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Paris 2024 Olympics
Competing for two: Pregnant Olympians push the boundaries of possibility in Paris
PARIS
Many Olympic athletes take to Instagram to share news of their exploits, trials, victories and heartbreaks. After her fencing event ended last week, Egypt’s Nada Hafez shared a little bit more.
She’d been fencing for two, the athlete revealed — and in fact had been pregnant for seven months.
“What appears to you as two players on the podium, they were actually three!” Hafez wrote, under an emotional picture of her during the match. “It was me, my competitor, & my yet-to-come to our world, little baby!” Mom (and baby) finished the competition ranked 16th, Hafez's best result in three Olympics.
A day later, an Azerbaijani archer was also revealed on Instagram to have competed while six-and-a-half months pregnant. Yaylagul Ramazanova told Xinhua News she'd felt her baby kick before she took a shot — and then shot a 10, the maximum number of points.
There have been pregnant Olympians and Paralympians before, though the phenomenon is rare for obvious reasons. Still, most stories have been of athletes competing when they’re far earlier in their pregnancies — or not even far enough along to know they were expecting.
Like U.S. beach volleyball star Kerri Walsh Jennings, who won her third gold medal while, unknowingly, five weeks pregnant with her third child.
“When I was throwing my body around fearlessly, and going for gold for our country, I was pregnant,” she said on “Today” after the London Games in 2012. She and husband Casey (also a beach volleyball player) had only started trying to conceive right before the Olympics, she said, figuring it would take time. But she felt different, and volleyball partner Misty May-Treanor said to her — presciently, it turned out — “You're probably pregnant.”
It makes sense that pregnant athletes are pushing boundaries now, one expert says, as both attitudes and knowledge develop about what women can do deep into pregnancy.
“This is something we’re seeing more and more of,” says Dr. Kathryn Ackerman, a sports medicine physician and co-chair of the U.S. Olympic and Paralympic Committee's women’s health task force, “as women are dispelling the myth that you can’t exercise at a high level when you’re pregnant.”
Ackerman notes there's been little data, and so past decisions on the matter have often been arbitrary. But, she says, “doctors now recommend that if an athlete is in good condition going into pregnancy, and there are no complications, then it's safe to work out, train, and compete at a very high level.” An exception, she says, might be something like ski racing, where the risk of a bad fall is great.
But in fencing, says the Boston-based Ackerman, there is clearly protective padding for athletes, and in less physically strenuous sports like archery or shooting, there's absolutely no reason a woman can't compete.
It’s not just an issue of physical fitness, of course. It is deeply emotional. Deciding whether and how to compete while trying to also grow a family is a thorny calculus that male athletes simply don’t have to consider — at least in anywhere near the same way.
Just ask Serena Williams, who famously won the Australian Open in 2017 while pregnant with her first child. When, some five years later, she wanted to try for a second, she stepped back from tennis — an excruciating decision.
“Believe me, I never wanted to have to choose between tennis and a family,” Williams — who won four Olympic golds — wrote in a Vogue essay. “I don’t think it’s fair. If I were a guy, I wouldn’t be writing this because I’d be out there playing and winning while my wife was doing the physical labor of expanding our family. Maybe I’d be more of a Tom Brady if I had that opportunity.”
Williams welcomed Adira River Ohanian in 2023, joining older sister Olympia. And Olympia was the name that U.S. softball player Michele Granger's mother reportedly suggested for the baby Granger was carrying when she pitched the gold-medal winning game in Atlanta in 1996. Her husband suggested the name Athena. Granger preferred neither.
“I didn't want to make that connection with her name,” said Granger to Gold Country Media in 2011. The baby was named Kady.
At the Paris fencing venue over the weekend, fans were mixed between admiration for the bravery and determination of Hafez, a 26-year-old former gymnast with a degree in medicine, and speculation about whether it was risky.
“There are certainly sports that are less violent,” said Pauline Dutertre, 29, sitting outside the elegant Grand Palais during a break in action alongside her father, Christian. Dutertre had competed herself on the international circuit in saber until 2013. “It is, after all, a combat sport.”
“In any case,” she noted, “it is courageous. Even without making it to the podium, what she did was brave.”
Marilyne Barbey, attending the fencing from Annecy in southeastern France with her family, wondered about safety too, but added: “You can fall anywhere, at any time. And, in the end, it is her choice.”
Ramazanova, who was visibly pregnant when competing, also earned admiration, including from her peers. She reached the final 32 in her event.
Casey Kaufhold, an American who earned bronze in the mixed team category, said it was “really cool” to see her Azerbaijani colleague achieving what she did.
“I think it’s awesome that we see more expecting mothers shooting in the Olympic Games and it’s great to have one in the sport of archery,” she said in comments to The Associated Press. “She shot really well, and I think it’s really cool because my coach is also a mother and she’s been doing so much to support her kids even while she’s away."
Kaufhold said she hoped Ramazanova's run would inspire more mothers and expectant mothers to compete. And she had a more personal thought for the mom-to-be:
“I think it’s awesome for this archer that one day, she can tell her kid, ‘Hey, I went to the Olympic Games and you were there, too.’”
C’est l’arrivée de Mathieu Van Roggen, venu de Hollande, qui a dynamisé vers 1880 les CARRIÈRES DE SPRIMONT. Il les a rendues pleinement performantes par la rationalisation de l’exploitation et la modernisation de l’outil. La grande centrale électrique de 1904, devenue “Musée de la pierre”, en est le remarquable témoin. Par la suite, le groupe Merbes-Sprimont gère les propriétés jusqu’à la reprise en 1984 par la famille Brancaleoni.
