View allAll Photos Tagged Exploits
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
"Make a face"
Temples d'Angkor (Siem Reap - Cambodge)
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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."
Pontcharra railway depot. Photograph by Francesco S. (Isère, France, 1989).
Locomotive à vapeur et anciens wagons de l’Association du Chemin de fer du Bréda (CFTB), exploitant touristique de la section Pontcharra–La Rochette, en Savoie.
La fermeture au service voyageurs a lieu en 1932, puis au service marchandises en 1947. La section La Rochette–Pontcharra est alors reconvertie en voie normale et reste en activité jusqu’en 1988, notamment grâce aux circulations touristiques du CFTB (Chemin de Fer Touristique du Bréda).
Ce dépôt, aujourd’hui disparu, servait au remisage du matériel de l’association CFTB, qui cessa ses activités après la fermeture définitive de la ligne en 1988.
Image argentique scannée – prise de vue par Francesco S., publiée avec l’autorisation de Patrick, ferrovipathe convaincu.
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2637 (BD-364-KT)
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.
18/06/2016 15:53
Rue du Vergne ; F-33 BORDEAUX
Véhicule : IRIZAR ie tram
Identification : _ ([E] 7078 LCJ)
Exploitant : Keolis Bordeaux Métropole
Cinquième bus électrique expérimenté sur une ligne régulière commerciale, du 3 au 14 Février 2020.
Réseau : TBM (Bordeaux Métropole)
Dépôt : Dépôt de 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), YUTONG (E 12 LF), MERCEDES-BENZ (eCitaro), HEULIEZ BUS (GX 337 Elec Linium), IRIZAR (ie tram), ALSTOM (Aptis), et MAN (Lion's City 12 E). 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".
11/02/2020 10:42
Avenue du Lac ; Bordeaux
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.
Collection d'art ancien. Place Hradčany, Prague (République Tchèque)
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."
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 : 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
Exploitant : Transdev Boucle des Lys
Réseau : IDF Mobilités – Saint Germain Boucles de Seine
Ligne : 21
Lieu : Gare de Marly-le-Roi – Bèque (Marly-le-Roi, F-78)
Lien TC Infos : tc-infos.fr/vehicule/29312
"The Tet offensive"
Mémorial des civils tués à Hué le 3 février 1968
Hué (Vietnam)
Le parc du 3 février commémore les événements du 3 février 1968. Les forces conjointes du Viet Cong et de l'Armée populaire du Vietnam ont lancé des attaques simultanées sur des villes, des villages et des villages plus importants du Sud-Vietnam le 30 janvier 1968 dans le cadre d'une opération militaire connue sous le nom d'offensive du Têt, car elle coïncidait avec la fête du Têt célébrée dans tout le Vietnam. (vietnamlife.asia)
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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."
Véhicule : IVECO BUS Crossway LE City €6
Identification : 6845 (EA-835-BF)
Exploitant : Citram Aquitaine (Groupe Transdev)
Dépôt : Bassens
Réseau : TBM (Bordeaux Métropole)
Ligne : 130C NAVETTE SPÉCIALE TOP14
Voiture : n.c.
Destination : Victoire
À l'occasion d'un match de rugby pour le TOP14 au Stade Matmut Atlantique, TBM a mis en place une Navette Spéciale pour renforcer l'offre entre la Gare Saint-Jean et la Place de la Victoire.
09/06/2019 19:04
Rue Saint-Vincent-de-Paul ; Bordeaux
Noisy and gregarious, these cheerful exploiters of man's rubbish and wastefulness have managed to colonise most of the world. The ultimate avian opportunist perhaps. Monitoring suggests a severe decline in the UK house sparrow population, recently estimated as dropping by 71 per cent between 1977 and 2008 with substantial declines in both rural and urban populations. While the decline in England continues, Breeding Bird Survey data indicate recent population increases in Scotland, Wales and Northern Ireland.
Read more at www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a...
The House Sparrow is a small but sturdily built bird with a stout bill designed for eating seeds. Adult males are distinctive; the crown and nape are grey and only the sides of the head are brown. The black bib is wide and extends down onto the chest. The back is warm brown, streaked with black but with a few white wing feathers. Adult females and juvenile birds of both sexes are typically sandy brown in colour with brown and grey streaks on the back and wings.
