aircraft with a radial engine and a pusher configuration à la Saab 21 had been there – but I lacked an idea for an operator, so that I could build the background story around it. With the “in the navy” theme, it suddenly clicked – why not the IJN? The Vampire is a rather compact and slender aircraft, so there’s IMHO some Japanese “style” in the design, and after the torturous build of HMS Cerberus I wanted some kind of relief.

 

The Vampire kit is the vintage Heller mold from 1979, but actually in a mid-Nineties Revell re-boxing. Like many other Heller kits, it comes with raised panels, but detail is sufficient (nice dashboard, landing gear is O.K., and the kit comes with separate air brakes) – the molds seem to be a bit worn, though, I guess a “true” old Heller kit is more crisp and would be the better choice.

 

At the core of the conversion plan was the implantation of a radial engine in place of the jet exhaust. I found a donor part from a Hobby Boss MC.200 Saetta – a bit vintage, but it had the right diameter and I actually liked the ring of bulges on the cowling. Internally, a styrene tube adapter was added for a freely spinning propeller.

 

While adding a prop to a jet seems to be an easy task, the real challenge behind such a conversion are the many other changes that have to be made to the airframe. This includes a (considerably) longer landing gear and the respective wells, but also the tail surfaces. There’s also the question how the new radial engine actually breathes, where exhausts can be located, and a cooling system is necessary, too.

 

Work started with the search for new landing gear struts, and I also used different wheels – for instance, the main wheels come from a Hasegawa F9F Panther, while the front wheel comes from a Frog He 162 and is probably 35 years old(!). In order to make the longer struts fit into the airframe, I elongated the wells in the wings towards the fuselage, so that the track width was reduced – but with the Vampire’s small airframe and original wide stance, this was no serious problem. From the inside, they were faired with styrene profile material, and the extended covers were scratched – esp. the parts for the wings, with their bulges for the tail boom tips, were fiddly.

 

In order to move the overall look a bit further away from the Vampire, I completely changed the fin arrangement. The original, rounded and rather small fins and the bullet-shaped fairings that hold the stabilizer outside of the original exhaust blast were deleted. Once the wings and the tail booms were added to the fuselage, the stabilizer was mounted between the booms, in a slightly lower position. For the new fins I wanted a layout that would, beyond a more squarish shape that would better match the wings, protect the propeller. Therefore, I used stabilizers from a KP Yak-23; each was cut into two pieces, tailored further to match the rest of the aircraft, and glued in positions above and underneath the booms. Looks quite weird, as if the aircraft had been designed upside down, but it’s a rather pragmatic solution that has already been used on some pusher designs in the past.

 

The six-blade propeller was scratched from a spinner, carved from a thick piece of sprue, plus a metal axis and six single blades that were taken from the rather wacky one-piece propellers of Airfix’s Ki-46 kit.

 

Hollow steel needles were used as barrels for the Type 99 cannons in the lower fuselage.

  

Painting and markings:

Once more, a rather conservative approach – and the IJN was not creative when it came to liveries. Almost every aircraft carried a typical dark green over light grey scheme, with minimal individual markings or tactical codes. I wanted to stay true to this concept but decided to simplify the scheme even more since this would be a late-war aircraft, pressed into service under rather dire supply circumstances. This resulted in a NMF livery (basis is Tamiya XF-60, which turned out soemwaht grainy, plus some Polished Aluminum Metallizer from Humbrol on top), with only the upper surfaces camouflaged with IJN Green (ModelMaster) without primer underneath, resulting in a somewhat flaky and worn look. Since they are rather slender, the tail booms were completely painted in IJN green, too.

 

The yellow ID markings on the wings’ leading edges were created with decal material (TL Modellbau), the cockpit interior as well as the landing gear wells were painted with a mix of silver and blue, mimicking the typical “aodake iro” protective clear lacquer of Japanese IJN aircraft. The struts were painted black, according to A6M museum exhibits. The propeller blades ware painted in a red-brown primer, a mix of Humbrol 160 and 180.

 

Markings were taken from a PrintScale Yokosuka N1K2 decal sheet and mixed from two aircraft. Placing the fuselage hinomaru was tricky – the natural choice would have been the tail booms, but they’d be very small, so I rather put them on the fuselage under the cockpit. With the individual aircraft number added to the meatball, it looks now like a racing aircraft, though...

 

Finally, the kit received some soot stains and dry-brushing with aluminum, and everything was sealed with semi-gloss acrylic varnish from Italeri - even though the result is a little too glossy for my taste, but I left it that way.

  

A rather quick build, but structurally not much from the Vampire was changed. The new engine was relatievly easy to integrate - the other small bits like the fins, the propeller and esp. the landing gear took more time. The result looks quite odd - the whole thing has also a certain German touch? Could have worked well with a BMW 801 engine, too!

 

A reminder that pandas were still being exploited in China as late as 1984, rather than protected. This panda performed as part of the State Circus in Shanghai, riding a rocking horse after initially pushing a pram (with what I think is a toy panda rather than a baby!) (see previous photo in this stream). I think it fair to say that the whole tour group was enthralled with the human performances but shocked at the use of pandas.

«Children — are the Victims of Adult Vices» (sculptor: Shemiakin M.M., architect: Efimov A.V.)

 

Children Are the Victims of Adult Vices - is a group of sculptures created by Russian artist Mihail Chemiakin. The sculptures are located in a park in Bolotnaya Square, Balchug, 2000 feet south of the Moscow Kremlin behind the British Ambassador's residence. Chemiakin said that, «[The sculpture] ... was conceived and carried out by me as a symbol and a call to fight for the salvation of present and future generations.»

 

A spectator sees before him 15 pieces: two children with a blindfold playing hide and seek but around them are three-meter allegorical monsters, which are depicted as human figures with the heads of fish and animals. As explained by the sculptor Shemyakin, that's the historically established traditions to portray the vices: of drug addiction, prostitution, theft, alcoholism, ignorance, propaganda of violence, pseudoscientists, indifference, sadism, for the forgetful, child labor exploitation, poverty, war.

 

The figures are perceptibly closing in on two unaware playmates, a girl and a boy, with the centrepiece figure being «Indifference».

 

The sculpture was commissioned by then-Mayor Yuri Luzhkov and sponsored by the state-owned oil company Rosneft, [amid some controversy]in 2001 in the park, named for the 800th anniversary of Moscow. Some Muscovites worried that the graphic imagery would frighten children.

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.

pixel portrait [the exploration (exploitation) of a pixel] -

 

any use of this image must credit kevin dean and direct a link to: www.betaart.com

Processed with VSCOcam with a6 preset

Tumor angiogenesis (the exploitation of healthy cells to form new blood vessels) is a vital area of cancer research.

 

The two-panel image above shows one such promising lead from recent lab studies with endothelial cells, specialized cells that line the inside of all blood vessels. In tumors, endothelial cells are induced to issue non-stop SOS signals that falsely alert the body to dispatch needed materials to rescue these cells. The endothelial cells then use the help to replicate and sprout new blood vessels.

 

The left panel demonstrates the basics of this growth process under normal conditions. Endothelial cells (red and blue) were cultured under special conditions that help them grow in the lab. When given the right cues, those cells sprout spiky extensions to form new vessels.