Plusieurs sites sont actuellement en exploitation. La réputation de qualité de ces gisements est depuis longtemps établie et
les références de prestige en sont fort nombreuses, depuis la Grand’ Poste de Liège et le pont de Fragnée vers 1900, jusqu’au
nouveau pont haubané du Val-Benoît en 2000.
Importante capacité de production et souplesse de gestion sont les atouts premiers de l’entreprise sprimontoise.
Cette carrière de petit granit consiste en une excavation allongée, partiellement occupée par la 'décharge de classe III du Fond de Correux'. L'activité extractive a encore lieu dans la partie médiane et un grand atelier de taille est installé vers la route. Le secteur occidental, actuellement désaffecté, et les abords supérieurs de la fosse présentent toutefois un intérêt biologique: reproduction du crapaud accoucheur et du lézard des murailles; flanc nord incliné colonisé par une végétation des substrats calcaires (e.a. Catapodium rigidum, Crepis foetida, Teucrium botrys); présence de la fougère Gymnocarpium robertianum.
It was the arrival of Mathieu Van Roggen, from Holland, who revitalised the CARRIÈRES DE SPRIMONT around 1880. He made them fully efficient by rationalising the operation and modernising the tool. The large power station of 1904, which became the “Stone Museum”, is a remarkable example of this. Subsequently, the Merbes-Sprimont group managed the properties until the Brancaleoni family took them over in 1984.
Several sites are currently in operation. The reputation for quality of these deposits has long been established and
their prestigious references are numerous, from the Grand’ Poste in Liège and the Fragnée bridge around 1900, to the
new cable-stayed bridge at Val-Benoît in 2000.
Significant production capacity and management flexibility are the primary assets of the Sprimont company.
This small granite quarry consists of an elongated excavation, partially occupied by the 'class III dump of Fond de Correux'. Extractive activity still takes place in the middle part and a large cutting workshop is installed towards the road. The western sector, currently disused, and the upper edges of the pit are nevertheless of biological interest: reproduction of the midwife toad and the wall lizard; inclined northern flank colonized by vegetation of calcareous substrates (e.g. Catapodium rigidum, Crepis foetida, Teucrium botrys); presence of the fern Gymnocarpium robertianum.
Jean-Daniel Colladon, né le 15 décembre 1802 à Genève et décédé le 30 juin 1893 aux Haut-Crêts (Cologny) près Genève, est un physicien et ingénieur suisse. (Genève - Suisse)
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España - Huelva - Minas de Riotinto - Mina de Cerro Colorado
ENGLISH
According to myth, Rio Tinto is the fabled mines of King Solomon, and a section of the area is still known as Cerro Salomón today. Tales of the Iberian Peninsula's mineral wealth that drew Phoenician merchants to its shores, followed by a succession of Greek, Carthaginian and Roman invasions. The Rio Tinto mines were worked so intensively by the Romans they were among the most prized rewards that control of Iberia yielded. .
The mines were rediscovered in 1556 but it was not until 1724 the mines were reopened. Frustration, under investment, corruption and inefficiency dogged their exploitation when they were run by either the state or a series of entrepenueral lease holders. The ore was transported to port of Seville by mule and cart. Fed up with this situation, the Spanish government decided to sell the mines. Read the full history of the Rio Tinto Mines.
The mines were bought at auction at auction on 14 February 1873 by a British syndicate led by Hugh Matheson's Matheson and Company, which ultimately formed a syndicate consisting of Deutsche Bank (56% ownership), Matheson (24%), and railway firm Clark, Punchard and Company (20%) The winning bid was 92 million pesetas ( £ 3,680,000) a price later determined to be well below their real value. Especially since the bid specified that Spain permanently relinquish any right to claim royalties on the mine's production. The syndicate launched the Rio Tinto Company, registering it on 29 March 1873. At the end of the 1880s, control of the company was passed to the Rothschild family, who greatly increased the scale of its mining operations.
In true Anglo-Saxon style, the company's British managers soon had the mines running at full steam, literaly by construcing a railway to the coast to export the ore and bing in workers. Rio Tinto became one of the most important sources of copper and sulphur in the world. From 1877 to 1891, the Rio Tinto Mine was the world's leading producer of copper.
After difficulties during the Spanish civil war, the second world war and General Francos nationalist polocies the Rio Tinto Mining Company sold two thirds of its shares in 1954 (and the rest a few years later) The mines were taken over by Compañía Española de Minas de Riotinto, later Unión de Explosivos Riotinto, Riotinto Patiño, Riotinto Minera and lastly Minas de Riotinto S.A.L. Due to the falling price of minerals the mines were closed in 2001.
The "Parque Minero Riotinto" was set up in 1992, so that visitors can learn about the important history of these mines. It comprises a museum, a typical victorian mining engineeers house, a guided visit to the mines, and a train ride on the mining railway alongside the red coloured Rio Tinto.
EMED Tartessus a Spanish company owned by the multinational EMED Mining is restablishiing mining activity in Riotinto. In 2014 preparatory works begain with earth moving machinery operative again. On the 17th April 2015 the earth shook in Rio Tinto for the first time in 14 years at the company used 6.500 tonne of explosive to remove 28.000 tonne of sterile rock.
