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Excerpt from artgalleryofburlington.com:
Division of Labour is an exhibition bringing together artists who address issues of class, race, and labour as they relate to cultural waste. Including the works of nine artists who utilize recycled material in their work to illustrate the power and potential of reused matter for artistic production, the exhibition and ancillary programming are designed to educate about the scarcity of resources, labour rights, and the lack of living wages in the arts.
Featuring ro Barragan (Buenos Aires), Patrick Cruz (Toronto), Atom Cianfarani (Montreal), Nicolas Fleming (Toronto), Marlene Jess (Vancouver), Lisa Meecham (Burlington), Joaquin Wall (Buenos Aires), Allyson Vieira (New York), and Shellie Zhang (Toronto).
We are living in a time of increasing economic uncertainty, wage gaps, and class divides. Barter economy systems, critical discourse about consumption, and circuits of solidarity exchange are more present than ever in the daily working lives of artists and cultural producers. Division of Labour uses this moment to consider the true cost of artists’ labour and economic parity through their recovery of and access to excess material. The exhibition is not simply a display of objects constructed from trash, but works to support the building of new networks, resources, and methods for the sustainability of artists’ work. It goes beyond accessing free material to open dialogue about the systemic issues inherent in class dynamics, underemployment, and labour exploitation that plague the cultural industry.
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 !
The continuing exploits of 'The Vampyre Valesca': an original steampunk character of my own devising and a 1/6 scale custom kitbash figure conceived and assembled by myself.
Manipulated photography employing layered filters from Enjoyphoto, Photoshop, Superphoto and the default editing apps on my cameraphone.
A moody mono of Scales Moor with an erratic in the foreground, and the end of Whernside in the background.
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© Copyright 2013 Philip Hunter, All Rights Reserved.
You do NOT have the right to copy, reproduced, download, or exploit any of my images without my permission.
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Exploiting my own designs is something I planned to do during my retirement days. But hey! I am retired!
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.
A lump of scallop boat equipment, photographed on Kentmere 400 with the Nikon F501. Film developed in Xtol at 1+1.
Bracken doesn't get the appreciate it deserves in British countryside, as it often dominates habitats and requires a lot of management, but I can't help but love it. Not only is it a hardy plant, even growing after intense fires, but it provides a home and shelter for many ground nesting birds, reptiles, amphibians and insects. Here's a perfect example after a huge mountain fire, exploiting that extra light, it emerges to re-green the land.
We appreciate the courtesy of Chatwick University Archives for letting us use the journals in our research, and for permission to use parts for the genesis of “Dare’s Game”.
Dare’s Game
Beth, eagerly looking for Dare, walked straight into Seth’s cunning snare…..
Suffix, circa 1910?. It was during this time a fanciful young lady, whom we will call Beth, started a journal which she would faithfully keep over the course of almost 50 years. She led quite an adventuresome life for a lady of that time, and her journals were filled with many tales and observations of her exploits. The following story is derived from events that she penned down in the early years in her journal.
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Beth had known Dare since their childhood. Dare was a handsome free spirited youth only two years her senior, who lived for the games his life had to offer. As his cherished nickname inferred, Dare was always trying to find the thrill out of anything he could think up, relishing to go beyond the pale in anything he attempted. Dare always a little different, harboring feelings and ideas way beyond his years, almost as if he had lived a previous life and retained something from it in his being.
Beth would remember times playing dress up with Dare’s sister Diana in some old gowns of their mothers. It was always then that Dare and his friends seemed to appear and talk them into playing hide n seek, tag or cops n robbers. Dare seemed to take pleasure in cajoling the girls into playing with them in this manner. Eyeing them as they played with a far off look that suggested the game they were playing had more meaning to him than he could ever venture to say. It was hard for Beth to explain it, but she did find it pleasurable (almost erotic using a word whose term she would learn much later) to be observed by him in this way.
One warm fall day Diana and Beth headed down to an old shack located near some railroad tracks at the back of a cornfield. Diana was dressed in a long satin play gown with her mother’s jewelry, which Dare had called rhinestones. Beth, herself dressed in a long flowing dress, loved the way Diana’s jewels twinkled and sparkled as she walked. They were going to pretend the shack was a ballroom and they were one their way to a fancy dance, like Beth’s and Diana’s parents had recently attended. Diana wasn’t supposed to be wearing her mother’s jewelry outside the house, but as a result of Dare’s teasing, had done so anyway.
They had reached the shack, an old white brick building with a wooden roof half fallen in, when a man’s voice suddenly said behind them, what are you two ladies up to? Turning they were confronted by a happily sneering drifter. The grubby man looked around, alone is we, and advanced towards them. The two girls stood petrified, he reached out and probed Diana along her side, pretty dress missy, he said, sparsely toothed mouth grinning like a pumpkin. He suddenly reached up and tore the necklace away from Diana’s throat, sending her falling backwards. Beth screamed bloody murder, as the vagrant turned heel, running off towards the tracks. Suddenly Dare appeared, and Beth, meaning to yell for help, exclaimed instead “help honey” to Dare. Dares eyes took on a very different look, almost of a burning yearning. Beth told him what had happened and he took off down towards the tracks in hot pursuit. For Beth, the look he had given her and the way he had dashed off excited her beyond measure. Even for someone that young, Beth now knew what Dare meant to her. From then on, playing games with Dare took on a heightened meaning for Beth.
But, nothing really changed in their relationship until Beth’s sophomore year of high school. Beth was sixteen at the time, a whimsical being, passionate, innocent, not particularly attractive, but radiating with a love of life. A living free spirit, developing into a very sexual being by the time her and Diana decided to attend their schools prom in their sophomore year. Beth dressed in a fuchsia coloured satin dress with dangling rhinestone earrings that had been” borrowed” from Diana’s Mother, the same ones Diana had been wearing when they had run into the drifter at the shack. Diana slipped into the slinky blue spaghetti strap gown and matching cover-all that she had worn as her cousin’s bridesmaid. She was wearing sapphire costume jewels patterned after the hope diamond. Their parents had given them a hard time when they saw their made up girls in their gowns and finery , admonishing them for looking way too mature. They smiled, consoling their parents fears, and went off on their adventure.
Their eyes were dazzled by the display of lights, the cheerfully student filled room, the band. They had stopped and were letting it all sink in, when Beth felt a hand on her shoulder. She turned and came face to face with Dare, who once again had the same yearning fire in his eyes as on that fateful day at the old shack. A veil was lifted from between the two, and Beth spent the whole evening encompassed in Dare’s arms. Soon after that the two had begun seeing much more of one another. Their relationship was still going strong eight years later.
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8 Years Later
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Come on Dare, let’s go to the Riverside, it will be fun she urged. She had been trying to get her fiancé’ to take her to the exclusive five star resorts for some time. And now she had a free overnight room card she had won at work! Dare looked into Beth’s wide, hope filled eyes, knowing her passion for attending these types of affairs. Ever hopeful she would see someone rich. Dare knew how to use this to his advantage. Finally he buckled, all right, only if we play the game afterwards he bargained. She squirmed inwardly with passion, nodding her agreement. Beth found the game exciting, though she would never let on to Dare. And, you must wear the gold bridesmaid gown and jewels you wore to your friend’s wedding last week , he added, a wistful smile lighting up his thin face.. Okay she agreed, trying to sound reluctant, but truthfully feeling multiple tingles of delight.
Dare was handsome, in a scrawny, thin bearded, sort of way ( From an old photo that survives he resembled a young Johnny Depp… the eds), with a witty writers imagination and a playful disposition. He could always make Beth laugh, feeling his excitement as he drew her into his stories and games. She would never admit to it, but found the game delightfully erogenous. She smiled to herself, so Dare had liked the satin gown after all, he had not shown any interest in her wearing it since the wedding. And the jewelry, the small rhinestone pendent and earrings had been pretty, but Beth soon came up with another idea. She would knock his socks off by wearing the glittering diamonds and emeralds that had been inherited from her grandmother. The set had laid collecting dust in a safety deposit box all these years, unworn. She had never told Dare about them, waiting for the perfect occasion. She could just imagine the look in his eyes when he saw her wearing them. Okay then, game on, Beth thought, wickedly sending shivers up and down her spine.
Dare’s Game was based on role playing:
Dare would give Beth money to purchase a new outfit, something rich and shiny, like silk or satin. With the new outfit, Beth would wear the good gold jewelry she had received from Dare on her birthdays. The idea was to acting like a bored rich girl out for a good time, alone and vulnerable.
Dare would be at the hotel bar, waiting for Beth to make her entrance, then make her acquaintance , playing a debonair, suited gentleman with a mysterious past and a hidden agenda. They would make a date later, usually to dance and have drinks.
Then that evening, she would go down to the bar. Dressed in one of the long gowns Dare favored, fitting in with the usual spillover from a wedding reception that had been held in one of the Ballrooms. Sometimes she would wear the rhinestone jewelry they had purchased together at various antique stores. Then Beth would wait for Dare to make his entrance, signaling the time for Dare’s game. He would assume one of several roles, or possibly a new one that Beth had never seen. In the past Dare had played:
A spy who would dance with Beth, then disappear. Sending a note to Beth via a third person that would have her meet him clandestinely in a remote location…
A highwayman who would come across Beth on the castle grounds , usually the resorts empty gardens at night….
A rich millionaire looking for romance…
A kidnapper hired by an evil uncle, who after tying up Beth and removing her valuables would have a change of heart….
A Jewel thief who would be cunningly after her valuables…
A handsome prince rescuing Beth’s damsel in distress ….
Or Dare’s favorite, centered on their old childhood game of cops and robbers. Dare would play the thief, and steal something from Beth, usually while dancing. He would then leave preset clues around the grounds that she would have to follow to catch him.
All of the games usually led to some playful groping and then escalating into the upper echelons of erotic pleasure. Sometimes they never made out of the woods, or barely out of the ballroom. Beth shivered at these thoughts, wishing she didn’t have to wait….
