Thanks for the visit, comments and favourites.

My images do not belong to the Public Domain.

All of my works are owned and copyrighted . ©

Any reproduction, modification, publication, transmission, transfer, or exploitation of this work, for personal or commercial use, whether in whole or in part, without written permission from myself is prohibited by law. All rights reserved. © ph.p.ph.

www.paolopaccagnella.com

The Exploited: Wattie Buchan (vocals) performing live in the SO36, Berlin, 27.10.19, singer, Sänger

Follow concert photography on Facebook and/or Twitter.

Processed with VSCOcam with a6 preset

The Roar of the majestic Waterfalls still in my ears, I walked a bit on a rather difficult trail into the forest. I had to turn back after less than 500 m - my feet and legs to the knees in thick red mud - , and I felt ashamed knowing that Cabeza de Vaca (see my previous photo) and his companions in the early 1540s blazed a trail for 1600 km from the Brazilian coast to Paraquay! His view of nature must have been very different from mine, of course. He'd already spent more than a decade of utter naked (!) deprivation in what is today more-or-less Mexico, and then he made this South American exploit with no hotel for a late afternoon bath at the very place he named the Saint Mary Waterfalls.

It's not without cause that in his correspondence with the Spanish Throne he writes about the harshness of it all, the deprivations in this untamed nature.

And there I am... a mere transitory with a view to those magnifcient Falls seen already my many thousands. On the other hand, only few here, I think, have eye for Spiderwort and Hoverfly. I'm afraid I can't scientifically name my finds but they sure are pretty!

German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 2330. Photo: Keystone.

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

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

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

Sources: Wikipedia and IMDb.

Gorgeous butterfly from Local Exploits, it can be found in Blacksmiths Way, Belgrave.

Véhicule : IVECO BUS Crossway LE City €6

Identification : 6843 (EA-731-BF)

Exploitant : Citram Aquitaine (Groupe Transdev)

Dépôt : Bassens

Réseau : TBM (Bordeaux Métropole)

Ligne : 130C NAVETTE SPÉCIALE TOP14

Voiture : n.c.

Destination : Gare Saint-Jean

À l'occasion d'un match de rugby pour le TOP14 au Stade Matmut Atlantique, TBM a mis en place une Navette Spéciale pour renforcer l'offre entre la Gare Saint-Jean et la Place de la Victoire.

09/06/2019 19:53

Rue Saint-Vincent-de-Paul ; Bordeaux

Véhicule : OTOKAR Territo U (12,60m.) €6

Identification : 303 (FJ-509-RA)

Exploitant : Transcom Voyages

Dépôt : n.c.

Réseau : CALIBUS Transports Scolaires

Ligne : n.c.

Service : n.c.

Destination : hors service

24/09/2019 17:47

Place des Martyrs de la Résistance ; Libourne

Deutschland / Baden-Württemberg - Mainau

Mainau [ˈmaɪnaʊ] also referred to as Mav(e)no(w), Maienowe (in 1242), Maienow (in 1357), Maienau, Mainowe (in 1394) and Mainaw (in 1580) is an island in Lake Constance (on the Southern shore of the Überlinger See near the city of Konstanz, Baden-Württemberg, Germany). It is maintained as a garden island and a model of excellent environmental practices. Administratively, the island has been a part of Konstanz since December 1, 1971, when the municipality of Litzelstetten, of which Mainau was part, was incorporated into Konstanz. Mainau is still part of Litzelstetten, now one of 15 wards (administrative subdivisions) of Konstanz.

The island belongs to the Lennart Bernadotte-Stiftung (eng. The Lennart Bernadotte Foundation), an entity created by Prince Lennart Bernadotte, Count of Wisborg, originally a Prince of Sweden and Duke of Småland. It is one of the main tourist attractions of Lake Constance. Beside flowers there is a park landscape with views on the lake. There is a greenhouse as well with tropical climate and thousands of butterflies.

Mainau Bay is the location of their university's sailing club.

Geography

Position

The island averages out at a height between 395 metres (1,296 ft) (roughly equals the lake’s average medium water-level) and 425 meters (1,394 ft) above sea level. Its highest peak is located at the Großherzog-Friedrich Terrace (historic water reservoir). Mainau Island is 610 metres (2,000 ft) long from North to South and a 1,050 meters (3,440 ft) wide from West to East. The island’s circumference is about three kilometers (1.9 mi). The shortest distance between the downwelling molasse slice and the lake’s shore is about 130 meters (430 ft).

Population

Few people inhabit Mainau Island. Due to its small amount of inhabitants, it is considered a hamlet. Meyer’s Lexikon’s issue of 1888 declared that 28 people lived on Mainau Island. During the census of 1961, a population of 123 was verified. Count Björn Bernadotte is living in the castle on Mainau Island.

Parks and gardens

Mainau Island is a "flowering island" notable for its parks and gardens. Frederick I, Grand Duke of Baden, created the island's arboretum, which now contains 500 species of deciduous and coniferous trees, many exotic and valuable, including fine specimens of Sequoiadendron giganteum (1864) and Metasequoia glyptostroboides (1952). The island also contains about 200 rhododendron and azalea varieties.

Due to the advantageous climate at the lake, palm trees and other Mediterranean plants can grow on the drop-shaped island. Because of its rich subtropical and partly even tropical vegetation, Mainau Island is also called "flowering island in the Lake Constance". Count Lennart Bernadotte, who died in 2004, liked to call his island "Blumenschiff" (engl. flower ship). He also described the famous destination as follows: "She is a coquettish little Lady, Mainau Island, who constantly demands much attention, even more love and ceaselessly new clothes." - Lennart Bernadotte. By "new clothes", he probably meant the blossoms, plants and flower-beds which are constantly renewed by the gardeners.

Apart from the historic buildings, the centerpiece of Mainau Island is the Arboretum with its 500 different types of rare and valuable broad-leaved trees and conifers, which was created in 1856 by grand duke Friedrich I. Among those is one of Germany's "oldest" dawn redwood trees (Metasequoia glyptostroboides). The tree, which originated from China, was planted on the island in 1952, when it was just 70 centimeters (28 in) tall. Particularly mighty are some exemplars of the giant redwood (Sequoiadendron giganteum). Their seeds came from California in 1853 and were planted on the island in 1864, which makes them one of the oldest of their kind in Europe. You can find the above-mentioned giant redwoods as well as Cedars, Dawn Redwoods and Tulip Poplars on the island. The Arboretum expands towards the north-west of the island.

Spring marks the beginning of the "Blumenjahr" (eng. Flower Year) with an exhibition of orchids. From March to May you can see several types of flowers in full bloom, like Tulips, Daffodils, Primroses, Forget-Me-Nots and Hyacinths. To show the full beauty of all these flowers the so-called „Frühlingsallee“ (eng. Spring Alley) was opened, which is a path across the island surrounded by beds of these plants. From May to June over 200 kinds of Rhododendrons and Azaleas are in full bloom. To the west of the "Comturey-Keller" you can find an Italian rose garden commissioned by Friedrich I. This rose garden is strictly geometric and consists of pergolas, sculptures and fountains. In general, over 1200 kinds of roses can be found on the island.

