The Exploited: Matt Justice (guitar) and Wattie Buchan (vocals) performing live in the SO36. Wattie is hitting the mic against his head. He always does this and it must drive all the people at the soundboard nuts. Berlin, 27.10.19, singer, Sänger, guitar player, Gitarrist

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"Wild garden"

Réserve biologique de Monteverde (COSTA RICA 2019)

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"Copyright © – Patrick Bouchenard

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

Glanon est une cité grecque vouée à un dieu guérisseur, avant d'être le Glanum cité antique de l'empire romain, sur la commune de Saint-Rémy-de-Provence dans les Bouches-du-Rhône (Juin 2019)

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"Copyright © – Patrick Bouchenard

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

My last photo from Japan.

I hesitated showing this photo because it's unlike me to photograph female strangers to exploit their beauty. But, what I like about this is that it really does show off the fashion in Tokyo. Her hair is very well groomed. Mini skirt, over the knee socks, matching heels, designer purse, and fashionable coat.

This was in the popular spot in Harajuku, but more remarkable was that she is just a stranger on her way to somewhere. This is how they dress. They have MUCH better style and fashion sense than in the US, yet they look up to us for so many different things. Americans have just become so lazy in our appearance and attire it's almost gross. We have little respect for ourselves in the work place, or just out in the town. I really enjoyed my trip to Tokyo and seeing how a society which prides itself on being respectful in all aspects of their life operates. I think we could really learn something from them.

This is coming from a guy who's been wearing a baby blue bathrobe most of the week while recovering.

Happy 2008!

Exploitant : SAVAC

Réseau : SQYBUS

Ligne : 439

Lieu : Ponts et Chaussées (Versailles, F-78)

Lien TC Infos : tc-infos.fr/vehicule/84380

Hasselblad 503CXi; Zeiss CF 80mm f/2.8; CineStill BWXX 400; HC110 1+47 10 minutes

Eglise Saint-Nizier, place Saint-Nizier de Lyon (Rhône-Alpes)

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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."

From the vintage "sexploitation" collection of Richard Perez, relating to "Permanent Obscurity" at: RichardPerez.net

Exploit del 2003

-----------------------------------------------------------------------------------

Do not use any of my images on websites, blogs or other media without my explicit written permission.

All rights reserved - Copyright © fotomie2009 - Nora Caracci

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God on the Other Side of a Shipwreck

by Jonathon Martin, from How to Survive a Shipwreck

Meet Jonathon Martin

Your faith will not fail you

You’re Still Here

The first things overboard when your ship wrecked were all the reasons you ever had for sailing. And when the life you knew is a life you know no longer, and the ship that took you on a thousand adventures before can no longer even keep you afloat, you are right to wonder if there is anything left worth having.

There used to be so many things that we could not live without! How could you live without this person? How could you live without this job? How could you live without this relationship? How could you live without this house? How could you live without your dignity? How could you live without your good reputation? And then death came to someone you loved, or you lost the job, or you sabotaged the relationship or felt your love sabotaged you, or you suffered public humiliation, or you lost your all-important sense of honor. And you thought you really would die.

There was a part of you, maybe even a really large part of you, that really did. There are some losses that in their way mark you forever, and some things you never get over. And because you loved this person or this life and career you built, or valued your dignity, when the bow broke, everything in you screamed. While the sails were ripping and the boards splitting, you heard the sound of your spirit dying. The life you had was over. But to your own shame, you were not over, as much as you may have wanted to be.

Maybe like a proud samurai, it seemed the best thing you could do on the other side of the shipwreck was to fall on your own sword and stage a protest against anything you once found beautiful. Because you were so sad. Because you were so guilty. Because you were so scared that in the loss of something outside yourself, you lost your own heart to the sea’s black rage.

And then came what might be the worst discovery: You didn’t die — not really. You walked away from the accident, whether or not you think you or God or the devil or the fates are somehow responsible for it. You just knew you would die, and at times it felt like something in you did.

But not you. Not all of you, anyway.

