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"Beef noodle soup"
Hanoi (Vietnam)
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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."
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.
Exploitant : Transdev Versailles
Réseau : IDF Mobilités – Grand Versailles
Lieu : Gare de Versailles – Chantiers (Versailles, F-78)
Lien TC Infos : tc-infos.fr/vehicule/36934
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2653 (BN-397-LT)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 160 NAVETTE RELAIS TRAM B
Voiture : 16017
Destination : BORDEAUX Musée d'Aquitaine
Du Lundi 27 Juillet au Jeudi 6 Août 2020, la ligne de Tram B a été interrompue en plusieurs phases pour les travaux estivaux, consistant en une maintenance et une réfection du système d'Alimentation Par le Sol (APS).
Du 27/07 au 31/07 d'abord, entre les stations "Quinconces" et "Saint-Nicolas" en journée, et prolongée jusqu'aux antennes de PESSAC en soirée et jusqu'à fin de service. Les 3 et 4 Août ensuite, entre les stations "Quinconces" et "Musée d'Aquitaine" (pas de Bus de Substitution). Les 5 et 6 Août pour finir, entre les stations "Berges de la Garonne" et "Musée d'Aquitaine".
Sur les première et troisième phases, des Bus de Substitution ont été mis en place en relais du tram, avec des bus articulés.
06/08/2020 13:41
Quai Armand Lalande ; F-33 BORDEAUX
Véhicule : MERCEDES-BENZ O350 Tourismo M 16RHD/2 €5
Identification : 106023 (AQ-935-ZX)
Exploitant : Keolis Gironde
Dépôt : Saint-Médard-en-Jalles
Réseau : n.a.
Ligne : n.a.
Service : n.c.
Destination : LACANAU Moutchic
Véhicule : IVECO BUS Crossway Pop (13m.) €6
Identification : 191147 (FJ-342-TM)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Bastide - Quai de la Souys
Réseau : n.a.
Ligne : n.a.
Service : Spécial ALSH
Destination : LACANAU Moutchic
21/07/2020 12:59
Avenue de la Plage - Le Moutchic Ouest ; F-33 LACANAU
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2650 (BN-482-LT)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1806
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.
14/06/2016 18:53
Rue du Vergne ; F-33 BORDEAUX
Véhicule : BOLLORÉ BlueBus 12
Identification : _ (EX-185-MT)
Exploitant : Keolis Bordeaux Métropole
Premier bus électrique expérimenté sur une ligne régulière commerciale, du 27 Mai et 7 Juin 2019.
Réseau : TBM (Bordeaux Métropole)
Dépôt : Bastide Niel
Ligne : Lianes 15
Voiture : n.c.
Destination : Centre Commercial BORDEAUX LAC
À l'instar de la démonstration menée en Septembre 2018 (avec un GX 337 Elec), Bordeaux Métropole a lancé un projet d'expérimentations de bus électriques, qui se tiendront sur la période 2019-2020. Le but est d'éprouver la capacité de ces véhicules à être mis en service commercial sur le réseau. Pour cela, la Lianes 15 a été retenue : longue d'environ 25 kilomètres, elle met entre 1h15 et 1h30 pour relier Bordeaux du Nord ("Centre Commercial Bordeaux Lac") au Sud (Villenave d'Ornon, "Pont de la Maye" ou "Courréjean"), en passant par l'hyper centre-ville. Remisée au dépôt de Bastide-Niel, elle accueillera les véhicules de 7 constructeurs : BOLLORÉ (BlueBus 12), ALSTOM (Aptis), HEULIEZ BUS (GX 337 Elec probablement), IRIZAR (i2e probablement), MERCEDES-BENZ (eCitaro), MAN (Lion's City 12 E), et YUTONG (E 12 LF). Les véhicules réalisent quotidiennement une demi-journée de service (compte tenu de l'autonomie limitée de ce type de véhicule), le rechargement des batteries s'effectuant la nuit par "charge lente".
06/06/2019 16:00
Avenue des Pyrénées ; Villenave d'Ornon
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2628 (BD-995-KS)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1812
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.
