View allAll Photos Tagged Exploits
Le Domaine de Tresbaudon est une exploitation familiale reprise en 1996 par Caroline et Olivier RICARD. Ils ont transformé l’exploitation fruitière des parents d’Olivier en domaine viticole.
Le domaine est situé à quelques pas de la Durance, sur la commune de Tallard, à une quinzaine de kilomètres de Gap.
Les différentes cuvées sont élaborées à partir des cépages viognier, chardonnay et muscat à petits grains pour les blancs et syrah, cinsault, merlot, cabernet sauvignon pour les rosés et rouges.
Extrait de :
www.vinsdeshautesalpes.fr/domaine-de-tresbaudon/
La photo est prise depuis la rive gauche de la Durance et présente le domaine qui s'est d'ailleurs largement étendu récemment avec de nouvelles plantations situées en hors-champ vers l'ouest (à gauche). La rivière est visible en bas de la photo, encore chargée après la pluie de sédiments marneux un peu gris. La puissante montagne dont on distingue le pied en haut de la photo est la montagne de Céüse.
The unknown story of the broken sea shells collectors
At Udaypur sea beach (3km from Digha at the Bengal-Orissa state border), hundreds of poor villagers (80% of them are women) gather on a particular time of the day at the peak of the low tide. They all carry a small net basket for collecting broken shells following the line of the waves. When the baskets are half-filled they empty their catch at the beach and go back to the waves again. Finally the shells are packed in bags for selling. After two hours of continuous hard work, two people together can fill only a 30-kg bag selling for INR Rs 30 (USD 50 cents) only.
The shells are rich source of calcium carbonate, use in feeder mainly at the India's growing poultry industry. Also, it has great demand in making the white (lime) paint. Traders and middlemen are always waiting to exploit these poor villagers. They make on-the-spot payment, collect the bags and transport them to the local market for a hefty profit of 300% by selling each bag for at least Rs 120 (USD $ 2).
I personally talked to the shell collectors and found no Govt. intervention to stop this exploitation. The state government can easily intervene by forming a cooperative and collecting the shells themselves by their nodal agencies with a reasonable price.
Udaypur Sea Beach, Bay of Bengal
Images of Bengal, India
SEE MY SET: flic.kr/s/aHsjD7ftWp
"Warm light"
Notre Dame de Dijon (France - Bourgogne - Côte d'Or)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved
Exploitant : Régie Ligne d'Azur
Réseau : Lignes d'Azur
Ligne : 7
Lieu : Port Lympia (Nice, F-06)
Lien TC Infos : tc-infos.fr/vehicule/28154
La SETE, exploitant de la Tour Eiffel, avait précisé que cette illumination débuterait la tombée de la nuit, et non pas à 19H00 comme elle l'avait annoncé précédemment... mais une alerte à la bombe l'a quand même décalée ce mardi !
Meeting aérien "Air Legend" 2019 (Melun-Villaroche)
North American T-6G Texan - F-HLEA s/n 40-3056
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Bus : MAN Lion's City A37 Hybrid
n°73182 - ligne 227-06
Exploitant : Transdev IDF Brétigny
Réseau : Ile de France Mobilités, Orgebus
Lieu : Gare de Brétigny
Copyright © Heavenxxx89 2012 -2013 You may not, except with my express written permission, copy, reproduce, download,
distribute or exploit In any way Thank you
view my photostream here portfotolio.net/heavenxxx23
tree moonglowlilly.deviantart.com/art/PNG-TREE-AB-330801213
cosmos flowers brokenwing3dstock.deviantart.com/gallery/
sunflower brilijah.deviantart.com/art/sunflowers-PNG-170075462
For my beautiful little girl heaven Born sleeping 21/2/ 89 Love you 4 ever and an eternity R.I.P
An Angel in the book of life wrote down My Daughters Birth Then whispered as she shut the book to beautiful for earth
www.youtube.com/watch?v=fMfBKwCBgGI
sorry for not commenting much feeling sad at the moment I hate febuary it dont matter how many years pass it still feels like yesterday please bear with me thanks for your visits comments and faves your support means a great deal to me xxx
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/22076
Exploitant : Transdev Boucle des Lys
Réseau : IDF Mobilités – Saint Germain Boucles de Seine
Ligne : 21
Lieu : Gare de Marly-le-Roi – Bèque (Marly-le-Roi, F-78)
Lien TC Infos : tc-infos.fr/vehicule/29312
Italian postcard by Bromostampa, Milano, no. 380.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first films to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the Sci-Fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theatre. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. She released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
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.