„Frühlingsallee“ leads to „Mediterran-Terrassen“ (eng. Mediterranean Terrace) where exotic plants such as palm families, agaves, cacti and bougainvillea are presented in pails during summer. Lake Constance and its surroundings as well as the Alps can be seen in a panoramic view from here. In July the blossoms of brugmansia and hibiscus are blooming on Mainau Island and in August the blossoms of passion flowers bloom.

On the southern end you can find “Südgarten” (eng. South Garden) where in autumn fields of dahlia with approximately 20,000 dahlia bushes and 250 varieties gleam from September until October. Spring and summer flowers such as different kinds of fuchsia are growing on the affiliated shore garden to the eastern side of “Südgarten”.

The “Bodenseerelief” (eng. Relief of Lake Constance) is a very popular photo motive. It is a relief with the picture of a flower which is changed by season. A small harbor with a landing place is situated to the northern side of Mainau Island. Excursion boats lay in here and another entrance to “Frühlingsallee” can be found here.

History

Until the Napoleonic mediatisations and secularisations of small German fiefs this island belonged to the Order of Teutonic Knights. It was later sold into private ownership. In 1853 Grand Duke Frederick I of Baden purchased the island as his personal property and used the palace built by the Teutonic Knights as summer palace. At the end of World War I Baden became a republic with the abdication of Grand Duke Frederick II, son of Frederick I. The former Grand Duke retained his private property including Mainau. When he died childless in 1928 the island passed to his sister Victoria of Baden, wife of King Gustaf V of Sweden. Upon her death two years later she bequeathed the island to her second son Prince Wilhelm, Duke of Södermanland and his descendants. In 1932 Prince Wilhem gave Mainau to his only child Lennart Bernadotte who owned it until 1974 when he transferred the island to a foundation. Count Bernadotte formed Enterprise Mainau GmbH in 1991 as a private enterprise to manage the island for the benefit of the Lennart Bernadotte-Stiftung. The Count remained active in managing Mainau until his death in 2004 but had appointed his second wife Sonja co-manager in 2001. Widowed, she and their children ran both the foundation and the management company until 2007. Since January 2007 Bettina Bernadotte, the eldest daughter of Lennart and Sonja, directs the Mainau GmbH as current manager, and since 2011 her brother Björn Bernadotte has joined her.

Pre- and Early History

In 1862, signs of an earlier population were discovered along the south banks of Mainau and soon exploited by domain administrator Walter: among the items were wedges, a potsherd, flint splinters, an axe and a muller. The pile dwelling settlement made up of six houses was uncovered in the 1930s and dated back to the Neolithic Age ( 3.000 b.c.). Lake-dwelling settlements of the Neolithic and the Bronze Age were located along the northern shore and the southwestern island along the shallow water zone.

(Wikipedia)

Die Insel Mainau, als Mav(e)no(w), Maienowe (1242) bzw. Maienow (1357), Maienau, Mainowe (1394) und Mainaw (1580) erwähnt, ist mit etwa 45 Hektar Fläche die drittgrößte Insel im Bodensee. Der Molassekalkfelsen befindet sich im Überlinger See genannten, nordwestlichen Teil des Bodensees. Sie ist vom Südufer des Überlinger Sees über eine Brücke zu erreichen und verfügt über einen Schiffsanleger, der von Kurs- und Ausflugsschiffen der Weißen Flotte bedient wird. Die nächsten größeren Städte sind Konstanz, Meersburg und Überlingen. Die Insel gehört zum Stadtteil Litzelstetten der Stadt Konstanz und befindet sich seit 1974 im Besitz der von Graf Lennart Bernadotte gegründeten gemeinnützigen „Lennart-Bernadotte-Stiftung“. Die gräfliche Familie ist bis heute wichtiger Teil der Attraktion der Mainau. Die Insel liegt an der Oberschwäbischen Barockstraße.

Geographie

Lage

Die Insel liegt auf einer Höhe zwischen 395 (Seeniveau bei mittlerem Wasserstand) und 425 Meter über Normalnull. Der höchste Punkt ist laut amtlichen Karten bei der Großherzog-Friedrich-Terrasse (historisches Wasserreservoir auf dem Vogelherd). Ihre Nord-Süd-Ausdehnung beträgt 610 Meter, ihre größte Breite (West-Ost) rund 1050 Meter. Der Umfang der Insel beträgt rund drei Kilometer. Die kürzeste Entfernung der abgesunkenen Molassescholle zum Seeufer beträgt 130 Meter.

Bevölkerung

Die Insel Mainau hat nur wenige Einwohner, Meyers Konversationslexikon von 1888 gab eine Bevölkerung von 28 an. Zur Volkszählung 1961 war eine Bevölkerung von 123 nachgewiesen. Auf der Insel Mainau lebt Björn Graf Bernadotte mit seiner Familie.

Anlage

Park- und Gartenanlagen

Bedingt durch das günstige Bodenseeklima wachsen auf der tropfenförmigen Insel Palmen und andere mediterrane Pflanzen. Wegen ihrer reichen subtropischen, teilweise auch tropischen Vegetation wird die Mainau auch als „Blumeninsel im Bodensee“ bezeichnet. Der 2004 verstorbene Graf Lennart Bernadotte nannte seine Insel gerne das „Blumenschiff“. Weiterhin beschrieb er das bekannte und für Besucher gegen Eintrittsgelder zugängliche Ausflugsziel mit folgenden Worten:

„Sie ist eine kokette kleine Dame, diese Mainau, die stets und ständig große Aufmerksamkeit fordert, noch mehr Liebe und vor allem unaufhörlich neue Kleider.“

– Lennart Bernadotte

Wobei er mit den „neuen Kleidern“ zuerst den immer wieder neu von Gärtnerhand gewebten Blütenüberwurf gemeint haben mag.

Herzstück der „Blumeninsel“ ist neben den historischen Gebäuden das von Großherzog Friedrich I. ab 1856 angelegte parkähnliche Arboretum der Insel Mainau mit seinen 500 verschiedenen Arten von zum Teil seltenen und wertvollen Laub- und Nadelgehölzen. Darunter befindet sich einer der ältesten Urweltmammutbäume (Metasequoia glyptostroboides) Deutschlands. Der aus China stammende Baum war 1952 als 70 Zentimeter großes Bäumchen im Ufergarten ausgepflanzt worden. Besonders mächtig sind einige Exemplare des Riesenmammutbaums (Sequoiadendron giganteum). Die Samen dieser Bäume kamen 1853 aus Kalifornien, und 1864 ließ Friedrich I. zahlreiche Bäume auf der Mainau pflanzen. Damit gehören sie zu den ältesten ihrer Art in Europa. Neben den riesigen Mammutbäumen befinden sich Zedern, Metasequoien und Tulpenbäume. Das Arboretum dehnt sich nordwestlich vom Schloss auf der Hochfläche aus.

Im Frühjahr Ende März/Anfang April beginnt auf der Mainau das Blumenjahr im Palmenhaus mit einer großen Orchideenschau. Von Ende März bis Mitte Mai blühen auf der Mainau Tulpen, Narzissen und Hyazinthen. Hierzu wurden im östlichen Teil der Insel an der sogenannten „Frühlingsallee“ parallel zum Weg Tausende von Tulpen-, Narzissen- und Hyazinthenzwiebeln gepflanzt. Ebenfalls im Frühjahr gedeihen auf der Insel Stiefmütterchen, Vergissmeinnicht und Primeln.