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ESPAÑOL
La historia de las Minas de Riotinto se remonta a las primeras civilizaciones organizadas. Ya en la Edad del Cobre el desarrollo de la mina, estaba unido al de las propias civilizaciones: tartesos, fenicios... Pero el desarrollo minero en esta época llegó con los romanos. La introducción por parte de éstos de nuevas técnicas permitió la continuación de los trabajos mineros. Los restos de escorias encontrados nos dan a conocer un gran desarrollo de la minería en aquella época, en la que ya se asientan civilizaciones almohades que obtienen de las minas tintes medicinales, estando poco desarrollada la minería extractiva.
En 1873, un consorcio británico compra las minas al Estado por 92 millones de pesetas y funda la Rio Tinto Company Limited. La compañía brindó el resurgir de Riotinto, se abrieron cortas de explotación y se desarrolló la minería interior.
En 1954, las minas pasan nuevamente a manos estatales. Tras esto, varias han sido las empresas que la han explotado: Compañía Española de Minas de Riotinto, Unión de Explosivos Riotinto, Riotinto Patiño, Riotinto Minera y por último Minas de Riotinto S.A.L. hasta su cierre en 2001, ya que el bajo precio de los metales no rentabilizaban la explotación. Desde entonces ha atravesado varias crisis que han hecho que la minería de Riotinto haya entrado en un túnel de difícil salida.
Desde 2007 el precio de los metales subieron debido a la demanda creciente de los países emergentes como China e India. Actualmente el yacimiento de Cerro Colorado se encuentra en proceso de reactivación a manos de la empresa de minería chipriota Atalaya Mining. El proyecto tiene una vida de 14 años con expectativas a aumentar dicha vida a 25 años. A fecha de hoy, enero de 2016, la mina se encuentra en explotación con un tratamiento de 5 millones de toneladas de mena al año
Exploiting my own designs is something I planned to do during my retirement days. But hey! I am retired!
LA PLUS GRANDE CATHEDRALE PEINTE EN EUROPE : 18 500 m² de fresques et décorations en font la plus grande cathédrale peinte en Europe. Elle se lit comme une Bible illustrée.
À la fin de la première décennie du XVI e siècle, Louis II d’Amboise, évêque d’Albi, recrute pour orner sa cathédrale un atelier de peintres italiens venus de l’Émilie. Ils travaillent de 1509 à 1513 et font de Sainte-Cécile la plus grande église peinte de la chrétienté latine, y déployant le programme pictural le plus ample et le plus précoce réalisé en France à la Renaissance.
Pour leur part, les voûtes couvrent environ 1900 mètres carrés. Elles se présentent comme une ouverture sur le Ciel divin, le Paradis, les félicités mystiques de l’Église triomphante. Elles composent également un miroir de la doctrine catholique, un catéchisme en images, qui inscrit le temps sur fond d’éternité.
Elles évoquent « ce que l’oeil n’a pas vu, ce que l’oreille n’a pas entendu, […] tout ce que Dieu a préparé pour ceux qui L’aiment » (Saint Paul, I Corinthiens, 2, 9). La veine légère et colorée du Quattrocento a permis aux peintres d’exprimer par des signes concrets les fulgurances situées au-delà du sensible. Ils ont figuré le Royaume céleste non comme un lieu corporel de délices et de beauté, mais comme un état plus spirituel que matériel, l’union glorieuse de Dieu et des élus. Une foule d’anges musiciens fait entendre les hymnes éclatantes dont retentit le Ciel.
Un long cortège d’élus, patriarches, prophètes et saints rappelle les étapes de l’histoire du salut à travers l’Ancienne et la Nouvelle Alliance. Quatre grandes scènes figurées montrent que cette histoire converge vers le Second avènement du Christ, à la fin des temps, par la médiation de l’Église et de ses pasteurs. Des détails précisent les voies de l’élection : l’enseignement des clercs, la pratique des vertus et des sacrements, l’accomplissement des cérémonies liturgiques.
Une certaine fantaisie intervient dans ce programme, sans nuire à sa cohérence. Les artistes émiliens se sont délectés à varier les attitudes des personnages et les architectures, n’hésitant pas à emprunter un certain nombre d’éléments au répertoire du grotesque. Cette jubilation créatrice s’accorde magnifiquement avec le thème qu’ils avaient à traiter ; le flamboiement des ors, les grands aplats d’azur et la polyphonie des couleurs abolissent les frontières entre la terre et le Ciel, révélant la Jérusalem céleste, exaltant la fonction médiatrice de la cathédrale et du service divin qui s’y trouve célébré chaque jour. On peut affirmer que l’adéquation parfaite entre le projet et sa réalisation constitue l’ensemble des voûtes de la cathédrale Sainte-Cécile en chef-d’œuvre absolu de la peinture monumentale.
Louis II d'Amboise a confié l'ornementation du plafond de Sainte Cécile à des peintres italiens originaires de Modène et de Bologne. Ceux-ci ont entrepris ce chantier entre 1509 et 1512. Les fresques de la voûte (1509-1512), riches en couleurs et aux dimensions exceptionnelles (97m de long sur 28 m de large), forment l'ensemble de la peinture renaissance italienne le plus vaste et le plus ancien de France.