14/06/2016 18:55
Rue du Vergne ; F-33 BORDEAUX
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
"Glued to the road"
Nissan GT-R LB 1000
Meeting de France (Dijon 2017 - Bourgogne)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved
Exploitant : Keolis Argenteuil Boucles de Seine
Réseau : IDF Mobilités – Argenteuil – Boucles de Seine
Lieu : Centre Opérationnel Bus d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/vehicule/22076
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
Forêt de Chevigny-St-Sauveur (COTE D'OR avril 2019)
Website : www.fluidr.com/photos/pat21
picssr.com/photos/pat21?ref=user
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Exploitant : Keolis Argenteuil Boucles de Seine
Réseau : IDF Mobilités – Argenteuil – Boucles de Seine
Ligne : 8
Lieu : Bérionne (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/vehicule/20670
Exploitant : SETRAM
Réseau : SETRAM
Ligne : 11
Lieu : Chêne Vert (Le Mans, F-72)
Lien TC Infos : tc-infos.fr/id/5655
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.
Exploitant : SAVAC
Réseau : SQYBUS
Ligne : 439
Lieu : Ponts et Chaussées (Versailles, F-78)
Lien TC Infos : tc-infos.fr/vehicule/84380
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2658 (BL-912-HZ)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1803
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 16:00
Rue du Vergne ; F-33 BORDEAUX
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.
Exploitant : Keolis Versailles
Réseau : Phébus
Ligne : 3
Lieu : Ponts et Chaussées (Versailles, F-78)
Lien TC Infos : tc-infos.fr/vehicule/32762
Ville: Saint-Laurent-du-Var
Réseau: Lignes d'Azur
Exploitant: TACAVL
Numéro de parc: 83
Ligne: 73 Médiathèque - Centre Commercial CAP 3000
Built for the rick and Morty Exploit the Fans for Art DVD Contest.
He finally found his purpose.
Available to view on twitter.
Click here for the reference images, and here for the existential crisis.
Rick and Morty and all related names, images etc. are property of Justin Roiland, Dan Harmon and Adultswim. All rights reserved.
Véhicule : IVECO BUS UrbanWay 12 €6
Identification : 7769 (FT-636-HK)
Exploitant : Transdev Annonay
Dépôt : Varagnes le Haut
Réseau : Babus (Annonay Rhône Agglo)
Ligne : 1
Service : n.c.
Destination : DAVÉZIEUX Chantebise
11/09/2021 10:07
Rue de la République ; F-07 DAVÉZIEUX
Véhicule : BOLLORÉ BlueBus 12
Identification : _ (EX-185-MT)
Exploitant : Keolis Bordeaux Métropole
Premier bus électrique expérimenté sur une ligne régulière commerciale, du 27 Mai et 7 Juin 2019.
Réseau : TBM (Bordeaux Métropole)
Dépôt : Bastide Niel
Ligne : Lianes 15
Voiture : n.c.
Destination : VILLENAVE D'ORNON Courréjean
À l'instar de la démonstration menée en Septembre 2018 (avec un GX 337 Elec), Bordeaux Métropole a lancé un projet d'expérimentations de bus électriques, qui se tiendront sur la période 2019-2020. Le but est d'éprouver la capacité de ces véhicules à être mis en service commercial sur le réseau. Pour cela, la Lianes 15 a été retenue : longue d'environ 25 kilomètres, elle met entre 1h15 et 1h30 pour relier Bordeaux du Nord ("Centre Commercial Bordeaux Lac") au Sud (Villenave d'Ornon, "Pont de la Maye" ou "Courréjean"), en passant par l'hyper centre-ville. Remisée au dépôt de Bastide-Niel, elle accueillera les véhicules de 7 constructeurs : BOLLORÉ (BlueBus 12), ALSTOM (Aptis), HEULIEZ BUS (GX 337 Elec probablement), IRIZAR (i2e probablement), MERCEDES-BENZ (eCitaro), MAN (Lion's City 12 E), et YUTONG (E 12 LF). Les véhicules réalisent quotidiennement une demi-journée de service (compte tenu de l'autonomie limitée de ce type de véhicule), le rechargement des batteries s'effectuant la nuit par "charge lente".