 

But in the right panel, the cells can’t sprout. The reason is because the cells are bathed in a molecule called miR-30c, which isn’t visible in the photo. These specialized microRNA molecules—and humans make a few thousand different versions of them—control protein production by binding to and disabling longer RNA templates, called messenger RNA.

 

Read more: directorsblog.nih.gov/2019/09/05/using-microrna-to-starve...

 

Credit: Dudley Lab, University of Virginia School of Medicine, Charlottesville

 

NIH support from: National Cancer Institute; National Heart, Lung, and Blood Institute

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.

    

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 9

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

Lien TC Infos : tc-infos.fr/id/37467

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.

Exploitant : Keolis Argenteuil Boucles de Seine

Réseau : IDF Mobilités – Argenteuil – Boucles de Seine

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

Lien TC Infos : tc-infos.fr/vehicule/14531

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.

Exploits River, Central NL, Canada

(RPI Book News) – What Art Spieglman’s Maus did for the graphic novel, The Hustitute aims to do for gay porn.

 

Just don’t call it gay porn.

 

So says Hieroynamus Cupid, author and illustrator of the massive 550-page graphic novel chronicling the exploits (and exploitation) of Ricky “Mr. Amazing” Marks – up-and-coming home theater salesman by day, down-and-dirty male prostitute by night.

 

For all his efforts, Cupid is getting slammed by critics at both ends.

 

“This is simply another attempt to promote the homosexual agenda and foist the gay lifestyle on our children,” says Henry Blamblather of the Family Values Council. “Let’s call it what it is. It’s a how-to manual for gay sex in comic book form, which makes it even more repugnant.”

 

At the opposite end of the spectrum comes this terse book review from Gay Today Magazine.

 

“The dialogue makes Rocky Balboa look like Noam Chomsky, the crudity of the drawings make Jack Chick look like Davinci, and the storyline is so appallingly out of touch with reality it makes the rantings of Ralph Reed sound downright authoritative. And as far as the hot and steamy sex scenes, frankly we’ve gotten more titillation out of a random episode of Will and Grace. So if that’s what you’re after, take your money and buy a Stallion Studios DVD. We rate this two willie’s down.”

 

On that count, Cupid said he made a conscious attempt to downplay the sexual content of the novel.

 

“I didn’t want it to be about gay sex. This isn’t porn. This is visual literature.” explains Cupid. “As it worked out the main character just happens to be an incredibly well-endowed, Adonis-like male prostitute. That’s just how the story played itself out.”

 

He says that at the start the project, he originally set out to tell the tale of how Helen Puddingbottoms, a small 6-year old girl in Ames, Iowa and her talking Cocker Spaniel “Lucky” rallied their hometown to stop the demolition of the ice cream & soda shop where her parents met..

 

“But when I started getting into it, the characters took on a life of their own,” he explains.

 

That claim somewhat strains credulity however when one reads the first 2 panes and sees how quickly the characters “took on a life of their own”.

 

Pane 1: “That could have been me. Helen Puddingbottoms and her dog Lucky. Just a girl and her dog walking past the ice cream soda shop down Main Street, Anytown, U.S.A.”

 

Pane 2: “Instead, I’m a male prostitute with the moniker ‘Mr. Amazing’ hustling johns in Alphabet City. And this is my steamy story…”

 

Hieronymus Cupid will be appearing this Friday for a book signing at the Midtown Barnes and Noble at 1:30 and followed by a 4:30 signing at Bob’s Beefhouse Book and Movie Emporium.

 

-----------------------------------------------------------------------------

 

Band flier & graffiti on wall, 16th&South, Philadelphia, PA, manipulated

 

Imagine my disappointment after writing the above, do a search and find out that my imaginary graphic novel based on playing with this shot actually was real-life porn novel (but not a graphic novel!) from the 70’s called The Hustitute.. Actually, the shot is here.

 

The band’s from Philly and although I’ve never seen them, after checking out their myspace page I definitely want to. Give ‘em a listen.

 

Dia 1 #Altavoz2014

Delhi.

Catch up with my recent birding exploits at my blog page - stonefactionbirding2014.blogspot.co.uk/

 

Barnacle Goose at Gaddon Loch, Fife.

Some of many

+++ DISCLAIMER +++

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

 

Some background:

Both the T-62 and T-64 were innovative in their own ways, but not successful in the long run because of their cost, complicated features, rushed production, or primitive FCS. The T-54/55 had been a highly successful export for the Soviet Union, but so far, nothing replaced it in this area. Due to their age and the never-ending competition between ammo and armor with the west, a new MBT with a large gun was needed. This model had to incorporate some innovations but had to be mature enough to exploit them fully and be fast enough to catch up with other vehicles. Overall, WARPAC quickly needed a replacement for its aging fleet of T-54/55s (the T-62 was only adopted by Bulgaria and the T-64 was even denied to the Warsaw Pact allies). So a “mobilization” model was called for, even though the T-64 was still in development.

 

Although in its general shape the T-72 superficially resembled previous designs, and especially the T-62 (small turret, low hull, very long gun), there were many differences in the drivetrain, turret design, engine, main gun and equipment. Compared to western standards, its specifics were regarded as drawbacks, being too small, cramped and uncomfortable. It was believed in the west the crewmen had to be of small stature (1.60 m or 5ft 3in), but after the fall of the iron curtain, it appeared to have been officially 1.75 m (5ft 9in). For its designers and commanders, the vehicle was in line with the experience of the Soviet armored forces during the “Great Patriotic War”. The USSR modeled its tanks along a specific tactical use. Tanks were generally low, nimble and fast, being difficult to hit, contrary to western tanks, which were, comparatively, at least 50 cm (1ft 8in) taller – and the T-72 was even 60 cm lower than its potential opponents!

 

The height requirement also helped to keep the total weight largely under the NATO practice. This allowed a great deal of mobility despite an aged V-12 diesel. For example, two T-72 could cross a bridge instead of waiting in line to cross it one at a time. This low profile was a problem when fording rivers more than 5 meters (16 ft) deep and a comprehensive sealing procedure, a snorkel and tightly waterproof interior were needed. These fittings also helped NBC protection, rendered possible by a synthetic fabric made of boron compound lining which reduced (but did not) radiations. There was also an extensive air filter system with safety valves and constant over-pressure. This helped eliminate any poisonous contamination as well as residual fumes that could leak out from the autoloader. Overall vision was not outstanding, with a set of extremely small periscope viewports. The hull construction called for an RHA (rolled homogenous armor) hull made of cast steel.

 

Crew comfort was seen as unnecessary, due to the survivability rates on the battlefield. The same law applied to a relatively non-refined interior and the simple, rugged, but efficient firing equipment, which was designed for mass production and easy maintenance. Any fragile and/or non-standard piece of equipment was therefore eliminated before production. This explained not only the production scale itself - much bigger than their western counterparts - but also the tank’s export success. Such manufacturing principles allowed costs to be kept very low, and at the same time produced a rugged piece of equipment which was durable, with part standardization (= interchangeability) and relatively low-tech, which was an advantage in many pre-industrial countries, both for maintenance and upgrades.

