A traditional form of transport, there are several firms in Killarney touting jaunting car tours like this. From 1909 or so.

From the Stacey postcard album.

 

A copy of this is on sale on EBay as I write.

ok, I'm in love. wait - its only a piece of paper. well than I guess i love imagination.

Fare. Disfare. Rifare.

 

L'elemento caratterizzante di ogni forma coreutica è che in essa si può agire.

Dietro una forma apparentemente rigida, statica ed invariata nel tempo si cela in realtà un

flusso dinamico sottoposto a continuo mutamento.

Ogni stile di danza, anche quello apparentemente più codificato ed immutabile è in realtà

plastico ed è in grado di incorporare i mutamenti storici mantedendosi vivo nel cambiamento.

Il Bharatanatyam, oggi ritenuto uno degli stili coreutici classici dell' India del Sud, rappresenta un perfetto esempio di come una danza altamente codificata e soggetta ad una forta contestualizzazione geografica

offra in realtà un fertile terreno di sperimentazione.

 

Dancer_ Sara Azzarelli

Bologna, Novembre 2011

All rights reserved © 2013

Goldfinch in my garden looking bright despite a gloomy, foggy day

Female Goosander in a calmer moment

Formed by ice, water, and scouring wind, the park is an expansive open landscape. The Ashburton lakes form a central hub and the braided waters of the Rangitata and the Rakaia rivers are the southern and northern boundaries.

The headwaters of both rivers are notable landscapes – the upper Rangitata featured as the fortress of Edoras in the Lord of the Rings film. Other distinctive features are kettleholes (depressions), found largely in the eastern South Island high country.

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

St. Stephen's Cathedral (actually the cathedral and metropolitan church of St. Stephen and All Saints ) on Vienna's Stephansplatz ( Inner City district ) has been a cathedral church (seat of a cathedral chapter ) since 1365, a cathedral (bishop's seat) since 1469/1479 and the metropolitan church of the Archbishop of Vienna since 1723 . It is also the parish church of the cathedral parish of St. Stephan in downtown Vienna. The Roman Catholic cathedral , which the Viennese call Steffl for short, is considered a landmark of Vienna and is sometimes referred to as the Austrian national shrine . It is named after Saint Stephen , who is considered the first Christian martyr. The second patronage year is All Saints Day.

 

The structure is 109 meters long and 72 meters wide. The cathedral is one of the most important Gothic buildings in Austria . Parts of the late Romanesque previous building from 1230/40 to 1263 are still preserved and form the west facade, flanked by the two heath towers , which are around 65 meters high. St. Stephen's Cathedral has a total of four towers: at 136.4 meters, the south tower is the highest, the north tower was not completed and is only 68 meters high. In the former Austria-Hungary, no church was allowed to be built higher than the south tower of St. Stephen's Cathedral. For example, the Cathedral of the Virgin Mary Conception in Linz was built two meters lower.

 

The south tower is an architectural masterpiece of the time; Despite its remarkable height, the foundation is less than four meters deep. When it was completed, the tower was the tallest free-standing structure in Europe for over 50 years. There are a total of 13 bells in the south tower, eleven of which form the main bell of St. Stephen's Cathedral. The Pummerin , the third largest free-swinging church bell in Europe, has been located in the north tower under a Renaissance tower dome since 1957.

 

The area that was later occupied by St. Stephen's Cathedral was located east of the Roman legionary camp of Vindobona in the area of ​​the canabae legiones , the camp suburb. The camp was surrounded by buildings and streets from the first to the third century, but these were replaced by tombs and burial structures in the third and fourth centuries. Grave discoveries have been made in the area of ​​Stock-im-Eisen-Platz since 1690.