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Three weeks later at the Riverside Resort.
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In the Bar:
At the bar, Dare smiled to himself, pleased. He had dropped Beth off to check in by herself. She would change into her new outfit and wear it down to the bar for lunch. She would come in acting like a complete stranger to the area. Dare would make her acquaintance, invite her to lunch, and make plans to see her that evening at the resorts dance room. There were two wedding receptions going on, and that dance room should be filled with well-dressed patrons. Beth would fit right in; clad that pretty gown she had promised to wear.
Dare had been sitting at the bar, thinking about ways to play out the game that evening, when the answer came to him, in the form of a stranger who had come with his drink and sat next to him. The stranger introduced himself as Seth, and shaking Dare’s hand sat on the stool next to him. After they had had couple of drinks, they had become quite chummy. Seth explaining he had come up for one of the weddings, and assumed Dare was doing the same. Seth did not fail to observe Dare’s secretive smile, but did not question it. Their conversation was distracted only when a newcomer appeared at the entrance. Beth walked in, a long flowing silky skirt swishing down to her leather sandals. A shiny, long sleeved satin top fitting tightly along her perky figure, with bright gold jewelry complementing the ensemble. Real gold, Seth observed silently to himself.
Beth went to a table, both men going silent as they watched her move through the room. Good-looking one, that, Seth commented, looking at Dare who was deep in thought as his eyes were fixed on the sexy newcomer. Seth teasingly offered Dare a penny for his thoughts. Dare smiled mischievously, letting lose his plans. Seth listened to the young man, smiling as a light went on in his steal grey eyes. When Dare finished he offered up a suggestion as to how Dare could make it really interesting for Beth. The two co-conspirators worked it out: Seth told Dare about a stone hut and wall that was located on the back nine of the resorts golf course. He suggested that he, Seth, would meet Beth that evening and pass a note onto her from Dare saying that he was in trouble and needed her help, with directions to the spot. Dare liked the idea, and wrote the note on a cocktail napkin, cementing the plan by handing it to Seth.
Off you go old chap, let Uncle Seth take care of his end, he said grinning, giving Dare a sporting clap on the back. With a wink, Dare left his fellow collaborator, and went over to Beth, who had since been seated by a male waiter, now standing drooling over her shoulder as she looked at the menu.
Later that same evening, inside the crowded club:
Seth had stopped by the bar for a last drink. His business venture had been concluded earlier than he had expected. With the change in his plans, he had checked out early, his kit packed, boot loaded and the car ready. He now sat at the bar Causley watching young lass of about seventeen who had literally ran into him at one of the receptions. He watched her flirting about the club, weaving in and out of the guests. With a long swishing gown flowing provocatively along her lithe figure, abundant, solid white gold chains swinging out in an alluringly eye catching manner as she scurried about. A diminutive gold ring its half caret diamond flickered playfully from the petite pinky it loosely surrounded once again welcomed his contemplation. The lass presented quite an intriguing gold feathered fledgling, just begging to be plucked. He looked around, spying her parents on the dance floor. The father/husband, despite being an excellent dancer, gave him no interest. It was his partner, the wife/ mother, decked out in a iridescent suit and long swishing satin skirt upon which he now was reexamining. He again studied under the bright dance floor lights her fine pearls dangling from her ears, throat, and wrists. But it was the Ladies’ two rings that stole the show for him; an engagement ring with a rock of at least 2 carets surrounded by numerous shimmering half caret stones and a pinky ring similar to her daughters, that proudly displayed a single white solitaire diamond of at least one caret that had garnered his consideration. He also reconsidered the facts that he had been able to garnish about the lady who wore them, and her husband. The wife/mother was a heavy drinker who would not be expected to make any kind of appearance before noon. Hubby was a golfer, who would be out for breakfast at five am before being on the links at 6 am the next morning . At 5 :15 Seth was planning to pay a visit to his suite, and relieve his two ladies of their expensive trinkets. It should be an easy straight forward caper, that had Seth bristling with anticipation at the prospect.
As he was tossing down the last of his drink he remembered about Dare and the note he still had in his pocket. Setting down the empty glass, he pulled the note out and looked at it, kids he smirked, and was preparing to crinkle toss it on the bar and leave, when his eyes caught sight of Beth. He had felt his breath taken away when he saw her. Not at all what he had expected, he would say to Beth much later in the evening. He looked over the note, stirrings of a plan began formulating. All thoughts of the dancing couple and his plans fled his mind, as He rose, throwing a fiver on the bar and went off to intercept Beth.
Seth held Beth in his arms, she was a vivacious little thing he thought, while smiling charmingly into her eyes. She seemed a little apprehensive at first, but had settled right in when he had told her this had been set up by Dare, remember me at the bar with him this afternoon he had consoled her, she had smile brightly into his eyes in answer. He relished in the feel of her warm satin gown, and allowed himself to be mesmerized by the shimmer of her diamonds.
It reminded him of the diamonds that had been worn by one of his dance partners earlier that evening at a reception. He had forgotten her name, but not her diamonds, one of which now resided in a hidden compartment of his roadsters boot, along with the diamond pin he had slipped off the satin cape he had cordially help a well-dressed lady put on. He had also shelved his plans for his 5:15 am “meeting” at the golf playing husbands hotel room, Beth’s jewels were a much more lucrative prospect.
When the dance had ended he took her to the bar and sat her down, ordering her a drink. She seemed a little perplexed, Seth kissed her gloved hand; wait for it he told her mysteriously, winking into her eyes. Beth had winked back, the fire in her heart reflecting deep in her eyes. Seth left, smiling cleverly to himself as he took in his surroundings. He looked around as he walked away, now where had the little imp gotten off too?
He had decided that the seventeen year old in the long flirting gown would play a very different role in his plans. He approached her, with Dares note and a twenty. Thought for a moment about the pair of thick platinum gold chains dangling from her throat down the open neckline of the girl’s glossy gown, then banished the though, he had bigger fish to filet. The twenty caught her attention and she eagerly listened as he explained to her what to do, pointing out Beth sitting, waiting in earnest at the bar. Wait until she finishes her drink, Seth told her as she listened eagerly. She took the twenty into her hand, the half caret diamond on her pinky ring flashing, and her gold chain bracelets jangled as she grasped it. Seth left, figuring he had about twenty minutes to stop at his car, get a few items from the boot, and put his plan in motion.
Beth had curiously received the note from the attractively shy young lady, clad a slinky gown that made her appear years older. Reading it she folded it and was just getting up when a man wearing a suit came up to her and offered to let her dance with him. It took her some time, before she was finally able to ward him off and leave the brilliantly lit clubroom for the dark, forbidding grounds outside.
Now, a thoroughly excited Beth walked up the hill. Her senses becoming more prickling alert with each step. Innocently unaware that she was no longer playing a role in Dare’s game!
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Epilogue:
As Seth walked away admiring the shimmery necklace, his thoughts travelled back to the gold burdened impish youngster in the swirling gown, and her pearl and diamond laden mother. Revisiting his original plans he decided that he liked the odds, especially since they would be against him. With the father leaving early to meet his cronies for breakfast the Mother should be still sleeping off her drink induced stupor, the hyperactive girl should still be out cold, but presented no risk if she awoke, he had more rope. The ladies jewels should be lying about in the apartment, or handedly on their persons( the pairs of diamond pinky rings, as well as the multi-diamond engagement ring flashed once again across his memory with all their brilliant glory),as he caught fire with the vision. There could be a safe he reasoned, but with a tied up daughter and a knife in his hand, the mother should have no issue opening it for him, or disclosing anywhere else her jewels may have been hidden . But if there was no safe, and the rings, pearls and solid white gold chains were somewhere in the room, he knew he would be able to noiselessly break in, find and slip the jewels from wherever they were perched, and be safely on his way without even causing the slightest stir from the sleeping woman and her daughter. It was a road Seth had travelled down many times. He prickled at the thought, as he foresightedly tallied up the potential haul while making his way to the car. The Mother/wife’s diamond rings, would easily fetch him at least three grand, probably close five with her pearls and the whelp’s jewelry added in. About a quarter of what he probably would get for the jewels now in his procession, so he mused inquisitively to himself, so ,was it worth the risk of his 20,000 bird in hand? Yes he answered himself, as all too familiar and welcome tingling sensation overwhelmed Seths muscular body. Like Dare, Seth like to play risky games, especially those which promised to be somewhat profitable. It would be a tantalizingly chancy gamble of his own; to wait a safe distance away while things cooled down and then return to break into the un protected sleeping ladies chamber.. He knew just the place to hide , and it would be a perfect spot to watch events unfold around Beth and Dare, while making his plans! It also afforded a nicely secret hiding nook for the ill-gotten gains collected so far that evening in case something went wrong, which it wouldn’t..
Courtesy of Chatwick University Archives
More and more people are realising these days that cows are not just commodities to be exploited for food. No human needs animal products to survive, no matter what you believe about protein and iron. It's all crap. Cows are individuals, they are social, maternal, intelligent, and have just as much a will to live as you do. Exploiting them unnecessarily is cruel and inhumane, no matter how quick the death or how happy their lives were. We all have the responsibility to make the decision to step away from animal exploitation by adopting a vegan lifestyle. It really is the least we can do.
After the Brotherhood of Makuta exploited the Nynrah Ghosts to acquire enough armor and weaponry, Kuperix was sent by Teridax on the island of Nynrah in order to ensure no one could acquire valuable information on the equipment they came into possession of. Unbeknown to the Brotherhood, a lone, surviving Toa of Iron was waiting for them.
Kuperix is an unjustifyibly sadistic and brutal beyond reason Makuta who takes pleasure in instilling dread and helplessness in his enemies. Even when practicing the most unspeakable acts of torture he remains unperturbed, his eerie collectedness alone enough of a reason to be feared even among his brothers. His Kanohi Hamene, Mask of Redirection, allows him to redirect melee attacks and curve the trajectories of projectiles aimed at him, making him virtually impervious to physical means of harm.