06/06/2019 15:25
Avenue des Pyrénées ; Villenave d'Ornon
AKA Dr. Hunter Thompson, "Duke" has appeared in Gary Trudeau's Pulitzer prize-winning, seven-day-a-week, cartoon Doonesbury since the '60s.
"Duke's" best-remembered comment was: "When the going gets weird, the weird turn pro."
Before he crashed and burned, Hunter Thompson was considered one of the best U.S. writers ever. He committed suicide in his 60s, and according to his wishes, had his ashes fired from a cannon, an event promoted and paid for by actor Johnny Depp, who portrayed Thompson in the movie Fear and Loathing in Las Vegas.
As he just discovers, "Duke" appears many times in Trudeau's "40: A Doonesbury Retrospective."
A special thanks to Edwina, who provided the inspiration for this photo. For those who want more information on Thompson, check this out: en.wikipedia.org/wiki/Hunter_S._Thompson#Accolades_and_tr...
The Nashville, Chattanooga, and St. Louis Railroad Depot, constructed in 1917, is a locally significant example of standardized, functional railroad architecture in Sparta, Tennessee. The depot is associated with a pattern of railroad growth and monopoly that shaped economic and settlement trends in the southeast during the early twentieth century. Between 1902 and 1921, the Louisville and Nashville Railroad, the parent company of the Nashville, Chattanooga, and St. Louis, expanded its miles of track from 3,327 to 5,041 miles, representing an increase of 57%. Some of this new construction took place in White County as the railroad extended its 1884 Bon Air spur line to the new coal towns of Clifty, DeRossett, and Ravenscroft, near the border between White and Cumberland counties, in an attempt to better exploit coal and mineral ores. As historian Maury Klein observed in his study of the Louisville and Nashville, "it is significant that none of the new trackage tried to extend the L & N's territory but rather sought to exploit the existing territory more fully. What might be called a more mature phase of interterritorial strategy had arisen and was flourishing...[in the] cultivation of the sources of coal and ore traffic." (pp. 397-98)
White County was a significant producer of raw materials, especially coal and timber products, during the early twentieth century. After the coal company built an underground shaft at Bon Air in 1902, that single mine produced an average daily tonnage of 350 tons for the next twenty years. The adjacent Eastland Mine also opened in 1902 and produced an average of 350 tons daily for the next thirty years. Demand for raw materials increased even more dramatically during the First World War and great amounts of Cumberland Plateau coal and timber was shipped out of Sparta. White County walnut was especially in demand for use in gun stocks, first in orders from Allied nations and then, in late 1917 and 1918, for the U.S. Army.
Due to the increased traffic and demand for railroad services, the company in 1917 decided to replace the original frame Sparta depot, which housed only an office and freight room, with a new much larger brick depot. The new depot reflected the importance of the railroad, and the county's coal mines, to the economic life of Sparta. As the town's "gateway", it symbolized local prosperity and confidence at the height of the wartime boom in demand for raw materials. Moreover, the depot served Sparta itself as the town's major contact point between the national corporate economy and the local market economy.
The Nashville, Chattanooga, and St. Louis Railroad Depot also embodies a trend in early twentieth century railroad architecture that balanced the cost-saving strategies of the railroads against the demands of a more sophisticated local community. The design achieved economy, functionalism and comfort under one roof. The waiting rooms accommodated more passenger traffic on the line, while the spacious freight room and loading platforms handled the increased volume of timber, mineral, and agricultural products being shipped out of the county. Although a standardized design lay at the heart of the depot's plan, its roof line and minimal Craftsman-style exterior detailing reflected the use of minor architectural features and varying roof shapes to give uniqueness to the building. Particularly distinctive were the wide, overhanging, unbracketed roof eaves. The square bay window of the business office also helped to add variety to the form while the functionally-placed windows on east and west elevations, along with the decorative band of bricks, added rhythm to the building's appearance.
The Nashville, Chattanooga, and St. Louis Railroad Depot is associated with and physically represents the peak of railroad influence in White County during the early twentieth century. Even after a period of decline due to the popularity of the automobile and the building of the Memphis to Bristol Highway, this small-town depot has survived and was added to the National Register of Historic Places (NRHP) on December 7, 1992. All of the information above (and a bit more) was found on the original documents submitted for listing consideration and can be viewed here:
npgallery.nps.gov/NRHP/AssetDetail/9ea0e226-5cd8-49c3-9e5...