 

The hull’s basic RHA construction was augmented by spaced armor, which was upgraded to the T-64 standard composite armor in 1979. In the early 1980s, T-72s received additional add-on armor along with rubber side skirts, and, in the late 1980s, full ERA made of active protective tiles was generalized. At the origin, the basic cast armor was about 280 mm (11 in) at the thickest, with the nose up to 80 mm (3.1 in) and the glacis made of a 200 mm (7.9 in) thick laminated armor, well inclined. This gave a virtual equivalent of 500–600 mm (20–24 in) thickness against direct fire.

 

The turret was small in comparison to the T-62 and even the T-55, due to the elimination of the loader and its replacement by an auto-loader. The latter picked-up its rounds directly from a horizontal storage area (horizontally auto-fed), contrary to the faster and much more complex vertical actuators of the T-64 main gun automatic loader. The commander cupola was situated to the right rear, with four vision blocks, one periscope (later equipped with infrared sight), and a standard night illuminator. The gunner’s hatch was situated on the right-hand side and slightly angled down to the turret side.

 

The V12 was basically derived from the WW2 era 500 hp T-34 engine. Rugged and well-tested, it was also shared with the T-54/55 and T-62 families, meaning a lot of parts were interchangeable. It was capable of 780 hp (582 kW), which made the T-72 look underpowered compared to western tanks of the time, but its performances were kept high due to the lightweight hull. It was also much faster and nimbler than the T-62 and even the T-55. This engine was coupled to a synchromesh, hydraulically assisted, seven forward/one reverse gears transmission. The steering system is a traditional dual-tiller layout, rather than the steering wheel/yoke familiar in the west, imposing constant two-hands handling. By the 1980s, the powerplant upgraded to the new 840 bhp (630 kW) V-84 diesel.

 

The suspension set was a moderately new one, combining traditional torsion bars and shock dampers on the last and two first roadwheel sets. There were six evenly spaced sets of rubberized roadwheels per side. These roadwheels were completely redesigned and partly hollow, like the T-64 roadwheels, but made of steel rather than aluminum, due to costs and durability. They were also smaller and much lighter than the traditional “starfish” model, imposing four sets of return rollers to support the upper tracks. The tracks themselves were similar to the previous models, but not advanced like those of the T-64.

 

By 1973, the T-72 was accepted for service and over 25,000 units were built, but the production lines never really shut down. The T-72, in its modernized form, now represents the bulk of the Russian armored forces, and was adopted by the best armored units in all Eastern Europe forces. It was widely exported despite its price -double of that of a T-55- because it represented a good compromise, not complicated to operate and maintain, with many commonalities with previous models. It was a real upgrade in firepower, protection, speed and even fire accuracy compared to previous models, and even contemporary western MBTs. Unlike the T-62, the T-72 became an instant hit, was well-modernized over decades and is still frontline today, in thirty-six armies, including the Iraq.

 

Due to a ban on weapons deliveries after the Iran-Iraq war (where Iraq lost some 60 T-72Ms), a covert agreement was found to pass Czech-built M1 parts for a local assembly which was done as the “Asad Babil” or “Lion of Babylon”. There were armed with downgraded FCS and LRF, and a poor-quality glacis plate armor. Like the “Saddam”, a local adaptation of the M1 (downgraded for desert warfare), some suspensions’ shock absorbers were removed and a local-built searchlight was added on the right-hand-side. Saddams and Asad Babils were seen in action by 1991 and again in 2001 gulf war. Iraq had about 1000 T-72s, M, M1, but also the locally built Saddam and Asad Babil in 1990. After 2003, their numbers had dwindled to 375, and only 125 were listed in the new Iraqi Army - even though there were negotiations to procure up to 2.000 revamped T-72 by 2009.

 

But this deal did not come to fruition, and in 2010 twelve mothballed Iraqi T-72 survivors, mostly only hulls with engines but without a turret or armament, were modified into anti-aircraft systems, through the adaptation of the British Marksman short range air defense system developed by Marconi.

 

The Marksman system consists of a turret which carries a Marconi Series 400 radar and two Swiss Oerlikon 35 mm anti-aircraft autocannons. It is similar to the German Gepard system in terms of performance, ammunition carried and effective range of the ammunition, and intended to provide low-level air-defense for tank battalions.

The Marconi 400 series frequency agile surveillance and tracking X/J-band radar is able to detect targets out to 12 km in search mode and 10 km in tracking mode. The additional laser distance measure device functions up to 8 km. The turret can traverse a full 360 degrees and has an elevation range of −10 to +85 degrees. The magazines hold 460 fragmentation rounds and 40 armor-piercing anti-tank rounds. The vehicle is operated by only three crew members: commander, gunner, and driver. The commander and the gun operator in the turret both have gyro-stabilized optical aiming devices, and there are three communication radios in the vehicle for fire guidance and communications. The Swiss 35 mm Oerlikon anti-aircraft guns have a rate of fire of 18 rounds per second and the fragmentation round has a muzzle velocity of 1,175 m/s. The effective range of the weapons is 4,000 meters. For self-defense, the vehicle is also equipped with eight Wegmann 76 mm smoke dischargers, a 7.62 mm assault rifle, and a flare gun.

 

In 2014 the Iraqi Army's T-72 battle tanks and the Marksman SPAAGs were actively involved in the Iraqi Civil War, an armed conflict which began in January 2014 with the Iraqi insurgency and which escalated into a civil war with the conquest of Fallujah, Mosul, Tikrit and in the major areas of northern Iraq by the Islamic State of Iraq and the Levant (ISIL, also known as ISIS or IS). Even though no enemy aircraft were deployed, the T-72 Marksman SPAAGs proved to be very effective against lightly or unarmored vehicles and semi-fortified dugouts at medium range. The conflict ended in December 2017.

  

Specifications:

Crew: Three (commander, gunner, driver)

Weight: 47.2 tonnes (52.1 short tons)

Length: 8.06 m (26 ft 3 in) with turret forward and guns in march position

6.95 m (22 ft 10 in) hull only

Width: 3.59 m (11 ft 9 in)

Height: 4.46 metres (14 ft 7 1/2 in)

Suspension: torsion-bar

Ground clearance: 0.49 m (19 in)

Fuel capacity: 1,200 L (320 U.S. gal; 260 imp gal)

 

Engine:

V-92S2F V12 Diesel engine with 1,130 hp (840 kW)

 

Transmission:

Synchromesh, hydraulically assisted, with 7 forward and 1 reverse gears

 

Armor:

Steel and composite armour with ERA

250 mm (10 in) maximum in the hull front

 

Performance:

Speed:

- Maximum, road: 80 km/h (50 mph)

- Sustained, road: 60 km/h (37 mph)

- Cross country: up to 45 km/h (28 mph)

Operational range: 460 km (290 mi)

700 km (430 mi) with additional fuel drums

Power/weight: 18 hp/t

 

Armament:

2× 35 mm Oerlikon autocannon with 460 fragmentation rounds and 40 anti-tank rounds

  

The kit and its assembly:

Well, this is a rather simple, whiffy tank model. I have always been a fan of AA tanks, but there are only a few model kits in 1:72 scale, esp. of modern vehicles like the German Gepard, the American Sargeant Baker or the Finnish T-55 Marksman.