Exploitant : SETRAM
Réseau : SETRAM
Ligne : 5
Lieu : Saint-Martin (Le Mans, F-72)
Lien TC Infos : tc-infos.fr/id/5895
Modèle : MAN Lion's City 12 G Efficient Hybrid
n°6257 - ligne 35
Exploitant : RATP
Réseau : Île de France Mobilités, RATP
PART 3. (Please do start with Part 1, just 2 images back in my photostream)
The media, always eager to exploit the next blockbuster "breaking news" event, hyped the Laquan McDonald video and provided the movement with a stage for Act II, allowing a small group of activists to bring this city to a halt.
Chicago Mayor Rahm Emmanuel was cowed into submission, and allowed demonstrators to run amok along the Magnificent Mile throughout the Christmas shopping season, costing retailers millions in lost revenue, and the City millions more in police overtime.
Since then, the movement's trump card, its contention that the McDonald video is a "template" that can be applied to all police-involved shootings, has taken a big hit. The next video to be released, that of Ronald Johnson, clearly shows that he was armed with a gun when he was shot and killed.
What's more, the in-depth presentation by Cook County State's Attorney Anita Alvarez revealed that Ronald Johnson had been a passenger in a car that was shot at by rival gangbangers. Ronald Johnson then pulled his own gun and told the driver to let him out so he could hunt down that shooter himself.
Instead, Mr. Johnson faced the officers who were responding to the original "shots-fired" call by citizens in the area. If he had acted like a responsible citizen and assisted the officers, instead of taking the law into his own hands, those officers would have focused their attention on the original shooter and not on him. By putting himself - gun in hand - in the area where shots had been fired by a different gangbanger, he became the individual the responding officer focused on. Refusing to drop his weapon, he was eventually shot and killed.
The ultimate irony is that the Ronald Johnson video could be put forward as a "template" for the situation Chicago Police Officers usually face: armed predators who stubbornly refuse to surrender, either because doing so would violate their gang's code of conduct, or because they're so coked out of their mind that they truly believe themselves to be invincible.
The most recently released video, consists of surveillance footage that captured the killing of Cedrick Chapman back in 2013. This video fotage is inconclusive at best, and clearly does not live up to its billing as yet another example of racist White police officers executing yet another unarmed African American young man.
In fact, this particular African American young man had just car-jacked a fellow citizen. The officers in this case - armed with the information that this offender was armed and dangerous - spotted the vehicle in question with Cedrick Chapman behind the wheel, and gave chase.
When the offender bailed out, he first threw the vehicle's transmission into reverse. That's a favorite trick used by experienced auto-thieves, forcing police officers to jump into a moving vehicle and bring it to a halt before it can injure innocent bystanders or cause more property damage.
As soon as the first officer had brought the stolen vehicle to a halt, he joined his partner in the foot-pursuit of the fleeing felon. Too far back to assist his partner, who was about to pounce on the fleeing car-jacker, the first officer noticed that the offender was holding a black object in his right hand, The first officer - "fearing for his partner's life - then fired his own weapon, striking and killing the offender.
Does that sound just a little contrived? Yes, it does, but, in the absence of reliable information that proves otherwise, the anti-police movement has little to offer but the now familiar accusations. Left with nothing but hot air, the movement simply pivots back to its ace in the hole: the Lawuan McDonald video.
TO BE CONTINUED
* * * * * * *
This mural at 57th & Lake Park is but one panel of a large mural devoted to peace vs. militarism, free speech and civil disobedience. This particular panel references the peace movement after the slaughter of the Great War (1914-1918). It shows a woman trying to get both sides to "put the guns down..."
Unfortunately, 40 years after this mural was painted, we can not get gangbangers on the South and West Side to put their guns down, and Chicago is on track to reap 600 homicides in 2016.
"Pulling"
Quetzal resplendissant (Pharomachrus mocinno) Monteverde (COSTA RICA 2019)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Exploits. Escapades. Experiences.
All of them amazing and they all await just around the corner . . .
. . . on the road to The City by the Bay!
— in San Francisco, California.
#sanfrancisco
A backdoor is a means to access a computer system or encrypted data that bypasses the system's customary security mechanisms.
A developer may create a backdoor so that an application or operating system can be accessed for troubleshooting or other purposes. However, attackers often use backdoors that they detect or install themselves as part of an exploit. In some cases, a worm or virus is designed to take advantage of a backdoor created by an earlier attack.