The ship may have gone down, but miracle of miracles, you’re still here.

Can you remember the first time after the funeral, after you could not bear to eat or drink, that the pangs of hunger overwhelmed you? Did you feel incredulous at yourself, at the animal part of you that still wanted food after such a thing? What about when there was a particular taste you wanted, because it was a taste that on some level you actually desired? However much fog, however much sorrow, however much grief — the experience of loss may have altered your taste buds forever. But it hardly killed them.

You watched dreams you cradled in your arms with the strength of all your tenderness descend into the sea. All that animated you, all that moved you before, could move you forward in the world no longer. The water filled your mouth and your nostrils, and you choked at the taste of it. But when the grief or the guilt or the loss recedes into the night and your soul sets sail again, you still dream — despite yourself. There is still a kind of music you will hear that stirs within you an unspeakable longing. There is still an ache, not just for all you lost, but to see and know and be seen and known still, to explore and imagine and create.

However much the longing for the past may assault your senses, it is not the only longing that remains. There is still a part of you that wants to make love, to feel yourself somehow connected. There is still a part of you that yearns for something outside yourself. You felt yourself out to sea, and yet some kind of desire, for something or another, bears you along, and you find yourself still somehow here — almost against your own wishes. And even in the moments when anything that felt like conscious desire went out with the tide, there is still some kind of near-morbid curiosity of how your life and story are going to turn out — even if you are lost enough to only behold what’s left of your life as a kind of bystander.

Somewhere between your body’s animal refusal to go down quietly, your mind’s refusal to stop imagining, and your heart’s refusal to stop dreaming, in the tangled mess of synapses and memories and impulses, there lies God.

In whatever remains in you that wants to create, to make, to birth something new, in whatever corner that longs for some kind of resurrection on the other side of death, something divine quietly snaps, fires, clicks, flickers. This is the Spirit of God, lurking in your own broken spirit.

You may find that your grief and sense of loss over the world you once knew seem endless. And yet there are possibilities and potentialities within you that are more endless still.

What is this unseen force that carries you forward despite yourself? Why can you not seem to choke, always and forever, your own irrational yearning, this buried but still breathing hope for more?

This ache is God’s fingerprint.

The stirring to create, to love, to live, to give of yourself when there is no self left to give — this comes from the Spirit.

You were created in the image of God. Before you knew anyone or did anything, everything was in you necessary to live at home in divine love. However buried that image of God is within you, that part of you that knows what it is to be perfectly loved, held, and known — it is still very much there. There is a part of you that does not need anything else, or anyone else in particular, to be alive. There is a part of you that knows this — part of you that has always known this — but has long since forgotten.

The God who sustains all created things with love sustains you. The God who created the world not to be exploited, dominated, or needed, but to love and to enjoy without clinging, is awake in your belly. And so in you is the capacity to love and to live without needing the world to work out a certain way in order for you to be okay. Your life, your existence, is contingent on that Spirit. But it is not contingent on anyone else, or anything else.

This is the liberating, terrifying discovery of life on the other side of the shipwreck. That while you are a creature — humble, dependent, small, in need of love and food and Shelter — you didn’t need anything else as much as you thought you did. That the things you knew would kill you don’t actually kill you. That the fire in you the sea should have drowned out, burns within you yet, if you do not let yourself smother it (and maybe even if you do). So much of the world you have known is no more. But if there is any truth in any of this at all, the shipwreck that threatened to destroy you utterly may be the thing that saves you yet. It may not drown you; it may transfigure you.

And if there is something truthful, something larger, about this irrational lust for life that is forged in the fires of death, it says something too about the people you lost. For if there is a God who not only creates but sustains and resurrects, then there can yet be life on the other side of death for all things. Then there is hope, not only for the yearning in you to drive you into union with God, but to be realized in union with those others. If death is not the final word, and chaos produces creation rather than destroys it, then many of the stories of the life you thought were long over are far from over yet.