Great Mask of Elemental Energy by the amazing KhingK
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
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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.
Autrefois, l’exploitation du goémon, dont on extrayait la soude et celle du granit qui a permis de construire tant d’infrastructures portuaires des côtes françaises comme anglaises, assurait aux îles une population permanente importante.
Au milieu du XIXe siècle, Chausey abrite jusqu’à 500 carriers, la majorité était des granitiers bretons.
Ce sont les moines du Mont Saint-Michel qui, les premiers, ont exploité le granit de Chausey.
Sa réputation est telle qu’il sert à la construction des manoirs du Cotentin, à la réalisation des quais des ports de Dieppe et de Londres, au pavage des trottoirs du Paris haussmannien, ou à la reconstruction de Saint-Malo en 1949.
Les algues, qui abondent dans les fonds marins de l’archipel, ont aussi constitué une matière première importante pour la fabrication de la soude entrant dans la composition du verre ou des savons.
Exploitant : SETRAM
Réseau : SETRAM
Ligne : 5
Lieu : Saint-Martin (Le Mans, F-72)
Lien TC Infos : tc-infos.fr/id/5895
Here's another look at the poppies that I'm currently exploiting.
I particularly wanted backlighting with these flowers, so I put a bare YN560-II behind and to the right at about 1 o'clock, a Strobie 130 in a softbox camera left and behind at 11 o'clock and for fill lighting I used a YN560 in a softbox camera right, in front, at 4 o'clock. Strobes were in manual mode and were triggered by a Yongnuo RF-603N.
Other plants, flowers, fruit or thingys that I've photographed using strobes, can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422
A Saint Guilhem-le-Désert, poussent des oliviers qui sont toujours cultivés, entretenus et exploités pour leurs fruits ; les petites "picholines".
Exploitant : STIVO
Réseau : STIVO
Ligne : 29
Lieu : Croix Saint-Jacques (Jouy-le-Moutier, F-95)
Lien TC Infos : tc-infos.fr/id/8382
feelingthecolor.wordpress.com/2013/08/15/day-107-exploiting/
Found this excavator in a quarry near my hometown. There is a mountain that is mined for some years for its chalk to make cement from it. As you can see the place looks deserted and few pass by in those parts. It was interesting to see the people working there but was amazing when this excavator approached and I could see that it's not that tiny as it looked in the distance.
RIP Tomahawk Expressway... I regret not exploiting you as much as I could have.
I will forever remember the copious amount of $$$ you made me. Goodbye my good friend.
Véhicule : SETRA S 511 HD €6
Identification : 273 (EJ-311-AS)
Exploitant : Sarro Autocars Mont-de-Marsan
Dépôt : Mont-de-Marsan
Réseau : n.a.
Ligne : n.a.
Voiture : Tourisme - Occasionnel
Destination : n.c.
Merci à Cyril pour son accueil !
11/03/2020 10:55
Quai du Maroc ; F-33 BORDEAUX
Véhicule : MAN Lion's City 12 E
Identification : _ ([D] M - AN 7294)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Dépôt de Bastide-Niel
Sixième bus électrique expérimenté sur une ligne régulière commerciale, du 3 au 20 Août 2020.
Réseau : TBM (Bordeaux Métropole)
Ligne : Lianes 15
Voiture : 1514
Destination : Centre Commercial BORDEAUX LAC
À l'instar de la démonstration menée en Septembre 2018 (avec un GX 337 Elec), Bordeaux Métropole a lancé un projet d'expérimentations de bus électriques, qui se tiendront sur la période 2019-2020. Le but est d'éprouver la capacité de ces véhicules à être mis en service commercial sur le réseau. Pour cela, la Lianes 15 a été retenue : longue d'environ 25 kilomètres, elle met entre 1h15 et 1h30 pour relier Bordeaux du Nord ("Centre Commercial Bordeaux Lac") au Sud (Villenave d'Ornon, "Pont de la Maye" ou "Courréjean"), en passant par l'hyper centre-ville. Remisée au dépôt de Bastide-Niel, elle accueillera les véhicules de 7 constructeurs : BOLLORÉ (BlueBus 12), YUTONG (E 12 LF), MERCEDES-BENZ (eCitaro), HEULIEZ BUS (GX 337 Elec Linium), IRIZAR (ie tram), MAN (Lion's City 12 E), et ALSTOM (Aptis). Les véhicules réalisent quotidiennement une demi-journée de service (compte tenu de l'autonomie limitée de ce type de véhicule), le rechargement des batteries s'effectuant la nuit par "charge lente".
19/08/2020 12:41
Cours de Luze ; F-33 BORDEAUX
Exploitant : Transdev Montesson les Rabaux
Réseau : Entre Seine et Forêt
Ligne : 10
Lieu : Les Lampes (Marly-le-Roi, F-78)
Lien TC Infos : tc-infos.fr/vehicule/29307
La vallée de Chaudefour possède 5 sources: La plus connue, la source Sainte-Anne, n°1, n°2, Vercingétorix et Petit Griffon. En 1884, le docteur BORIEUX la décrivait comme une source froide, acidulée et ferrugineuse. Malgré son exploitation récente, elle est déjà fort connue pour ses propriétés curatives. Elle est recommandée pour les maladies de l'estomac (dyspepsie et gastralgie) et spécialement celles qui relèvent de la chlorose et l'anémie. L'acide carbonique libre en quantité importante (3 gr.410/litre) et la présence de bicarbonate de soude, calcium et magnésium en font une des eaux naturelles les plus puissantes d'Europe
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 exploitation of mines began from the German company “SPEIDEL” in 1905 and it ceased in 1912 due to the First World War. The exploitation was continued by Vielle Montagne in 1925 until 1930 when they interrupted the operation owing to the financial crash. In 1957 another company poached on the mines in parallel with a Greek one. However, all the activities in the region stopped in 1963. (Taken from www.thassos-view.com/experiences/sightseeing/metalia)
Exploiting family members for pictures is perfectly normal right? I liked this even though it didn't focus on her eyes.
Camera info:
Canon T1i, Canon EF 85mm f/1.8, f/2.0, 1/200s, ISO 100
Strobist info:
Lumopro 160 Camera left 45 degrees to subject 6 feet high and about 5 feet from subject through a white umbrella. Full power. 24mm zoom.
What do you think?
Chemin de fer-musée Blonay-Chamby (BC): after the suppression of the railway service on May 22, 1966, a group of fans began the procedures for the exploitation of the meter gauge line between Blonay and Chamby, a three-kilometer route, as a tourist railway. After forming a cooperative society for the exploitation of the railway, and an association to support it, on July 20, 1968, the tourist operation was inaugurated. The line remains property of MVR (Transports Montreux-Vevey-Riviera, successor company of CEV, Chemins de fer électriques veveysans), except for the depot and museum, as well as the link track, which are property of the BC.
To celebrate the 125th anniversary of the opening of the first section of the Bex-Villars line, and the 80th anniversary of the merger of the Bex–Gryon–Villars–Chesières (BGVC) and Villars–Bretaye (VB) railways, on September 9, 10, 16 and 17, 2023, the BC held several commemorative events. The main one was the temporary transfer of the BCFe 4/4 1 “TransOrmonan” electric railcar and the C 35 trailer to the BC line. These two vehicles are part of the heritage train (together with the C 34 trailer) preserved by the company Transports publics du Chablais (TPC), with the collaboration of the ASD 1914 association.
Here we see the railcar in Chaulin-Musée. Original of the Chemin de fer Aigle-Sépey-Diablerets (ASD), the BCFe 4/4 1 railcar was built by SWS and AEG in 1913, and was rebuilt in 1941 after a fire. It served on the ASD line between 1913 and 1987.
To its left we see the consist formed by the CF 21 passenger car of the Aigle-Leysin railway (SIG Neuhausen, 1900) and the electric rack and pinion locomotive He 2/2 2 of the Bex-Gryon-Villars railway (SLM and IEG, 1900).
On the right, the BCFeh 4/4 6 mixed electric rack and pinion/adhesion railcar, built in 1909 by SIG, SLM and Alioth for the Monthey-Champéry-Morgins (MCM) railway. He was loaned to BC in 1975.
From the back cover:
“Through the treason of a handful of men, contact between Earth and the Moon had become a nightmare. The world became the tool of the Lunarians, whose plundering and cruelty reduced thriving nations to poverty-stricken wastelands.
“THE MOON MEN is the astounding story of that tragedy, and of the exploits of Julian, the human who dared fight for freedom. It is the story, also, of Red Hawk, Julian’s descendant, the nomad who attempted to bring the struggle to its final desperate conclusion.”
Tuiliere and Sanadoire rocks
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Both of these rocks come from two volcanoes which their profiles have been sharply eroded by glaciers. They used to be part of the Sancy/Monts Dore block.
Only the chimney (Tuilière) and a part of the cone (Sanadoire) are left, separated by a U-shaped valley. They show the limit between the Monts Dore and the Banne d’Ordanche massive and emerge in the “cirque du Chausse” at the foot of the col du Guéry. They border the Fontsalade valley and are formed by 2 lava bases which were relieved by the glacier.
The regular prism, created by the drop in temperature of the lava, is cleaving in thin and regular plates called “Lauze”. It was exploited over a long period of time to cover the roof of houses and churches, giving its name to the Roche Tuilière (1290m high) since “tuile” stands for tile in English. Quarries have now been left out/abandoned for more than a century.
The Roche Sanadoire (1290m high) or « sounding rock » is named that way because the phonolite stone rings out when you hit it. Medieval texts are testifying that a castle used to be on the top/on the summit. It was a hideout for mercenaries, leaded by the English who devastated the region during the 100 years’ war. It is now totally destroyed, , maybe because of the hearth crack of 1477 which has marked the region and even damaged the Orcival Basilica.
She has vomited all that were forcefully fed.