In der Übergangszeit von Mai und Juni zeigen sich die Blüten der 200 Rhododendren- und Azaleensorten. Westlich des Comturey-Kellers kommt man zu dem ebenfalls durch Großherzog Friedrich I. im italienischen Stil angelegten Rosengarten. Der sogenannte „italienische Rosengarten“ ist eine streng geometrische Anlage mit Pergolen, Skulpturen und Brunnen. Im Sommer betört der Duft der rund 500 verschiedenen Rosensorten, vor allem Beetrosen. Auf der ganzen Insel finden sich etwa 30.000 Rosenstöcke von 1200 Sorten. Eine Barocktreppe führt hinauf zur aussichtsreichen Schlossterrasse.

Die „Frühlingsallee“ führt zu den „Mediterran-Terrassen“ mit ihren exotischen Kübelpflanzen, wo im Sommer Palmengewächse, Agaven, Kakteen und Bougainvilleen gezeigt werden. Von hier hat man ein Panorama auf die Bodenseelandschaft. Im Juli zeigen sich auf der Mainau die Blüten der Engelstrompeten und des Hibiskus, im August die der Passionsblumen.

Südlich breitet sich der „Südgarten“ aus, wo im Herbst von September bis Oktober die Dahlienfelder mit etwa 20.000 Dahlienbüschen von 250 Sorten blühen. Im östlich anschließenden Ufergarten wachsen Frühlings- und Sommerblumen, darunter eine Sammlung verschiedener Fuchsienarten. Ein beliebtes Fotomotiv ist das Bodenseerelief, ein nach Jahreszeit unterschiedlich gestaltetes Blütenbild in Form des Bodensees.

An der Nordseite der Insel liegt der kleine Hafen mit Schiffsanlegestelle, wo die Ausflugsschiffe anlegen und es einen weiteren Eingang gibt.

Im ganzjährig geöffneten Schmetterlingshaus auf der Insel, mit etwa 1000 Quadratmeter das zweitgrößte seiner Art in Deutschland, können Besucher zwischen 25 °C und 30 °C Wärme und 80 bis 90 Prozent Luftfeuchtigkeit durch eine tropisch anmutende Umgebung mit Wasserfällen und exotischen Gewächsen gehen. Je nach Saison fliegen 700 bis 1000 bunte Falter bis zu 80 verschiedener Schmetterlingsarten, vor allem südamerikanischer Herkunft, frei zwischen den Besuchern. Rund ein Drittel der gezeigten Schmetterlingsarten vermehrt sich hier auf natürliche Weise. Doch ist es ganz unterschiedlich, wie viele Nachkommen es gibt. Aus diesen Gründen bekommt das Schmetterlingshaus wöchentliche Lieferungen von 400 Puppen von Züchtern aus Costa Rica, England und Holland. Rund 20.000 Euro beträgt das Budget im Jahr für neue Raupen. Die Gartenanlage rund um das Schmetterlingshaus wurde als Lebensraum für heimische Schmetterlinge gestaltet. Angeschlossen ist ein Duftgarten mit mehr als 150 Duftpflanzenarten.

Außer den Park- und Gartenanlagen gibt es einen Streichelzoo mit Ziegen und Ponys und den „Mainauer Bauernhof“ mit Alpakas, Hasen, Hühnern, Eseln, Schafen und Katzen sowie einige gastronomische Einrichtungen.

Für Kinder gibt es das rund 1100 Quadratmeter große Mainauer Kinderland „Wasserwelt“, einen Spielplatz mit einem 60 Zentimeter tiefen Wasserbecken, das von Flusssteinen mit einem Gesamtgewicht von rund 130 Tonnen eingefasst wird. In der Mitte des mit 170 Kubikmeter Wasser gefüllten Sees liegt eine Insel. Auf dem See können die Kinder mit Flößen umherfahren oder sich mit einer Holzfähre hinüberziehen. Rundherum stehen Holzhäuser als Klettergerüste, die laut Planern an die Zeit der Pfahlbauten erinnern sollen. Verbunden sind die Häuschen durch Hängebrücken und Kettenstege. Dazu gibt es Wasserrinnen und extra Matschtische. Falls ein Kind beim Spielen allzu tief in die Wasserwelt eingetaucht sein sollte, haben die beiden Mainauplaner Matthias Wagner und Markus Zeiler auch vorgesorgt: Am Spielplatz wurde in einem Kiosk ein Wäschetrockner aufgestellt, in dem die Eltern nasse Kleidungsstücke selbst trocknen können. Die Spiellandschaft wird wie alle anderen Spielplätze vom TÜV SÜD abgenommen und regelmäßig inspiziert.

(Wikipedia)

Véhicule : IRIZAR Integral i6 13.37 €6

Identification : _ (DY-202-ZJ)

Exploitant : SAT Pays du Mont-Blanc

Dépôt : Passy

Réseau : TER Rhône Alpes (Région Auvergne Rhône Alpes)

Ligne : n.c.

Service : n.c.

Destination : n.c.

Merci à Anthony Levrot.

28/03/2019 11:53

Gare Routière, Rue de l'Industrie ; Annecy

Véhicule : HEULIEZ BUS GX 337 €6

Identification : 159112 (DT-984-TT)

Exploitant : Keolis Cars de Bordeaux

Dépôt : Ambarès-et-Lagrave

Réseau : TBM (Bordeaux Métropole)

Ligne : Locale 92

Voiture : 9201

Destination : Mise en Ligne (St-Exupéry)

22/01/2021 15:34

Rue St-Exupéry ; F-33 AMBÈS

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.

I will claim myself. Even the darkest parts

Véhicule : IRISBUS Agora L GNV

Identification : 2288 (DD-111-XD)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

Réseau : TBM (Bordeaux Métropole)

Ligne : 18 NAVETTE SPÉCIALE TOP14

Voiture : 1802

Destination : Mise en Ligne

À l'occasion d'un match de rugby pour le TOP14 au Stade Matmut Atlantique, TBM a mis en place des Navettes Spéciales. La première est la Navette habituelle entre Brandenburg Tram B et le Stade, exploitée par Keolis Bordeaux Métropole en bus articulés. La seconde est une Navette spéciale pour l'occasion entre le Parking P8 Blanquefort et le Stade, exploitée par Keolis Gironde en bus standard.

09/06/2019 16:05

Avenue de la Jallere ; F-33 BORDEAUX

Noisy and gregarious, these cheerful exploiters of man's rubbish and wastefulness have managed to colonise most of the world. The ultimate avian opportunist perhaps. Monitoring suggests a severe decline in the UK house sparrow population, recently estimated as dropping by 71 per cent between 1977 and 2008 with substantial declines in both rural and urban populations. While the decline in England continues, Breeding Bird Survey data indicate recent population increases in Scotland, Wales and Northern Ireland.

Read more at www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a...

The House Sparrow is a small but sturdily built bird with a stout bill designed for eating seeds. Adult males are distinctive; the crown and nape are grey and only the sides of the head are brown. The black bib is wide and extends down onto the chest. The back is warm brown, streaked with black but with a few white wing feathers. Adult females and juvenile birds of both sexes are typically sandy brown in colour with brown and grey streaks on the back and wings.

Although adults will feed themselves on wide range of seeds, they need to find plenty of aphids and small caterpillars for their growing youngsters, especially in the first few days after hatching.

