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

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

Remplacement des trains entre le 27.06 et le 25.08.2025

Ligne 1 du réseau ID BUS en provenance de Sabirs-Vieux Château et à destination de Anciennes Usines à Port-Joinville.

Réseau exploité par la Régie des transports urbains de l'Ile d'Yeu.

"Several" US federal government agencies have been hit in a global cyberattack that exploits a vulnerability in widely used software.

The US Cybersecurity and Infrastructure Security Agency "is providing support to several federal agencies that have experienced intrusions affecting their MOVEit applications," Eric Goldstein, the agency's executive assistant director for cybersecurity, said in a statement on Thursday to CNN, referring to the software impacted. "We are working urgently to understand impacts and ensure timely remediation."

It was not immediately clear if the hackers responsible for breaching the federal agencies were a Russian-speaking ransomware group that has claimed credit for numerous other victims in the hacking campaign.

A CISA spokesperson had no comment when CNN asked who carried out the hack of federal agencies and how many have been affected.

But the news adds to a growing tally of victims of a sprawling hacking campaign that began two weeks ago and has hit major US universities and state governments. The hacking spree mounts pressure on federal officials who have pledged to put a dent in the scourge of ransomware attacks that have hobbled schools, hospitals and local governments across the US.

Johns Hopkins University in Baltimore and the university's renowned health system said in a statement this week that "sensitive personal and financial information," including health billing records may have been stolen in the hack.

Meanwhile, Georgia's state-wide university system -- which spans the 40,000-student University of Georgia along with over a dozen other state colleges and universities -- confirmed it was investigating the "scope and severity" of the hack.

A Russian-speaking hacking group known as CLOP last week claimed credit for some of the hacks, which have also affected employees of the BBC, British Airways, oil giant Shell, and state governments in Minnesota and Illinois, among others.

The Russian hackers were the first to exploit the vulnerability, but experts say other groups may now have access to software code needed to conduct attacks.

The ransomware group had given victims until Wednesday to contact them about paying a ransom, after which they began listing more alleged victims from the hack on their extortion site on the dark web. As of Thursday morning, the dark website did not list any US federal agencies.

The episode shows the widespread impact that a single software flaw can have if exploited by skilled criminals.

The hackers -- a well-known group whose favored malware emerged in 2019 -- in late May began exploiting a new flaw in a widely used file-transfer software known as MOVEit, appearing to target as many exposed organizations as they could. The opportunistic nature of the hack left a broad swath of organizations vulnerable to extortion.

Progress, the US firm that owns the MOVEit software, has also urged victims to update their software packages and has issued security advice.

© 2023 Cable News Network, Inc. A WarnerMedia Company. All Rights Reserved.

Exploits River Central NL

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

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

Serial number: UE162

First flight date: 01/07/1995

Engines 2 x PW PT6A-67D

N162ZV 28/07/1995 CommuteAir

C-GERI 02/12/2011 Exploits Valley Air Services

Inscription on postcard translates to something like "Solemnity [near] monument to Nevelskoy" written in pre-Revolution orthograthy. Gennady Ivanovich Nevelskoy was russian admiral and explorer of Far East. (This information was provided by flickr member Hans KC)

Unveiled in 1897, the monument to Nevelskoy became the first monument in Vladivostok. The cornerstone was laid in 1891 by Cesarevich Nikolai who was to be the last imperial ruler of Russia. The townspeople had been donating since 1889 when the idea of commemorating the memory of G. Nevelskoy was first put into words. Admiral Nevelskoy (1813-1876), Russian explorer of the Far East proved that Sakhalin was an island--not a peninsula as it had been thought of before--and that the Amur was navigable in all its parts--the mouth of the Amur had been believed to be lost in quick sands. Nevelskoy also founded Nikolayevsk-on-Amur in 1850.