Believing this won’t mean you won’t still feel the weight of deep, sharp, piercing grief, or that you should feel guilty when you do. On the contrary, people who don’t experience deep pain have not experienced deep love and are not to be envied. That doesn’t mean they are shallow — all of our souls surely have something of the same depths — they just may not be aware of their own yet. That day will come for them. But when you feel your own deep capacity for passion, compassion, mourning, even rage, you are glimpsing something of your soul’s own infinite capacity to know, to feel, and to become. Within the depths of all you feel the most deeply, something of the Spirit’s own immortal depths is reflected in you.

We have a capacity for love and hope and beauty seemingly too big for our heads and hearts, because we are created in the image of God.

Excerpted from How to Survive a Shipwreck by Jonathan Martin, copyright Jonathan Martin.

Véhicule : IRISBUS IVECO Citelis 18 GNV

Identification : 2631 (BD-130-KT)

Exploitant : Keolis Bordeaux Métropole

Réseau : TBM (Transports Bordeaux Métropole)

Dépôt : Centre d'Exploitation du Lac

Ligne : Lianes 9

Voiture : 0908

Destination : BORDEAUX Brandenburg par les Boulevards

Véhicule : MAN Lion's City G A23 CNG

Identification : 1406 (DQ-909-QV)

Exploitant : Keolis Bordeaux Métropole

Réseau : TBM (Transports Bordeaux Métropole)

Dépôt : Centre d'Exploitation du Lac

Ligne : Lianes 1+

Voiture : 0102

Destination : MÉRIGNAC Aéroport

Véhicule : VOLVO 7700A €4

Identification : 1783 (AW-964-RZ)

Exploitant : Keolis Bordeaux Métropole

Véhicule ex-SIBRA Annecy.

Réseau : TBM (Transports Bordeaux Métropole)

Dépôt : Centre d'Exploitation du Lac

Ligne : Lianes 9

Voiture : 0903

Destination : BORDEAUX Brandenburg par les Boulevards

Véhicule : MAN Lion's City G A23 CNG

Identification : 1413 (DQ-235-RD)

Exploitant : Keolis Bordeaux Métropole

Réseau : TBM (Transports Bordeaux Métropole)

Dépôt : Centre d'Exploitation du Lac

Ligne : Lianes 1+

Voiture : 0109

Destination : MÉRIGNAC Aéroport

06/02/2019 17:00

Gare Saint-Jean ; Bordeaux

Processed with VSCOcam with a6 preset

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/22074

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

Night in northwest Florida...

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

Click "L" for larger version.

A Beautiful Life...DSC_2291

In the 21 st century India is fast emerging as a global power but for half of its population, the women across the country, struggle to live life with dignity continues. Women are facing problems in every sphere of life whether employment, access to health care or property rights. The attention required is still not being paid to the issues that concern this section of population. Women empowerment in India is still a distant dream. There still exists a wide gap between the goals enunciated in the constitution, legislation, policies, plans, programs and related mechanisms on the one hand and the situational reality of the status of women in India, on the other hand. India is fast developing but women's in India continue to be discriminated.

In pursuit of making India a great nation, every Indian should work towards giving women their much deserved status.

For more photos,click MY SITE subirbasak.orgfree.com.....

P.S."Copyright © – Subir Basak.

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

Exploitant : Keolis Versailles

Réseau : Phébus

Ligne : 3

Lieu : Ponts et Chaussées (Versailles, F-78)

Lien TC Infos : tc-infos.fr/vehicule/32762

© 2012 cumaarte. © Copyright – Marcelo Moreno©. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.

© 2012 cumaarte. © Copyright – Marcelo Moreno©. Estas fotos tienen derechos de autor. Todos los derechos reservados. Las imágenes no pueden ser utilizadas sin autorización expresa del autor.

© Copyright – Marcelo Moreno©.

The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use outside FlickR, 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.

© 2012 cumaarte. © Copyright – Marcelo Moreno©. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.

© 2012 cumaarte. © Copyright – Marcelo Moreno©. Estas fotos tienen derechos de autor. Todos los derechos reservados. Las imágenes no pueden ser utilizadas sin autorización expresa del autor.