House Sparrows like to nest colonially, so one box on its own is unlikely to attract a breeding pair. They may nest in hedges and in climbing plants – but this does not mean that they are Hedge Sparrows or Tree Sparrows!

House Sparrows are red-listed birds of conservation concern.

Small nest box with hole (32mm)

Nest height: over 2m above ground

The nest is an untidy domed structure made of grasses, lined with feathers, hair and wool

Egg laying starts between mid March and early August. Up to four broods

4 to 5 eggs. White or pale blue with darker spots

Incubation time: 13 -15 days

Nestlings fledge after 15-17 days

For more information, please visit www.bto.org/about-birds/nnbw/nesting-birds/house-sparrow

High speed photography

A app. 2 inch long newly hatched Crested Gecko

The New Caledonian Crested Gecko, Guichenot's Giant Gecko or Eyelash Gecko, Rhacodactylus ciliatus, is a species of gecko native to southern New Caledonia. This species was thought extinct until it was rediscovered in 1994.[1] Along with several other Rhacodactylus species, it is being considered for protected status by the Convention on the International Trade in Endangered Species of Wild Flora and

The species was first described in 1866 as Correlophus ciliatus by the French zoologist Alphone Guichenot in an article entitled "Notice sur un nouveau genre de sauriens de la famille des geckotiens du Muséum de Paris" ("Notes on a new species of lizard in the gecko family") in the Mémoires de la Société Scientifique Naturelle de Chérbourg. It has since been renamed Rhacodactylus ciliatus.

The generic name Rhacodactylus is Greek in origin: Rhakos, meaning "spine" and Dactylus meaning "finger". The specific name, ciliatus, is Latin: Cilia means "fringe" or "eyelash" and refers to the crest of skin over the animal's eyes that resembles an eyelash.

The New Caledonian Crested Gecko has hair-like projections found above the eyes, resembling eyelashes. It has a wedge shaped head and the males with a crest that runs from each eye to the tail. The toes and the tip of the tail are covered in small hairs called setae. Each seta is divided into hundreds of smaller (approximately 200 nanometres in diameter) hairs called spatulae. It is believed these structures exploit the weak van der Waals force to help the gecko climb on most solid surfaces. The toes have small claws which aid in climbing surfaces to which their toes cannot cling.

The New Caledonian Crested Gecko has many naturally occurring color groups, some of which include: gray, brown, red, orange and yellow of various shades. They have variable markings, which include: spots, straight stripes and tiger-like stripes. The markings and coloration are not geographic indicators; offspring of the same clutch may display differing coloration and markings. The colors are brighter and more prominent at night.

The New Caledonian Crested Gecko has distinct structural morphs in head size and crest abundancy. Geckos with a head length less than 1.3 times its width are considered "crowned" Crested Geckos. They can vary in the amount and size of the crests; some have crests that extend to the base of the tail and some lack crests on one side of their

The Crested Gecko is endemic to South Province, New Caledonia. There are three disjunct populations, one found on the Isle of Pines and surrounding islets, and there are two populations found on the main island of Grande Terre. One population is around the Blue River, which is a protected provincial park, and the other is further north, just south of Mount Dzumac

-Wikipedia-

France, Région Auvergne-Rhône-Alpes, département de l'Ain, Massif du Jura, Région géographique du Bugey, Vallée du Valromey, Brénod

...

Le Valromey est à la fois une région historique et une vallée de France, qui au sein du Bugey, participe à la transition entre Haut-Bugey et Bas-Bugey ; elle est drainée par le Séran.

...

Toponymie

Une étymologie fausse prétend que Valromey signifie « vallée romaine » en ancien français, mais cette étymologie est sans doute victime des apparences. En effet, l'ancien français n'y était que peu parlé avant l'annexion en 1601, la langue vernaculaire était en effet le francoprovençal, langue dans laquelle cette vallée se nomme Verromey. Des attestations plus anciennes apparaissent dans les textes sous les noms de Verrumensi en 1110, Veromensi en 1142 et Verrometum en 1169. Ces évolutions de la dénomination dérivent sans doute de Venetonimagus ou plus anciennement de Vernemetonimagos.

...

Objectif entièrement manuel Laowa 12mm f/2.8 Zero-Distorsion

Citaro C2 (10/2014) aéroport Paris-Roissy exploité par Transroissy.

Ensilage d'herbe, Finistère, Bretagne - France

Année du modèle présenté : 1990

Immatriculation : D-HFVP

Pays : Allemagne 🇩🇪

Serial Number n° : 6352

Exploitant : Heli-Flight

German postcard by Ross Verlag, no. 44301/1, 1929-1930. Photo: United Artists.

Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.

Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina, and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist, and friend of the Vélez sisters recommended Lupe to stage producers, Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.

While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.

In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.

Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.

Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.

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

Cité médiévale de Pérouges (France - Rhône-Alpes - Ain)

Website : www.fluidr.com/photos/pat21

"Copyright © – Patrick Bouchenard

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

A lot of my wife's epiphyllum flowers are in bloom right now so I'm exploiting them while the exploitation is good.

I placed the flower on a mirror because I life the different view point that the reflection provides. Lighting came from a Yongnuo flash in a 24 inch soft box on either side of the flower pointed at the center. The strobes and my tripod mounted camera were triggered with a Yongnuo RF-603N.

Over the years, I've taken quite a few "Epi" pictures, and they're in my Epiphyllum Flowers album, if you like that sort of thing.

www.flickr.com/photos/9422878@N08/albums/72157680754580643

I've photographed a lot of plants and flowers, because they're all around us, work cheap, and never complain. I have an album of these images with over 1100 pictures, and for each one, I have described how I lit them, in case you're interested in that kind of thing.

www.flickr.com/photos/9422878@N08/sets/72157628079460544

Is the vulture hovering above Austria? Could also be a turtle.

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.

Véhicule : HEULIEZ BUS GX 337 €6

Identification : 169021 (EA-249-XS)

Exploitant : Keolis Cars de Bordeaux

Dépôt : Ambarès-et-Lagrave

Réseau : TBM (Bordeaux Métropole)

Ligne : Locale 93

Voiture : 9302

Destination : AMBÈS Fort Lajard - par St-Vincent-de-Paul

04/06/2020 17:24

Parc-Relais Buttinière - Arrêt de délestage

Route de Bordeaux ; F-33 LORMONT

Exploit Yellow.

X 3800

Autorail « Picasso » X 4039 en exposition sur les Champs-Élysées en juin 2003.

Identification

Exploitant(s)SNCF

DésignationX 3801-4051

Surnom"Picasso"

CompositionAutorail monocaisse

CouplageJumelage possible avec d'autres autorails

Constructeur(s)Régie Renault/ANF/De Dietrich/SACM

Mise en service1950-1961

Retrait1988 sauf X3997

Caractéristiques techniques

Disposition des essieuxB'2'

Écartementstandard

Carburantgazole

Moteur thermique1 moteur Saurer BZDSe ou Renault

Puissance continue250 kW

Transmissionmécanique

Dimensions

Longueur hors tampons21,851 m

Largeur3,090 m

Hauteur3,952 m

Masse totale31,5 t

Longueur totale21,851 m

Empattement14,201 m

Bogiesmoteur Y 107

porteur Y 108

Empattement du bogie2,600 m

Vitesse maximale120 km/h

Places

1re classe2e classeStrapontins

Classe unique

-625

1re/2e

20326

Consultez la documentation du modèle

La série d'autorails X 3800 constitue l'une des plus importantes séries d'autorails unifiés de la SNCF élaborés par la "Division d'études des autorails de la traction thermique de la SNCF" (DEA) en 1947.