Plastics thrown all over due to floods, exposing our terrible exploits...
Thiruneermalai, Chennai.
Eiffel Tower
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This article is about the landmark in Paris, France. For other uses, see Eiffel Tower (disambiguation).
"300-metre tower" and "Tour Eiffel" redirect here. For other tall towers, see List of tallest towers. For other uses, see Tour Eiffel (disambiguation).
The Eiffel Tower
La tour Eiffel
Tour Eiffel Wikimedia Commons.jpg
Seen from the Champ de Mars
Wikimedia | © OpenStreetMap
Record height
Tallest in the world from 1889 to 1930[I]
General information
TypeObservation tower
Broadcasting tower
Location7th arrondissement, Paris, France
Coordinates48°51′29.6″N 2°17′40.2″ECoordinates: 48°51′29.6″N 2°17′40.2″E
Construction started28 January 1887; 134 years ago
Completed15 March 1889; 132 years ago
Opening31 March 1889; 132 years ago
OwnerCity of Paris, France
ManagementSociété d'Exploitation de la Tour Eiffel (SETE)
Height
Architectural300 m (984 ft)[1]
Tip324 m (1,063 ft)[1]
Top floor276 m (906 ft)[1]
Technical details
Floor count3[2]
Lifts/elevators8[2]
Design and construction
ArchitectStephen Sauvestre
Structural engineerMaurice Koechlin
Émile Nouguier
Main contractorCompagnie des Etablissements Eiffel
Website
toureiffel.paris/en
References
I. ^ Eiffel Tower at Emporis
File:Eiffel Tower Drone 4k-Qx c1X3zfEc-313-251.webm
Eiffel Tower Drone
The Eiffel Tower (/ˈaɪfəl/ EYE-fəl; French: tour Eiffel [tuʁ‿ɛfɛl] (About this soundlisten)) is a wrought-iron lattice tower on the Champ de Mars in Paris, France. It is named after the engineer Gustave Eiffel, whose company designed and built the tower.
Locally nicknamed "La dame de fer" (French for "Iron Lady"), it was constructed from 1887 to 1889 as the entrance to the 1889 World's Fair and was initially criticised by some of France's leading artists and intellectuals for its design, but it has become a global cultural icon of France and one of the most recognisable structures in the world.[3] The Eiffel Tower is the most visited monument with an entrance fee in the world; 6.91 million people ascended it in 2015.
The tower is 324 metres (1,063 ft) tall, about the same height as an 81-storey building, and the tallest structure in Paris. Its base is square, measuring 125 metres (410 ft) on each side. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until the Chrysler Building in New York City was finished in 1930. It was the first structure in the world to surpass both the 200-metre and 300-metre mark in height. Due to the addition of a broadcasting aerial at the top of the tower in 1957, it is now taller than the Chrysler Building by 5.2 metres (17 ft). Excluding transmitters, the Eiffel Tower is the second tallest free-standing structure in France after the Millau Viaduct.
The tower has three levels for visitors, with restaurants on the first and second levels. The top level's upper platform is 276 m (906 ft) above the ground – the highest observation deck accessible to the public in the European Union. Tickets can be purchased to ascend by stairs or lift to the first and second levels. The climb from ground level to the first level is over 300 steps, as is the climb from the first level to the second. Although there is a staircase to the top level, it is usually accessible only by lift.
Contents
1History
1.1Origin
1.2Artists' protest
1.3Construction
1.3.1Lifts
1.4Inauguration and the 1889 exposition
1.5Subsequent events
2Design
2.1Material
2.2Wind considerations
2.3Accommodation
2.4Passenger lifts
2.5Engraved names
2.6Aesthetics
2.7Maintenance
3Tourism
3.1Transport
3.2Popularity
3.3Restaurants
4Replicas
5Communications
5.1FM radio
5.2Digital television
6Illumination copyright
7Height changes
8Taller structures
8.1Lattice towers taller than the Eiffel Tower
8.2Structures in France taller than the Eiffel Tower
9See also
10References
10.1Notes
10.2Bibliography
11External links
History
Origin
The design of the Eiffel Tower is attributed to Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel. It was envisioned after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a world's fair to celebrate the centennial of the French Revolution. Eiffel openly acknowledged that inspiration for a tower came from the Latting Observatory built in New York City in 1853.[4] In May 1884, working at home, Koechlin made a sketch of their idea, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals".[5] Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of the company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments.
First drawing of the Eiffel Tower by Maurice Koechlin including size comparison with other Parisian landmarks such as Notre Dame de Paris, the Statue of Liberty and the Vendôme Column
The new version gained Eiffel's support: he bought the rights to the patent on the design which Koechlin, Nougier, and Sauvestre had taken out, and the design was put on display at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise
[n]ot only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude.[6]
Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade. A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel's design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars.[6] (A 300-metre tower was then considered a herculean engineering effort). On 12 May, a commission was set up to examine Eiffel's scheme and its rivals, which, a month later, decided that all the proposals except Eiffel's were either impractical or lacking in details.
After some debate about the exact location of the tower, a contract was signed on 8 January 1887. Eiffel signed it acting in his own capacity rather than as the representative of his company, the contract granting him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.[7]
Artists' protest
Caricature of Gustave Eiffel comparing the Eiffel tower to the Pyramids, published in Le Temps, February 14, 1887.
The proposed tower had been a subject of controversy, drawing criticism from those who did not believe it was feasible and those who objected on artistic grounds. Prior to the Eiffel Tower's construction, no structure had ever been constructed to a height of 300 m, or even 200 m for that matter,[8] and many people believed it was impossible. These objections were an expression of a long-standing debate in France about the relationship between architecture and engineering. It came to a head as work began at the Champ de Mars: a "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the arts, such as William-Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet. A petition called "Artists against the Eiffel Tower" was sent to the Minister of Works and Commissioner for the Exposition, Adolphe Alphand, and it was published by Le Temps on 14 February 1887:
We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection … of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal.[9]
A calligram by Guillaume Apollinaire
Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian pyramids: "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way? And why would something admirable in Egypt become hideous and ridiculous in Paris?"[10] These criticisms were also dealt with by Édouard Lockroy in a letter of support written to Alphand, sardonically saying,[11] "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell this protest is the result of collaboration of the most famous writers and poets of our time", and he explained that the protest was irrelevant since the project had been decided upon months before, and construction on the tower was already under way.
Indeed, Garnier was a member of the Tower Commission that had examined the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"[12]
Some of the protesters changed their minds when the tower was built; others remained unconvinced.[13] Guy de Maupassant supposedly ate lunch in the tower's restaurant every day because it was the one place in Paris where the tower was not visible.[14]
By 1918, it had become a symbol of Paris and of France after Guillaume Apollinaire wrote a nationalist poem in the shape of the tower (a calligram) to express his feelings about the war against Germany.[15] Today, it is widely considered to be a remarkable piece of structural art, and is often featured in films and literature.
Construction
Foundations of the Eiffel Tower
Work on the foundations started on 28 January 1887.[16] Those for the east and south legs were straightforward, with each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg. The west and north legs, being closer to the river Seine, were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[17] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block of limestone with an inclined top to bear a supporting shoe for the ironwork.
Each shoe was anchored to the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were completed on 30 June, and the erection of the ironwork began. The visible work on-site was complemented by the enormous amount of exacting preparatory work that took place behind the scenes: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed.[18] The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 1 mm (0.04 in) and angles worked out to one second of arc.[19] The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from a factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, with the bolts being replaced with rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit, it was sent back to the factory for alteration. In all, 18,038 pieces were joined together using 2.5 million rivets.[16]
At first, the legs were constructed as cantilevers, but about halfway to the first level construction was paused to create a substantial timber scaffold. This renewed concerns about the structural integrity of the tower, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel Has Gone Mad: He Has Been Confined in an Asylum" appeared in the tabloid press.[20] At this stage, a small "creeper" crane designed to move up the tower was installed in each leg. They made use of the guides for the lifts which were to be fitted in the four legs. The critical stage of joining the legs at the first level was completed by the end of March 1888.[16] Although the metalwork had been prepared with the utmost attention to detail, provision had been made to carry out small adjustments to precisely align the legs; hydraulic jacks were fitted to the shoes at the base of each leg, capable of exerting a force of 800 tonnes, and the legs were intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold. Although construction involved 300 on-site employees,[16] due to Eiffel's safety precautions and the use of movable gangways, guardrails and screens, only one person died.[21]
18 July 1887:
The start of the erection of the metalwork
7 December 1887:
Construction of the legs with scaffolding
20 March 1888:
Completion of the first level
15 May 1888:
Start of construction on the second stage
21 August 1888:
Completion of the second level
26 December 1888:
Construction of the upper stage
15 March 1889:
Construction of the cupola
Lifts
The Roux, Combaluzier & Lepape lifts during construction. Note the drive sprockets and chain in the foreground.