 

However, recently the German short run producer Silesian Models released a resin aftermarket conversion set with the Marksman turret, and I immediately was hooked and started wondering with which hull I could combine it? The resin set is actually intended for an M60 chassis, and while I found it to be a good idea I wanted a personal alternative. Using the Finnish T-55 variant as benchmark, I wondered if the Marksman system could be combined with a more modern hull of Soviet/Russian origin, and the omnipresent T-72 became an almost natural choice. Searching for a potential operator I eventually came across the New Iraqi Army, which operated the T-72 since the Eighties kept it in service until today.

 

The conversion is very simple and straightforward. The Modelcollect T-72 chassis was built OOB, using optional parts from the kit for the eight spoke wheels and a simple glacis plate without ERA. The side skirts were cut back.

A curious feature of the kit is the lower hull: it is a white metal piece instead of injected plastic, and the suspension parts are an integral part of this piece. This creates no major problem, though, and lowers the kit's CoG. You just need some superglue in order to attach the wheels and the upper hull parts, even though the latter can simple be attached in a snap-fit style. Overall detailling is superb and the fit is very good, too.

 

The nicely detailed Silesian Models resin Marksman turret went together well, too, even though the gun barrels were slightly bent. Some cleaning was necessary, but that has to be expected from such a short run kit. The turret also comes with an adapter plate for the M60 turret bearing, but it turned out to be too wide for the T-72 hull. So I simply cut out the T-72 kit's turret underside and glued it under the Marksman turret - and this worked very well and even had the bonus that I did not have to modify the kit's original turret bearing.

The only other addition are the wire antennae on the Marksman turret, made from heated sprue material.

  

Painting and markings:

Very straightforward, too. I used real life Iraqi T-72s as benchmark and chose a typical desert scheme, with an overall sand tone on top of which some brown mottles had been added. For the sand tone I used a car color: a Sixties Volkswagen tone called "Mexicobeige", applied with a rattle can. The brown mottles were later added with a small brush and they were mixed from Humbrol 29 (RAF Dark Earth) and 66 (Olive Drab) in a 2:1 ratio.

 

The Arabian tactical code number actually belongs to a MiG-29 (from a Begemot sheet), while the New Iraqi Army flag and the grey/green marking were printed with an inkjet at home on white decal paper.

 

The kit received a light dry-brushing treatment with Humbrol 168 (Hemp) and also a light wash with a highly thinned mix of red brown and grey. A coat of matt acrylic varnish sealed the model.

 

After the track segments had been mounted, the running gear was dusted with fine artist pigments, and another dusting treatment was finally applied to the upper hull, too, once the tank model had been fully assembled.

  

An interesting result, and even though the T-72/Marksman combo is fictional, the resulting SPAAG looks very plausible, even "natural"? The modern Iraqi colors and markings suit it well, too. Besides, a relatively quick and pleasant build/conversion, completed in less than five days.

MES : 08/2007

Immatriculation : DN-116-LR

Exploitant : Grosperrin Tourisme Voyages

Ligne : Parcage

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 4

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

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

Moomo Design Blog take on Fur Neil poster

9 mois d'attente pour ce petit bijou ♥

Elle n'a pas de nom pour le moment.

 

Question histoire, j'aimerais exploiter son physique aux proportions particulières pour en faire une handicapée. Elle aurait un développement physique et mental un peu lent, mais elle serait surdouée dans certains domaines précis. Je ne sais pas si ce genre de maladie existe ? Un autisme allié à une dégénérescence physique ? Bref. Et elle a été recueillie par ma bande de planqués après que ses parents aient été fait prisonniers par l’Église pour rébellion.

Je suis contente parce qu'elle colle bien en proportions avec mon Seola et ma Modigli, ça me fait une petite bande d'enfants à exploiter pour des photos mignonnes :3

 

J'aime absolument tout chez elle, même ses mains que je trouvais grossières en photo. Elle a une présence folle. Pour sa custo je ne suis pas du tout fixée mais je n'ai ni le temps ni l'argent en ce moment pour m'occuper de ça. Heureusement j'ai réussi à lui enfiler quelques fringues taille Unoa.

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 9

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

Lien TC Infos : tc-infos.fr/id/37467

23 Beekman Place, Turtle Bay, Manhattan

 

Paul Rudolph, one of the most celebrated and innovative American architects of the 20th century, was associated with 23 Beekman Place for more than 35 years, from 1961 until his death in 1997. Trained at the Harvard Graduate School of Design in the 1940s, Rudolph was a second-generation modernist who grew dissatisfied with functional aesthetics but remained committed to exploiting industrial materials to create structures of great formal complexity. From 1958 to 1965, he served as chairman of the Department of Architecture at Yale University, where he designed the well-known Art and Architecture Building, now called Paul Rudolph Hall. Rudolph began leasing an apartment on the fourth floor of 23 Beekman Place in 1961, which became his full-time residence in 1965. He purchased the building in 1976 and converted it into five apartments in 1977-82, adding a remarkable multi-story penthouse that suggests a work of architectonic sculpture. New York Times architecture critic Paul Goldberger praised the steel-and-concrete design, calling it “a handsome composition, a neat arrangement of geometric forms that is visually pleasing in itself and a welcome addition to Beekman Place’s already long list of architectural styles.”

 

23 Beekman Place was also home to actress Katharine Cornell. Dubbed by drama critic Alexander Woolcott the “First Lady of the Theater,” she purchased the building with her husband, director-producer Guthrie McClintic, in 1922 and lived here until the early 1950s. Although the elaborate multi-level interiors have been modified by subsequent owners, the exterior is virtually unchanged. Rudolph completed only six buildings in New York City. 23 Beekman Place stands out as one of his most personal and experimental designs, drawing on themes that he explored throughout his prolific career, as well as anticipating aspects of his later work in Southeast Asia.

 

DESCRIPTION AND ANALYSIS

 

Beekman Place

 

The Paul Rudolph Penthouse & Apartments is located on Beekman Place, a small residential enclave in the Turtle Bay section of Manhattan. Close to the East River, this street extends just two blocks, from Mitchell Place (aka East 49th Street), past 50th Street (aka Dunscombe Place), to 51st Street. Topography has always played a significant role in this neighborhood’s appeal. Because the numbered cross-town streets end slightly to the east, for more than a century Beekman Place developed in quasi-isolation, standing above and apart from early industrial activities in the area, and construction of the United Nations, which began in the mid-1940s. Furthermore, due to the street’s unique and secluded character, it attracted a continuously changing roster of prominent residents, from the late 19th century to the present day.

 

Beekman Place was first opened in the mid-1860s. Most of the property in the area was owned by Samuel W. Dunscombe, a former minister. Four-story houses, faced with brownstone and classical detail, were soon erected on both sides of the new street, as well as a stone retaining wall to separate the rear yards from a narrow piece of river front property that James W. Beekman and family continued to own. These single-family houses were similar to those along 48th and 49th Streets, in what is now the Turtle Bay Gardens Historic District; each building was 20 feet wide, with a continuous metal or wood roof cornice, as well as a stoop rising to the first or parlor floor. Early residents included author Henry Harland, who produced popular novels under the pseudonym Sydney Luska. In Mrs. Peixada (1886) he described the street’s character:

 

Beekman Place, as the reader may not know, is a short, chocolate-colored, unpretentious thoroughfare, perched on the eastern brink of Manhattan Island, and commanding a fine view of the river, of the penitentiary, and of the oil factories of Hunter’s Point.