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 following link: www.flickriver.com/photos/photojourney57/
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/20675
Véhicule : MERCEDES-BENZ O560 Intouro ME EEV
Identification : _ (CK-793-NP)
Exploitant : Autocars Gérardin
Dépôt : n.c.
Service : Périscolaire - École de Cabanac-et-Villagrains
Destination : GUJAN-MESTRAS Rue des Loisirs
09/07/2019 12:38
Unnamed Road ; Gujan-Mestras
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)
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.
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.
Another photo of this fondly remembered 'domino' split headcode peak that carried them to its demise, the last of the peaks to carry headcodes and not succumb to marker headlights. It is seen here in the Park Sidings off platform 8. Strangely I have never referred to them as 'the Park Sidings' until recent years as that is what the railway staff call them but we never did. 45036 was waiting to take over the 11.15 Newquay - Leeds. For details of my previous 24 hour's exploits and how I came to be here please read the link - www.flickr.com/photos/145100037@N05/49736177511/
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2658 (BL-912-HZ)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1803
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 16:01
Rue du Vergne ; F-33 BORDEAUX
One of the characteristics of the present age is the exploitation of everything that had hitherto been neglected as being of insufficient importance for men to devote their time and energy to, but which nevertheless had to be developed before the end of the cycle, since the things concerned had their place among the possibilities destined to be manifested within it; such in particular is the case of the experimental sciences that have come into existence in recent centuries.
There are even some modern sciences that represent, quite literally, residues of ancient sciences that are no longer understood: in a period of decadence, the lowest part of these sciences became isolated from all the rest, and this part, grossly materialized, served as the starting-point for a completely different development, in a direction conforming to modern tendencies; this resulted in the formation of sciences that have ceased to have anything in common with those that preceded them. Thus, for example, it is wrong to maintain, as is generally done, that astrology and alchemy have respectively become modern astronomy and modern chemistry, even though this may contain an element of truth from a historical point of view; it contains, in fact, the very element of truth to which we have just alluded, for, if the latter sciences do in a certain sense come from the former, it is not by 'evo-lution' or 'progress' - as is claimed - but on the contrary, by degeneration.
(…)
These are the two complementary functions proper to the traditional sciences: on the one hand, as applications of the doctrine, they make it possible to link the different orders of reality and to integrate them into the unity of a single synthesis, and on the other, they constitute, at least for some, and in accordance with their individual aptitudes, a preparation for a higher knowledge and a way of approach to it - forming by virtue of their hierarchical positioning, according to the levels of existence to which they refer, so many rungs as it were by which it is possible to climb to the level of pure intellectuality.
It is only too clear that modern sciences cannot in any way serve either of these purposes; this is why they can be no more than 'profane science', whereas the 'traditional sciences', through their connection with metaphysical principles, are effectively incorporated in 'sacred science'.
The ways leading to knowledge may be extremely different at the lowest degree, but they draw closer and closer together as higher levels are reached. This is not to say that any of these preparatory degrees are absolutely necessary, since they are mere contingent methods having nothing in common with the end to be attained; it is even possible for some persons, in whom the tendency to contemplation is predominant, to attain directly to true intellectual intuition without the aid of such means; but this is a more or less exceptional case, and in general it is accepted as being necessary to proceed upward gradually.
The whole question may also be illustrated by means of the traditional image of the 'cosmic wheel': the circumference in reality exists only in virtue of the center, but the beings that stand upon the circumference must necessarily start from there or, more precisely, from the point thereon at which they actually find themselves, and follow the radius that leads to the center. Moreover, because of the correspondence that exists between all the orders of reality, the truths of a lower order can be taken as symbols of those of higher orders, and can therefore serve as 'supports' by which one may arrive at an understanding of these; and this fact makes it possible for any science to become a sacred science, giving it a higher or 'anagogical' meaning deeper than that which it possesses in itself.