Ce bleu profond qui tapisse les voûtes au dessus du chœur est ce fameux "bleu de France" qu'on dit aussi "bleu-roi". Contrairement à ce qui a longtemps été mentionné dans les guides touristiques, ce bleu ne provient pas du pastel (plante tinctoriale donnant une couleur bleue cultivée dans la région à la même époque). En effet, le bleu de pastel n'était exploité que pour la teinture, car on ne savait pas en extraire les pigments et les utiliser sous forme de peinture.
Les voûtes de la cathédrale sont conçues comme un ciel immense et bleu, sur lequel se développe un décor de rinceaux, d'arabesques, de candélabres, cadre de scènes au contenu pastoral.
Depuis le thème d'Adam et Eve, jusqu'à l'Annonciation, sont représentés tous les personnages importants de l'Ancien et du Nouveau Testament, dans une ordonnance qui culmine avec le Christ en majesté. Deux travées mettent en image Sainte-Cécile, patronne du lieu.
Les couleurs sont certainement des produits chers. L'azurite, pigment bleu issu d'un composé de carbonate de cuivre, vient de Chessy. La malachite, pigment vert, est plus rare. L'éloignement des gisements renchérit la couleur, sans compter les feuilles d'or utilisées.
Le travail des fresques, se fait en peignant un enduit frais. (fresco signifie frais en italien) Le chantier devait être organisé pour que le mortier soit gâché, monté sur les échafaudages et enduit sur les murs avant que les artistes ne commencent leur travail de précision
This was a cosplayer form last years Brighton Japan festival. I have only just got around to putting this montage together, not only do I have upload queue I have quite a few montages dating back a while that I have not put together. The Brighton Japanese is happening again now till 22nd of Sep and is gonna be bigger and better than last year. Check al the events on there site: http://www.brightonjapan.com/.
You can see more of my montage portraits in this Flickr set. I've also just posted a few montage portraits to my blog that might of previously posted to Flickr. If Tumblr is your thing you might want check out my fragmented portraits Tumblr blog.
I also have a Tumblr blog called lomokev's tit bits where I post my work and the work of others that I find interesting.
And while I am pimping my online exploits you can check me out on Facebook, Twitter and Google+.
ENGLISH :
This is not a natural lake, it is a basin used to collect the potash which is exploited on a large scale here.
Parc Gérard CAPIFALI, Maire 2001-2005, Solliès-Pont (Var)
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"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."
Exploitation familiale transmise de père en filles, le Domaine d’Ardhuy est situé à la frontière entre la Côte de Beaune et la Côte de Nuits, autour de son vignoble emblématique « Le Clos des Langres ».
Le Domaine d’Ardhuy est guidé par une ligne directrice forte : produire de beaux raisins et de beaux vins, représentatifs de leur terroir. Cette finalité n’est atteinte que grâce à l’addition de plusieurs savoir-faire : le travail méticuleux et exigeant de la vigne, rythmé par les saisons, le respect de nos terroirs, l’attention portée lors de la vendange, la précision et la diversité des vinifications, la délicatesse des élevages en fûts, la maîtrise de la mise en bouteille. Le tout afin de garantir des vins de qualité et la promesse d’un authentique voyage gustatif.
Le Domaine d’Ardhuy a obtenu la certification en Agriculture Biologique et Biodynamique à partir du millésime 2012 pour l’ensemble de son vignoble. En février 2018, suite à des millésimes difficiles, il a été décidé de faire une pause de la certification afin d’engager un travail de fond sur nos pratiques culturales, toujours dans le respect du terroir et de l’environnement. L’objectif du domaine est celui d’un retour progressif à la certification AB dans un premier temps, à partir de 2024. Ils se sont engagés dans la certification environnementale à partir du millésime 2019, pour lequel ils sont certifiés Haute Valeur Environnementale Niveau 3.
Modèle : IVECOBUS Urbanway 18 GNV
Numéro de parc : 2164
Immatriculation : GG-547-WD
Mise en service : juin 2022
Exploitant : Keolis Bordeaux Métropole
Réseau : TBM
Ligne : Lianes 10
Destination : BORDEAUX Jardin Botanique
Lieu : Rue Amédée St Germain
Infos complémentaires : VNE442CPX00313402
Cigarettes with names like Hope, Fortune, Mighty ... sold on the streets of Iligan, Philippines by a child.
Jacqui's work catches the eye and challenges the mind.
It's all about putting ideas into action, exploiting many materials and techniques in order to get a message across.
She uses a powerful graphic instinct together with the intimacy of the hand-stitched line to create work that feels highly spontaneous, very lively, moving and thoroughly engaging.
Her Christian faith underpins all her art. She often includes words, sometimes precise extracts from the bible, or words that sum up ideas and feelings to form part of a graphic narrative and to draw the viewer in. Typically, her pieces have great impact from a distance; they engage the viewer, then encourage close inspection and contemplation.
Exploitant : SETRAM
Réseau : SETRAM
Ligne : 5
Lieu : Saint-Martin (Le Mans, F-72)
Lien TC Infos : tc-infos.fr/id/5895
Here's another look at the poppies that I'm currently exploiting.
I particularly wanted backlighting with these flowers, so I put a bare YN560-II behind and to the right at about 1 o'clock, a Strobie 130 in a softbox camera left and behind at 11 o'clock and for fill lighting I used a YN560 in a softbox camera right, in front, at 4 o'clock. Strobes were in manual mode and were triggered by a Yongnuo RF-603N.