Simple in form and modest in embellishment, the Nevelskoy Monument began to symbolize the collective exploration exploits and pioneering spirit of sailors, soldiers, cossacks and first explorers. Designed by the navy engineer A.Antipov, the monument consists of twelve gray granite slabs topped with the globe circled along the diameter and crowned with a two-headed eagle, a symbol of Russian csars' autocracy. In the niche facing the Golden Horn Inlet stands the Nevelskoy bust perfectly executed by a renouned Russian sculptor R.Bach (1859 - 1933). Inconspicuous presence of Nevelskoy highlights the expressiveness of the whole. In the rest three niches there are the bronze plaques bearing the names of Nevelskoy's collaborators who participated in 1849 - 1853 expeditions.

The story of the Nevelskoy Monument is typical of post-revolutionary Russia: in 1923 the five-pointed star came to replace the two-headed eagle, the remains of revolutionaries were reburied in front of the monument. Since then the small public garden surrounding it has been named the Victims of the Revolution Public Garden. In 1958 two years before the centenary of Vladivostok, N.Kukel'-Krayevsky, the grandson of Nevelskoy, addressed the local government to restore the monument. By 1960 the Nevelskoy Monument had been restored.

Vladivostok literally 'ruler of the east' is a city and the administrative centre of the Far Eastern Federal District and Primorsky Krai, Russia, located around the Golden Horn Bay, not far from Russia's borders with China and North Korea. The population of the city as of 2018 was 604,901, up from 592,034 recorded in the 2010 Russian census. Harbin in China is about 515 kilometres (320 mi) away, while Sapporo in Japan is about 775 kilometres (482 mi) east across the Sea of Japan. The city is the home port of the Russian Pacific Fleet and is the largest Russian port on the Pacific coast.

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.

Tornado IDS - 46+26 JaboG 38 Friesland - Luftwaffe (Base aérienne 105 EVREUX juin 1991)

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."

Exploits River Central NL, Canada

Hi everyone todays painting is (The Exploited Worker) there is so much that can be said about this evil practice that I will just say this way of living for many must come to a end,or will people continue to turn a blind eye all in the name of many times for profit? take care steve.

© Tobie Openshaw. If you wish to use this image, (for any purpose - yes, even if you just want to link to it from your blog) please contact me at topenshaw@hotmail.com

Betelnut girls (Binlang Xi Shi/檳榔西施) are a unique part of Taiwan culture. They sit in brightly-decorated glass booths wearing skimpy outfits, and sell cigarettes, drinks and betelnut to passing drivers. It’s a controversial trade but not actually illegal. The question of whether the girls are exploited is open to debate – certainly their own perception is mostly that they are doing a job like any other, and the less they choose to wear, the more they sell. For more info, see en.wikipedia.org/wiki/Betel_nut_beauty and follow the links to the video and pictures.

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.

Exploiting our natural tendency to interpret bilateral symmetry as a life form. Image by reflection, inversion, and texturing of Durian peel, taking advantage of the extreme texture of this the skin of this much maligned tropical fruit. I find the smell of ripe Durian on the bus to be offensive, but the same smell from my fridge is wonderful. The difference is one of ownership. The Durian in the fridge is my Durian. That's different.

The Exploited: Wattie Buchan (vocals) performing live in the Astra, Berlin at the Punk & Disorderly festival, 20.04.18, singer, Sänger

Follow concert photography on Facebook and/or Twitter.

L'exploitation de sept filons d'ardoises pendant trois siècles a formé des falaises abruptes parallèles de roches inexploitables (à trop forte teneur en quartz) de 50 à 150 mètres de profondeur.

D'une qualité remarquable avec seulement 2 % de porosité, ces ardoises de Corrèze ont notamment été choisies pour la rénovation de l'abbaye du Mont-Saint-Michel.

"Aggressive aesthetics"

Bourberain (Côte d'Or - Bourgogne-Franche-Comté)

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

Paysage forestier, Ardenne belge, hiver. Photo prise avec un Instax Wide Evo.

Spitfire PR.XI PL983 (G-PRXI) is a rare survivor of this mark of Spitfire, with just two ‘Mark Elevens’ remaining in an airworthy condition. This variant was specially designed to perform high altitude, long distance photographic operations – indeed one of the type’s most famous exploits was taking the initial images following the ‘Dambusters’ raid to prove to what extent the dams had been breached. Armament was removed in place of extra fuel tanks to allow for a significantly increased range. As such, the only defences the ‘Eleven’ had to hand were height and speed. Whilst the PR.XI could avoid most enemy fire at operating height, it was by no means an easy job for the pilots who suffered from the extreme conditions in unpressurised cockpits.