Every science, we say, can assume this character, whatever may be its subject-matter, on the sole condition of being constructed and regarded from the traditional standpoint; it is only necessary to keep in mind the degrees of importance of the various sciences according to the hierarchical rank of the diverse realities studied by them; but whatever degree they may occupy, their character and functions are essentially similar in the traditional conception.
What is true of the sciences is equally true of the arts, since every art can have a truly symbolic value that enables it to serve as a support for meditation, and because it’s rules, like the laws studied by the sciences, are reflections and 'applications of fundamental principles: there are then in every normal civilization 'traditional arts', but these are no less unknown to the modern West than are the 'traditional sciences'. The truth is that there is really no 'profane realm' that could in any way be opposed to a 'sacred realm'; there is only a 'profane point of view', which is really none other than the point of view of ignorance.
This is why 'profane science', the science of the moderns, can as we have remarked elsewhere be justly styled 'ignorant knowledge', knowledge of an inferior order confining itself entirely to the lowest level of reality, knowledge ignorant of all that lies beyond it, of any aim more lofty than itself, and of any principle that could give it a legitimate place, however humble, among the various orders of knowledge as a whole. Irremediably enclosed in the relative and narrow realm in which it has striven to proclaim itself independent, thereby voluntarily breaking all connection with transcendent truth and supreme wisdom, it is only a vain and illusory knowledge, which indeed comes from nothing and leads to nothing.
This survey will suffice to show how great is the deficiency of the modern world in the realm of science, and how that very science of which it is so proud represents no more than a deviation and, as it were, a downfall from true science, which for us is absolutely identical with what we have called 'sacred' or 'traditional' science. Modern science, arising from an arbitrary limitation of knowledge to a particular order-the lowest of all orders, that of material or sensible reality-has lost, through this limitation and the consequences it immediately entails, all intellectual value; as long, that is, as one gives to the word 'intellectuality' the fullness of its real meaning, and refuses to share the 'rationalist' error of assimilating pure intelligence to reason, or, what amount to the same thing, of completely denying intellectual intuition.
The root of this error, as of a great many other modern errors - and the cause of the entire deviation of science that we have just described - is what may be called 'individualism', an attitude indistinguishable from the anti-traditional attitude itself and whose many manifestations in all domains constitute one of the most important factors in the confusion of our time; we shall therefore now study this individualism more closely.
----
excerpts from The Crisis of the Modern World by René Guenon
Chapter 4: Sacred and profane science
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.
Italien / Toskana / Chianti
Radda in Chianti
Chianti (Italian pronunciation: [ˈkjanti]), in Italy also referred to as Monti del Chianti ("Chianti Mountains") or Colline del Chianti ("Chianti Hills"), is a mountainous area of Tuscany in the provinces of Florence, Siena and Arezzo, composed mainly of hills and mountains. It is known for the wine produced in and named for the region, Chianti.
History
The territory of Chianti was initially limited, in the thirteenth century, by the municipalities of Gaiole in Chianti, Radda in Chianti and Castellina in Chianti and thus defined the "Chianti League" (Lega di Chianti).
Cosimo III de' Medici, Grand Duke of Tuscany, even decided in 1716 to issue an edict in which he officially recognized the boundaries of the Chianti district, which was the first legal document in the world to define a wine production area.
The villages of Chianti are often characterized by Romanesque churches and fortified medieval castles, signs of the ancient wars between Siena and Florence or as Monteriggioni, a fortified village north of Siena, on the ancient Via Cassia that leads to Florence.
In 1932, the wine designation specified the production limits for Chianti Classico, which is a DOCG (in Italian "Denominazione di Origine Controllata e Garantita", governed by Italian regulations).
Geography
In addition to the cities already mentioned at the origin of this region, the city of Greve in Chianti radically expresses its connection directly in its name or as Impruneta which claims the name Impruneta in Chianti although it is not an official designation.
Agriculture
Like all rural regions of Tuscany, there is no monoculture and there are vineyards, olive trees, cereals and potatoes.
Silviculture
In the lower hills, there is the exploitation of oak woods, on the higher hills those of chestnut and holm oaks. Everywhere there are cypresses.