 

The beginnings of the cathedral date back to 1137, from which the Mautern exchange agreement between Margrave Leopold IV of Austria and Bishop Reginmar of Passau has been handed down. Goods and parish rights were exchanged in order to enable the bishop to build a church outside the city at the time, which would be placed under the patronage of St. Stephen , the patron of the Episcopal Church of Passau . The parish rights of the existing St. Peter's Church should fall under the responsibility of the new Viennese pastor. The other churches in Vienna at the time (in addition to the Maria am Gestade church ), the Ruprechtskirche and the Peterskirche , were named after Salzburg saints; The patronage of the church was therefore a political signal. The first church was completed in 1147 and consecrated in the same year around or just before Pentecost (June 8, 1147) by Passau Bishop Reginbert von Hagenau (patronage after the mother church Passau); the first pastor is the Passau cleric Eberger from the bishop's entourage . The church was completely oversized for the city at the time - so there could have been efforts to convert it into an episcopal church at that time. The church is dated to sunrise on December 26, 1137.

 

Lightning struck the south tower in 1149 and caused it to burn out. [8th]

 

From 1230 to 1245 , another late Romanesque building was built under Duke Frederick II the Quarrelsome of Austria, some of which is still preserved on the western facade. It consists of the two Heathen Towers and the Giant's Gate . The origin of both names is not completely clear. The name: Heathen Towers possibly comes from the stones that came from ancient Roman ruins, but possibly also from the two representations of the non-Christian fertility symbols phallus and vulva (pictures below), which crown the two blind columns in the west wall below the towers. The association with minarets comes from a later period. However, the term “pagan” could simply be a synonym for “ancient.” According to legend, the name Giant Gate goes back to a huge mammoth bone suspended above the gate or a giant who helped with its construction; In fact, the name probably goes back to the Middle High German word risen (to sink, to fall) and refers to the funnel shape of the portal. Above the gate was a ducal gallery , similar to Charlemagne's imperial chair in Aachen and the western galleries of the imperial cathedrals.

 

After a fire in 1258, construction was completed under the new sovereign Ottokar II Přemysl and re-consecrated in 1263 under pastor Gerhard. The upper floors of the heathen towers were only built afterwards. The two towers are connected by a late Gothic candle arch , which has the task of supporting the two towers against each other. This medieval renovation measure prevents settlement and shifting in the area of ​​the westwork. The candle arch is usually hidden by the organ, but was visible in 2018 as part of the organ renovation. In 1276 a fire broke out again, which damaged the choir, but did not affect the western facade and the western gallery or the adjoining rooms in the heath towers.

 

The Gothic building period began under the Habsburgs , Dukes of Austria since 1282 . Under the Dukes Albrecht I and Albrecht II of Austria, not only was the fire damage repaired, but an enlarged choir in the Gothic style was built between 1304 and 1340, which is called the Albertine Choir after them . The choir was consecrated on April 23, 1340, and the hall choir was largely completed. After 1340, as the documents on the liturgy, the rood screen and the altars show, the choir could already be used for liturgical activities.

 

The reign of Duke Rudolf IV , called "the founder", was significant for the church: on April 7, 1359 he laid the foundation stone for the south tower and the Gothic extension of the church - one source specifically speaks of the choir, for which there is evidence of a new consecration in 1365. With the intention of upgrading the main church of his residential city, Rudolf - who had claimed the title of "Arch Duke of the Palatinate" since 1358/59 - moved the collegiate monastery he had built in 1358 in the All Saints' Chapel in the Hofburg as a "cathedral chapter" to St. Stephen's Church in 1365 and lent it to it Provost gave him the title “Archchancellor of Austria” and appointed him chancellor (rector) of the new university in Vienna . Since then, the All Saints' Day patronage for the choir has been the cathedral's second patronage. The important collection of relics and the founding of the ducal crypt also go back to Rudolf IV. [10] When Rudolf died unexpectedly in 1365, he was buried in the choir. The construction of the two western nave chapels as well as the two princely portals that are obviously connected to them also go back to Rudolf.

 

Rudolf's most important construction project at St. Stephen's Cathedral was the start of construction on the southern high tower, even if little more than parts of the St. Catherine's Chapel, which was only consecrated in 1391, was completed during the seven years of his rule. [15] The question of who was responsible for the conception and planning of the Gothic building is open. It was not until 1368 that a Magister operum ad St. Stephanum (master builder of St. Stephan) named Seyfried was mentioned for the first time. A significant influence on the planning was attributed in older research to the Dukes' master builder Michael Knab , but his activity as a master builder in Vienna's cathedral can be specifically ruled out.