Description:

L'autorail X 3800, dit unifié 300 ch et surnommé autorail « Picasso », est une série d'autorails diesel à bogies exploités par la SNCF entre 1950 et 19881. Ces autorails facilement reconnaissables à leur kiosque de conduite latéral surélevé ont été construits à 251 exemplaires, et en plusieurs sous-séries par trois constructeurs différents, à savoir par la Régie Nationale des Usines Renault (RNUR), De Dietrich et les Ateliers de construction du Nord de la France (ANF).

Vue du compartiment moteur de l'X 4039.

Ils étaient aménagés le plus souvent en deuxième classe, offraient 62 places assises et pouvaient circuler en jumelage et/ou avec une remorque. Ils étaient dotés d'un moteur Renault de type 517 G (d'une puissance unitaire de 300 ch portée par la suite à 340 ch) ou de type 575 (d'une puissance unitaire de 360 ch), ou Saurer de type BZDS (d'une puissance unitaire de 320 ch), ces derniers étant fabriqués sous licence par la Société des Forges et Ateliers du Creusot (SFAC).

Ils sont surnommés « Picasso » à cause de leur cabine de conduite excentrée et dont la forme n'était pas en harmonie avec celle de la caisse, ce qui faisait penser aux tableaux de visages peints par Pablo Picasso où les yeux, le nez étaient complètement décalés1.

La série X 3800 « Picasso » a été remplacée par la famille des Éléments Automoteurs Doubles (EAD). En fin de carrière de rares exemplaires, comme l'X 3828, eurent le toit peint en rouge.

Leur fiabilité, leur rusticité, mais aussi leur ligne si particulière avec le poste de conduite dans le kiosque, sont autant d'atouts qui ont poussé à en conserver : plusieurs exemplaires ont été préservés et sont exploités par des chemins de fer touristiques.

Services assurés

Ces autorails de puissance moyenne ont été utilisés sur la grande majorité des lignes françaises non électrifiées, dans quasiment toutes les régions. En voici quelques exemples :

Laroche-Migennes - Corbigny

Nantes - Saint-Nazaire

Annemasse - Genève Eaux-Vives (en service international)

Annemasse - Bellegarde

Bellegarde -Divonne-les-Bains

Montchanin - Besançon

Besançon - Bourg-en-Bresse

Lyon - Bourg-en-Bresse

Valence - Grenoble - Chambéry - Aix-les-Bains

Nevers -Montchanin - Le Creusot

Épinal - Saint-Dié-des-Vosges

Épinal - Remiremont

Saintes - La Rochelle

Nice - Cannes

Caen - Argentan

Nantes - Saint-Nazaire

Poitiers - La Rochelle

La Rochelle - Saintes

Rouen - Le Havre

Charleville-Mézières - Givet

Belfort - Mulhouse

Sarrebourg - Abreschviller

Vierzon - Montluçon

Nevers - Montchanin

Cahors - Capdenac

Cahors - Montauban

Agen - Montauban

Gare de Dinant - Charleville-Mézières (trajet international)

Paris - Dreux

Paris-Est - Sézanne, puis Paris-Est - La Ferté-Gaucher

Navettes Freyming-Merlebach - Petite-Rosselle

Navettes Paris-Est - Paris-Ourcq

Villefranche - Perpignan

Bollwiller - Lautenbach

(liste non exhaustive)

Dépôts titulaires[modifier | modifier le code]

Bordeaux (de 1975 jusqu'au 28 mai 1988)

Chalindrey (de 1970 à 1980)

Châlons-sur-Marne (de 1958 à 1969)

Chalon-sur-Saône (de 1964 à 1973)

Clermont-Ferrand (dès 1952)

Douai (de 1954 à 1968)

Evreux (dès 1958)

La Plaine (de 1975 à 1985)

La Rochelle - Bongrène (transférés de Saintes en 1960, jusqu'en 1976)

Laroche-Migennes (de 1965 à 1972)

Le Mans-Pontlieue (de 1951 à 1970)

Limoges (dès 1951)

Longueau (de 1970 à 1977)

Lyon-Perrache (dès 1952, puis transfert à Lyon-Vaise en 1957)

Lyon-Vaise (transférés de Lyon-Perrache en 1957, jusqu'en 1980)

Marseille-Blancarde (transférés de Marseille-Saint-Charles en 1957, jusqu'en 1975)

Marseille-Saint-Charles (dès février 1955, puis transfert à Marseille-Blancarde en 1957)

Mohon (dès 1959 et jusqu'en mai 1987)

Nancy-Heillecourt (de 1951 à 1970)

Nantes (dès 1951)

Narbonne (dès 1958)

Nevers (de 1970 jusqu'en mai 1987)

Nice-Saint-Roch (dès septembre 1954, jusqu'en 1961)

Noisy-le-Sec (dès 1959)

Rouen-Orléans (dès 1951)

Rennes (1er dépôt titulaire de France avec l'X 3801 livré neuf en 1950, puis jusqu'en 1980)

Rouge-Barres, près de Lille (dès 1951)

Saintes (de 1951 à 1960, puis transfert à La Rochelle)

Sotteville (de 1970 à 1987, sauf X 3997 modifié toujours en service en 2009)

Tours-Saint-Pierre (de 1955 à 1967)

Vesoul (dès 1951)

Vitry-le-François (de 1953 à 1960)

Engins spéciaux[modifier | modifier le code]

L'X 3953 transformé en X 93953 bleu et blanc pour la ligne de Bréauté - Beuzeville à Fécamp retransformé en X 3953.

L'X 3896 fut transformé le 23 juin 1976 par les Ateliers de Périgueux en autorail de tournée d'inspection, en remplacement du X 42511, et a reçu une livrée vert clair soulignée par des bandes en gris dauphin. À partir de 1988, cet autorail fut affecté au Service de la Recherche pour des essais dans le cadre du projet "ASTREE", première ébauche du système de signalisation ERTMS.

L'X 3900 fut également transformé en 1976 par les Ateliers de Périgueux en autorail de tournée d'inspection, en remplacement du X 42514, et a reçu une livrée vert clair agrémentée d'une bande blanche et soulignée par des bandes en gris dauphin. Il a été acheté par l'Autorail Touristique du Minervois en 1993, puis garé au dépôt de Clermont-Ferrand avant d'assurer les premiers trains pour le compte des Chemins de Fer de la Haute Auvergne (Gentiane Express) en 1997. Depuis, il stationne à Bort-les-Orgues (19) et est en cours de réfection extérieure.

L'X 3997 fut transformé en autorail de mesures de la SNCF (analyse et mesure des courants dans le rail) et a reçu une livrée gris béton, gris-vert foncé avec bandeaux orange.