Although adults will feed themselves on wide range of seeds, they need to find plenty of aphids and small caterpillars for their growing youngsters, especially in the first few days after hatching.
House Sparrows like to nest colonially, so one box on its own is unlikely to attract a breeding pair. They may nest in hedges and in climbing plants – but this does not mean that they are Hedge Sparrows or Tree Sparrows!
House Sparrows are red-listed birds of conservation concern.
Small nest box with hole (32mm)
Nest height: over 2m above ground
The nest is an untidy domed structure made of grasses, lined with feathers, hair and wool
Egg laying starts between mid March and early August. Up to four broods
4 to 5 eggs. White or pale blue with darker spots
Incubation time: 13 -15 days
Nestlings fledge after 15-17 days
For more information, please visit www.bto.org/about-birds/nnbw/nesting-birds/house-sparrow
Those of you who follow my exploits on Flickr will have noticed my recent enthusiasm for the little or sometimes gigantic fluffy things that happily float above us on a daily basis mostly unnoticed. Imagine my delight then when I spotted this developing on my journey back home the other day. The sun was setting directly ahead as I travelled west and as the road veered I caught sight of this awsome glow starting to radiate over the hills of West Carmarthenshire. This was the second of the two images I captured that evening. Don't you just love nature!!!
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All my images are © All Rights Reserved, and must not be used in any form whatsoever, on or in any type of media without my expressed permission.
Genève (Suisse)
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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."
"Nuclear"
Bourberain (Bourgogne - Côte d'Or)
Website : www.fluidr.com/photos/pat21
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved
A lot of my wife's epiphyllum flowers are in bloom right now so I'm exploiting them while the exploitation is good.
I placed the flower on a mirror because I life the different view point that the reflection provides. Lighting came from a Yongnuo flash in a 24 inch soft box on either side of the flower pointed at the center. The strobes and my tripod mounted camera were triggered with a Yongnuo RF-603N.
Over the years, I've taken quite a few "Epi" pictures, and they're in my Epiphyllum Flowers album, if you like that sort of thing.
www.flickr.com/photos/9422878@N08/albums/72157680754580643
I've photographed a lot of plants and flowers, because they're all around us, work cheap, and never complain. I have an album of these images with over 1100 pictures, and for each one, I have described how I lit them, in case you're interested in that kind of thing.
Exploitant : Keolis Versailles
Réseau : Phébus
Ligne : 3
Lieu : Ponts et Chaussées (Versailles, F-78)
Lien TC Infos : tc-infos.fr/vehicule/32762
st. catherine's college, oxford, england 1959-1964.
architect: arne jacobsen, 1902-1971.
from the quad, the library.
the "skin and bones" architecture of the central buildings impressed me enormously as a student, this was how I wanted to work. today, we hide away construction behind tons of insulation and cheap aluminium cladding, and architecture is only half the art it could be.
in writing, st. catherine's college has been called everything from pure bauhaus to miesian minimalism, a motel and a hangar, without telling us much about this strange design and its origins. pevnser called it a piece of perfect architecture while reyner banham said that it offered no room for improvisation, no exploiting the happy accident. really, they were describing classicism from two different moral perspectives, two different generations.
if we accept that jacobsen the modernist kept returning to the roots of his classicist training, he did so at different times and under the influence of different architects and so never arrived at the same place twice.
teaching at the royal academy in copenhagen in the 1920's was conducted under the influence of carl petersen who had headed a classicist rebelion against the rampant individualism of the older generation. among the ideals were adherence to type, the perfection of which expressed the architect's sensitivity, and its endless repetition. make no mistake, endless repetition of an estabished type was never a modernist invention to do with machine fabrication; it was inhereted from the classicists and given new meaning.
the classicist fearlessness in the face of repetition was tempered by jacobsen's admiration for asplund who was considered the poet of the movement along with his partner in crime, sigurd lewerentz, and an architect of rarefied effects. not quite the example for all to follow, he was later hailed as.