PL983 first flew in October 1944 and saw active service from 1945 onwards, taking photographs across Europe as part of 4 Squadron before transferring to 2 Squadron in Germany following the end of hostilities. The continued introduction of jet aircraft to the RAF saw units gradually replacing their Spitfires which became surplus to requirements and were often scrapped. However this airframe survived and was gifted to the American Air Attaché at the time, Livingstone Satterthwaite, for use as his personal transport. The aircraft still wore its ‘PR Blue’ colour scheme but the roundels were overpainted and the military identity PL983 was removed in place of an American civil registration. Consequently, famous Air Transport Auxiliary pilot Lettice Curtis was invited to fly PL983 in a number of civilian air races. In 1948, Lettice flew the Spitfire in the Lympne International Air Races and broke the National 100km close-circuit record, recording an average speed of 313.07mph.

The aircraft was returned to the Vickers Armstrong factory in late 1950 and was then donated to the Shuttleworth Collection at Old Warden, Bedfordshire. PL983 remained there for the next 25 years - mainly on static display outside - until it was moved to Duxford where a restoration back to flying condition began. Before completion, Shuttleworth sold the aeroplane at auction where it was purchased by French collector and pilot, Roland Frassinet. The Spitfire flew again from East Midlands Airport in 1984 where Trent Aero had completed the rebuild. Three years later the aircraft was acquired by warbird collector Doug Arnold, and soon had a leading role in the TV series ‘Piece of Cake’ where it depicted an early-mark Spitfire deployed to France towards the start of WWII. Upon Arnold’s death in 1992, G-PRXI – as the airframe was known by now – entered storage until re-emerging in 1999 with a new owner, Justin Fleming.

The Aircraft Restoration Company acquired the airframe some years later and commissioned a full rebuild. At this point it regained the PR.XI ’wrap-around’ Perspex windscreen – removed some years earlier - and the aircraft’s factory original Rolls-Royce Merlin 70 engine was tracked down, overhauled and re-fitted. PL983 flew again in 2018, adorned in the authentic ‘PR blue’ livery which was so effective at camouflaging the aircraft at height. A small addition was Lettice Curtis’s distinctive signature, reproduced in white paint next to the cockpit as a tribute to her and all other ATA pilots active throughout the era. During the restoration PL983 picked up the nickname ‘Eleven’ amongst the team, this over time was affectionately shortened to ‘L’. ‘L’ because it also happened to be the first letter of ‘Lettice Curtis’ and because it’s pronounced ‘el’, as in the first syllable of Eleven. Since then the nickname has stuck and you will rarely hear us refer to this wonderful machine as anything else.

In 2020, G-PRXI was nearing the end of some maintenance work and required a test flight. We decided to schedule John Romain’s test flight to coincide with the ‘Clap for Carers’ initiative which was ongoing amidst the COVID-19 pandemic. He flew the aircraft around local villages in an effort to raise morale during a difficult time for many. Following positive feedback, this was repeated again – this time with the words ‘THANK U NHS’ painted in large white lettering underneath the wings. With word of the ‘NHS Spitfire’ spreading and the NHS themselves now in direct contact to voice their support of the idea, the fuselage began to be adorned with the names of those nominated by their loved ones in return for a donation. The tail feathers of the ‘NHS Spitfire’ were soon a sea of names and the project raised over £130,000 for the ‘NHS Charities Together’. As restrictions eased, John flew this now iconic symbol of hope over some 255 hospitals across England, Scotland, Wales and Northern Ireland to spread the aircraft’s message of thanks to those it represented. Having carried cameras rather than weapons during active service, this non-combat variant of the Spitfire was the perfect machine for the NHS project and we would like to say a heartfelt thank you to everyone who help make it possible.

So… if you are ever passing by Duxford Airfield at dusk, always keep your eyes peeled for a dash of PR blue dancing among the golden evening clouds.