Autorails préservés et en état de marche[modifier | modifier le code]

X 3814 : AATY: Association des Autorails Touristiques de l'Yonne

X 3817 : Chemin de fer touristique de la vallée de l'Aa

X 3818 : Chemin de Fer Touristique de la Traconne (racheté par la commune de Sézanne2)

X 3823 : Chemin de Fer de la Vendée

X 3824 : Collection privée (Jean-Philippe Isnard) confié à l'AGRIVAP

X 3835 : AATY

X 3837 : Chemin de fer touristique de la Vallée de la Canner

X 3838 : Chemin de Fer Touristique du Sud des Ardennes3

X 3850 : Chemin de Fer Touristique du Sud des Ardennes3

X 3853 : Chemin de fer touristique de la vallée de l'Aa

X 3867 : Agrivap, ex Train Touristique du Mont des Avaloirs (Alençon-Près en Pail), racheté par Agrivap en 2000, remis en service depuis juin 2001. Visible dans le film Etre et Avoir.

X 3876 : Auberge du chemin de Fer de Lanester (56) (tranformation en gites)

X 3886 : ARE, puis revendu à l'association "Les Autorails de Bourgogne et de Franche-Comté"

X 3890 : Association Chemins de fer du Centre-Bretagne4 (CFCB)

X 3898 : Chemin de Fer Touristique du Sud des Ardennes3

X 3900 : Autorail de Commandement, basé à Bort-les-Orgues

X 3926 : Anciennement CFTS, aujourd'hui rénové avec 1re classe entièrement d'origine par le TFBCO en vue d'une exploitation sur Mézy-Montmirail5

X 3943 : Chemin de Fer Touristique du Sud des Ardennes3

X 3944 : Restauré roulant depuis le 14 mai 2001 au Train du Pays Cathare et du Fenouillèdes6. En 2015 il est en cours de restauration intégrale et de réaménagement.

X 3953 : Train touristique de la Sarthe TRANSVAP - ancien X 93953 bleu et blanc

X 3959 : En cours de restauration au Chemin de Fer de Charente-Limousine

X 3968 : Chemin de fer touristique du Haut Quercy

X 3998 : Chemin de Fer à Vapeur des 3 Vallées - Mariembourg (Belgique)

X 4001 : Chemin de Fer du Haut Forez

X 4039 : Les Autorails de Bourgogne et de Franche-Comté

Autorails préservés puis ferraillés, ou hors-service, ou conservés pour pièces[modifier | modifier le code]

X 3801 : Chemin de Fer Touristique des Hautes Falaises (épave)

X 3810 : Train touristique du centre-Var (épave)

X 3825 : Train touristique du Cotentin, vendu en 1998 à Quercyrail (hors service)

X 3846 : Chemin de Fer Touristique du Minervois (ferraillé en 2012)

X 3847 : Musée de Mulhouse, découpé à un tiers de sa longueur

X 3865 : Train touristique de l'Ardèche méridionale, association Viaduc 07 (ferraillé en juillet 2010).

X 3866 : Chemin de fer touristique du Vermandois (hors service, en cours de restauration)

X 3871 : AATY (épave)

X 3897 : ACTA (épave)

X 3907 : Train touristique Étretat-Pays de Caux (épave et ferraillé)

X 3934 : Agrivap (détruit à la suite d'une collision avec un poids-lourd à un passage à niveau en 1998, pièces récupérées, caisse et châssis ferraillés).

X 3937 : Association de modélistes Rambolitrain, Rambouillet (78) (ferraillé, moteur racheté par Agrivap)

X 3997 : autorail de mesures (envoyé au chantier de démolition de Culoz en février 2014)

Autorail X4039 à l'arrêt en gare d'Oyonnax, mars 2014.

X 4013 : a servi de vestiaire pour une discothèque installée dans l'ancienne gare de Sancerre (18) (ferraillé)

X 4025 : préservé par l'ABFC, à Perrigny-lès-Dijon (21) (ferraillé en 2001)

X 4028 : CFT du Minervois, à Narbonne (11) - Garé au TPCF à Caudiès (ferraillé en mars 2013)

X 4042 : Musée de la Mine du Carreau Wendel (hors service)

X 4046 : Centre d’Études Ferroviaires à Denain (59) (hors service)

X 4051 : CFTA-Carhaix (hors service)

0038lr 2009 ˆ85 • Milano, Natale. Tags: - orribile/awful - sfruttamento /exploitation - schiavitù/slavery - vecchiaia /oldness miseria//misery- tortura/torture - racket - spietato /cruelty sevizie/torture disumano/inhuman - indifferenza//indifference •

Natale: tutti più buoni, tutti in giro gioiosamente a comprare roba per amici e parenti che hanno già tutto.

In mezzo a tutti c'è questa vecchia signora costretta a restare in ginocchio sul marciapiede lercio, ore e ore, immobile, al gelo, in mezzo allo smog e al rumore e ai rifiuti .

Un'orribile tortura, pubblicamente inflitta in una grande moderna ricca città democratica.

Tutto il giorno, tutti i giorni, sotto gli occhi di tutti.

Nessuno vede? Nessuno chiede? Nessuno indaga?

Nessuno aiuta lei e tutti gli altri (quanti sono, a Milano, in Italia, in Europa, nel Mondo?) nelle stesse condizioni a uscire dalla schiavitù che rende la loro vita peggio di un inferno?

Che vergogna chi lo fa, che vergogna noi che fingiamo di non vedere.

Come quelli che non vedevano i campi di sterminio...

Milan, Christmas.

Xmas: everyone is good, all people happily around to buy gifts for friends and relatives who own everything.

In the middle of this happy crowd you can see this poor old woman, compelled to stay on her knees, hours and hours, in the terrible chill, in the smog, noise, litter.

An awful torture, publicly inflict to a weak and old human being in the center of a big, modern, rich, democratic town.

Nobody sees? Nobody asks? Nobody inquires?

Nobody is helping her and all the other ones (how many in Milan, in Italy, IN Europe, in the Wordl?) that survive under the same conditiones, nobody hepls then to exit from the slavery that makes their lifes worse than hell.

It's a shame who inflicts this, is a shame we pretend not to see.

Same as those who pretended they had no notice of extermination camps.

At Bendery, Transnistria, David Stanley rode a cannonball inspired by the impossible exploits of Baron Munchausen, the main character in a 1785 novel by German writer Rudolf Erich Raspe.

The Myth

One of the great exploits of the ancient world in which many famous heroes of the generation before the Trojan War took part. When Oeneus, king of Calydon, forgot to pay due sacrifice to Artemis, the angry goddess sent a gigantic wild boar that ravaged the countryside, destroying crops and killing cattle and men. In ancient accounts of the Boarhunt, the boar seems to become more terrible over time.

Oeneus’ son Meleager gathered a large band of the best men from all over Greece to despatch the boar, including the Dioscuri, Castor and Polydeuce, yhe Arcadian Ankaios ,the seer Amophiaraus , the huntress Atalanta and many other characters according to the writers describing the myth of the Calydonian boarhunt.

Meleager had fallen in love with the beautiful Atalanta, so he was delighted when she drew first blood by shooting the boar in the back with an arrow. He himself finally killed the huge beast, and then presented Atalanta with the trophies of the hunt, the head and hide of the boar, as an acknowledgement of her skill. But in the fight over the hunt spoils that followed the Boarhunt, he tragically lost his life.

Source: March. J.R., “Dictionary of Classical Mythology”

The Mosaic

The scene is composed in three sections and nine human figures are depicted. The female hunter Atalanta can be seen on the left with Meleager nearby. Polydeuces, the horseman, is behind them in the background.