Equipping the tower with adequate and safe passenger lifts was a major concern of the government commission overseeing the Exposition. Although some visitors could be expected to climb to the first level, or even the second, lifts clearly had to be the main means of ascent.[22]
Constructing lifts to reach the first level was relatively straightforward: the legs were wide enough at the bottom and so nearly straight that they could contain a straight track, and a contract was given to the French company Roux, Combaluzier & Lepape for two lifts to be fitted in the east and west legs.[23] Roux, Combaluzier & Lepape used a pair of endless chains with rigid, articulated links to which the car was attached. Lead weights on some links of the upper or return sections of the chains counterbalanced most of the car's weight. The car was pushed up from below, not pulled up from above: to prevent the chain buckling, it was enclosed in a conduit. At the bottom of the run, the chains passed around 3.9 m (12 ft 10 in) diameter sprockets. Smaller sprockets at the top guided the chains.[23]
The Otis lifts originally fitted in the north and south legs
Installing lifts to the second level was more of a challenge because a straight track was impossible. No French company wanted to undertake the work. The European branch of Otis Brothers & Company submitted a proposal but this was rejected: the fair's charter ruled out the use of any foreign material in the construction of the tower. The deadline for bids was extended but still no French companies put themselves forward, and eventually the contract was given to Otis in July 1887.[24] Otis were confident they would eventually be given the contract and had already started creating designs.[citation needed]
The car was divided into two superimposed compartments, each holding 25 passengers, with the lift operator occupying an exterior platform on the first level. Motive power was provided by an inclined hydraulic ram 12.67 m (41 ft 7 in) long and 96.5 cm (38.0 in) in diameter in the tower leg with a stroke of 10.83 m (35 ft 6 in): this moved a carriage carrying six sheaves. Five fixed sheaves were mounted higher up the leg, producing an arrangement similar to a block and tackle but acting in reverse, multiplying the stroke of the piston rather than the force generated. The hydraulic pressure in the driving cylinder was produced by a large open reservoir on the second level. After being exhausted from the cylinder, the water was pumped back up to the reservoir by two pumps in the machinery room at the base of the south leg. This reservoir also provided power to the lifts to the first level.[citation needed]
The original lifts for the journey between the second and third levels were supplied by Léon Edoux. A pair of 81 m (266 ft) hydraulic rams were mounted on the second level, reaching nearly halfway up to the third level. One lift car was mounted on top of these rams: cables ran from the top of this car up to sheaves on the third level and back down to a second car. Each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway by means of a short gangway. The 10-ton cars each held 65 passengers.[25]
Inauguration and the 1889 exposition
View of the 1889 World's Fair
The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower.[13] Because the lifts were not yet in operation, the ascent was made by foot, and took over an hour, with Eiffel stopping frequently to explain various features. Most of the party chose to stop at the lower levels, but a few, including the structural engineer, Émile Nouguier, the head of construction, Jean Compagnon, the President of the City Council, and reporters from Le Figaro and Le Monde Illustré, completed the ascent. At 2:35 pm, Eiffel hoisted a large Tricolour to the accompaniment of a 25-gun salute fired at the first level.[26]
There was still work to be done, particularly on the lifts and facilities, and the tower was not opened to the public until nine days after the opening of the exposition on 6 May; even then, the lifts had not been completed. The tower was an instant success with the public, and nearly 30,000 visitors made the 1,710-step climb to the top before the lifts entered service on 26 May.[27] Tickets cost 2 francs for the first level, 3 for the second, and 5 for the top, with half-price admission on Sundays,[28] and by the end of the exhibition there had been 1,896,987 visitors.[3]
After dark, the tower was lit by hundreds of gas lamps, and a beacon sent out three beams of red, white and blue light. Two searchlights mounted on a circular rail were used to illuminate various buildings of the exposition. The daily opening and closing of the exposition were announced by a cannon at the top.[citation needed]
Illumination of the tower at night during the exposition
On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was made. There was also a pâtisserie.[citation needed]
At the top, there was a post office where visitors could send letters and postcards as a memento of their visit. Graffitists were also catered for: sheets of paper were mounted on the walls each day for visitors to record their impressions of the tower. Gustave Eiffel described some of the responses as vraiment curieuse ("truly curious").[29]
Famous visitors to the tower included the Prince of Wales, Sarah Bernhardt, "Buffalo Bill" Cody (his Wild West show was an attraction at the exposition) and Thomas Edison.[27] Eiffel invited Edison to his private apartment at the top of the tower, where Edison presented him with one of his phonographs, a new invention and one of the many highlights of the exposition.[30] Edison signed the guestbook with this message:
To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.
Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for radio telegraphy, it was allowed to remain after the expiry of the permit, and from 1910 it also became part of the International Time Service.[31]
Eiffel made use of his apartment at the top of the tower to carry out meteorological observations, and also used the tower to perform experiments on the action of air resistance on falling bodies.[32]
Subsequent events
File:Vue Lumière No 992 - Panorama pendant l'ascension de la Tour Eiffel (1898).ogv
Panoramic view during ascent of the Eiffel Tower by the Lumière brothers, 1898
File:Reichelt.ogv
Franz Reichelt's preparations and fatal jump from the Eiffel Tower
For the 1900 Exposition Universelle, the lifts in the east and west legs were replaced by lifts running as far as the second level constructed by the French firm Fives-Lille. These had a compensating mechanism to keep the floor level as the angle of ascent changed at the first level, and were driven by a similar hydraulic mechanism to the Otis lifts, although this was situated at the base of the tower. Hydraulic pressure was provided by pressurised accumulators located near this mechanism.[24] At the same time the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. The original lift in the south pillar was removed 13 years later.[citation needed]
On 19 October 1901, Alberto Santos-Dumont, flying his No.6 airship, won a 100,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St. Cloud to the Eiffel Tower and back in less than half an hour.[33]
Many innovations took place at the Eiffel Tower in the early 20th century. In 1910, Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are known today as cosmic rays.[34] Just two years later, on 4 February 1912, Austrian tailor Franz Reichelt died after jumping from the first level of the tower (a height of 57 m) to demonstrate his parachute design.[35] In 1914, at the outbreak of World War I, a radio transmitter located in the tower jammed German radio communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.[36] From 1925 to 1934, illuminated signs for Citroën adorned three of the tower's sides, making it the tallest advertising space in the world at the time.[37] In April 1935, the tower was used to make experimental low-resolution television transmissions, using a shortwave transmitter of 200 watts power. On 17 November, an improved 180-line transmitter was installed.[38]
On two separate but related occasions in 1925, the con artist Victor Lustig "sold" the tower for scrap metal.[39] A year later, in February 1926, pilot Leon Collet was killed trying to fly under the tower. His aircraft became entangled in an aerial belonging to a wireless station.[40] A bust of Gustave Eiffel by Antoine Bourdelle was unveiled at the base of the north leg on 2 May 1929.[41] In 1930, the tower lost the title of the world's tallest structure when the Chrysler Building in New York City was completed.[42] In 1938, the decorative arcade around the first level was removed.[43]
American soldiers watch the French flag flying on the Eiffel Tower, c. 25 August 1944
Upon the German occupation of Paris in 1940, the lift cables were cut by the French. The tower was closed to the public during the occupation and the lifts were not repaired until 1946.[44] In 1940, German soldiers had to climb the tower to hoist a swastika-centered Reichskriegsflagge,[45] but the flag was so large it blew away just a few hours later, and was replaced by a smaller one.[46] When visiting Paris, Hitler chose to stay on the ground. When the Allies were nearing Paris in August 1944, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order.[47] On 25 June, before the Germans had been driven out of Paris, the German flag was replaced with a Tricolour by two men from the French Naval Museum, who narrowly beat three men led by Lucien Sarniguet, who had lowered the Tricolour on 13 June 1940 when Paris fell to the Germans.[44]
A fire started in the television transmitter on 3 January 1956, damaging the top of the tower. Repairs took a year, and in 1957, the present radio aerial was added to the top.[48] In 1964, the Eiffel Tower was officially declared to be a historical monument by the Minister of Cultural Affairs, André Malraux.[49] A year later, an additional lift system was installed in the north pillar.[50]
According to interviews, in 1967, Montreal Mayor Jean Drapeau negotiated a secret agreement with Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company operating the tower out of fear that the French government could refuse permission for the tower to be restored in its original location.[51]
Base of the Eiffel Tower
In 1982, the original lifts between the second and third levels were replaced after 97 years in service. These had been closed to the public between November and March because the water in the hydraulic drive tended to freeze. The new cars operate in pairs, with one counterbalancing the other, and perform the journey in one stage, reducing the journey time from eight minutes to less than two minutes. At the same time, two new emergency staircases were installed, replacing the original spiral staircases. In 1983, the south pillar was fitted with an electrically driven Otis lift to serve the Jules Verne restaurant.[citation needed] The Fives-Lille lifts in the east and west legs, fitted in 1899, were extensively refurbished in 1986. The cars were replaced, and a computer system was installed to completely automate the lifts. The motive power was moved from the water hydraulic system to a new electrically driven oil-filled hydraulic system, and the original water hydraulics were retained solely as a counterbalance system.[50] A service lift was added to the south pillar for moving small loads and maintenance personnel three years later.[citation needed]
Robert Moriarty flew a Beechcraft Bonanza under the tower on 31 March 1984.[52] In 1987, A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the police.[53] On 27 October 1991, Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures while bungee jumping from the second floor of the tower. Facing the Champ de Mars, Devaux used an electric winch between figures to go back up to the second floor. When firemen arrived, he stopped after the sixth jump.[54]
The tower is the focal point of New Year's Eve and Bastille Day (14 July) celebrations in Paris.