© Copyright – Marcelo Moreno©.

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

Se recomienda ver en la caja oscura ( Pulsa "L" )

See recommended in black box ( push "l" )

Copyright © – Fernando Romero Santos ©.

The reproduction, publication, modification, transmission or exploitation of any work

contained herein for any use outside FlickR, personal or commercial,

without my prior written permission is strictly prohibited. All rights reserved."

If interested, please contact with author by private mail in flickr.

Tracteur : RENAULT TRUCKS T520 €6

Identification : _ (FG-058-AQ)

Exploitant : Transports Toussaint

Semi-remorque : ROJO GP Line

Identification : _ (BD-112-HG)

Exploitant : Transports Toussaint

Véhicule : YUTONG ICe 12

Identification : 17 (EY-926-BD)

Exploitant : B.E.green

Réseau : n.a.

Dépôt : Bastide - Quai de la Souys

Ligne : n.a.

Service : Autocar électrique en essai

Destination : n.c.

27/06/2019 11:55

Dépôt Cars de Bordeaux Bastide, Rue d'Artagnan ; Bordeaux

Exploitant : Transdev Montesson les Rabaux

Réseau : Entre Seine et Forêt

Ligne : 21

Lieu : Ermitage Pont (Le Port-Marly, F-78)

Lien TC Infos : tc-infos.fr/vehicule/31180

The Exploited: Matt Justice (guitar) and Wattie Buchan (vocals) performing live in the SO36, Berlin, 27.10.19, singer, Sänger, guitar player, Gitarrist

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C’est l’arrivée de Mathieu Van Roggen, venu de Hollande, qui a dynamisé vers 1880 les CARRIÈRES DE SPRIMONT. Il les a rendues pleinement performantes par la rationalisation de l’exploitation et la modernisation de l’outil. La grande centrale électrique de 1904, devenue “Musée de la pierre”, en est le remarquable témoin. Par la suite, le groupe Merbes-Sprimont gère les propriétés jusqu’à la reprise en 1984 par la famille Brancaleoni.

Plusieurs sites sont actuellement en exploitation. La réputation de qualité de ces gisements est depuis longtemps établie et

les références de prestige en sont fort nombreuses, depuis la Grand’ Poste de Liège et le pont de Fragnée vers 1900, jusqu’au

nouveau pont haubané du Val-Benoît en 2000.

Importante capacité de production et souplesse de gestion sont les atouts premiers de l’entreprise sprimontoise.

Cette carrière de petit granit consiste en une excavation allongée, partiellement occupée par la 'décharge de classe III du Fond de Correux'. L'activité extractive a encore lieu dans la partie médiane et un grand atelier de taille est installé vers la route. Le secteur occidental, actuellement désaffecté, et les abords supérieurs de la fosse présentent toutefois un intérêt biologique: reproduction du crapaud accoucheur et du lézard des murailles; flanc nord incliné colonisé par une végétation des substrats calcaires (e.a. Catapodium rigidum, Crepis foetida, Teucrium botrys); présence de la fougère Gymnocarpium robertianum.

It was the arrival of Mathieu Van Roggen, from Holland, who revitalised the CARRIÈRES DE SPRIMONT around 1880. He made them fully efficient by rationalising the operation and modernising the tool. The large power station of 1904, which became the “Stone Museum”, is a remarkable example of this. Subsequently, the Merbes-Sprimont group managed the properties until the Brancaleoni family took them over in 1984.

Several sites are currently in operation. The reputation for quality of these deposits has long been established and

their prestigious references are numerous, from the Grand’ Poste in Liège and the Fragnée bridge around 1900, to the

new cable-stayed bridge at Val-Benoît in 2000.

Significant production capacity and management flexibility are the primary assets of the Sprimont company.