The group on the right includes Ankaios (whose figure is badly preserved). He is injured and sitting on a rock, supported by his brother, Epochus. In the same group, well-dressed Amphiaraos is hastening to attend to Ankaios’ wound.

In the background and behind this scene, Castor is seen on a horse. In the centre, the boar is running into the lake. In front of it and to the side there are two dogs and behind there are two male figures. It is possible that the defeated figure is Theseus and that it is his friend, Pirithous, who is standing and holding a javelin. The scene is surrounded by wavy band.

This the most complete example of such a scene on a mosaic floor. According to Pausanias, after the destruction of Kalydon the cults of the area (Artemis, Dionysos), as well as the of the gods, were transferred to Patras. Perhaps the scene echoes this tradition, if we consider the impact of the Kalydonian cults and especially of on the religious life of the city.

Source: Museum notice

Roman polychrome mosaic

3rd century A.D.

From a Roman residence in Patras.

Patras, Archaeological Museum

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 1

Lieu : Léon Feix (Argenteuil, F-95)

Lien TC Infos : tc-infos.fr/vehicule/35140

en haut-le-pied, avenue du 8 mai 1945, Choisy-le-Roi (Val-de-Marne (94), Île-de-France, France, FR)

Eventually the exploits of Adam Scott of Tushielaw, along with the excesses of the other border barons, sufficiently roused the wrath of King James V, that, in 1528/29, he “made proclamation to all lords, barons, gentlemen, landwardmen, and freeholders, that they should compeer at Edinburgh, with a month’s victuals, to pass with the king where he pleased, to danton the thieves of Tiviotdale, Annandale, Liddisdale, and other parts of that country". The king, like all kings of those times, being fond of deer hunting "also warned all gentlemen that had good dogs to bring them, that he might hunt in the said country as he pleased.”

Calling first at Henderland (where I am heading shortly), the king's party surprised Cockburn thereof (another well-known bandit) at dinner, and promptly strung 'im up! They then continued on, round St Mary's Loch, and on over the hills that separate Yarrow and Ettrick, via the track these days known as the Captain's Road - which reaches Ettrick Water within a mile of here. They must have ridden through at least part of the night, because Adam Scott is said to have been arrested before breakfast.

Ce carrousel fait tellement partie du décor du bord du lac que de le voir disparaître est juste impensable.

Une bonne nouvelle...

L’été dernier, en bisbille avec les autorités, l’exploitante du fameux carrousel d’Ouchy lançait une pétition pour pouvoir poursuivre personnellement l’exploitation de ce manège après le décès de son mari qui était seul titulaire de l’autorisation de l’exploiter. Pour ce faire, il était indispensable qu’elle règle ses problèmes successoraux et justifie qu’elle était l’unique héritière du carrousel. C’est aujourd’hui chose faite. Elle s’est donc vu délivrer son autorisation personnelle d’exploiter le carrousel d’Ouchy qui va ainsi pouvoir poursuivre son activité.

pretending to take a picture of Kitty just to get the guy

and no, I did not get a model release from him :)

Laura Normandin

Véhicule : MAN Lion's City G A23 CNG

Identification : 1410 (DQ-698-RE)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

Réseau : TBM (Bordeaux Métropole)

Ligne : 18 NAVETTE SPÉCIALE TOP14

Voiture : 1820

Destination : Stade Matmut Atlantique

À l'occasion d'un match de rugby pour le TOP14 au Stade Matmut Atlantique, TBM a mis en place des Navettes Spéciales. La première est la Navette habituelle entre Brandenburg Tram B et le Stade, exploitée par Keolis Bordeaux Métropole en bus articulés. La seconde est une Navette spéciale pour l'occasion entre le Parking P8 Blanquefort et le Stade, exploitée par Keolis Gironde en bus standard.

Merci à la conductrice pour sa sympathie !

09/06/2019 15:38

Avenue de la Jallere ; Bordeaux

Exploits River Central NL

Shooting into the sun...they wouldn't move for me;-)

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.

Véhicule : IRISBUS IVECO Citelis 18 GNV

Identification : 2659 (BL-004-JA)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Centre d'Exploitation du Lac (CEL)

Réseau : TBM (Bordeaux Métropole)

Ligne : Lianes 10

Voiture : 1001

Destination : GRADIGNAN Beausoleil - par Gare St-Jean

06/08/2020 12:30

Rue Sem ; F-33 BORDEAUX

Thorp's Building:

Thorp's Buildings was constructed about 1903 for Sydney Hood Thorp, a mining agent and sharebroker who had a substantial business interest in both the Ravenswood and Charters Towers goldfields. It housed businesses which supplied miners with everything from household goods to mining machinery and is the only two storey shop still standing in Ravenswood.

Ravenswood was one of several important goldfields which formed a major component in the development of North Queensland. The need to access and exploit gold finds determined the path of railways, the establishment of related industries and commerce and the location of settlements. Some of these were short lived 'rushes', where tent and shanty townships disappeared almost as quickly as they rose. Other settlements based on goldfields became established towns with government and civic buildings, shops and family homes and survived as such. A few became important centres, only to fade away as gold yields fell. Ravenswood was one of these.

Gold was discovered at Ravenswood in 1868, a few years after pastoral settlement of the area had begun. Ravenswood gold was in reefs and a small battery was first set up in 1869, followed by the Lady Marian Mill in 1870. The settlement was also surveyed at this time, but by then the goldfield itself, and the buildings and streets already established had shaped the town and the survey merely formalised what was already in place. This can still be seen clearly in the irregularity of the major streets. Ravenswood was gazetted as a town in 1871, but problems were soon encountered as the gold at deeper levels proved to be finely distributed in ore containing other minerals and was difficult to separate either by mechanical or chemical means. This required greater capital to fund various technologies for extraction. Many miners left for other fields, such as Charters Towers, discovered in 1871 and which quickly overtook Ravenswood as a gold producer and as the most important inland North Queensland town.

Despite this, Ravenswood continued to prosper due to a steady, though reduced, production of gold, the discovery of silver at nearby Totley in 1878 and as a commercial centre. By 1874, the town had a courthouse and police station, a post and telegraph office, and a school. The stability of the town was also assisted by the arrival of the railway in 1884 and the use of improved means to extract gold from ore. A new generation of public buildings began to replace those from the early days of the field.

The land on which Thorp's Buildings stands was purchased in 1881 by Ah Pong, although the first person recorded as trading from the site was Martin Braby who acquired the property in 1885. Initially a draper, he went on to become a commission and insurance agent also. In 1894 the property was purchased by Robert Stewart and James Clark and was probably leased out by them as commercial premises.

In 1899, the New Ravenswood Company was formed by A.L. Wilson who raised overseas capital, reopened old mines and used modern methods to rework tailings more efficiently. The shareholders recouped their investment in the first two years and this drew world-wide interest. It was the beginning of Ravenswood's most prosperous period, which lasted for several years.

Sydney Hood Thorpe was a sharebroker and mining agent based in Charters Towers, who had established a mining exchange there in 1887. In 1900 he set up a branch business in Ravenswood, trading as Thorp's Mining Exchange from a building in Barton Street which also housed a chemist and law library. This building was destroyed by fire in August 1901, a year of both destruction and construction in Ravenswood as the New Ravenswood Company rebuilt mining infrastructure, business improved and new commercial buildings went up following two large fires which destroyed whole blocks of the commercial area. Following the first of these in April, the Imperial Hotel and two adjoining rows of elegant shops were constructed in Macrossan Street, next to the Ravenswood Hotel. In 1902, Thorp purchased land opposite these new buildings. It is not known if Thorp ever conducted business from this address himself.