2023 Season Scheme Update:

With the NHS Spitfire project donation window having been closed for over a year and the final sum raised having been handed over to NHS Charities Together, the ‘THANK U NHS’ has now been removed from the underside of the Spitfire’s

wings. The thousands of names subtly hand written over the tail and rear fuselage section of the aircraft will remain on the aircraft for this season in order to give as many people as possible the chance to read them.

OLYMPUS DIGITAL CAMERA

Elite Dangerous : 1,4 million d'exemplaires vendus dans le monde Il en aura fallu du temps, mais Elite Dangerous a réussi un joli exploit, celui de franchir le seuil des 1,4 million d'exemplaires vendus dans le monde. Un beau succès surtout... via on.fb.me/1osNI0h

they said its human needs, what i have seen all over there was greed...

©

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Another shot of the Cala I'm currently exploiting.

Strobist info: I wanted to backlight this so I placed a YN560-II in a 24 inch softbox behind and camera right at 1 o'clock. For fill lighting I held a mirror in front camera left to bounce a little light onto the front of the flower. The flash was triggered by a Yongnuo RF-603N.

Other plants, flowers, fruit or thingys that I've photographed using strobes, can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422

Other Callas that I've exploited are in my Calla Lilly set. www.flickr.com/photos/9422878@N08/sets/72157626082181550/

A direct action team from the Combined Anti-Terrorism Task Force was tasked to intercept the fishing yacht Blue Moon and captured two high value individuals on board. The team launched from a HH-60 helicopter and a rigid-hulled inflatable boat.

The helicopter team and the boat team attacked the yacht simultaneously and quickly gained control of the boat. The team successfully captured the two high value individuals. They also conducted site exploitation and collected intelligence on the yacht.

After the team secured the high value individuals and intelligence, they were quickly extracted back to base.

The end.

For the last year many wonderful people on flickr have been having their photos of their children taken and used without permission on www.orkut.com

Litterally thousands of images of children are being used to set up fake profiles on this google run website. The profiles may be fake but the children whose images they steal are not..

They believe that a little green symbol and the words "this photo is public" means its free for anyone to use how they want and have no consideration for the property and lives of the people whose images they steal.

Google is doing little to nothing about this blatant theft and the exploitation of these innocent children..its time to make a stand!

Setting up a profile on Orkut takes only a minute or 2....sign up and continue the fight...report this to google..speak to your local media..call the radio station..blog about it..tell your friends about it..let google know we wont stand for this any longer.

Visit the original post here: www.flickr.com/photos/sarahsmile1/1436257706/in/photostream/

fave these images..leave us notes and let us know your supporting this effort!!

Dont forget to fave...add a note or leave a comment to let us know you support this effort,

There is also a petition you can find on Sarah's stream to sign

Blogged

Le miellat des pucerons est prélevé par les fourmis dites éleveuses. Ces dernières caressent avec leurs antennes les pucerons qui libèrent le miellat récolté alors par les fourmis.

Les fourmis profitent donc d'une ressource de nourriture sucrée et abondante et le puceron d'une protection contre les prédateurs et contre les champignons qui se développeraient (fumagine) si le miellat tombait simplement sur les feuilles.

[Wikipédia]

Exploits River, Central NL, Canada

Chuquicamata, the largest open-pit copper mine in the world.