Other plants, flowers, fruit or thingys that I've photographed using strobes, can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422
Exploitant : SPL TransUrbain
Réseau : TransUrbain
Ligne : T6
Lieu : Pôle d'Échanges SNCF (Évreux, F-27)
Lien TC Infos : tc-infos.fr/vehicule/17739
A Saint Guilhem-le-Désert, poussent des oliviers qui sont toujours cultivés, entretenus et exploités pour leurs fruits ; les petites "picholines".
If only all graffitti were drawings from nature.
Copyyright © Mudcat2010 2013
let's all play fair, don't without my permission copy, reproduce, download, distribute or exploit in anyway. Remember what you learned in Kindergarten
"Little cloud"
(COTE D'OR 2018)
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"Côte d'Or" Squadron
Alpha Jet - EE 05.002 "Côte d'Or" - Meeting de la BA 102 Dijon-Longvic 2008 (Côte d'Or)
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"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
"Circumflex"
Château de Nagoya (Japon)
La construction du château de Nagoya a été achevée en 1612.
Au cours de l'époque d'Edo, le château de Nagoya était le centre de l'une des plus importantes villes possédant un château et l'une des principales étapes le long de la route Minoji qui reliait la route Tokaido à la route Nakasendō.
Jusqu'à l'ère Meiji, le château était la demeure du clan Owari Tokugawa de la famille Tokugawa. Il a été détruit par un incendie durant la Seconde Guerre mondiale, mais le donjon a été reconstruit. (Wikipédia)
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"Copyright © – Patrick Bouchenard
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feelingthecolor.wordpress.com/2013/08/15/day-107-exploiting/
Found this excavator in a quarry near my hometown. There is a mountain that is mined for some years for its chalk to make cement from it. As you can see the place looks deserted and few pass by in those parts. It was interesting to see the people working there but was amazing when this excavator approached and I could see that it's not that tiny as it looked in the distance.
A backdoor is a means to access a computer system or encrypted data that bypasses the system's customary security mechanisms.
A developer may create a backdoor so that an application or operating system can be accessed for troubleshooting or other purposes. However, attackers often use backdoors that they detect or install themselves as part of an exploit. In some cases, a worm or virus is designed to take advantage of a backdoor created by an earlier attack.
Whether installed as an administrative tool, a means of attack or as a mechanism allowing the government to access encrypted data, a backdoor is a security risk because there are always threat actors looking for any vulnerability to exploit.
There have been a number of high-profile backdoor attacks that have occurred over the last few decades. One of the most noteworthy was Back Orifice, created in 1999 by a hacker group that called themselves Cult of the Dead Cow. Back Orifice enabled remote control of Windows computers thanks to operating system vulnerabilities.
Morpho bleu - Monteverde (COSTA RICA 2019)
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"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Big German card by ISV, no. PX 3.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Well part of it anyway.... this image from near Seahouse's looking back towards Bamburgh Castle the Farne Islands are off towards the right as we look at this image well known to ornithologists and historians for Grace Darling and her Dad's exploits
America’s automotive history is rich with the exploits of Erwin George Baker, an early-20th-century swashbuckler who set scores of speed and distance records with machines as diverse as Indian motorcycles; cars from Stutz, Cadillac, and Wills Sainte Claire; and even a Buick truck. However, the most memorable drive by the man known as “Cannonball” Baker was his 1933 cross-country dash from New York City to Los Angeles in a Graham Blue Streak Eight, completed in an astonishing 53 1⁄2 hours. The record stood for nearly four decades.
History--
Joseph, Robert, and Ray Graham formed their company after selling their truck-building operation to Dodge in 1926 and, in 1927, taking control of the Paige-Detroit Motor Car Company. The brothers sold more than 73,000 cars in 1928, but four years later, at the height of the Great Depression, they needed a bold new model to turn around their sinking fortunes. The scholarly Amos Northup, a pioneer of streamline design who worked for Murray, a Detroit-based supplier of body stampings, came to their rescue for the 1932 Blue Streak Eight. In an era of styling conventions defined by upright grilles and cycle fenders, Northup’s sloped-back grille and skirted fenders were a breakthrough. Only about 13,000 of the new sedans, coupes, and convertibles sold, but competitors took note. By 1934, nearly every new car in America had skirted fenders in place of what previously had been little more than planks over the front and rear tires.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the link below:
Town Hall Square (Vienna)
The inner part of the town square
Street sign town square
The Town Hall Square is located in the first District of Vienna, Inner City. It is named after the erected here (new) Vienna City Hall. Due to its size, design and architecture of the buildings bordering the square it is considered one of the most important places in the center of Vienna.
History
Vienna City Hall, View from 1891
In the area of today's town square was once the Josefstädter Glacis, a meadow terrain held as a free field of fire before the walls of Vienna and later the parade and drill ground of the Imperial Army. During the construction of the Ring Road from 1858 this military site remained untouched for some time until the army after long efforts of Mayor Cajetan Felder had renounced and the City Expansion Found could develop a Baulinienplan (building line plan) for the area. During this time, other locations were considered for the City Hall.
Now the Town Hall Square, the largest square in the recessed ring road zone was provided. The northern and southern part of the square shaped city gardener Rudolf Siebeck 1872/1873 as City Hall Park, the central part of the square, the axis Town Hall-Burgtheater, was kept free. 1873, the foundation stone was laid for the construction of the New Town Hall. 1874, work began on the Town Hall at the former Franzensring opposite the Burgtheater and the south of the square adjacent parliament building (north side front: Town Square 6). From 1877 on, the new main building of the University of Vienna (southern side front: Town Square 5 ) was built. Are installed on the three sides of the square five blocks with nine house numbers (No. 1 to No. 9), the fourth side is bordered by the Ring.