jacobsen's first return to classicism, following his berlin-inspired modern houses of the late twenties and early thirties, happened under the influence of italian fascist architecture and - again - asplund who had himself abandoned the constructivism of his 1930 stockholm exhibition in favour of his very own take on italian rationalism.
the second return came around 1950 when american glass box minimalism replaced jacobsen's gentle brick regionalism of the forties. the very obvious references to eero saarinen and S.O.M. may have secured jacobsen's name as a cool modernist at the time, but they also made him look like an epigone with a deft hand at furniture design, a view of jacobsen you can still meet, not least here in denmark.
the third, and to me most interesting, distinct period of classicism began around 1960. the main works are the national bank in copenhagen and st. catherine's college. they carried a level of repetition not seen since the 1920's and indeed some very rarefied effects like the extreme proportions of columns and beams and the way they project through glass. materially and geometrically, these projects are rich and they contain many cultural allusions, the most obvious being the mirroring of a nearby 18th century temple front in the national bank.
these late jacobsen buildings are related to contemporary works of stirling and the smithsons in their sophisticated and exploitive relationship to the history of modern architecture, indeed the whole history of architecture. it is worth remembering that such projects formed the architectural and intellectual context of the rise of post-modernism, it was never a strict diet of pruitt–igoe served on a tabula rasa...
I am not going to try to turn jacobsen into a team X member, but his strong dislike of le corbusier had allowed him to escape some of the worst mistakes of the CIAM and to remain open to certain historical models when they proved viable, at oxford most noticably the "new college", dating from 1379. after my first visit to st. catherine's back in the nineties, I asked knud holscher, who was made a partner by jacobsen to build st. catherine's and start a UK office, about influences. while this is clearly not a question easily answered, he did mention craig ellwood as someone staff members studied around 1960.
in many ways, this makes perfect sense. jacobsen rarely made a straight reference to mies, rather he took his cues from what we might call mies-once-removed: people like bunschaft at S.O.M., saarinen, ellwood. the national bank and st. catherine's don't actually look anything like an ellwood building, so maybe the influence should be understood as something more general. ellwood, californian by choice, had relaxed the miesian standards, he would change infill materials in his steel bays more freely, he would allow steel bays to wander off and become garden elements. in short, as an example, he offered freedom.
interestingly, craig ellwood was later, much later, to influence renzo piano, post-pompidou, and once again in a liberating manner. considering that ellwood never actually existed, perhaps a liberating influence was to be expected. I'll devote the next few slides to ellwood and holscher before returning to oxford.
more jacobsen.
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.
Exploitant : SPL TransUrbain
Réseau : TransUrbain
Ligne : T3
Lieu : Jean Bouin (Évreux, F-27)
Lien TC Infos : tc-infos.fr/vehicule/17739
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
'Eyes down look in'. a Short Eared Owl, quartering the meadow, hunting in Swillington Ings.
Many thanks for visiting my Flickr pages ...Your visits, interest, comments and kindness to 'fave' my photos is very much appreciated, Steve.
There is something almost magical about Short-eared Owls, a sense of otherworldliness that comes from their nomadic nature. For many birdwatchers it is the winter months that provide the best opportunities to catch up with this species. Wintering ‘shorties’ make use of lowland grazing marshes, areas of early-stage plantation and rough grassland - habitats that in previous decades might once have supported breeding pairs.
Better up north
The three Breeding Bird Atlases show how the breeding range of the Short-eared Owl has contracted northwards within Britain. The species is becoming increasingly restricted to our northern uplands, the Hebrides and Orkney. Short-eared Owls are nomads, turning up to breed wherever their favoured small mammal prey are abundant. Historically, large numbers turned up to exploit the plagues of Field Voles that once occurred in parts of Scotland and northern England, their populations changing dramatically from one year to the next. The northwards retreat has virtually seen the disappearance of the population that once bred around the East Anglian coast, south to the north shore of Kent, and the loss of the species from the brecklands of the Norfolk/Suffolk borderlands. It is thought that our breeding population now stands at between 750 and 3,500 pairs but, like many things about the species, there is uncertainty around these figures because of our wider lack of knowledge about them.