Viticulture
The name of Chianti wine refers to a region strictly located in the provinces of Florence, Siena, Arezzo, Pistoia, Pisa and Prato.
Cities in the region with explicit reference in their names:
Greve in Chianti and its hamlets: Panzano in Chianti, San Polo in Chianti
Radda in Chianti
Gaiole in Chianti
Castellina in Chianti
(Wikipedia)
Radda in Chianti is a comune (municipality) in the Province of Siena in the Italian region Tuscany, located about 35 kilometres (22 miles) southeast of Florence and about 15 km (9 miles) north of Siena.
Radda in Chianti borders the following municipalities: Castellina in Chianti, Castelnuovo Berardenga, Cavriglia, Gaiole in Chianti, Greve in Chianti.
(Wikipedia)
Das Chianti-Gebiet [ˈkjantigəˌbiːt], auch Colline del Chianti (Chianti-Hügel) oder Monti del Chianti (Chianti-Berge) genannt, ist eine Hügelkette (Gebirgskette) im Zentrum der Toskana, in der schon seit Jahrhunderten Chianti-Wein produziert wird. Das Weinbaugebiet macht ca. ein Drittel der gesamten Toskana aus.
Geografie
Das Kerngebiet der Hügelkette teilt sich in die Gebiete Chianti fiorentino und Chianti senese auf. Hierbei liegt der fiorentinische Teil am südöstlichen Rand der Metropolitanstadt Florenz und umfasst die Gemeinden Barberino Val d’Elsa, Greve in Chianti, San Casciano in Val di Pesa und Tavarnelle Val di Pesa. Der senesische Teil liegt im Nordosten der Provinz Siena und umfasst Castellina in Chianti, Castelnuovo Berardenga, Gaiole in Chianti, Poggibonsi und Radda in Chianti. Der sogenannte Chianti aretino ist der westliche Teil der Provinz Arezzo zwischen Arno und Chianti und gehört nicht zum Kerngebiet. Ihm gehören die Gemeinden Cavriglia, Bucine, Pergine Valdarno, Montevarchi und San Giovanni Valdarno an. Diese liegen geografisch gesehen im westlichen Valdarno[ (Arnotal).
Das Chianti-Gebiet umfasst im Westen Teile des Elsatals (Val d’Elsa) und des Pesatals (Val di Pesa), im Norden das Grevetal (Val di Greve), im Osten Teile des Arnotals (Valdarno) und des Ambratals (Val d’Ambra bzw. Valdambra). Im Südosten grenzt der Chianti an die Crete Senesi, im Südwesten an die Montagnola Senese.
In den Hügeln des Chianti entspringen die Flüsse bzw. Torrenti Ambra, Arbia, Bozzone, Greve, Ombrone, Pesa und Staggia. Zudem durchfließt im Westen der Elsa aus Süden und der Montagnola Senese kommend das Gebiet, das im Norden und Nordosten teilweise an den Arno grenzt.
Höchste Erhebung im Chianti-Gebiet ist der Berg Monte San Michele, der im Gemeindegebiet von Greve in Chianti liegt. Er erreicht eine Höhe von 893 Metern.
Geschichte
Das Gebiet wurde zuerst von den Etruskern und danach von den Römern besiedelt. Beide Kulturen hinterließen viele Spuren – auch, was den Weinbau angeht. Erstmals dokumentiert wurde das Gebiet als Clanti im 8. Jahrhundert. Im Mittelalter kämpften Florenz und Siena um die Vorherrschaft in diesem Gebiet. Der Name "Chianti" (Lega del Chianti) stand ursprünglich für einen Militärbund der Städte Radda, Castellina und Gaiole, der im 13. Jahrhundert entstand. Später wurde der Name auf immer größere Gebiete ausgeweitet. Dörfer und Klöster, Burgen und Festungen wurden in dieser Zeit errichtet, die dann später, als es wieder friedlicher wurde, in Landgüter und Villen umgewandelt wurden. In dieser Zeit fanden umfangreiche Waldrodungen statt, um Olivenhaine und Weinberge anzulegen. Diese Veränderungen brachten wirtschaftliche Erfolge und internationalen Ruhm für die Region.