For its "Countdown to the Year 2000" celebration on 31 December 1999, flashing lights and high-powered searchlights were installed on the tower. During the last three minutes of the year, the lights were turned on starting from the base of the tower and continuing to the top to welcome 2000 with a huge fireworks show. An exhibition above a cafeteria on the first floor commemorates this event. The searchlights on top of the tower made it a beacon in Paris's night sky, and 20,000 flashing bulbs gave the tower a sparkly appearance for five minutes every hour on the hour.[55]
The lights sparkled blue for several nights to herald the new millennium on 31 December 2000. The sparkly lighting continued for 18 months until July 2001. The sparkling lights were turned on again on 21 June 2003, and the display was planned to last for 10 years before they needed replacing.[56]
The tower received its 200,000,000th guest on 28 November 2002.[57] The tower has operated at its maximum capacity of about 7 million visitors per year since 2003.[58] In 2004, the Eiffel Tower began hosting a seasonal ice rink on the first level.[59] A glass floor was installed on the first level during the 2014 refurbishment.[60]
In 2016, during Valentine's Day, the performance UN BATTEMENT [61] by French artist Milène Guermont unfolds among the Eiffel Tower, the Montparnasse Tower and the contemporary artwork PHARES installed on the Place de la Concorde. This interactive pyramid-shaped sculpture allows the public to transmit the beating of their hearts thanks to a cardiac sensor. The Eiffel Tower and the Montparnasse Tower also light up to the rhythm of PHARES. This is the first time that the Eiffel Tower has interacted with a work of art.[citation needed]
Design
Material
The Eiffel Tower from below
The puddled iron (wrought iron) of the Eiffel Tower weighs 7,300 tonnes,[62] and the addition of lifts, shops and antennae have brought the total weight to approximately 10,100 tonnes.[63] As a demonstration of the economy of design, if the 7,300 tonnes of metal in the structure were melted down, it would fill the square base, 125 metres (410 ft) on each side, to a depth of only 6.25 cm (2.46 in) assuming the density of the metal to be 7.8 tonnes per cubic metre.[64] Additionally, a cubic box surrounding the tower (324 m × 125 m × 125 m) would contain 6,200 tonnes of air, weighing almost as much as the iron itself. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) due to thermal expansion of the metal on the side facing the sun.[65]
Wind considerations
When it was built, many were shocked by the tower's daring form. Eiffel was accused of trying to create something artistic with no regard to the principles of engineering. However, Eiffel and his team – experienced bridge builders – understood the importance of wind forces, and knew that if they were going to build the tallest structure in the world, they had to be sure it could withstand them. In an interview with the newspaper Le Temps published on 14 February 1887, Eiffel said:
Is it not true that the very conditions which give strength also conform to the hidden rules of harmony? … Now to what phenomenon did I have to give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be … will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[66]
He used graphical methods to determine the strength of the tower and empirical evidence to account for the effects of wind, rather than a mathematical formula. Close examination of the tower reveals a basically exponential shape.[67] All parts of the tower were overdesigned to ensure maximum resistance to wind forces. The top half was even assumed to have no gaps in the latticework.[68] In the years since it was completed, engineers have put forward various mathematical hypotheses in an attempt to explain the success of the design. The most recent, devised in 2004 after letters sent by Eiffel to the French Society of Civil Engineers in 1885 were translated into English, is described as a non-linear integral equation based on counteracting the wind pressure on any point of the tower with the tension between the construction elements at that point.[67]
The Eiffel Tower sways by up to 9 cm (3.5 in) in the wind.[69]
Accommodation
Gustave Eiffel's apartment
When originally built, the first level contained three restaurants – one French, one Russian and one Flemish — and an "Anglo-American Bar". After the exposition closed, the Flemish restaurant was converted to a 250-seat theatre. A promenade 2.6-metre (8 ft 6 in) wide ran around the outside of the first level. At the top, there were laboratories for various experiments, and a small apartment reserved for Gustave Eiffel to entertain guests, which is now open to the public, complete with period decorations and lifelike mannequins of Eiffel and some of his notable guests.[70]
In May 2016, an apartment was created on the first level to accommodate four competition winners during the UEFA Euro 2016 football tournament in Paris in June. The apartment has a kitchen, two bedrooms, a lounge, and views of Paris landmarks including the Seine, Sacré-Cœur, and the Arc de Triomphe.[71]
Passenger lifts
The arrangement of the lifts has been changed several times during the tower's history. Given the elasticity of the cables and the time taken to align the cars with the landings, each lift, in normal service, takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each level. The average journey time between levels is 1 minute. The original hydraulic mechanism is on public display in a small museum at the base of the east and west legs. Because the mechanism requires frequent lubrication and maintenance, public access is often restricted. The rope mechanism of the north tower can be seen as visitors exit the lift.[72]
Engraved names
Main article: List of the 72 names on the Eiffel Tower
Names engraved on the tower
Gustave Eiffel engraved on the tower the names of 72 French scientists, engineers and mathematicians in recognition of their contributions to the building of the tower. Eiffel chose this "invocation of science" because of his concern over the artists' protest. At the beginning of the 20th century, the engravings were painted over, but they were restored in 1986–87 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company operating the tower.[73]
Aesthetics
The tower is painted in three shades: lighter at the top, getting progressively darker towards the bottom to complement the Parisian sky.[74] It was originally reddish brown; this changed in 1968 to a bronze colour known as "Eiffel Tower Brown".[75]
The only non-structural elements are the four decorative grill-work arches, added in Sauvestre's sketches, which served to make the tower look more substantial and to make a more impressive entrance to the exposition.[76]
A pop-culture movie cliché is that the view from a Parisian window always includes the tower.[77] In reality, since zoning restrictions limit the height of most buildings in Paris to seven storeys, only a small number of tall buildings have a clear view of the tower.[78]
Maintenance
Maintenance of the tower includes applying 60 tons of paint every seven years to prevent it from rusting. The tower has been completely repainted at least 19 times since it was built. Lead paint was still being used as recently as 2001 when the practice was stopped out of concern for the environment.[56][79]
Panorama of Paris from the Tour Eiffel
Panorama of Paris and its suburbs from the top of the Eiffel Tower
Tourism
Transport
The nearest Paris Métro station is Bir-Hakeim and the nearest RER station is Champ de Mars-Tour Eiffel.[80] The tower itself is located at the intersection of the quai Branly and the Pont d'Iéna.
Popularity
Number of visitors per year between 1889 and 2004
More than 250 million people have visited the tower since it was completed in 1889.[3] In 2015, there were 6.91 million visitors.[81] The tower is the most-visited paid monument in the world.[82] An average of 25,000 people ascend the tower every day which can result in long queues.[83]
Restaurants
The tower has two restaurants: Le 58 Tour Eiffel on the first level, and Le Jules Verne, a gourmet restaurant with its own lift on the second level. This restaurant has one star in the Michelin Red Guide. It was run by the multi-Michelin star chef Alain Ducasse from 2007 to 2017.[84] Starting May 2019, it will be managed by three star chef Frédéric Anton.[85] It owes its name to the famous science-fiction writer Jules Verne. Additionally, there is a champagne bar at the top of the Eiffel Tower.
From 1937 until 1981, there was a restaurant near the top of the tower. It was removed due to structural considerations; engineers had determined it was too heavy and was causing the tower to sag.[86] This restaurant was sold to an American restaurateur and transported to New York and then New Orleans. It was rebuilt on the edge of New Orleans' Garden District as a restaurant and later event hall.[87]
Replicas
Replica at the Paris Las Vegas Hotel, Nevada, United States.
Main article: List of Eiffel Tower replicas
As one of the most iconic landmarks in the world, the Eiffel Tower has been the inspiration for the creation of many replicas and similar towers. An early example is Blackpool Tower in England. The mayor of Blackpool, Sir John Bickerstaffe, was so impressed on seeing the Eiffel Tower at the 1889 exposition that he commissioned a similar tower to be built in his town. It opened in 1894 and is 158.1 m (518 ft) tall.[88] Tokyo Tower in Japan, built as a communications tower in 1958, was also inspired by the Eiffel Tower.[89]
There are various scale models of the tower in the United States, including a half-scale version at the Paris Las Vegas, Nevada, one in Paris, Texas built in 1993, and two 1:3 scale models at Kings Island, located in Mason, Ohio, and Kings Dominion, Virginia, amusement parks opened in 1972 and 1975 respectively. Two 1:3 scale models can be found in China, one in Durango, Mexico that was donated by the local French community, and several across Europe.[90]
In 2011, the TV show Pricing the Priceless on the National Geographic Channel speculated that a full-size replica of the tower would cost approximately US$480 million to build.[91] This would be more than ten times the cost of the original (nearly 8 million in 1890 Francs; ~US$40 million in 2018 dollars).
Communications
Top of the Eiffel Tower
The tower has been used for making radio transmissions since the beginning of the 20th century. Until the 1950s, sets of aerial wires ran from the cupola to anchors on the Avenue de Suffren and Champ de Mars. These were connected to longwave transmitters in small bunkers. In 1909, a permanent underground radio centre was built near the south pillar, which still exists today. On 20 November 1913, the Paris Observatory, using the Eiffel Tower as an aerial, exchanged wireless signals with the United States Naval Observatory, which used an aerial in Arlington, Virginia. The object of the transmissions was to measure the difference in longitude between Paris and Washington, D.C..[92] Today, radio and digital television signals are transmitted from the Eiffel Tower.
FM radio
FrequencykWService
87.8 MHz10France Inter
89.0 MHz10RFI Paris
89.9 MHz6TSF Jazz
90.4 MHz10Nostalgie
90.9 MHz4Chante France
Digital television
A television antenna was first installed on the tower in 1957, increasing its height by 18.7 m (61.4 ft). Work carried out in 2000 added a further 5.3 m (17.4 ft), giving the current height of 324 m (1,063 ft).[56] Analogue television signals from the Eiffel Tower ceased on 8 March 2011.
FrequencyVHFUHFkWService
182.25 MHz6—100Canal+
479.25 MHz—22500France 2
503.25 MHz—25500TF1
527.25 MHz—28500France 3
543.25 MHz—30100France 5
567.25 MHz—33100M6
Illumination copyright
Further information: Freedom of panorama § France
The Eiffel Tower illuminated in 2015
The tower and its image have been in the public domain since 1993, 70 years after Eiffel's death.[93] In June 1990 a French court ruled that a special lighting display on the tower in 1989 to mark the tower's 100th anniversary was an "original visual creation" protected by copyright. The Court of Cassation, France's judicial court of last resort, upheld the ruling in March 1992.[94] The Société d'Exploitation de la Tour Eiffel (SETE) now considers any illumination of the tower to be a separate work of art that falls under copyright.[95] As a result, the SNTE alleges that it is illegal to publish contemporary photographs of the lit tower at night without permission in France and some other countries for commercial use.[96][97] For this reason, it is often rare to find images or videos of the lit tower at night on stock image sites,[98] and media outlets rarely broadcast images or videos of it.[99]
The imposition of copyright has been controversial. The Director of Documentation for what was then called the Société Nouvelle d'exploitation de la Tour Eiffel (SNTE), Stéphane Dieu, commented in 2005: "It is really just a way to manage commercial use of the image, so that it isn't used in ways [of which] we don't approve".[100] SNTE made over €1 million from copyright fees in 2002.[101] However, it could also be used to restrict the publication of tourist photographs of the tower at night, as well as hindering non-profit and semi-commercial publication of images of the illuminated tower.[102]
The copyright claim itself has never been tested in courts to date according to the 2014 article of the Art Law Journal, and there has never been an attempt to track down millions of netizens who have posted and shared their images of the illuminated tower on the Internet worldwide. It added, however, that permissive situation may arise on commercial use of such images, like in a magazine, on a film poster, or on product packaging.[103]
French doctrine and jurisprudence allows pictures incorporating a copyrighted work as long as their presence is incidental or accessory to the subject being represented,[104] a reasoning akin to the de minimis rule. Therefore, SETE may be unable to claim copyright on photographs of Paris which happen to include the lit tower.