Small mammal specialist
The Short-eared Owl is a specialist predator of small mammals, predominantly voles and the Field Vole forms c.90% of the prey taken. Short-eared Owls can be seen quartering an area of suitable habitat, hunting on the wing and listening and looking for signs of prey in the grass below. Quartering flight involves a mixture of flapping and gliding, the bird sometimes hovering before dropping down onto an unsuspecting small mammal or bird.
Bird prey can be important at some sites and at some times of the year, with pipits, small waders and other species taken more often during the winter months. It is not unusual to see several Short-eared Owls hunting over the same area, sometimes hunting alongside Barn Owls and even Kestrels. These hunting ‘shorties’ will often roost on the ground using taller cover, typically close to the sites where they have spent time hunting.
On the wing
While many Short-eared Owl populations are nomadic, some live a more settled existence. Information from Short-eared Owls ringed as young at the nest, reveals that our birds undertake long-distance movements, dispersing away from the area in which they were born. A wider examination of movements, looking across Europe, reveals that the average distance moved after ringing has declined since the 1970s. This may reflect the pattern of less pronounced vole cycles and the amelioration of the climate, both of which may see these birds remaining further north than they did just a few decades ago. This would also explain the contraction that we have seen in the UK breeding range. As with a number of other species, there is good evidence that northerly populations are more migratory than southern ones.
The business of breeding
Short-eared Owls are early breeders and many pairs will be back on their breeding territories by late March. Strongly territorial, the birds may be seen advertising ownership of their breeding territory or chasing away intruders. Individuals utilise a number of different display postures and rely more on these than on vocalisations, something that reflects their association with open rather than wooded habitats. These birds have a reputation for defending their nest and young, attacking predators, dogs and human observers with some ferocity.
Increasing our understanding
Researchers based at BTO Scotland have been carrying out work to improve our understanding of this charismatic species. Some of this work has been directed to improving fieldwork methods for detecting and censusing this species, while other work has looked at ranging behaviour and longer distance movements. Knowledge of where Short-eared Owls occur during the winter months comes from periodic atlas surveys and, importantly, from the records of birdwatchers collected through BirdTrack, meaning that anyone can contribute to our knowledge of this enigmatic species. BTO Notes.
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2621 (BD-914-KS)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 160 NAVETTE RELAIS TRAM B
Voiture : 16005
Destination : BORDEAUX Victoire
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.
30/07/2020 11:14
Allées de Bristol ; F-33 BORDEAUX
"In all things of nature there is something of the marvellous."
~ Aristotle
A Crimson Rose (atrophaneura hector) captured in the backyard. These are large swallowtail butterflies belonging to the subgenus Pachliopta (roses) of the Red-bodied Swallowtails (genus atrophaneura). It is found in India and Sri Lanka and not known to be threatened. It is common all along the Western Ghats up to Maharashtra. The red body, slow peculiar flight, bright colouration and pattern of the wings are meant to indicate to predators that this butterfly is inedible, being well protected by the poisons it has sequestered from its larval food plant. This property is exploited by the female morph of the Common Mormon which mimics its look to frighten away predators.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Véhicule : VOLVO 7700A €4
Identification : 1786 (ET-924-LQ)
Exploitant : Keolis Bordeaux Métropole
Véhicule ex-Sibra Annecy.
Réseau : TBM (Transports Bordeaux Métropole)
Dépôt : Centre d'Exploitation du Lac (CEL)
Ligne : n.a.
Voiture : n.a.
Destination : Maintenance
19/02/2019 14:08
Rue Henri Delattre ; Bruges
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.
---- Matera (Italy), beginning of October, 2019 -----
---- Matera (Italia), inizio d’ottobre, 2019 -----
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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
Qi Bo's photos on Flickr Hive Mind
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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A trip to…Matera: it is an Italian city of Basilicata, its origins are very ancient, remote; Matera is characterized by the so-called "Sassi", they are a complex of districts consisting of Houses-Caves dug into the rock; in the past these houses-caves were evacuated (in 1952) by order of the then government, to prevent the Sassi from being a tangible manifestation of a poor and backward southern Italy, with the simultaneous construction of districts made up of new houses. Currently things have changed, the Sassi have been rediscovered and enhanced, they host B & Bs, restaurants, museums, exhibition halls in which to find exhibitions of modern art, and, thanks to their rediscovery, the Sassi have been recognized by UNESCO, heritage of humanity, and moreover, Matera has also been elected Capital of Culture of 2019.