Gesamtes Chianti-Gebiet (Weinbau)
Das gesamte Chianti-Gebiet erstreckt sich von Pisa (im Nordwesten) bis Montalcino (im Südosten) und ist offiziell in neun Untergebiete geteilt:
Chianti Classico (siehe unten)
Chianti Rufina (um Pontassieve)
Chianti Colline Pisane (um Pisa)
Chianti Montalbano (um Carmignano)
Chianti Colli Fiorentini (um Florenz)
Chianti Colli Senesi (um Siena)
Chianti Aretini (um Arezzo)
Chianti Montespertoli
Weinbau im Chianti-Classico-Gebiet
Es ist im Norden begrenzt von den Vororten von Florenz, im Osten von den Chianti-Bergen, im Süden von Siena und im Westen von den Tälern der Flüsse Pesa und Elsa. Es ist das Kernland des Chianti-Gebietes. Eine 70 km lange Weinstraße (die „Via Chiantigiana“, SS 222) verbindet die beiden großen Städte und führt durch eine großartige Kulturlandschaft. An der Straße liegen viele bekannte Weinorte aufgereiht wie an einer Perlenkette. Nur ein Zehntel des sehr waldigen Gebiets (insgesamt ca. 70.000 Hektar) wird für Weinbau verwendet. Der Gallo Nero (= „Schwarzer Hahn“) ist das Kennzeichen der Chianti-Classico-Weine. Das Consorzio del Marchio Storico Chianti Classico wacht über die Einhaltung der Regeln für guten Chianti.
(Wikipedia)
Radda in Chianti (meist nur Radda) ist eine Gemeinde mit 1470 Einwohnern (Stand 31. Dezember 2022) in der Provinz Siena der Region Toskana in Italien.
Geografie
Der Ort erstreckt sich über 80 km². Radda liegt im Weinanbaugebiet des Chianti Classico und ist von großen Höhenunterschieden geprägt. So liegt der Hauptort in einer Höhe von 530 Metern, während der tiefstgelegene Stadtteil Lucarelli bei etwa 280 m liegt. Der höchste Punkt der Gemeinde liegt bei 845 m auf dem Monte Querciabella. Im Gemeindegebiet entspringt der Fluss Staggia. Zudem durchfließt der Arbia (6 km) und der Pesa (13 km) den Ort. Die Gemeinde liegt in der klimatischen Einordnung italienischer Gemeinden in der Zone E, 2 245 GG.
Zu Ortsteilen (frazioni) zählen Badia a Montemuro (706 m), Castelvecchi (580 m), Colle Petroso (520 m), La Villa (475 m), Lucarelli (285 m), Monterinaldi, Palagio (515 m), Selvole (504 m) und Volpaia (617 m).
Die Nachbargemeinden sind Castellina in Chianti, Castelnuovo Berardenga, Cavriglia (AR), Gaiole in Chianti und Greve in Chianti (FI).
Geschichte
Ergebnissen archäologischer Ausgrabungen zufolge war der Ortskern schon um 2000 v. Chr. bewohnt und wurde im 1. Jahrtausend v. Chr. wahrscheinlich von den Etruskern besiedelt. Das erste gesicherte Dokument über Radda wurde in einem Schriftstück von Otto III. gefunden und ist auf das Jahr 1002 datiert. 1041 erscheint Radda als Ramda judicaria fiorentina et fesulana in den Aufzeichnungen des Klosters Badia a Coltibuono. Aufgrund seiner Lage zwischen Florenz und Siena war Radda Schauplatz mehrfacher Auseinandersetzungen der beiden Republiken. Als die Florentiner Republik 1250 das Chianti-Gebiet in drei Ligen (Terziere di Radda, Terziere di Gaiole und Terziere di Castellina) aufteilte, wurde Radda Hauptstadt der sogenannten Lega del Chianti. Dieser Status wurde 1415 bestätigt.
Gemeindepartnerschaften
Radda unterhält eine Gemeindepartnerschaft mit dem südwestfranzösischem Ort Saint-Brice im Arrondissement Cognac.
Auszeichnungen
Radda in Chianti ist Träger der Bandiera Arancione des Touring Club Italiano.
(Wikipedia)