 

When Beekman sold the property, he promised that any future development would rise no higher than Dunscombe’s retaining wall – about 40 feet. He also promised that “nothing could be built there considered dangerous, noxious or offensive.” In 1914, the estate’s lawyers asked that these restrictions be nullified to allow improvements to the property. They claimed that commercial use was part of the “natural progress of the city,” but the New York State Supreme Court upheld the 1865 agreement, maintaining restrictions. Such litigation had a significant impact on Beekman Place; in addition to protecting views from the houses that faced east, these events brought the area increased attention and a large number of buildings were sold, substantially altered, or demolished.

 

Residential Beekman Place

 

Actress Katharine Cornell (1893-1974) and producer-director Guthrie McClintic (189361) acquired 23 Beekman Place in 1922. They purchased the former town house from Charles Schmid, who acquired it from Maria L. Higgins in 1906. It seems likely that one of these owners removed the stoop and divided the structure into at least two apartments, which were occupied in the 1910s by Schmid and four children, and Roger Howson, who later became chief librarian at Columbia University, as well as his wife, three children, and a governess.

 

Cornell and McClintic met in 1921 and married, forming a professional partnership that lasted four decades. Though relatively little is known about their private lives, they collaborated on 28 theatrical productions, with Cornell in the lead roles. Critic Alexander Woollcott described her as the “First Lady of Theater” and she was often compared to such luminaries as Helen Hayes and Lynn Fontaine. McClintic rivaled Cornell in terms of his contribution to the New York stage, directing 94 theatrical productions, including both classic and contemporary works.

 

Architect Franklin Abbott was hired to “remodel” the front elevation in 1929, as well as the interiors. Simple neo-classical details were added to the facade, as well as round-arched windows at the base and rusticated stonework. It was probably at this time that a service entrance was added to the right side of the ground story, as well as a metal canopy to keep water from collecting in the areaway. The basement was also extended at the rear of the property and walls were built around the garden. According to the United States Census of 1930, McClintic and Cornell occupied the building with two servants, a butler and cook, and possibly, a single tenant. A visitor in the 1940s described their home as “veritable theatrical museum,” with Cornell occupying the third floor, and McClintic, the fourth. They moved to Palisades, New York, in 1951 and the house was sold two years later, in 1953.

 

In the 1920s, Beekman Place developed considerable cachet, attracting prosperous families and cultural figures, such as: John D. and Blanchette Rockefeller III at 1 Beekman Place (Sloan & Robertson, 1929); Noel Coward at 2 (1932); composer Irving Berlin at 17 (1929); landscape architect Ellen Shipman at 19-21 (Butler & Corse, 1920s); CBS executive William S. Paley at 29 (Eldridge Snyder, 1934); art critic and historian Walter Pach at 33 (redesigned by Harrie T. Lindeberg, 1925); and painter Max Ernst and Peggy Guggenheim at 39 (redesigned by John B. Thomas, 1925). Physical changes to the immediate neighborhood also contributed to an aura of exclusivity, starting with construction of the East River (now Franklin Delano Roosevelt) Drive in the 1940s. Built on landfill and pilings, this highway project eliminated commercial wharves and reduced local access to the waterfront. The city also acquired riparian rights to a section of the shoreline between 52nd and 53rd Streets and a pedestrian bridge was constructed above the highway, near 51st Street. This trend continued in the 1950s, with the completion of the United Nations Headquarters, which occupies a 17-acre site, south of 48th Street. Acquired from developer William Zeckendorf, a resident of 30 Beekman Place (Emery Roth, 1932), this large parcel had been occupied by tanneries, breweries, and slaughterhouses. The buildings at 860 and 870 United Nations Plaza, a mixed-use development with the apartment entrances facing 49th Street and Mitchell Place, were erected by the architects Harrison & Abramowitz in the mid1960s. Like “Beekman House,” a neo-Gothic style apartment building at 439 East 51st Street (Treanor & Fatio, 1925) that stands at the street’s north end, this pair of sleek, bronze-colored International Style towers blocks views south and provides a sense of enclosure.

 

Paul Rudolph in New York City

 

Paul Rudolph was an important late 20th century American architect, with a close association with New York City. He moved his practice here at the height of his career, during the mid 1960s, when his tenure as chairman of the Department of Architecture at Yale University was coming to a close and his firm was embarking on many ambitious projects, including a large number in the metropolitan area.

 

Born in Kentucky in 1918, Rudolph received a Bachelor’s Degree in Architecture from the Alabama Polytechnic Institute, now Auburn University, in 1940. During the Second World War, he spent nearly four years as an officer in the U.S. Naval Reserve working at the Brooklyn Navy Yard, where he oversaw ship construction. For a brief period prior to the war (1941-42), and after, he attended the Harvard Graduate School of Design, where he studied with Walter Gropius and Marcel Breuer, formerly of the Bauhaus. Rudolph graduated in 1947 and following travels in Europe, was active in Florida where he worked with the Sarasota architect Ralph Twitchell (1890-1978). The sleek, box-like houses that he produced were widely praised for their imaginative forms and sensitivity to the natural environment. Rudolph also worked for the Museum of Modern Art in New York City, collaborating with design curator Edgar Kaufmann, Jr., on the “Good Design” exhibition of 1952. Several years later, in 1955, he designed “The Family of Man,” organized by photography curator Edward Steichen. With more than five hundred images on display, this immensely popular exhibition included one of the museum’s most daring and memorable installations.

 

Rudolph maintained three architectural offices in the early 1960s: in New Haven, where he designed the controversial and now-celebrated Art and Architecture Building at Yale University; in Cambridge, Massachusetts; and Manhattan. His approach to design became increasingly sculptural and many projects were executed using textured concrete. Though most schemes in the metropolitan area remained unrealized, such as an audacious plan for the Lower Manhattan Expressway (1967-72) and a Graphic Art Center over the West Side Highway (196768), he did execute at least five other projects here: a townhouse at 101 East 63rd Street (1966), Manhattan; Tracy Towers (1967-72), 20/40 West Mosholu Parkway, the Bronx; Davidson Houses for NYC Housing Authority (1967-73), 810 Home Street in the Morrisania section of the Bronx; Middletown Plaza for the NYC Housing Authority (1967-73), 3033 Middletown Road in the Pelham Bay section of the Bronx; and 246 East 58th Street (1989-94), Manhattan.

 

His first office in Manhattan was located on the top floor of 26 West 58th Street, between Fifth and Sixth Avenues. Designed 1964-65, the interiors suggested a terraced garden with distinct and overlapping levels of interconnected workspace that anticipate the general layout of the penthouse. When the 58th Street building was demolished in 1969, Rudolph settled into a smaller space at 54 West 57th Street, near Sixth Avenue, where the alterations to 23 Beekman Place were planned. In the early 1990s, he moved the office to 246 East 58th Street, which he designed and built as an investment. In his final years, he worked at 23 Beekman Place, where he converted his bedroom into a small atelier. During this period, most of his clients were located in Southeast Asia and local firms were responsible for preparing the final production drawings and overseeing construction. Rudolph died in 1997; in his New York Times obituary, architecture critic Herbert Muschamp discussed his evolving reputation and continued significance:

 

Mr. Rudolph leaves behind a perplexing legacy that will take many years to untangle. With the exception of Louis I. Kahn, no American architect of his generation enjoyed higher esteem in the 1960s . . . [he] wielded enormous influence over the direction of American architecture at mid-century. His buildings . . . were widely studied and imitated. In recent years, American architecture students too young to remember the 1960s have rediscovered Mr. Rudolph as a model of rare integrity. In 1993, at a lecture at the Cooper-Hewitt Museum in New York, he drew a standing room only crowd composed mostly of the young and held the audience spellbound, as if he were a visitor from a long-vanished golden age.