 

By 1407, the tower substructure had advanced to the height of the church roof, when decisive corrections were made because, as Thomas Ebendorfer reports, “master builders experienced in the art and famous in our day had deviated so much from the original plan in the construction of the said tower that everything, What had been built on it at great expense over several years was, conversely, demolished back to where the first builder left it.” This obviously refers to the former Prague cathedral builder Wenzel Parler , who was the cathedral builder in Vienna from 1403 to 1404. The tower was then completed with modifications in 1433 by Peter and Hans von Prachatitz , [10] with this tower being the tallest tower in Europe at 136 meters until the Strasbourg Cathedral tower was completed in 1439.

 

Immediately after the tower substructure, the construction of the Gothic nave, decorated with rich tracery shapes, began on its south side and was progressed to such an extent by 1430 that the last remnants of the early Gothic nave, which stood in the way of expansion, could be demolished. Under cathedral builder Mathes Helbling , the western part of the north wall was completed by 1440 (inscription on the cornice), after which work began on the construction of the cantilever pillars of the hall church . Under Hans Puchsbaum, the cathedral nave was expanded into a relay hall and the vault was also prepared, although its rich design with arched ribs was only completed under his successor Laurenz Spenning . In the Middle Ages, the only tracery gable of the exterior building was that of Emperor Friedrich III. Referring Friedrich gable was built over the southwest yoke. An inscription tablet from 1474 (now lost) marked the completion date of the church building, although without the north tower, which had just begun. Shortly before, in 1469, Vienna had been elevated to a diocese and thus St. Stephen's Cathedral had been elevated to a cathedral , so that the collegiate foundation founded by Rudolf IV also became a cathedral chapter . During this time, St. Stephen's Cathedral was also used for public speeches to the Viennese community, as was the case with Archduke Albrecht VI. shows.

 

In 1450 Frederick III. the foundation stone for the north tower (previously also incorrectly called the Albertine Tower ) and the foundation of the north tower was built under the cathedral builder Hans Puchsbaum, whereby, on imperial orders, the wine of this vintage, which was classified as inedible, was used as a binding agent. After a long interruption caused by the political tensions between the city and the emperor, it was not until 1467 that construction of the north tower actually began according to new plans under cathedral architect Laurenz Spenning. [20] Of the two alternative tower plans he presented, the first represented a revision of the existing high tower, the second a new plan that was around 20 meters higher, which was also intended to surpass the tower construction projects of the Strasbourg and Ulm Minsters . Under him the portal floor was completed by 1477, under his successor Simon Achleitner the double window floor, under Jörg Kling and Jörg Öchsl the subsequent open floor, until further construction was stopped in 1513 after almost half a century of construction activity. The decision to complete the tower was made in 1523, but was no longer implemented. Continuing to be built at the same pace, the north tower could have been completed around 1560, but the warlike circumstances of the time, which made the renovation of the fortifications necessary, prevented further construction. In 1578, a simple bell storey with a Renaissance hood was placed on the tower stump , which is called Saphoy'sche Haube after the builder Hans Saphoy .

 

From 1511 to 1515, the sculptor and master builder Anton Pilgram took over the management of the construction works , he completed the organ base and, among other things, was involved in the execution of the cathedral pulpit ; the window peep there was traditionally mistaken for his self-portrait . Under Hans Herstorffer , who worked as the cathedral builder from 1637 to 1650, the interior was given a Baroque design in 1647 ; in particular, the high altar by the sculptor Johann Jacob Pock and his brother, the painter Tobias Pock , dates from this period. During the Turkish siege in 1683, the cathedral was damaged by Turkish cannonballs. The large bell (the Pummerin ) was then cast from the besiegers' cannons. In 1713, right at the beginning of the term of office of cathedral builder Johann Carl Trumler , Emperor Charles VI. in the cathedral a vow to found a church when the plague ends. Around three years later, construction of the Karlskirche began.