Let Them Be Free - Never Go to SeaWorld

SeaWorld, Marine Land, and other facilities that confine and exploit animals for human amusement are animal exploitation and unjust. Animals are sentient beings with rights to their own bodies and lives. They should not be treated as property, objects, resources, or commodities for our unnecessary uses.

~~~~~~~~~~~

Former Orca Trainer Urges the Public to Boycott SeaWorld

plantbasednews.org/culture/ethics/orca-trainer-seaworld/

Series on Animals Used For Entertainment

bitesizevegan.org/series/animals-in-entertainment-series/

Why Veganism?

www.vegankit.com/why

My blood boils when people quote Maslow's "Hierarchy of Needs" as the fundamental basis of prosperity and harmony. Hate it! Maslow was a sorry figure who never stepped out and bothered to interact with common people OR see them hard at work. His followers are no different. Exactly how they make hundreds of thousands of poor people perfectly able to laugh, sing a song, be merry, "invisible" is beyond me.

I met this family during my field visit to Thar, Sindh. They work as labour on farmland owned by Jarwars. The wage rates are abhorrent & in direct violation of all labour laws - Rs. 15 for every 40kilos of crop they cut, clean and sort. A family of 10-12 people is able to earn Rs. 200 i.e. for about 533kilos.

I am not trying to romanticise abject poverty nor condone the exploitation - my point is simple - they are not living their lives by hierarchy of needs, they make do with little things. In this case, they are all smiles simply because we stopped by to chat & photograph them if they permitted. One of the women asked me if they will get the print - I promised her to send it, took the address and phone number.

They posed and laughed.

ODC: Essential

You gotta see this movie, it's completely insane. Filthy Satanik hippie sickos hopped up on LSD are infected with dead dog rabies by a vengeful little pudgy moppet via rabid-dog-blood-infused meat pies and all fuggin hell breaks loose. Homicidal hippies vs. angry construction workers! Self-induced miscarriages! Sharp implements used irresponsibly! Full-frontal male nudity circa 1970! Dead rats!

British Real Photograph postcard. Photo: Metro-Goldwyn-Mayer.

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

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

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

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

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

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

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

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The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

I am the taste of water, O Kaunteya! I am the shining of the Moon and the light of the Sun, and Pranava, and Universal Knowledge, and the Cosmic Voice, and humanity in people!

I am the pure scent of earth and the warmth of fire! I am the life of all the living and the exploits of spiritual warriors!

Try to cognize in Me the Primal Essence of all beings, O Partha! I am the Consciousness of all those who have developed the consciousness; I am the splendor of all the beautiful!

- The Bhagavad Gita (7:8,9,10)

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Rosia Poieni

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Cimetière du Père Lachaise

www.esoterika.org/dotclear/index.php?2003/04/19/20-mademo...

LE NORMAND ou LENORMAND MARIE-ANNE (1772-1843)

Marie-Anne Le Normand, plus connue sous le nom de «Mademoiselle Lenormand», est sans doute la voyante la plus célèbre des temps modernes...

Cette popularité, elle la doit à un jeu de cartomancie, pourtant apocryphe, plus qu’à ses écrits – quelque quatorze ouvrages aujourd’hui largement oubliés – dans lesquels elle raconte ses songes et ses visions, et se vante de rencontres prestigieuses, pour la plupart douteuses. Son sens de la publicité, jusque dans la mort, et la prolixité de ses biographes, prompts à broder de nouveaux exploits, ont fait d’elle un personnage assez éloigné de la réalité.