 

In the introduction to a 2008 collection of architect’s writings, Robert A. M. Stern declared that Rudolph “possessed the greatest talent of his generation of American architects.”

 

Re-designing 23 Beekman Place

 

Rudolph began his three-decade association with 23 Beekman Place in 1961, leasing the fourth-story from Philomena Marsciano, of the Mariscano Foundation, which had purchased the building as an investment five years earlier. He was currently living in New Haven and probably used the 700-800 square foot apartment on weekends, or occasionally, as a workspace. It became his primary residence in 1965. Two years later, in 1967, New York Times reporter Barbara Plumb wrote: “This one-bedroom apartment may be small, but its influence is likely to be huge because the architect, Paul Rudolph, former chairman of the School of Architecture at Yale University, lives here.”

 

In the mid-1970s, Manhattan’s real estate market was weak and Rudolph purchased 23 Beekman Place for $300,000. Having already completed several significant alterations as a tenant, he wrote in GA Houses:

 

For approximately 15 years I have occupied an 800 square foot apartment overlooking the East River. During this period its constrictions were modified in various ways. Three small windows facing the river, Roosevelt Island, and industrial Queens (complete with its 40’ x 90’ neon signs) were replaced by a glass wall with doors opening onto a small terrace.

 

Though the text devoted considerable attention to the interiors, he concluded with this cryptic sentence: “The apartment no longer exists, but it was never more than a series of sketches, or studies, for other projects.” In saying this, Rudolph hinted at forthcoming changes, not only to his apartment but to the entire structure at 23 Beekman Place.

 

Initial plans for a $120,000 alteration were filed with the Department of Buildings (DOB) in July 1976. Plan examiners expressed objections to the proposed height and the enlargement of the second, third and fourth floors by as much as 25 per cent. Alfonso Duarte, a Queens engineer, presented Rudolph’s case to the Board of Standards and Appeals (BSA), arguing that it was “not feasible or practical nor even economical to erect a new comparable structure on the site” and that by taking specific precautions it would actually improve safety. The BSA granted a variance in February 1977 and a DOB permit was issued in June 1977.

 

Donald Luckenbill, who was employed in Rudolph’s office from 1969 to 1982, served as project architect. Trained at Brooklyn’s Pratt Institute, he remembered 23 Beekman Place as an extremely challenging project that needed to be broken down into “manageable parts.” The rear was demolished and a new steel-and-glass facade was erected that extended out by as much as 17½ feet. Furthermore, the roof-top addition was carefully engineered to support multiple mezzanines, terraces, and cantilevers. At the front of the building, the cantilever projects approximately five feet, matching the depth of the areaway below. Some proposals, however, were rejected by DOB, such as a roof-top swimming pool and rooms without windows. Luckenbill met frequently with plan examiners during 1976 and 1977. He worked closely with contractor Marco Martelli, of the Omar Building Corp., of New Rochelle, as well as structural engineer Vincent J. DeSimone. Though the upper floors are the most conspicuous element, the first stage of work involved rebuilding sections of the brick sidewalls, which were determined unsafe. The penthouse was then erected during late 1977 and 1978 using “exceptionally light” steel supplied by East Bay Iron Works, located in the Hunt’s Point Section of the Bronx, and concrete block panels manufactured by Imperia Brothers, of Pelham Manor, New York.

 

By the end of 1978, most of the interior work on the rental apartments was done and the materials needed for the penthouse were being raised to the fifth floor. The building received temporary certificates of occupancy throughout 1979 and 1980. So that the apartments could be rented at market rates only five units were built. Two were duplexes at the rear of the building, spanning the ground and first floors, as well as the fifth and sixth floors. The penthouse, sometimes described as a quadriplex, was arranged on four interconnected levels. Entered from the main stairs near the west end of the sixth and seventh story, it contained a two-level guest suite on Beekman Place, as well as a private elevator. At the core was a large volume of space ringed by cantilevered floors, narrow bridges, open stairs, windows of varying dimensions, and terraces. In total, there were estimated to be seventeen distinct levels. A final certificate of occupancy was awarded in January 1982.

 

Rudolph would continue to rework the interiors (not part of designation) in subsequent years, often serving as his own contractor. Various completion dates have been proposed, including as late as 1988, when architect-critic Michael Sorkin called the penthouse “one of the most amazing pieces of modern urban domestic architecture produced in this county, a structure packing more finesse and design wallop in its compact volume than many architects manage to produce over entire careers.”

 

Architectural and Aesthetic Significance

 

Rudolph was a “second-generation” modernist. Trained at Harvard University in the 1940s, he studied with Bauhaus founder Walter Gropius but eventually grew dissatisfied with the so-called “International Style,” which he described as “monotonous” and “timid” as early as 1952. To Rudolph, functional aesthetics became a cliché after the Second World War and he said that “driving down Park Avenue [was] rather like flipping through the pages of a window manufacturer’s catalogue.” Though he never completely rejected this training, like his classmates Edward Larrabee Barnes, Victor Lundy and I. M. Pei, he saw modernism as “a base on which one could build, not merely a formula.” Rudolph later remarked:

 

I think things grow, one thing from another, and develop, and retard and take side

 

trips and whatnot. [International-style modernists] figured out a lot of things that

 

give you a base to proceed.”

 

Rudolph’s once-distinguished reputation entered a slow period of decline in the 1970s – Post-Modernism (and the rediscovery of traditional ornament) was becoming fashionable. Despite trends, he remained strongly opposed to using historical forms, claiming as early as 1962: “neoclassicism is a dead duck. We have been through almost a decade of neo-classicism, which has nearly ruined American architecture.”

 

23 Beekman Place is a late work in Rudolph’s career that draws on themes that he explored throughout his life, as well as anticipating projects that he would design for Southeast Asian clients during the 1980s. At a time when many of his peers were drawn to stone surfaces with classical detail, he remained committed to experimenting with industrial materials to produce complex abstract forms. Consequently, this project ignored current fashion – not only would it provide him with a spacious residence and rental income, but it would demonstrate his continued vitality as a designer and the enduring relevance of architectural modernism.

 

In New York City, relatively few buildings have been designed and built by architects for their own use. Two significant 20th-century survivors can be viewed in nearby in Turtle Bay, close to Beekman Place: the William Lescaze House & Office (1933-34, a designated New York City Landmark), and the Morris Sanders House & Studio (1934-35, a designated New York City Landmark). Like 23 Beekman Place, these pioneering modern works incorporate industrial materials that contrast sharply with their earlier row house neighbors. Architect Edward Durrell Stone, however, adopted a somewhat different strategy at 130 East 64th Street (1878/1958, part of the Upper East Side Historic District), where he replaced the original masonry facade with a glass curtain wall disguised by a decorative concrete screen. This solution transformed the exterior without sacrificing some of the Victorian-era interiors, including a paneled Eastlakestyle parlor.