 

Since the renovations in the 19th century, the imperial eagle of the Austrian Empire has been laid out in colorful tiles on the southern roof of St. Stephen's Cathedral. The breastplate of this eagle contains the monogram of Emperor Franz I. When the roof structure was rebuilt after the fire at the end of the Second World War, the Austrian federal eagle , which, however heraldically , faces the wrong direction, and the Viennese eagle were also added to the north side of the roof Coat of arms attached.

 

Destruction in the Second World War and reconstruction

St. Stephen's Cathedral survived the bombing raids during the Second World War and the fighting in the city without any major damage. However, on April 6th, a bomb penetrated the vault of the south aisle. When a white flag was hoisted from the tower on April 10, 1945, the Wehrmacht captain Gerhard Klinkicht (1915–2000) refused the order of the city commander Sepp Dietrich , to "... initially reduce the cathedral to rubble and ashes with 100 grenades “A memorial plaque on the cathedral commemorates Klinkicht’s refusal to obey orders.

 

On the night of April 12, 1945, the larch wood roof structure and the bell tower of St. Stephen's Cathedral burned down completely. While the story spread for decades afterwards that “ the Russians ” had set the cathedral on fire, and also that there had been German shelling , it is known from eyewitness reports that the fire came from surrounding buildings in which looters had set fire Dom attacked. The previous battles had created holes in the cathedral roof; The flying sparks could reach the roof structure through this and ignite it. The fighting during the Battle of Vienna prevented effective firefighting operations. In addition, the cathedral's two large water pipes were destroyed in an American bombing raid on March 12, 1945. On the night of April 12, 1945, the woman hanging in the north tower fell into the transept. The Wimpassinger cross located there burned.The burning belfry with the pummerin collapsed on the afternoon of April 12th. The bell shattered on the vault opening in the floor of the bell chamber, most of its fragments fell through the opening into the tower hall and smashed the Turks' Liberation Monument there . The Zwölferin or Prince's Bell and the Quarter Pummerin , the two bells in the southern Heidenturm, also crashed. The valuable Walcker organ from 1886 burned after embers from the roof fell into it through an opening in the vault. In the morning hours of April 13th, a 16 m high retaining wall in the roof structure collapsed, destroying several vaults in the central and south choir. The gallery with the choir organ, the imperial box and the valuable Gothic choir stalls were smashed by the rubble and ignited by the burning roof beams. The tomb of Frederick III. remained almost undamaged thanks to being walled in. In November 1947, the vaults of the southern choir that had been preserved until then collapsed.

 

The reconstruction of St. Stephen's Cathedral, which was financed, among other things, by numerous donations from the population (see St. Stephen's Groschen ), began immediately after the end of the war. The steel roof truss was completed in 1950. The ceremonial reopening took place in 1952 with the arrival of the newly cast Pummerin. A memorial plaque commemorates the donations received from all Austrian federal states:

 

“The one that calls you to this house of worship, THE BELL, was donated by the state of Upper Austria , that opens up the cathedral to you, THE GATE, the state of Styria , that carries your step, THE STONE FLOOR, the state of Lower Austria , in which you kneel in prayer, THE BENCH, the country of Vorarlberg , through which the light of heaven shines, THE WINDOWS, the country of Tyrol , which shine in peaceful brightness, THE CHANDELIERS, the country of Carinthia , where you receive the body of the Lord, THE COMMUNION BANK , the Burgenland , in front of which the soul is in devotion, THE TABERNACLE , the state of Salzburg , which protects the holiest place in the country, THE ROOF, donated the city of Vienna in association with many helpful hands.

 

century

Under cathedral priest Anton Faber, St. Stephen's Cathedral was repeatedly staged with artistic installations. In 2020, an oversized purple sweater, Erwin Wurm 's Lenten shawl , and Billi Thanner's illuminated ladder to heaven attracted media attention. In August 2021, during the COVID-19 pandemic in Austria , Cardinal Schönborn and Vienna Mayor Michael Ludwig inaugurated a vaccination line in the cathedral's Barbara Chapel, which was controversial within the church as Violation of the sacrality of the place of worship was felt.

 

On March 16, 2022, at 2:11 a.m., according to cathedral priest Toni Faber, a hacker attack started the computer-controlled festival bells. After about 20 minutes of ringing at night, he stopped the bells.