Height changes
The pinnacle height of the Eiffel Tower has changed multiple times over the years as described in the chart below.[105]
FromToHeight mHeight ftType of additionRemarks
18891957312.271,025FlagpoleArchitectural height of 300 m 984 ft. Tallest freestanding structure in the world until surpassed by the Chrysler building in 1930. Tallest tower in the world until surpassed by the KCTV Broadcast Tower in 1956.
19571991320.751,052AntennaBroadcast antenna added in 1957 which made it the tallest tower in the world until the Tokyo Tower was completed the following year in 1958.
19911994317.961,043Antenna change
19942000318.71,046Antenna change
2000Current3241,063Antenna change
Taller structures
The Eiffel Tower was the world's tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out.[106] The tower also lost its standing as the world's tallest tower to the Tokyo Tower in 1958 but retains its status as the tallest freestanding (non-guyed) structure in France.
Lattice towers taller than the Eiffel Tower
Further information: List of tallest towers in the world, Lattice tower, and Observation deck
NamePinnacle heightYearCountryTownRemarks
Tokyo Skytree634 m (2,080 ft)2011JapanTokyo
Kyiv TV Tower385 m (1,263 ft)1973UkraineKyiv
Dragon Tower336 m (1,102 ft)2000ChinaHarbin
Tokyo Tower333 m (1,093 ft)1958JapanTokyo
WITI TV Tower329.4 m (1,081 ft)1962United StatesShorewood, Wisconsin
St. Petersburg TV Tower326 m (1,070 ft)1962RussiaSaint Petersburg
Structures in France taller than the Eiffel Tower
Further information: List of tallest structures in France
NamePinnacle heightYearStructure typeTownRemarks
Longwave transmitter Allouis350 m (1,150 ft)1974Guyed mastAllouis
HWU transmitter350 m (1,150 ft)1971Guyed mastRosnayMilitary VLF transmitter; multiple masts
Viaduc de Millau343 m (1,125 ft)2004Bridge pillarMillau
TV Mast Niort-Maisonnay330 m (1,080 ft)1978Guyed mastNiort
Transmitter Le Mans-Mayet342 m (1,122 ft)1993Guyed mastMayet
La Regine transmitter330 m (1,080 ft)1973Guyed mastSaissacMilitary VLF transmitter
Transmitter Roumoules330 m (1,080 ft)1974Guyed mastRoumoulesSpare transmission mast for longwave; insulated against ground
See also
flagFrance portal
Eiffel Tower in popular culture
List of tallest buildings and structures in the Paris region
List of tallest buildings and structures in the world
List of tallest towers in the world
List of tallest freestanding structures in the world
List of tallest freestanding steel structures
List of transmission sites
Lattice tower
Eiffel Tower, 1909–1928 painting series by Robert Delaunay
References
Notes
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Loyrette, p. 116.
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Harvie, p. 99.
Loyrette, p. 176.
"The Eiffel Tower". News. The Times (32661). London. 1 April 1889. col B, p. 5.
Jill Jonnes (2009). Eiffel's Tower: And the World's Fair where Buffalo Bill Beguiled Paris, the Artists Quarreled, and Thomas Edison Became a Count. Viking. pp. 163–64. ISBN 978-0-670-02060-7.
Guillaume Apollinaire (1980). Anne Hyde Greet (ed.). Calligrammes: Poems of Peace and War (1913–1916). University of California Press. pp. 411–414. ISBN 978-0-520-01968-3.
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Loyrette, p. 123.
Loyrette, p. 148.
Eiffel, G; The Eiffel TowerPlate X
Harvie, p. 110.
"Construction of the Eiffel Tower". wonders-of-the-world.net.
Vogel, pp. 20–21.
Vogel, p. 28.
Vogel, pp. 23–24.
Eiffel, Gustave (1900). La Tour de Trois Cents Mètres (in French). Paris: Société des imprimeries Lemercier. pp. 171–3.
Harvie, pp. 122–23.
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Harvie, pp. 144–45.
Eiffel, Gustave (1900). La Tour de Trois Cents Mètres. Paris: Lemercier. p. 335.
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Michelin Paris: Tourist Guide (5 ed.). Michelin Tyre Public Limited. 1985. p. 52. ISBN 9782060135427.
Watson, p. 829.
"M. Santos Dumont's Balloon". News. The Times (36591). London. 21 October 1901. col A, p. 4.
Theodor Wulf. Physikalische Zeitschrift. Contains results of the four-day-long observation done by Theodor Wulf at the top of the Eiffel Tower in 1910.
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Harriss, p. 178.
Claudia Roth Pierpont (18 November 2002). "The Silver Spire: How two men's dreams changed the skyline of New York". The New Yorker. Archived from the original on 27 February 2012.
Harriss, p. 195.
Harriss, pp. 180–84.
"HD Stock Video Footage – The Germans unfurl Nazi flags at the captured Palace of Versailles and Eiffel Tower during the Battle of France". www.criticalpast.com.
Smith, Oliver (4 February 2016). "Eiffel Tower: 40 fascinating facts". The Telegraph – via www.telegraph.co.uk.
Carlo D'Este (2003). Eisenhower: A Soldier's Life. Henry Holt and Company. p. 574. ISBN 978-0-8050-5687-7.
SETE. "The major events". Official Eiffel Tower website. Archived from the original on 31 March 2015. Retrieved 13 March 2014.
Harriss, p. 215.
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Nick Auf der Maur (15 September 1980). "How this city nearly got the Eiffel Tower". The Montreal Gazette. Retrieved 29 May 2013.
Robert J. Moriarty. "A Bonanza in Paris". Air & Space Magazine. Retrieved 4 April 2008.
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"Tour Eiffel". Thierry Devaux (in French). Retrieved 19 March 2019.
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SETE. "All you need to know about the Eiffel Tower" (PDF). Official Eiffel Tower website. Retrieved 15 April 2016.
"The Eiffel Tower". France.com. 23 October 2003. Retrieved 16 April 2016.
Denis Cosnard (21 April 2014). "Eiffel Tower renovation work aims to take profits to new heights". The Guardian. Retrieved 14 April 2016.
Darwin Porter; Danforth Prince; G. McDonald; H. Mastrini; S. Marker; A. Princz; C. Bánfalvy; A. Kutor; N. Lakos; S. Rowan Kelleher (2006). Frommer's Europe (9th ed.). Wiley. p. 318. ISBN 978-0-471-92265-0.
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User, Super. "PHARES (2015)". Milène GUERMONT.
David A. Hanser (2006). Architecture of France. Greenwood Publishing Group. p. 66. ISBN 978-0-313-31902-0.
DK Eyewitness Travel Guide: Europe. Dorling Kindersley. 2012. p. 163. ISBN 978-1-4093-8577-6.
Harriss, p. 60.
Harriss, p. 231.
SETE. "Debate and controversy surrounding the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 8 September 2015. Retrieved 2 January 2013.
"Elegant shape of Eiffel Tower solved mathematically by University of Colorado professor". Science Daily. 7 January 2005. Retrieved 24 May 2010.
Watson, p. 807.
SETE. "FAQ: History/Technical". Official Eiffel Tower website. Archived from the original on 8 April 2016. Retrieved 16 April 2016.
Caitlin Morton (31 May 2015). "There is a secret apartment at the top of the Eiffel Tower". Architectural Digest. Conde Nast. Retrieved 30 June 2015.
Mary Papenfuss (20 May 2016). "Tourists have the chance to get an Eiffel of the view by staying in the Tower for a night". International Business Times. Retrieved 21 May 2016.
Eiffel Tower, Paris, France hisour.com. Retrieved 29 August 2021
SETE (2010). "The Eiffel Tower Laboratory". Official Eiffel Tower website. Archived from the original on 12 February 2017. Retrieved 25 January 2017.
SETE. "The Eiffel Tower gets beautified" (PDF). Official Eiffel Tower website. Archived from the original (PDF) on 21 November 2015. Retrieved 8 November 2015.
SETE. "Painting the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 26 October 2016. Retrieved 25 January 2017.
"History: Development of clear span buildings – Exhibition buildings". Architectural Teaching Resource. Tata Steel Europe, Ltd. Archived from the original on 5 October 2013. Retrieved 4 January 2014.
"The Eiffel Tower". France.com. Retrieved 27 January 2018.
"Eiffel Tower (Paris ( 7 th ), 1889)". Structurae. Retrieved 27 February 2021.
Bavelier, Ariane (3 December 2013). "Coup de pinceau sur la tour Eiffel". Lefigaro. Retrieved 28 March 2009.
SETE. "Getting to the Eiffel Tower". Official Eiffel Tower website. Archived from the original on 14 April 2016. Retrieved 16 April 2016.
"Number of Eiffel Tower visitors falls in wake of Paris attacks". France 24. 20 January 2016. Retrieved 15 April 2016.
Jean-Michel Normand (23 July 2007). "Tour Eiffel et souvenirs de Paris". Le Monde. France. Retrieved 24 May 2010.