 

While many mid-20th-century architects have been criticized for ignoring history and context, these issues did interest Rudolph. He wrote in 1962:

 

Le Corbusier’s solution was to tear down Paris; Gropius tried to reduce planning to a few simple rules and principles; even Wright – not that he was an International Stylist – had nothing to suggest, except that we all move to the country. We have still to learn how to add to the evolving city without tearing down everything in sight . . . Most buildings should be background buildings, so to speak; only a few should stand out to stop a certain sequence …

 

As an urban planner, Rudolph believed scale, rather than ornament, should be used to tie old and new construction together. He also felt that how a building is perceived from the street and sidewalk is as important as how it looks against the sky.

 

What sets 23 Beekman Place apart from earlier Rudolph designs was his decision to place a highly-conspicuous, multi-story addition on top of an existing structure. As a long-term tenant, he was familiar with Beekman Place and the neighborhood’s historic fabric. In effect, he took an aging town house and turned it into a podium, fusing disparate aesthetics and building campaigns into a memorable late 20th-century modern design. Juxtaposing new construction with old, as well as steel, glass, concrete and masonry, it differs significantly from how most New York architects approached roof-top additions. When floors were added to row houses in the late 19th century, the original roof was sometimes replaced by a mansard, inspired by Second Empire French residences and palaces. Steep canted roofs, usually with large windows, were also popular, especially among artists and their patrons. In contrast, additions to most 19th- and early 20th-century office buildings were remarkably seamless, displaying almost identical materials and ornament. One memorable exception to this pattern was the penthouse headquarters that I.

 

M. Pei (in association with William Lescaze) designed for William Zeckendorf in 1952. Erected on the roof of the Webb & Knapp Building at 383 Madison Avenue (1920s), there was a floor of glazed office suites and terraces, as well as remarkable cantilevered circular pavilion. This eye-catching addition contained the developer’s office and private dining room.

 

Penthouses appeal to New Yorkers because they offer increased privacy, superb vistas, cool breezes, and in many cases, substantial prestige. According to the American Heritage Dictionary (2000), the word is derived from the Latin appendre, meaning “to cause to be suspended.” It first appeared in the New York Times in 1924 under the headline “Homes on The Roofs: Penthouses Under the Sky Are Prized by City Dwellers, but Few Can Be Had.” More of these apartments became available in subsequent years, especially in buildings located near public parks and along the riverfront. Many incorporated terraces that were positioned on setbacks required by the 1916 zoning ordinance. After the Second World War, however, slab-like towers came into vogue and cantilevered balconies were much more common. These stacked outdoor spaces were initially large and well-proportioned, as at Manhattan House (1947-51, a designated New York City Landmark), but later examples provided considerably less square footage, with limited benefit to residents.

 

Rudolph’s penthouse fits squarely into this tradition and was conceived as a private refuge, a place where he could escape from and observe the city. Designed to take full advantage of its elevated position, there are five distinct outdoor spaces on four staggered levels. The largest terrace, located at the apex of the building, is L-shaped and opens to the sky. It faces east, providing exceptional views of the East River, Roosevelt Island, and Queens. Like an outdoor room, each space is enclosed by an exposed steel framework that functioned as a pergola. Hung with plants and vines, these natural elements were intended to provide a leafy camouflage, softening the structure’s rectilinear character, while providing shade and visual privacy. Though Rudolph encountered some difficulty finding the right mix of greenery, towards the end of his life the vegetation, sometimes hung by gridded wires, was remembered as full and abundant.

 

Architecture, Rudolph claimed, was a “serious game of space” and the spaces he created at 23 Beekman Place were intended to be as varied and challenging as possible. It served as his private laboratory in which the layered interior organization is expressed on the exterior through the play of open and closed forms that project out, rise up, and recede from the street. Constructed with thin steel elements, these box-like silhouettes display similar proportions to the rooms they adjoin. This treatment recalls the Walker Guest House (1954) on Sanibel Island, Florida, which Rudolph considered one of his most successful early projects. To give this modest beach house increased visual coherence the gridded framework was painted white, but in the case of 23 Beekman Place the steel is brown, to contrast with the color of the concrete panels.

 

Concrete was an essential material in Rudolph’s work. Though some of his best-known projects of the 1960s, such as the Art & Architecture Building at Yale, feature textured surfaces, here the rectangular panels were assembled from concrete blocks and coated with stucco to create a smooth, unbroken appearance. Arranged vertically, they appear to float weightlessly in front of the windows, allowing light to leak through the slender gaps that divide them. Most are lined up along the side elevations, but a large, nearly square panel fronts the terrace that extends over Beekman Place. Similar in texture and color to the lower facade, the panels toward the front of the building screen the windows, while creating a visual link between the penthouse and the floors below.

 

Rudolph frequently employed cantilevers in his institutional designs, but in a residential neighborhood it comes as a complete surprise. While it somewhat recalls the deep extended eaves that crown many of Frank Lloyd Wright’s houses, in other instances it suggests the late, more sculptural work of the French-Swiss architect Le Corbusier, whom he especially admired. Rudolph wrote in 1954:

 

Why do buildings always have to flank the street? Why can they not sometimes

 

be placed over the street, thereby forming an enclosure and a focal point? . . . the

 

tyranny of the endless streets must end.

 

The penthouse hangs over the front areaway and interrupts the street wall, occupying vertical space that is commonly left open. He did this to provide a place for an external stair, to enlarge the guest suite, and perhaps, to make the penthouse even more visible from the street. As an added benefit, this feature increased privacy. In a 1986 interview, he said: “The fact of the matter is that because of the cantilevers you don’t see into the building much. You see underneath the building.” The base of the cantilever is steel, except for two rectangular openings, one filled with clear glass and the other left empty. Like the transparent and reflective materials used throughout the apartment, the juxtaposition of solids and voids was intended to create a sense of dislocation and unease.

 

At the height of his career in 1967, Rudolph’s varied production was justly praised in the New York Times for being “unpredictable” as he urged students and contemporaries to create structures that “give visual delight.” Though some neighbors on Beekman Place objected to the penthouse and the views that were lost, his was certainly a unique solution that reflected a bold and distinctive architectural philosophy. Abstract and minimal, open and closed, classical and industrial, 23 Beekman Place has a strong sculptural quality – a quality rarely found in Manhattan’s residential streetscape.

 

Subsequent Owners

 

Following Rudolph’s death in 1997, 23 Beekman Place was sold to Gabrielle and Michael Boyd in 2000. They converted the four apartments and penthouse into a single-family residence in 2001. Though some writers praised their alterations, others strongly criticized changes to the interiors. The current owner, Rupert LLC, purchased the building in 2003. The architects Jared Della Valle and Andrew Bernheimer began renovating the building in 2004, undertaking structural work and exterior renovations.

 

Description

 

The Paul Rudolph Penthouse & Apartments is located at 23 Beekman Place, on the east side of the street, between 50th Street and 51st Street. Approximately 20 feet wide, the structure has two distinct sections: a five-story masonry structure and four-story roof-top addition that cantilevers over the sidewalk, as well as the rear yard. The front (west) facade is visible from Beekman Place and 50th Street, and the rear (east) facade is visible from Peter Detmold Park, as well as the FDR Drive.