In course of time the name of the place changed four times. In 1870 it was created as Town Hall Square, renamed in 1907 after the incumbent Christian Social mayor in Dr.-Karl-Lueger square. The since 1919 dominant Red Vienna this appeared to be inappropriate, as Lueger in Vienna had prevented the universal and equal male suffrage, in 1907 introduced at state level. Therefore, the of a private committee donated Lueger monument under the rule of mayor Karl Seitz was not, as intended by the Committee, on the Town Square erected but built in 1926 on a previously unnamed square corner Wool Line/Stubenring and this place in the same year named Dr.-Karl-Lueger square named. The Town Square was returned its original name. In 1938, the place was again renamed into Adolf Hitler square, what was reversed in 1945.
Christmas Market at City Hall
The large space between City Hall and the Burgtheater was used by all the rulers for political rallies. Since 1921, its current form dating back to 1929 and interrupted from 1933 to 1945, it is the traditional final rally of the Vienna SPÖ Maiaufmarsches (May-Procession) on 1 In May at the Town Hall Square. In addition, the space is exploited for most of the year for cultural and social events. The most important of them since 1975, the Christmas market in November and December, the Vienna Ice Dream in January and February, the opening of the Vienna Festival in May and open-air cinema screenings with classical music in July and August. The Life Ball at Vienna City Hall refers also to the town square. Traditionally, a since 1959 every year from one of the states erected large Christmas tree as a gift to the federal capital.
Location and characteristics
The Town Hall Square is located between the extended Grillparzer street to the north, the University Ring to the east, the extended Stadion alley in the south and the extended Reichsrats street in the West. Except the ring on which there are no buildings on this side of the street, bear the buildings that are in the course of these streets at the place, house numbers of the Town Square. Stadion alley and Grillparzer street end before the square, the Reichsrats street is interrupted by the square.
About two-thirds of the space area of 40,000 m² are occupied by the City Hall park which is divided by a blocked to traffic, very wide access road between the Burgtheater and the Rathaus, offering space for events, into a northern and southern half. The Town Square is lined by some of the most important monumental Rings Road constructions in historicist style. In the square itself is a large number of monuments and statues. Thus, the town square is one of the most representative places in Vienna.
The tram lines 1 and D operate on the Ring Road and have at the City Hall Square opposite the Burg Theatre and at the corner of Parliament stops. Coming from the south and turning from the ring, operates tram line 2 on the southern edge of the Town Square to Stadiongasse. The individual passage traffic runs heading north on the eastern edge of the square on the Ring Road in the opposite direction behind the Town Hall on the two-line (Zweierlinie). Cycling trails pass off on the Ring Road and at the Grillparzer street and Stadion alley. Behind the Town Hall runs the subway line U2 to the City Hall with the subway station as shuttle to City Hall and City Hall Square.
Building
City hall
The central building in the middle of the west side of the Town Square is the City Hall, built in 1873-1883 by Friedrich von Schmidt, New Town Hall, Town Hall called only since about 1970. The powerful, dominating the square building was designed by the Dutch Gothic models. It should express the political power of the strengthened bourgeosie against the monarch and the aristocracy.
The City Council has at the Town Hall no main entrance or direct access to the arcade court, they are located on the side fronts of Felder Street and Lichtenfels alley, another entrance is at the rear front at the Friedrich-Schmidt square. From the Town Hall itself essentially the so-called People's Hall on the ground floor of the Town Hall via a staircase outdoors is accessible (entrances centered under the Town Hall Tower and left and right). The People's Hall is occasionally used for exhibitions. At the corner towards Felder street there is the exit to the restaurant Rathauskeller/Town hall cellar.
Arcade, Town Hall Square 2-4
Foyer with ceiling painting Apotheosis of Vindobona, Town Hall Square 4
No. 2, 3 and 4: Arcade Shops
The block north of City Hall was built in 1880-1883 by Franz von Neumann. Plan requirement was to equip the buildings (such as on the west side of the Imperial Parliament Street, in the course of which they are) at the town square with arcades. Held in the old German style, houses have remarkable corner projections made with domes. At the central projection there are respectively balconies on herma. The attic floor is decorated with stucco relief female figures. The rib-vaulted arcades are painted with grotesques by Franz and Carl Jobst and equipped with cast iron lanterns. Particularly important are the foyers on No. 4 (and at the back of the block on the Ebendorfer street 4). Frieze reliefs show the allegories of commerce, the arts and trading. A large ceiling painting depicts the apotheosis of Vindobona. Lanterns and railings are made of wrought iron.
No. 5: University of Vienna, Main Building
Town Hall Square and front side of the university's main building in 1900
The Town Hall Square side facing the front of the main university building today (2007 )
On the north side of the town square is the front side of the main building of the University of Vienna. The main work of the late phase of the strict historicism was built in 1873-1884 by Heinrich von Ferstel. The 29-axle side facade is broken repeatedly by risalits as well as by half and full columns. Statues of Anton Schmidgruber and Franz Koch stand in relation to the Philosophical faculty. The building has no open entrance here.
No. 6: Parliament
On the south side of the town square is the side front of the parliament building, which was built as Reichsratsgebäude for Cisleithania. It is the most important work of the architect Theophil von Hansen that the latter one founded 1871-1883 by ancient Greek models. At the Town Hall Square, the Parliament has a covered side entrance, originally a carriage way.