This small granite quarry consists of an elongated excavation, partially occupied by the 'class III dump of Fond de Correux'. Extractive activity still takes place in the middle part and a large cutting workshop is installed towards the road. The western sector, currently disused, and the upper edges of the pit are nevertheless of biological interest: reproduction of the midwife toad and the wall lizard; inclined northern flank colonized by vegetation of calcareous substrates (e.g. Catapodium rigidum, Crepis foetida, Teucrium botrys); presence of the fern Gymnocarpium robertianum.

"Mechanic"

Phnom Penh (Cambodge)

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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."

Exploitant : Transdev Montesson les Rabaux

Réseau : Résalys

Ligne : R2N

Ligne : Gaudines (Saint-Germain-en-Laye, F-78)

Lien TC Infos : tc-infos.fr/vehicule/27041

Parc de Petrin, Prague (République Tchèque)

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www.flickriver.com/photos/pat21/sets/

"Copyright © – Patrick Bouchenard

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

Véhicule : HEULIEZ BUS GX 337 €6

Identification : 169023 (EA-716-XS)

Exploitant : Keolis Cars de Bordeaux

Dépôt : Ambarès-et-Lagrave

Réseau : TBM (Bordeaux Métropole)

Ligne : n.a.

Voiture : n.a.

Destination : n.a.

Véhicule : HEULIEZ BUS GX 337 €6

Identification : 159112 (DT-984-TT)

Exploitant : Keolis Cars de Bordeaux

Dépôt : Ambarès-et-Lagrave

Réseau : TBM (Bordeaux Métropole)

Ligne : n.a.

Voiture : n.a.

Destination : n.a.

27/11/2020 20:14

Dépôt Cars de Bordeaux Ambarès

Avenue de Grandjean ; F-33 AMBARÈS-ET-LAGRAVE

Exploitant : SETRAM

Réseau : SETRAM

Ligne : 11

Lieu : Chêne Vert (Le Mans, F-72)

Lien TC Infos : tc-infos.fr/id/5655

Navette Bas de Station - Arrêt : Déviation (bis)

Exploitant : Faure Auvergne

Réseau Navettes Station Super-Besse

I couldn't let this guy get lost and forgotten in my archives, so I had some sliding fun with him. He's one of the entertainers that performed at the AMG Miami Beach Polo 2011 event.

HSS!

More images from under the tent below.

Model:

Serena Anae Link

AD:

Christine Marie Katas

MUA:

Feralene

and

Shiran Yamen-Mariasov

Camera:

Nikon D300 Digital SLR

Nikon 35-135mm f/3.5-4.5 AF

Strobist:

Elinchrom BX500Ri in 66 cm Portalite softbox, above subject

Elinchrom BX500Ri in a Octa Light Bank 74", left of subject

Description:

Usually I don't post images from work, but these are from a recent Creative Commons project for the Voices For Dignity organization. The intention of this project is to provide resources for bloggers and journalists seeking visual tools to impact change. Share the message.

A fantastic day shooting I will never forget. Fantastic working with the crew, models, and other photographers. This is Serena, who I have photographed before, a fantastic model.

Links:

Follow on twitter

Like on facebook

Visit today Voices For Dignity

Nous retournons par le chemin d'exploitation à "Sous le bois de Merdassier

Véhicule : MAN Lion's City A21 CNG

Identification : 1621 (EP-051-NT)

Exploitant : Keolis Bordeaux Métropole

Dépôt : Dépôt de Bastide-Niel

Réseau : TBM (Bordeaux Métropole)

Ligne : Principale 27

Voiture : 2704

Destination : LORMONT Buttinière

30/10/2019 15:52

Place Stalingrad ; F-33 BORDEAUX

"Wheels on the rail"

Phnom Penh (Cambodge)

Website : www.fluidr.com/photos/pat21

www.flickriver.com/photos/pat21/sets/

"Copyright © – Patrick Bouchenard

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

Translation / Traduction 🇬🇧 UK

● 1st tram with the Ilévia color.

● 2nd day of exploitation to the Ilévia color.

● 3rd Delivered ( Color ).

Bye Bye Transpole, Hello Ilévia ( New brand since February 28th, 2019 )

Translation / Traduction 🇫🇷 Fr.