 

The rusticated ground story is set below grade and incorporates three round-arched openings. Reached by steps, the left (north) opening is slightly wider than the two windows and serves as the entrance. Above the door, attached to the keystone, is a non-historic glass-andmetal lighting fixture, flanked by simple decorative reliefs. There is an Adamesque wood-paneled door, probably dating to 1929-30, with an arched transom that incorporates scalloped details similar to those that crown each window. The mullions and wood details are painted black. To the right of the door is an oval plaque, sponsored by the New York Landmarks Preservation Foundation. To the right of the south window, a small metal camera is attached near the top of the wall. Between the ground story and first floor is a continuous flat metal awning supported by four metal columns, probably dating to 1929-30. The metal is painted black, though the underside is painted white. Above the center window, the awning is interrupted and part of the air conditioning unit is visible. Attached to the north column is a metal tube to drain water. Metal railings parallel the sidewalk, as well as along the north and south edges of the areaway.

 

The second story has three nine-over-nine windows, set in recessed frames, with shallow decorative metal screens at the bottom. The third, fourth, and fifth stories have non-historic double-hung windows. The third-story windows have sills and prominent keystones that meet the raised scalloped cornice that extends between the third and fourth stories. On the third story, the sill below the center window has been removed and replaced by a recessed air conditioning unit. The center windows on the fourth and fifth stories are treated in a similar manner.

 

The penthouse begins at the sixth story and cantilevers above the sidewalk. It is constructed with exposed steel I-beams and metal panels, painted brown. It has floor-to-ceiling windows, screened by rectangular concrete block panels, with non-historic metal coping. There are multiple panels along the north and south elevations, and a large, single panel facing Beekman Place. The base of the cantilever has small openings on the left and right side. The left side has a metal grate and the right has been left completely open. Above the concrete panel, at the sixth story, is a wide terrace with stairs on the left side ascending to the uppermost terrace and mezzanine. To shade the stairs, the framework above it is filled with what appears to be tinted plexiglas.

 

The rear facade faces east, overlooking the East River. It is framed with painted steel and is entirely glazed. Each floor has a shallow terrace that extends the full width of the building. The south facade is partly visible from 50th Street and Beekman Place, and points to the southeast. The west section consists of vertical concrete panels of various widths, separated by small gaps, the rest of the facade is mostly faced with stucco. Single rectangular windows are visible near the east end, on the fourth, fifth, and sixth floors. The widest window, consisting of slender vertical mullions and glass panes, extends across the east side of the seventh floor. A slender vertical strip of windows, near the center of the south facade, extends from the seventh to eighth floors. The north facade is partly visible from Beekman Place, and points to the northeast. Near the west end, the penthouse levels are enclosed with concrete panels, steel, and glass. The east end is less visible and features cage-like steel framing.

 

- From the 2010 NYCLPC Landmark Designation Report

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.

1 Dec 2022, Cairo - FAO Egypt staff training on Protection from Sexual Exploitation and Abuse

 

Photo credit must be given: ©FAOEgypt

 

Me left, Eds right, and Wattie Buchan (of The Exploited) second from right.

Organisations across Greater Manchester have joined forces in the continued crackdown on organised crime.

 

Over the past five days, Greater Manchester Police has worked in partnership with Home Office Immigration Enforcement, the National Crime Agency, Europol and other local and national partner agencies to undertake a series of raids, visits and safeguarding checks as part of 'Challenger' - the region’s biggest ever approach to tackling organised crime.

 

Over the past five days, more than 40 warrants have been carried out to disrupt and dismantle organised crime groups involved in illegal immigration, illegal marriages, drugs and the exploitation of some of the most vulnerable in society.

 

The week of action not only utilised close collaboration between partner agencies to identify and detain known criminals but to visit high risk areas and work with potential victims of exploitation to offer protection and prevention advice.

 

The week was also an effective tool in gathering further evidence and intelligence in the continuing attack on the criminal networks operating in Greater Manchester.

 

Since Monday 24 March there have been 78 arrests – 45 immigration-related and 33 for other organised crimes. Drugs with a street value of more than £285,000 and more than £70,000 of cash has also been seized. Further disruption to organised crime groups has been delivered in the form of £100,000 in fines served to businesses in the region. Further arrests and seizures are likely to be declared in coming days.

 

Chief Superintendent Rebekah Sutcliffe, who heads Challenger for Greater Manchester Police said:

 

“This has been another hugely successful week for Challenger and we would like to thank Immigration Enforcement, Europol, all other agencies and the local communities for their support.

 

“Organised crime groups do not assume a certain appearance or status; they take many different forms and often masquerade behind what appears to be a legitimate business, where they launder their ill-gotten gains.

 

“They do not specialise in a particular type of crime either and will pursue anything that offers the least risk and highest reward, from selling counterfeit goods and loan sharking to human trafficking and drug dealing.

 

“Those orchestrating illegal immigration will be involved in other criminality – there is often an overlap so this is why our multi-agency partnership and our close collaboration with Immigration Enforcement was integral to a quick and effective week of action.

 

“These criminals operate by preying on the most vulnerable in society - and this is why activity such as this is really important to us.”

 

The partnership approach to this week of action has been prevalent throughout, its effectiveness has been particularly highlighted by the success around visits to car washes across Greater Manchester, where the link between illegal immigration and other forms of organised crime has been most clearly illustrated.

 

Car washes in Salford, Wigan and Oldham were visited during the week, where a number of illegal workers were discovered. With the quick response and assistance of partner agencies, offences including drugs, benefit fraud and a potential sham marriage have also been uncovered through those visits – an effective and successful example of Challenger in action.

 

In addition to arrests and raids, Challenger’s delivery of effective prevention and enforcement activity has been most prominently reflected this week via operations in a number of local areas.

 

In Wigan, whilst conducting Harm Reduction visits, the GMP Child Sexual Exploitation Unit arrested one man for both CSE and drugs offences, and another man was arrested for grooming offences.

 

Tuesday saw a flurry of activity in Bolton, where six arrests were made for offences including human trafficking and sexual exploitation. Throughout the week, Europol – the European Law Enforcement Agency - was present with two officers based with GMP to carry out cross checks of the data and provide forensic support, which vastly increased the speed that analysis was performed, greatly enhancing the investigation process.

 

Dave Magrath, Head of the Home Office North West Criminal Investigations team, said: “This week we have made more than 20 arrests in the North West in connection with various investigations into suspected immigration crime.

 

“These arrests, and the Challenger operations, demonstrate the effectiveness of working alongside partner agencies such as Great Manchester Police. This work will continue to make life as tough as possible for those who seek to abuse our immigration laws.”

 

Chief Superintendent Sutcliffe added:

 

“Challenger is crucial in giving communities the confidence to speak out and report this destructive and intimidating behaviour that threatens our neighbourhoods.

 

“By working in partnership with so many agencies we have attacked these gangs from every angle, exposing them whilst at the same time protecting those that they exploit for their own gain.

 

“But the job isn’t over yet. With the public’s help, we’ll continue to work hard to uncover the criminal activity and bring these individuals to justice.”

 

Anyone with information should contact police on 101 or the independent charity Crimestoppers on 0800 555 111.

 

Exploitant : Keolis Dijon Mobilités

Réseau : Divia

Ligne : L7

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

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