No. 7, 8 and 9 houses with arcades
Dome on the corner risalt, Town Hall Square 7
South of the Town Hall is located one block of houses with arcades, built 1877/1878 of City Hall architect Friedrich von Schmidt and Franz Neumann in old German forms. These were the first houses with arcades of City Hall district. Dominant are domes on corner risalit and central dome, bay windows, balconies, putti frieze and statues of Venus and Mars on the facade. In the rib-vaulted arcades are embedded gates with half column portals and acroterion figures. The lobbies are decorated with stucco ceilings, among other rich and grotesque painting. At No. 8 is located under the arcades the in City Hall circles famous café and pastry shop Sluka.
City Hall Park
At the request of Mayor Felder the City Hall Park was created as a complementary recreation area in the Ring Road zone. It is a strictly historicist Park, which was created as the city park of city gardener Rudolf Siebeck. The green area is north and south of a link road from the Burgtheater on the Ring to the City Hall laid out, which extends space-like in front of City Hall. In each of the two parts is a Rondeau Park with fountains, which are intended to highlight the two Viennese spring water lines and were financed by the builder Antonio Gabrielli.
Orientation plan
Under the old trees of the park there are five trees that are designated as natural monuments in Vienna. A lime in the southern part of the park was planted on the occasion of the 50th anniversary jubilee of Emperor Franz Joseph I in 1898, an oak tree, also in the southern part of the park in 1906 for the then incumbent mayor Karl Lueger. Winding paths lead through the two parts of the park. The garden fence is original historicist. In the northern part of the park is a large children's play area. A 1890 in the southern part of the park built weather house, destroyed during the Second World War, was renewed in 1955 with mosaics of Mary Biljan-Bilger. The modern toilet facilities were designed by Luigi Blau.
Monuments
Waldmüllerdenkmal (Monument) by Josef Engelhart, 1913
The Town Hall Square is home of a number of monuments, they are described here from the ring road starting.
(Disabled) access from the Burgtheater to City Hall
At the beginning of this approach is, turning off the Ring Road, left the monument to Theodor Körner, mayor, then President of the Second Republic, by Hilde Uray, bronze statue, 1963,
right of the monument to Karl Seitz, first head of state of the First Republic, then mayor in Red Vienna, by Gottfried Buchberger, bronze statue, 1962.
Directly between the two parts of the park in 1902 eight stone monuments of significant figures in the history of Vienna were placed four at each park side facing each other. They had been established in 1867 on the balustrades of the former Elizabeth Bridge over the river (Wienfluss) on Karlsplatz. When in 1897 the bridge was demolished in this area because of the light rail construction and the resulting vaulting of the Wienfluss, the eight monuments first have been put along the then still in the incision extending new light rail line on the Karlsplatz, where they but heavily by the soot of steam locomotives polluted monuments were popularly called eight chimney sweepers. Therefore, they were transferred to the town square later:
left ( south side):
Margrave Henry II Jasomirgott from the House of Babenberg, by Franz Melnitzky
Duke Rudolf the founder of the House of Habsburg, of Josef Gasser
Ernst Rüdiger von Starhemberg, defender of Vienna (second Turkish siege), by Johann Baptist Fessler
Johann Bernhard Fischer von Erlach, Baroque architect, Josef Cesar
right (north side):
Duke Leopold the Glorious from the House of Babenberg, by Johann Preleuthner
Niklas Graf Salm, defender of Vienna (first siege of Vienna), by Matthias Purkartshofer
Archbishop Charles Leopold of Kollonitsch, spiritual leader of Vienna (second Turkish siege), Vincenz Pilz
Joseph of Sonnenfels, judicial and administrative reformer of Maria Theresa, by Hanns Gasser (replaced in the Nazi era in 1939 by a statue of the composer Christoph Willibald Gluck, re-erected after 1945)
Next to the town hall (tower), outside of the southern part of the park: replica of the Vienna City Hall man at the top of City Hall tower in scale 1: 1, by Fritz Tiefenthaler, 1985
Southern part of the city hall park (towards Parliament)
At the corner of Park Ring/Parliament, addressed to the ring: Karl Renner, the first Chancellor of the First and first president of the Second Republic, portrait head of Alfred Hrdlicka on monument structure of Josef Krawina, 1965-1967
Josef Popper-Lynkeus, social ethicist, stone bust of Hugo Taglang, 1926. As artist and represented were Jews, the bust was removed in the Nazi regime in 1938, restored in 1951 according to the plaster model.
Johann Strauss (father ) and Joseph Lanner, statues of Franz Seifert, 1905, Art Nouveau, the bronze sculptures stand in front of a curved wall with marble reliefs of ball scenes and a poem by Edward von Bauernfeld. This concept and the architecture created Robert Oerley.
Northern part of the city hall park (towards the University)
Ferdinand Georg Waldmüller, marble monument of Josef Engelhart, 1913, Art Nouveau
Ernst Mach, physicist, of Heinz Peteri, 1926
Adolf Schärf, vice chancellor, then president of the Second Republic, bronze bust of Alfred Hrdlicka, 1985
The most recent monument in the park, built in 1993, commemorates the wartime destruction of Vienna in 1945 and was by Hubert Wilfan under the title Yesterday - Today created from stone.
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2610 (BC-388-WN)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1809
Destination : Mise en Ligne
À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.