Whether installed as an administrative tool, a means of attack or as a mechanism allowing the government to access encrypted data, a backdoor is a security risk because there are always threat actors looking for any vulnerability to exploit.
There have been a number of high-profile backdoor attacks that have occurred over the last few decades. One of the most noteworthy was Back Orifice, created in 1999 by a hacker group that called themselves Cult of the Dead Cow. Back Orifice enabled remote control of Windows computers thanks to operating system vulnerabilities.
Dassault Mystère 20 de la 65ème Escadre de Villacoublay GAEL (Base aérienne 105 EVREUX - EURE)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Big German card by ISV, no. PX 3.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Press L for lightbox.
Set in a field on Romney Marsh, Fairfield church is surrounded by a series of Dykes, with sheep seen nibbling at the grass. Fairfield Church is truly a magical place and unlike a lot of the churches of the Romney Marsh there are lots of viewpoints to be exploited by photographers. The village it once served has long since disappeared, but the church has been preserved in the original beauty it was built. It still functions as an active place of worship by serving the villages of Brenzett and Snargate.
From a photographic perspective Fairfield Church is a gem for photographers, who come from near and far to add their interpretation to the location. Here is my own view of the building and the land it subtly dominates.
Email. ziggystardust111@hotmail.co.uk
Aside a well maintained rolling gravel track, between the villages of Loza and Baroja, on an undulating Basque last highland, and prior to a sheer sierra cliff down towards the detail rich Rioja region of Spain; near amber deposits exploited and valued in late prehistoric ages, and in an area littered with vivid Neolithic and chalcolithic, bronze age and Celtiberic sites, can be found an intriguing cluster of three main elements that includes this dramatic man-made cavity known as Peña Hueca (Hollow Rock).
The site sprawls around a quiet slope close to views over a dragons-back crest of low mountain tops along today's Alava heights in northern Spain (the distant Peña Alta and its hermitage cave). The greater Peña Hueca site is discreet and self contained and contrasts with hilltop psychologies. It must also be noted that no historical village gravitated to this cluster of two artificial caves and a ritualised natural outcrop - seemingly adapted for rites, culture and thought. Whilst arguments that the element of Peña Hueca is a Christian 'church' have been made, a wide space for thought and observation is probably required so as to assure that phase changes from prehistory or post-protohistory have not been influencing the forms we see today: prior to the application of finishing words like nave and apse.
Perhaps the main element of the cluster is Peña El Campanario (see future post). This small rocky python (perhaps reminiscent of the mineral focal point over at Morenci) was until recently pierced at its summit by a wide and dramatic circle - a crass but vivid comparison might be with a massive flat rectangular beer bottle opener. This obvious focal point for the cluster was graced with several monolithic sarcophagi - currently in a state of decrepitude. Photos still exist of the circle and I can see no marks to justify a term such as 'bell tower'. It must be remembered that great historical paintings are restored and that perfectly circular large rocky "apertures" (man-made, enhanced or naturel) are apt for solstice and sun, star and moon celebrations. The site would be returned to a visual silhouette via subtle renovation strategies (the broken pieces seem to still to be found at the feet).
Of the set of three main elements (and more basins and monolithic graves may/must be hidden under the heavy scrub that currently rules), it is this man-made cavity that had a scale and drama to captivate large numbers of people above and beyond the specifications for a hermit.
Sites with full edge to edge openings do exist and the idea that a past entrance of windows and door has fallen over time need to be measured. I certainly would expect to see more scree were this to have been the case. As you pass through the flush opening and into the man-made cavity, you are met with a spheric side room to the right (including acoustic properties) and a larger semi-circular cavity to the left and perhaps looking to be part of the oldest outline. A disarray of petroglyphs can be witnessed, including modern, medieval and 'potential' late prehistoric cup and canal with u-shaped line form. None of the examples seem to rigorously ornament into the site and they may seem to have been placed with idiosyncratic whim. The spheric side room is reminiscent of sites such as San Pedro to the west.
Troglodytic sites seem to be most prevalent towards the head waters of major rivers in mainland Spain and many examples can be found as the Ebro starts to flow and rise under the Atlantic coast after its run under the mountains of the Pyrenees.
The element that stands out for the specific Peña Hueca site is the near continuous trough around the edge. This may be a relatively modern addition. Too small for seating and not worn to have held a raised wooden floor; too slight for presenting bodies for mourners and perhaps too uneven and slap dash for housing for temporary decoration: the troughs may have been carved into the common 'skirting' during a period of time after the space had dissociated from memory and meaning, affording a local an attractive corral to feed and hold a herd of cattle, goats or sheep. The sheer height of the artificial space, the exactitude of the spherical side chamber and the association with other elements in the cluster seem to show that the potential feeding trough was an after effect and not a generative cause. Other examples turned over to agricultural use do exist.