The Sassi of Matera are therefore districts that constitute the oldest part of the city, there is the Sasso Barisano, there is the Sasso Caveoso, which are separated from each other by a Big Rock on which there is the "Civita", which is the central part of the old city, on top of which is the cathedral and noble palaces. In ancient times the inhabitants of the Sassi, exploiting the friability of the calcareous rock, created a complex system for conveying water into canals, which led to a network of cisterns, thus water, a precious element for those lands, immediately became available.
The Patron Saint of Matera is the Our Lady of Bruna, whose denomination has uncertain origins (there are various theories), I have photographed Her icon, visible in the Mother Church, and the Her statue with the Little Jesus in Her arms, which is carried in procession. The Sassi, due to their landscape features, were very often chosen to set a large number of films, just to mention a few, "the roaring years" by Luigi Zampa, "the Gospel according to Matthew" by Pier Paolo Pasolini, "Christ stopped at Eboli" by Francesco Rosi," the Passion of Christ" by Mel Gibson.
In my wanderings among the Sassi, I met many Street Artists, among them the artist Benedict Popescu, I also met a very nice Capuchin friar with a passion for photography, some sweet girls, Koreans, Beneventans and of Matera.
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Una gita a…..Matera: essa è una città italiana della Basilicata, le sue origini sono antichissime, remote; Matera è caratterizzata dai cosiddetti “Sassi”, sono un complesso di rioni costituiti da Case-Grotte scavate nella roccia; queste Case-Grotte in passato furono evacuate (nel 1952) per ordine dell’allora governo, per impedire che i Sassi potessero essere una manifestazione tangibile di una Italia meridionale povera ed arretrata, con la contemporanea realizzazione di rioni costituiti da case nuove. Attualmente le cose sono cambiate, i Sassi sono stati riscoperti e valorizzati, essi ospitano B&B, ristoranti, musei, sale espositive nelle quali trovare anche mostre di arte moderna, e, grazie alla loro riscoperta, i Sassi sono stati riconosciuti dall’UNESCO, patrimonio dell’umanità, ed inoltre, Matera è stata anche eletta Capitale della cultura del 2019.
I Sassi di Matera sono quindi rioni che costituiscono la parte più antica della città, c’è il Sasso Barisano, c’è il Sasso Caveoso, i quali sono separati tra di loro da una rocca sulla quale c’è la Civita, che è la parte centrale della città vecchia, sulla cui sommità si trova la cattedrale ed i palazzi nobiliari. In epoche remote gli abitanti dei Sassi, sfruttando la friabilità della roccia calcarea, si ingegnarono nel realizzare un complesso sistema di convogliamento delle acque in canali, che conducevano in una rete di cisterne, in tal modo l’acqua, elemnto preziosissimo per quelle terre, diveniva immediatamente disponibile.
La Santa Patrona di Matera è la Madonna della Bruna, la cui denominazione ha origini incerte (vi sono varie teorie), io ho fotografato sia la sua icona, visibile nella chiesa Madre, sia la statua con in braccio il Bambinello, che viene portata in processione. I Sassi, per le loro caratteristiche paesaggistiche, sono stati molto spesso scelti per ambientare numerosissimi film, solo per ricordarne alcuni, “gli anni ruggenti” di Luigi Zampa, “il Vangelo secondo Matteo” di Pier Paolo Pasolini, “Cristo si è fermato ad Eboli” di Francesco Rosi, “la Passione di Cristo” di Mel Gibson.
Nel mio peregrinare tra i Sassi, ho incontrato molti Artisti di Strada, tra essi l’artista Benedict Popescu, credo unico nel suo genere, ho incontrato inoltre, un gentilissimo frate cappuccino con la passione della fotografia, delle dolcissime ragazze, Coreane, Beneventane e di Matera.
Exploitant : Cars Hourtoule
Réseau : SQY Terre d'Innovations
Ligne : 9
Lieu : Gare de Plaisir – Grignon (Plaisir, F-78)
Lien TC Infos : tc-infos.fr/id/35058