Marie-Anne-Adélaïde Le Normand est née à Alençon le 27 mai 1772, seconde fille de Jean-Louis Le Normand, mort l’année suivante, et d’Anne-Marie Gilbert, qui devait mourir cinq ans plus tard. Devenue orpheline, l’enfant est mise en pension chez les sœurs, d’abord chez les Bénédictines, puis chez les Visitandines, où elle se sent déjà des dons de voyance. À l’âge de 11 ans, elle est placée en apprentissage chez une couturière. En 1786, elle s’installe à Paris où son père adoptif vient d’ouvrir un magasin. Elle fréquente peut-être alors son compatriote Jacques-René Hébert. L’année suivante, elle est arrêtée pour pratique magique, mais n’est pas poursuivie. Une tradition que rien ne permet de confirmer prétend qu’elle se rend ensuite à Londres et qu’elle y pratique l’astrologie, gagnant suffisamment d’argent pour rentrer enrichie (à 18 ans!) à... Alençon l’année suivante (1790). Revenue à Paris, Marie-Anne Le Normand devient lectrice de d’Armeval de La Saussotte, personnage assez trouble et libertin. Attirée par le théâtre, elle connaît ses premiers succès de voyante dans le milieu des acteurs, qu’elle fréquente en tentant d’y placer les pièces qu’elle écrit (mais dont il ne reste rien). Elle s’installe alors rue de Tournon, où elle prétendra plus tard avoir accueilli quelques visiteurs huppés, dont le comte de Provence (futur Louis XVIII), Fouché, encore inconnu, Camille Desmoulins, Robespierre et même Bonaparte! La présence d’un club jacobin au 8, rue de Tournon lui a probablement amené une clientèle de politiques.

En réalité, les activités de Marie-Anne Le Normand paraissent avoir été moins glorieuses. Elle fait à ce moment-là la connaissance d’une tireuse de cartes et de son acolyte, un garçon boulanger; devenue leur associée en 1793, elle rend des oracles déguisée en «Américaine». Mais un client mécontent, conventionnel, la fait arrêter pour charlatanisme, avec ses comparses; incarcérées à Saint-Martin, les deux femmes sont condamnées solidairement à dix livres d’amende comme «diseuses de bonne aventure». Toujours surveillée par la police, qui la soupçonne de s’acoquiner avec des «ennemis du peuple», Marie-Anne Le Normand est à nouveau arrêtée le 17 juin 1794 et enfermée à la prison de la Force. Thermidor la libérera.

En octobre 1797 (vendémiaire an VI), elle fonde un journal, Le Mot à l’oreille, ou le Don Quichotte des dames, dont elle se dit «propriétaire-rédactrice». Rien de divinatoire là-dedans: cette modeste gazette enfile les banalités, nouvelles, rumeurs («on-dit»), scènes de rue sur le vif, décisions du Conseil des Cinq-Cents. Mais Mademoiselle Le Normand était démangée par la passion d’écrire. Son adresse est alors 115, rue de Tournon, faubourg Saint-Germain. Le Mot à l’oreille n’alla pas au-delà de huit numéros. La vraie notoriété vient avec l’Empire. Marie-Anne est-elle alors, comme elle l’a prétendu dans les Mémoires historiques et secrets de l’impératrice Joséphine (Paris, chez l’auteur, 1820), la confidente de Joséphine? On peut en douter quand on sait le jugement sans appel formulé par les historiens sur ce document entièrement apocryphe. Mais les rapports de police le disent: «la demoiselle Le Normand demeurant rue de Tournon fait journellement des dupes»; elle se dit «cousine de Charlotte Corday ... tenant un bureau d’écrivain public pour couvrir ses manœuvres» (rapport de septembre 1804). Nombre de célébrités parisiennes la consultent, tels Talleyrand, Madame de Sta‘l, Talma, et même Metternich qui lui rend visite en mars 1808. Cette célébrité lui vaut des ennemis. D’autant plus que Mademoiselle Le Normand est royaliste et s’en cache à peine. Le 11 décembre 1809, elle est arrêtée, pour être relâchée douze jours plus tard. Douze jours longuement et complaisamment narrés dans Les Souvenirs prophétiques d’une sibylle sur les causes secrètes de son arrestation le 11 décembre 1809 qu’elle publie en 1814. La clientèle continue pourtant d’affluer, sa popularité est au zénith. Depuis 1810, Marie-Anne Le Normand possède aussi une librairie rue du Petit-Lion-Saint-Sulpice (actuelle rue Saint-Sulpice). Elle y vendra essentiellement ses propres livres, tous publiés à compte d’auteur.

Le retour des Bourbons apporte à Mademoiselle Le Normand une nouvelle clientèle. La «sibylle» polémique volontiers dans la presse, qui l’accuse d’être une «sorcière». Les échotiers et les publicistes la brocardent. Elle se justifie, parlant de ses «horoscopes» et de son «génie». Elle se lance dans l’écriture de livres pour y raconter ses souvenirs ou ceux de personnages importants qu’elle dit avoir rencontrés. Ainsi paraissent successivement Les Souvenirs prophétiques d’une sibylle (1814), Anniversaire de la mort de l’impératrice Joséphine (1815), La Sibylle au tombeau de Louis XVI (1816), Les Oracles sibyllins, ou la suite des souvenirs prophétiques (1817).