Stepping back and after time for thought I have generated a narrative as a test hypotheses.
Two main factors: amber and position:
The site is just 3.5km from the Peñacerrada Alava amber deposits. Ancient secure negotiation and storage? Negotiation both away from, but close to the precious quarry sites? This might be expected both towards the Med's Ebro 'highway' where many peoples passed as a constant, and then up at a safe distance from the deposits themselves for the trading peoples resident in the Atlantic hills and mountains to a wide north. Amber was symbolic and worked into amulet and jewel from as far as the upper Palaeolithic. It is often employed today as a way to demonstrate long distance prehistoric trade between Iberia and northern Europe at least into the Chalcolithic - when the ages of metals offered a new gold aside its centre stage. A sense of prestige, and mystical space to grow with and outlast initial practical sites such as the Chalcolithic Las Yurdinas? Clean resonant sites where a rock surface is a desired contact that slows or stops the procedures of laminating archaeological deposit?
Small, and not so small cavities in quiet corners can be found for 10 straight kilometres in the quiet valleys after the amber deposits - direction the Biscaye. Amber draws trade and trade offers alternatives and variety and was potentially a way to avoid the Neolithic push to early pastoralism. Amber attracts bandits and bandits attract warrior 'police' who may in turn enjoy shelters of prestige carved into stone (signs of human death by arrow can be found in the area). Here an early seeding of a space for quiet gathering may be followed by a long and rigorous gestation evolving with time into troglodytic villages (Gobas 7km from amber deposits), solid mountain castles (San Juan - 14km from amber deposits) and neo/early Christian hermitage (Peña Hueca 3km from amber deposits): each site present to largely wave past such historical flourishes as the Roman and Visigoth. Each phase changing the patina of celebrations and cultures that link Bell Beaker to Celtiberic and Celtiberic to pastoral and peasant. Each site influenced by early Christian thinking but reflecting these details in shapes and forms that have taken shape from multiple local factors rather than fixed plans.
Even without its amber, the region has a strength of being beautifully lost. Quiet and hidden behind or aside cul-du-sac villages such as Markinez, Laño, Faidu, Baroja and Loza: a Vézère quality of hiding in idyllic frame. And they do hide. Above them, the bulk of the Basque region knots with ever turning valleys and unfolding hill; below to the south, and an extreme drop to the great river Ebro's pitch. Far from conglomeration and high past a rift-like edge, the world of changing power structures can simply pass-by or dilute. Agriculture arrive quite late in these parts, and this second factor of geographical isolation without arid provision may have secured a long gestation for its troglodyte forms.
Three qualatatively different loci in a cluster: spaces for guardians, seasonal rite, local and regional dance, religious figures, exchange and trade provision and safe keeping that interfaced with historical religion and power with mixed final architectures?
To keep both interior and exterior detail without using flash, a 'quiet' HDR was generated.
AJM 02.11.20
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
The Exploited: Matt Justice (guitar) and Wattie Buchan (vocals) performing live in the SO36. Wattie is hitting the mic against his head. He always does this and it must drive all the people at the soundboard nuts. Berlin, 27.10.19, singer, Sänger, guitar player, Gitarrist
Véhicule : MERCEDES-BENZ O350 Tourismo 15RHD €6
Identification : _ (DZ-460-MD)
Exploitant : Voyages Vincent
Dépôt : n.c.
Réseau : n.a.
Ligne : n.a.
Service : Occasionnel - Tourisme
Destination : La Cité du Vin
Véhicule : IRIZAR Integral i6 13.35 €6
Identification : 196005 (FF-408-GV)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Bastide - Quai de la Souys
Réseau : n.a.
Ligne : n.a.
Service : Périscolaire - Mairie de Bordeaux
Destination : La Cité du Vin
01/07/2021 09:57
Quai du Maroc ; F-33 BORDEAUX
East side of the lake are very interesting tree stumps. I will let the viewers tell me what their name should be. ...
Copyyright © Mudcat2010 2013
let's all play fair, don't without my permission copy, reproduce, download, distribute or exploit in anyway. Remember what you learned in Kindergarten.
sur la ligne 421 à destination de Torcy – Gare RER, terminus Émeraiville – Pontault-Combault – Gare RER, Émerainville (Seine-et-Marne (77), Île-de-France, France, FR)