He was a shareholder in Hollimans Limited, a company that had been established in Charters Towers for some time, supplying the mining industry with household goods, guns and sporting equipment, as well as being agents for such mining essentials as steam engines, pumps, conveyors, compressors and parts for stamper batteries. They were also estate and commission agents. They opened a branch in Thorp's building in 1903 and it may have been constructed with this tenancy in mind, although they did not actually own the building until 1920. Hollimans at Ravenswood were 'machinery, hardware and timber merchants' who carried a large stock of new and second hand mining machinery and spares as well as furniture and ironmongery. Thorp's Buildings also had other tenants, including a dentist, and the upper floor may have been used as offices.

The mining boom at Ravenswood did not last and ironically, by the time Hollimans moved into the store, the population had peaked. After 1908 the cost of extraction and continued exploration rose as returns fell and by World War I it became apparent that returns would not pick up again. Buildings began to be sold for removal and in 1916 rail services were cut. In 1917 the New Ravenswood Company closed. In the 1920s most of the timber buildings in Ravenswood were moved away, although brick buildings, such Thorp's Buildings could not be moved.

Ravenswood Shire was absorbed into Dalrymple Shire in 1929 and in 1930 Ravenswood became the first Queensland town to lose its railway connection. Mining had a modest revival in the 1930s and in 1932 Robert Burns, previously a manager of Hollimans, leased the building in conjunction with a partner, John Fritz. They operated as Burns & Fritz Hardware also selling groceries and eventually purchased the building from Hollimans in 1948. In 1957, following the death of Fritz, the building was sold to Frank and Blanche Weinheimer. By the 1960s Ravenswood had reached its lowest ebb with a population of about 70. At this point, tourists began to take a growing interest in the town, studies were made of the buildings and work began to conserve them.

In 1973 the building was acquired by Sidney and Isabel Kelly but had been vacant for some time before being purchased in 1987 and renovated as an arts centre by Trevor and Pamela Nance. In the 1980s the whole town was listed by the Australian Heritage Commission and the National Trust of Queensland. In 1987 Carpentaria Gold Ltd opened a new open cut mine using modern heap leaching processes.

In 1989 Thorp's Buildings was sold to the current owners who opened a tearoom in the building, using the adjoining shop to sell arts and crafts. The upper floor was used for residential purposes. Though the shop is currently vacant, the owner still lives on the premises.

The Macrossan Street Store:

The Macrossan Street store is located adjoining Thorp's Buildings and houses two shops in a single storey brick building. It was probably constructed during a building boom in Ravenswood in the early 1900s and has had a variety of commercial tenants including a long occupancy as a bookseller, newsagent and tobacconist.

Ravenswood was one of several important goldfields which formed a major component in the development of North Queensland. The need to access and exploit gold finds determined the path of railways, the establishment of related industries and commerce and the location of settlements. Some of these were short lived 'rushes', where tent and shanty townships disappeared almost as quickly as they rose. Other settlements based on goldfields became established towns with government and civic buildings, shops and family homes and survived as such. A few became important centres, only to fade away as gold yields fell. Ravenswood was one of these.

Gold was discovered at Ravenswood in 1868, a few years after pastoral settlement of the area had begun. Ravenswood gold was in reefs and a small battery was first set up in 1869, followed by the Lady Marian Mill in 1870. The settlement was also surveyed at this time, but by then the goldfield itself, and the buildings and streets already established had shaped the town and the survey merely formalised what was already in place. This can still be seen clearly in the irregularity of the major streets. Ravenswood was gazetted as a town in 1871, but problems were soon encountered as the gold at deeper levels proved to be finely distributed in ore containing other minerals and was difficult to separate either by mechanical or chemical means. This required greater capital to fund various technologies for extraction. Many miners left for other fields, such as Charters Towers, discovered in 1871 and which quickly overtook Ravenswood as a gold producer and as the most important inland North Queensland town.

Despite this, Ravenswood continued to prosper due to a steady, though reduced, production of gold, the discovery of silver at nearby Totley in 1878 and as a commercial centre. By 1874, the town had a courthouse and police station, a post and telegraph office, and a school. The stability of the town was also assisted by the arrival of the railway in 1884 and the use of improved means to extract gold from ore. A new generation of public buildings began to replace those from the early days of the field.

The Deed of Grant for the property was issued in 1881 to Phillip Benjamin, who quickly resold it to John Ellis, a bootmaker and saddler. As this was already a commercial area, there may have been an existing store on site or Ellis may have constructed one. In 1896 he became insolvent and the property was purchased by William J McChesney, a telephone line repairer.

In 1899, the New Ravenswood Company was formed by A.L. Wilson who raised overseas capital, reopened old mines and used modern methods to rework tailings more efficiently. The shareholders recouped their investment in the first two years and this drew world-wide interest. It was the beginning of Ravenswood's most prosperous period, which lasted for several years.

The style and materials of the store suggest that it may have been built during the surge of building that occurred in Ravenswood about this time. Following a fire in 1901, the buildings on the opposite site of the street were rebuilt in brick in a flamboyant style reflecting the prosperity of the goldfield. Thorp's building adjoining the store was constructed soon afterwards. Unfortunately the boom did not last and after 1908 the town began to decline. In 1912 McChesney died and the property was purchased by Raymond W. Richards, a bookseller, newsagent and tobacconist in Ravenswood since 1902. By this time the field was in serious decline because the cost of extraction and continued exploration rose as returns fell and it became apparent that the field would not pick up again. Buildings began to be sold for removal and in 1916 rail services were cut. In 1917 the New Ravenswood Company closed.

In the 1920s most of the timber buildings in Ravenswood were moved away, although brick buildings, such Thorp's Buildings and the store, could not be moved. In 1925 the shop was sold to Phillip Dennis who opened a haberdashery, drapery, tobacconists and newsagency at the address, possibly in two shops.

Ravenswood Shire was absorbed into Dalrymple Shire in 1929 and in 1930 Ravenswood became the first Queensland town to lose its railway connection. Mining had a modest revival in the 1930s, but this had little effect on the life of the town. By the 1960s Ravenswood had reached its lowest ebb with a population of about 70. At this point, tourists began to take a growing interest in the town, studies were made of the buildings and work began to conserve them. In 1978 both Phillip and Jessie Dennis died and the property passed to Gordon Dennis who owned it until 1984, when it was purchased by the current owners.

Although the shop has had a number of commercial tenants since it was built, for a significant part of the time it has served as a newsagent, tobacconist and haberdashery. It is currently vacant.

In the 1980s the whole town was listed by the Australian Heritage Commission and the National Trust of Queensland. In 1987 Carpentaria Gold Ltd opened a new open cut mine using modern heap leaching processes.

Source: Queensland Heritage Register.

Exploitant : Transdev TVO

Réseau : R'Bus (Argenteuil)

Ligne : 1

Lieu : Gare de Sartrouville (Sartrouville, F-78)

Lien TC Infos : tc-infos.fr/id/27679