● 1er tramway avec la couleur Ilévia.

● 2ème jour d'exploitation Tram n° 01 au nouvelle couleur Ilévia.

● 3ème livrée ( couleur ).

Bye Bye Transpole, Hello Ilévia ( Nouvelle marque depuis le 28 février 2019 )

Tramway de Lille Roubaix Tourcoing.

Parc : 24 Tramways

Fiche technique :

- Longueur : 29.6 mètres

- Largeur : 2,4 mètres

- Hauteur : 3,425 mètres

- Masse à vide : 40 tonnes

- Capacité avant ◄ 2015 : 200 personnes

( 50 assises et 150 debout )

- Capacité évolué après rénovation ( voir ci-dessous )

- Capacité après ► 2016 : 245 personnes

( 40 assises et 205 debout )

- Vitesse maxi : 80 km/h

- Captage : pantographe unijambiste Faiveley

- Ecartement : voie métrique ( 1 mètre )

- Constructeur : Breda Costruzioni Ferroviaire

Source : Trans'Lille

www.translille.com/spip.php?article4

Exploitant ►Ilévia ( Site officiel )

www.ilevia.fr/fr/?gclid=EAIaIQobChMIsK7duc3k4AIViZ3VCh3HD...

Ilévia ( Wikipédia )

fr.wikipedia.org/wiki/Il%C3%A9via

Tramway de Lille - Roubaix - Tourcoing ( Wikipédia )

fr.wikipedia.org/wiki/Tramway_de_Lille_-_Roubaix_-_Tourcoing

Breda ( Wikipédia )

fr.wikipedia.org/wiki/Breda_VLC

fr.wikipedia.org/wiki/Breda_costruzioni_ferroviarie

Liste des tramways de France

fr.wikipedia.org/wiki/Liste_des_tramways_de_France

Exploitation viticole

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

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)

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.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The Korean People's Army Air and Anti-Air Force began as the "Korean Aviation Society" in 1945. It was organized along the lines of flying clubs in the Soviet Union. In 1946, the society became a military organization and became an aviation division of the Korean People's Army (KPA). It became a branch of the army in its own right in November 1948. The KPAF incorporated much of the original Soviet air tactics, as well as North Korean experience from the UN bombings during the Korean War.

The rugged aircraft was not retired, though, and found use as ground attack aircraft (despite its limited payload of around 2 tons) and as an advanced fighter trainer. Total production numbers are uncertain, but less than 100 W-1s were produced until 1969, with no further variants becoming known. In 1990, probably forty were still operational, and even after 2000 some KPAAF W-1s were still flying.

General characteristics:

Crew: 1

Length: 10.73 m (35 ft 2 in)

Wingspan: 12.16 m (39 ft 10½ in)

Height: 4.46 m (14 ft 7½ in)

Wing area: 23.8 m² (256 sq ft)

Aspect ratio: 7.3

Empty weight: 4,142 kg (9,132 lb)

Gross weight: 7,404 kg (16,323 lb)

Max takeoff weight: 7,900 kg (17,417 lb)

Powerplant:

1× Wopen WP-5 (Rolls-Royce Nene Mk.104B) centrifugal-flow turbojet

with 26.5 kN (5,950 lbf) thrust

Performance:

Maximum speed: 940 km/h (580 mph, 510 kn) at sea level

Maximum speed: Mach 0.76

Cruise speed: 750 km/h (470 mph, 400 kn)

Maximum Mach number: M0.83

Combat range: 450 km (280 mi, 240 nmi)

Ferry range: 920 km (570 mi, 500 nmi)

Service ceiling: 13,000 m (43,000 ft)

Rate of climb: 38 m/s (7,500 ft/min)

Take-off run: 783 m (2,569 ft)

Landing run: 910 m (2,986 ft)

Armament:

4× 23 mm (0.906 in) Nudelman-Suranov NS-23 autocannon with 100 rounds per gun

2× underwing hardpoints for 2.000 kg of payload, including a variety of unguided iron bombs such

as 2× 250 kg (500 lb) bombs, napalm tanks, pods with unguided missiles, or 2× 350 l (92 US

gal; 77 imp gal) drop tanks for extended range.