18/06/2016 15:56
Rue du Vergne ; F-33 BORDEAUX
Mercedes-Benz Intouro ME n°093225 Ex-Keolis Nord n°093225 et Mercedes-Benz Intouro M n°093476 Ex-Keolis Territoires Nancéiens n°093476 de Keolis 3 Frontières du réseau LE MET' pour équipement de la billettique au Centre d'Exploitation et de Maintenance des TAMM. L'Intour ME n°093225 remplace désormais l'Axer de la ligne scolaire S286.
The exploitation of mines began from the German company “SPEIDEL” in 1905 and it ceased in 1912 due to the First World War. The exploitation was continued by Vielle Montagne in 1925 until 1930 when they interrupted the operation owing to the financial crash. In 1957 another company poached on the mines in parallel with a Greek one. However, all the activities in the region stopped in 1963. (Taken from www.thassos-view.com/experiences/sightseeing/metalia)
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Exploitant : Keolis Argenteuil Boucles de Seine
Réseau : IDF Mobilités – Argenteuil – Boucles de Seine
Ligne : G
Lieu : Gare du Vésinet – Le Pecq (Le Vésinet, F-78)
Lien TC Infos : tc-infos.fr/vehicule/35427
Exploitant : Régie Ligne d'Azur
Réseau : Lignes d'Azur
Ligne : 7
Lieu : Port Lympia (Nice, F-06)
Lien TC Infos : tc-infos.fr/vehicule/28154
Marble sarcophagus dating from 220–230 AD from Attica, displayed at the entrance of Archaeological Museum of Thessaloniki, Greece. The cover resembles a mattress where a couple is couching and scenes of battles between Greeks and Amazons are depicted on the sides. The sarcophagus was pictorially chosen as a symbol of Death.
DEATH frightens or scares almost all of us, human beings. It is this very Fear of death that religions have long exploited or manipulated for their own benefit, for their continued existence. Still, such a “use” of the fear of death has been on the basis of a human right—that of the freedom of belief.
One recently experiences a global spread of increasingly alarming news about a pandemic, the Covid-19 pandemic. Few people may have noticed some very worrying inconsistencies (or even contradictions) in the story regarding the supposed pandemic:
—In the beginning, the press and the media had been reassuring the people that the SARS-CoV-2 caused a mild illness much like the flu (influenza), but nothing more worrying than that. Now, there is a twist, a U-turn: the mild flu-like illness suddenly became a potentially lethal disease (threatening the life of most patients older than 35 yrs); this notorious disease is supposed to cause acute respiratory distress (due to bilateral pneumonia-like abnormalities in both lungs of the patients) requiring mechanical ventilation; this respiratory complication is supposed to result into a permanent, lifelong impairment of respiratory function of the ones who survived the infection. These aspects of the same story contradict each other; they cannot both be true at the same time: it is a direct and absolute proof that the media lie (either now or earlier). Why should one, therefore, trust the information “as is” provided by the media…?!
—Fake video footage was shown on national TV from supposedly crowded streets and beaches, as well as from longest queues of cars in toll stations, whereas nothing of the above was true.
—Fake photographs of hundreds of coffins in Italy have flooded the media, pretending to be related to the dead from Covid-19, whereas the coffins where from a much older disaster (the Lampedusa shipwreck in 2013). Who and why does strive to cause panic and fear of death to the people?
—For how long one intends to enforce the “stay at home” strongest advice (repeated by rote by countless propaganda-victims)…?! What for? Even after 6 whole months of lock-down in-house, the population will still remain unprotected for the SARS-CoV-2, without immunization due to either a vaccine or survival after exposure to the virus. The “stay at home” advice merely delays the unavoidable, it is not a solution by itself!
—Yesterday, on March 20, 2020, the epidemiologist in charge in Greece announced fewest new cases of Covid-19, even less than the day before; such a small number of new cases repudiates the expected exponential increase of new cases. Despite the smallest number of new cases, the Cabinet Member sitting next to the physician spoke with authoritarian style and threatened that more restricting measures are being considered to be enforced to the people.
The people are prepared (by manipulation of their natural fear of death) to silently accept even declaration of Martial Law or a legal state of Emergency. The constitutional articles safeguarding human rights will be stripped. Democracy will cease to exist. An Empire of Fear is likely to be globally hatching as we speak. Then, we’ll know for sure Who is the culprit, the perpetrator of the global manipulation of death’s fear: it will be the one(s) who benefited from rising! The one(s) who masterminded and orchestrated this whole elaborate hoax will, alas, be invested with such absolute an authority to become unstoppable and uncontrollable…
“LASCIATE OGNI SPERANZA, VOI CH'ENTRATE”
(Abandon All Hope All Ye Who Enter Here)
—Dante Alighieri.
La vallée de Chaudefour possède 5 sources: La plus connue, la source Sainte-Anne, n°1, n°2, Vercingétorix et Petit Griffon. En 1884, le docteur BORIEUX la décrivait comme une source froide, acidulée et ferrugineuse. Malgré son exploitation récente, elle est déjà fort connue pour ses propriétés curatives. Elle est recommandée pour les maladies de l'estomac (dyspepsie et gastralgie) et spécialement celles qui relèvent de la chlorose et l'anémie. L'acide carbonique libre en quantité importante (3 gr.410/litre) et la présence de bicarbonate de soude, calcium et magnésium en font une des eaux naturelles les plus puissantes d'Europe