En octobre 1818, Mademoiselle Le Normand décide de se rendre en grand équipage à Aix-la-Chapelle où les souverains de la Sainte-Alliance (tsar, roi de Prusse, empereur) tiennent congrès. Après quelques péripéties à la frontière, elle arrive à Aix, où elle retrouve les têtes couronnées qui la consultent depuis longtemps. Puis elle se rend à Bruxelles où elle est accueillie avec ferveur. Ces aventures donnent matière à un nouveau livre: La Sibylle au congrès d’Aix-la-Chapelle, suivi d’un coup d’œil sur celui de Carlsbad, ouvrage faisant suite aux Oracles sibyllins, avec des notes politiques, historiques, philosophiques, cabalistiques, etc., etc., qui paraît en 1819. En 1820, la publication contestée des Mémoires historiques et secrets de l’impératrice Joséphine, Marie-Rose Tascher de La Pagerie, première épouse de Napoléon Bonaparte fait scandale. Le livre sera réédité en 1827, traduit en allemand en 1822, en suédois en 1831, puis en anglais aux États-Unis en 1847 assurant sans doute la popularité de l’auteur très largement au-delà de nos frontières. La presse ridiculise pourtant à nouveau Marie-Anne Le Normand. Humiliée, elle décide de partir et choisit de se rendre à Bruxelles où elle s’installe en mars 1821. La police la surveille, elle déménage, puis est arrêtée en avril, accusée d’escroquerie. Finalement, après plusieurs interrogatoires et perquisitions, un procès se tient devant le tribunal correctionnel de Louvain. L’accusée est populaire, la presse s’en mêle, le public est nombreux. L’accusation de sorcellerie est en filigrane. Marie-Anne Le Normand est condamnée aux dépens et invitée à quitter la Belgique. D’août à octobre 1821, elle séjourne dans le Nord de la France où elle consulte. Revenue à Paris, elle se lance dans la préparation d’un torrent de livres, à commencer par le récit de ses aventures en Belgique: Souvenirs de la Belgique: cent jours d’infortunes, ou le procès mémorable, avec des notes historiques et politiques, qui paraît en octobre 1822. Suivent quelque sept ouvrages «historiques» où sont convoquées les mânes de Louis XVIII, qui vient de mourir, d’Alexandre Ier de Russie, ou encore L’Ombre de Henri IV au palais d’Orléans (1831). En 1833, Mademoiselle Le Normand prend un peu vite le parti de la duchesse de Berry, alors discréditée par ses tentatives rocambolesques de restauration légitimiste. La «sibylle» paraît moins inspirée: elle ne publiera plus de livre. Pourtant son nom continue de susciter des vocations: on ne compte plus les voyantes qui se disent – abusivement – ses élèves. Un peu oubliée, elle meurt le 25 juin 1843. Son enterrement à Paris en grande cérémonie baroque (gigantesque catafalque, pleureuses, église toute tendue de blanc) en présence d’une foule nombreuse provoque les sarcasmes des journaux.

Aussitôt, «biographes» et imitatrices se multiplient: trois récits assez fantaisistes de la vie de Mademoiselle Le Normand paraissent avant la fin de l’année, rapidement suivis par «vérités» et «souvenirs authentiques» dus à des thuriféraires improvisés. Les grands dictionnaires biographiques du moment, tels que la Nouvelle Biographie générale du Dr Hoefer et la Biographie universelle ancienne et moderne de L.-G. Michaud, la font entrer dans leur panthéon sans délai. Dès 1845, paraît en cinq petits volumes un Grand Jeu de société et pratiques secrètes de Mlle Le Normand entièrement apocryphe, préparé par une «Mme la comtesse de ***» qui se dit disciple de la sibylle et qui n’est sans doute que Mme Breteau, femme d’un éditeur peu scrupuleux. Le jeu de 54 cartes qui y est joint, devenu depuis un classique de la cartomancie et parfois présenté comme un «tarot», n’en est pas moins aux antipodes de ce que nous savons des méthodes et des thèmes ressassés par Marie-Anne Le Normand. Cette réputation de cartomancienne a même franchi les frontières, au point qu’un petit jeu de société à 36 cartes né en Allemagne, au style très germanique, est rebaptisé «Petit Lenormand».

Malgré sa passion d’écrire et ses nombreux ouvrages, Mademoiselle Le Normand n’a laissé ni théorie ni méthode pratique. Souvenirs arrangés et «prophéties» rétrospectives constituent l’essentiel de son témoignage; mais son sens très moderne de la communication lui vaut une postérité sans égal.

(vu dans Esotérika)