The kit and its assembly:

I always thought that the tubby Dassault Ouragan had something “Soviet-ish” about it, looking much like one of the obscure early Yakowlew jet fighter prototypes (e .g. the straight-wing Yak-25 [first use of this designation in 1947] or the swept-wing Yak-30) around 1950. With this idea I had stashed away a Heller Ouragan for a while, and recently wondered about an indigenous North-Korean aircraft that could have emerged after the Korean War? The Ouragan looked like a good basis, and so this project started as a simple conversion of the Heller kit.

While most of the airframe was retained, I made some cosmetic changes to change the aircraft’s looks and add a Warsaw Pact flavor. The characteristic wing tip tanks disappeared, and the wings’ ends were rounded off. The fin tip was extended with a piece of 1.5 mm styrene sheet and a different fin shape was sculpted from it. The original stabilizers were replaced with what I think are stabilizers from a VEB Plasticart 1:100 An-24 – they better match the wing shape than the OOB parts!

The cockpit was taken OOB, I just replaced the ejection seat with a different piece from a KP 1:72 MiG-19. The air intake was modified with the opening from a Heller 1:72 F-84G, extending and narrowing it slightly, even though the internal splitter plate (which also bears the front wheel well) was retained. The landing gear was also basically taken OOB, but the main wheels were now mounted on the outside position (with an adaptation of the covers), and the front wheel was moved 3 mm further forward, to compensate for the slightly longer nose section, and its cover was modified accordingly. The flaps were lowered, primarily because this modification is easy to realize on this kit and it makes the simple aircraft look “livelier”, and the canopy was cut into three parts for open display.

Pylons were added under the wings, together with drop tanks from a Hobby Boss 1:72 MiG-15. The same source provided the swept antenna mast behind the cockpit and the small but characteristic altimeter sensors under the wings. As a final twist of “Sovietization” I added small fences to the wings, made from styrene profiles – they would not be necessary on the aircraft’s straight wings, but they help change the model’s overall look. 😉

Building the Heller Ouragan was a straightforward affair, even though the plastic of the recent re-boxing I used was pretty soft and took long to cure after gluing parts together. A real problem occurred when I tried to close the fuselage halves, though, because the parts did not align well behind the cockpit, as if they were warped? The walls were rather thin, too, and as a result a lot of PSR went into the spine and the ventral area behind the wings, which mismatched badly. The rather thin material in these areas did not help much, either. I have built the Ouragan before, and I do not remember these massive troubles?!

Painting and markings:

I initially considered a North-Korean night fighter camouflage from the Korea War, but since the aircraft would have been introduced into service after the open hostilities, I rather settled for a very dry NMF finish with minimal markings. Therefore, the model received an overall coat with “White Aluminum” from the rattle can and a light overall rubbing treatment with graphite to emphasize the raised panel lines and add a slightly irregular metallic shine to the paint. Since they had disappeared through PSR, I also added/recreated some panel lines with a soft pencil.

The cockpit interior was painted in medium grey and Soviet cockpit turquoise, the landing gear and its wells became metallic-grey (Humbrol 56). The areas around the exhaust and the guns were painted with Revell 91 (Iron), the only color contrasts are red trim tabs.

The large KPAAF roundels with a white background came from a Cutting Edge MiG-15 sheet, the large red tactical code was left over from an unidentifiable “Eastern Bloc” model’s decal sheet. After some more graphite treatment around the guns and the tail section the model was sealed with a coat of semi-gloss acrylic varnish (Italeri), resulting in a nice metallic shine that looks better than expected on this uniform aircraft.

Well, this converted Ouragan looks pretty dull at first sight, due to its simple livery. But this makes it pretty plausible, and the small cosmetic changes add a serious Soviet-esque touch to the aircraft.