"Eiffel Tower reopens to tourists after rare closure for 2-day strike". Fox News. Associated Press. 27 June 2013. Retrieved 16 April 2016.
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"Eiffel Tower in Paris". Paris Digest. 2018. Retrieved 14 September 2018.
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Thomas, Jabari (15 September 2015). "Where you can find pieces of the Eiffel Tower in New Orleans". WGNO. Retrieved 22 November 2018.
"The Blackpool Tower". History Extra. Retrieved 6 March 2014.
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Chanson, Hubert (2009). "Hydraulic engineering legends Listed on the Eiffel Tower". In Jerry R. Rogers (ed.). Great Rivers History: Proceedings and Invited Papers for the EWRI Congress and Great Rivers History Symposium. American Society of Civil Engineers. ISBN 978-0-7844-1032-5.
Frémy, Dominique (1989). Quid de la tour Eiffel. R. Laffont. ISBN 978-2-221-06488-7.
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Harriss, Joseph (1975). The Eiffel Tower: Symbol of an Age. London: Paul Elek. ISBN 0236400363.
Harvie, David I. (2006). Eiffel: The Genius Who Reinvented Himself. Stroud, Gloucestershire: Sutton. ISBN 0-7509-3309-7.
Jonnes, Jill (2009). Eiffel's Tower: The Thrilling Story Behind Paris's Beloved Monument …. Penguin. ISBN 978-1-101-05251-8.
Loyrette, Henri (1985). Eiffel, un Ingenieur et Son Oeuvre. Rizzoli. ISBN 978-0-8478-0631-7.
Musée d'Orsay (1989). 1889: la Tour Eiffel et l'Exposition Universelle. Editions de la Réunion des Musées Nationaux, Ministère de la Culture, de la Communication, des Grands Travaux et du Bicentenaire. ISBN 978-2-7118-2244-7.
Vogel, Robert M. (1961). "Elevator Systems of the Eiffel Tower, 1889". United States National Museum Bulletin. Washington, D.C.: Smithsonian Institution. 228: 20–21.
Watson, William (1892). Paris Universal Exposition: Civil Engineering, Public Works, and Architecture. Washington, D.C.: Government Publishing Office.
External links
Eiffel Tower
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Texts from Wikisource
Travel guides from Wikivoyage
Data from Wikidata
Official website Edit this at Wikidata
Eiffel Tower at Structurae
Records
Preceded by
Washington MonumentWorld's tallest structure
1889–1931
312 m (1,024 ft)[1]Succeeded by
Chrysler Building
World's tallest tower
1889–1956Succeeded by
KCTV Broadcast Tower
Preceded by
KCTV Broadcast TowerWorld's tallest tower
1957–1958Succeeded by
Tokyo Tower
en.wikipedia.org/wiki/Eiffel_Tower
Tightrope walking
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The feet of a tightrope walker
Tightrope walking, also called funambulism, is the skill of walking along a thin wire or rope. It has a long tradition in various countries and is commonly associated with the circus. Other skills similar to tightrope walking include slack rope walking and slacklining.
Contents
1Types
2Ropes
3Biomechanics
4Famous tightrope artists
5Metaphorical use
6See also
7References
Types
Tightrope walking, Armenian manuscript, 1688
Tightwire is the skill of maintaining balance while walking along a tensioned wire between two points. It can be done either using a balancing tool (umbrella, fan, balance pole, etc.) or "freehand", using only one's body to maintain balance. Typically, tightwire performances either include dance or object manipulation. Object manipulation acts include a variety of props in their acts, such as clubs, rings, hats, or canes. Tightwire performers have even used wheelbarrows with passengers, ladders, and animals in their act. The technique to maintain balance is to keep the performer's centre of mass above their support point—usually their feet.
Highwire is a form of tightwire walking but performed at much greater height. Although there is no official height when tightwire becomes highwire, generally a wire over 20 feet (6 m) high are regarded as a highwire act.
Skywalk is a form of highwire which is performed at great heights and length. A skywalk is performed outdoors between tall building, gorges, across waterfalls or other natural and man-made structures.
Ropes
If the "lay" of the rope (the orientation of the constituent strands, the "twist" of a rope) is in one direction, the rope can twist on itself as it stretches and relaxes. Underfoot, this could be hazardous to disastrous in a tightrope. One solution is for the rope core to be made of steel cable, laid in the opposite direction to the outer layers, so that twisting forces balance each other out.
Biomechanics
Acrobats maintain their balance by positioning their centre of mass directly over their base of support, i.e. shifting most of their weight over their legs, arms, or whatever part of their body they are using to hold them up. When they are on the ground with their feet side by side, the base of support is wide in the lateral direction but narrow in the sagittal (back-to-front) direction. In the case of highwire-walkers, their feet are parallel with each other, one foot positioned in front of the other while on the wire. Therefore, a tightwire walker's sway is side to side, their lateral support having been drastically reduced. In both cases, whether side by side or parallel, the ankle is the pivot point.
A wire-walker may use a pole for balance or may stretch out his arms perpendicular to his trunk in the manner of a pole. This technique provides several advantages. It distributes mass away from the pivot point, thereby increasing the moment of inertia. This reduces angular acceleration, so a greater torque is required to rotate the performer over the wire. The result is less tipping. In addition, the performer can also correct sway by rotating the pole. This will create an equal and opposite torque on the body.
Tightwire-walkers typically perform in very thin and flexible, leather-soled slippers with a full-length suede or leather sole to protect the feet from abrasions and bruises, while still allowing the foot to curve around the wire. Though very infrequent in performance, amateur, hobbyist, or inexperienced funambulists will often walk barefoot so that the wire can be grasped between the big and second toe. This is more often done when using a rope, as the softer and silkier fibres are less taxing on the bare foot than the harder and more abrasive braided wire.
Famous tightrope artists
Maria Spelterini crossing Niagara Falls on July 4, 1876
Jultagi, the Korean tradition of tightrope walking
Charles Blondin, a.k.a. Jean-François Gravelet, crossed the Niagara Falls many times
Robert Cadman, early 18th-century British highwire walker and ropeslider
Jay Cochrane, Canadian, set multiple records for skywalking, including The Great China Skywalk[1] in Qutang Gorge, China, 639-metre-long (2,098 ft), 410-metre-high (1,340 ft) from one cliff wall to the opposite side above the Yangtze River; the longest blindfolded skywalk, 800-foot-long (240 m), 300-foot-high (91 m) in 1998, between the towers of the Flamingo Hilton in Las Vegas, Nevada, and broadcast on FOX Network's "Guinness World Records: Primetime" on Tuesday, February 23, 1999; In 2001, he became the first person to perform a skywalk in Niagara Falls, Canada, in more than a hundred years. His final performances took place during Skywalk 2012[2] with a world record submission[3] of 11.81 miles (19.01 km) in cumulative distance skywalking from the Skylon Tower at a height of 520 feet (160 m) traversing the 1,300 feet (400 m) highwire to the pinnacle of the Hilton Fallsview Hotel at 581 feet (177 m).
Con Colleano, Australian, "the Wizard of the Wire"
David Dimitri, Swiss highwire walker
Pablo Fanque, 19th-century British tightrope walker and "rope dancer", among other talents, although best known as the first black circus owner in Britain, and for his mention in the Beatles song, Being for the Benefit of Mr. Kite!
The Great Farini, a.k.a. Willie Hunt, crossed the Niagara Falls many times
Farrell Hettig, American highwire walker, started as a Wallenda team member, once held record for stee
Véhicule : IRISBUS IVECO Evadys HD (12,80m.) €4
Identification : 078011 (BP-800-DF)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Bastide - Quai de la Souys
Véhicule : MERCEDES-BENZ O345-L Conecto ME €3
Identification : 051100 (BD-601-NN)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Bastide - Quai de la Souys
Véhicules réformés le 11 Mars 2021, pour vente.
Cette série de véhicules réformés comprend :
- 023091 : IRISBUS Axer (12m.) €3
- 031035 : IRISBUS Récréo C955 (12m.) €3
- 051100 : MERCEDES-BENZ O345-L Conecto ME €3
- 053015 : IRISBUS Axer (12,80m.) €3
- 078011 : IRISBUS IVECO Evadys HD (12,80m.) €4
- 078030 : IRISBUS IVECO Evadys HD (12,80m.) €4
Réseau : n.a.
Ligne : n.a.
Service : Véhicules réformés
Destination : n.a.
16/03/2021 16:52
Dépôt Cars de Bordeaux Bastide
Rue d'Artagnan ; F-33 BORDEAUX
Extinction Rebellion mural by Ant Carver, painted in Spring 2020.
The artist writes - The idea for the piece was to convey the threat we pose to many current life forms. In the decaying section of the painting, I aimed to represent the possibility that we might bring about the 6th mass extinction in our planet’s history.
The need for drastic change feels more critical than ever in the circumstances, Covid-19 has brought the scope of the threat to human rights into sharp focus on a global scale. Many more of us are being forced to confront the exploitation at the heart of our economic and political structures. The failure of those in power to act on our behalf has never been so glaring. But change also feels more possible than ever. This is the moment to work towards a better world, but we have to act now.
My last photo from Japan.
I hesitated showing this photo because it's unlike me to photograph female strangers to exploit their beauty. But, what I like about this is that it really does show off the fashion in Tokyo. Her hair is very well groomed. Mini skirt, over the knee socks, matching heels, designer purse, and fashionable coat.
This was in the popular spot in Harajuku, but more remarkable was that she is just a stranger on her way to somewhere. This is how they dress. They have MUCH better style and fashion sense than in the US, yet they look up to us for so many different things. Americans have just become so lazy in our appearance and attire it's almost gross. We have little respect for ourselves in the work place, or just out in the town. I really enjoyed my trip to Tokyo and seeing how a society which prides itself on being respectful in all aspects of their life operates. I think we could really learn something from them.
This is coming from a guy who's been wearing a baby blue bathrobe most of the week while recovering.
Happy 2008!