 

Exterior

West facade

The west facade contains the oldest visible elements of the cathedral and in this form dates back to the 14th and 15th centuries. [40] Older components from the 13th century (Giant Gate, Heathen Towers, West Gallery) were deliberately integrated into this Gothic western complex. In the 14th century the facade was expanded by adding the chapels behind it. Around 1420, the Gothic central window was broken into the Romanesque west wall, and around the same time the heath towers were connected by a front wall as the top façade. This is bordered by a parapet with tracery, on which gargoyles and three pinnacles with figures below that connect to the front wall are attached ( St. Lawrence , St. Stephen , Archangel Michael ). The current figures are copies from the 1870s, the originals (now in the Vienna Museum ) date from around 1430. The gate hall protrudes slightly and is separated from the central window by a narrow canopy. Otherwise, the facade is flat and only divided by vertical pilaster strips and horizontal cornices, creating five sections vertically. The porch of the giant gate has side window slits for the stairs behind it and rectangular wall niches for figures, which only vaguely follow a symmetry. The corner pilaster strips in the axes of the Heiden towers mark the edges of the previous church, below each of which there is a late Romanesque arched window with richly sculpted reveals. In these axes there are also two cornices with dentil and trefoil friezes, which correspond to the structure behind them (the three basement floors of the Heiden towers).

 

Heathen Towers

The two towers are early Gothic in their current form, the lower floors were built in the 12th century, the upper floors in the 13th century, probably after the fire in 1256. [41] The lower floors behind the facade are square, while the four upper floors are octagonal. They are distinguished from each other by all-round dentil friezes and dwarf arched cornices, which are cranked at the corner templates. On the pyramid helmets with crabs and gable crowns, which have a roof gallery decorated with tracery halfway up, there were originally glazed tiles, just like the roof of the cathedral. At the tops of the Heathen Towers there are depictions of St. Lawrence (with rust, southern Heathen Tower) and St. Stephen (northern Heathen Tower) as the tower crown.

 

South Tower

As the main tower, the south tower is 136.4 meters high and has a square floor plan , which is gradually transformed into an octagon by a sophisticated arrangement of gables. Twelve pinnacle turrets rise below the top . It is open to the public up to a height of 72 meters, where the so-called Türmerstube is located. Climbing the top of the tower is exclusively reserved for employees of the cathedral building authority. To do this, you leave the inside of the tower at a height of around 110 m. From there you can climb an iron ladder on the outside and through the finial to the top.

 

The southern high tower of St. Stephan can be considered one of the most monumental solutions completed in the Middle Ages. It does not connect with the church building (as in the Cologne Cathedral as a two-tower facade , at the Ulm Minster as the West Einturm or at the Milan Cathedral as the crossing tower ) in order to let its building mass culminate in a central tower, but rather is at its side as an additional element attached. The special position of the Vienna Tower is still evident today in the fact that its northern counterpart was only partially completed and therefore does not contribute to the overall appearance of the building, without giving the impression of being unfinished. The top of the tower is now formed by a double cross ( archbishop's cross ) carried by a double -headed eagle . Originally the spire had a crown that represented the sun and moon (representing spiritual and secular power). After the Turkish siege in 1529, citizens of Vienna demanded that these symbols be replaced in 1530 because they were too reminiscent of the Turkish symbols (star and crescent). However, an exchange did not take place until the Feast of the Exaltation of the Cross (September 14) in 1686.

 

The total duration of the almost seventy-five-year construction period of the tower, which makes changes to the plan likely in the meantime, is determined by the key dates handed down, which include the laying of the foundation stone on July 12, 1359 by Duke Rudolf IV and his wife Catherine of Luxembourg and the placement of the final finial for 1433.

 

In between there was a change in plan, which first led to the introduction of the double window storey and then its reduction. In the first concept, this was raised significantly above the height of the eaves, but was then reduced again to just above the top of the window, so that the wall decoration with pinnacle canopies that had already been carried out for the statues intended here was lost. The entire tower area above the eaves of the church building was built entirely according to Peter von Prachatitz 's concept and did not represent a return to a supposed initial plan. But even here, further plan corrections can still be seen between the individual floor sections , especially in the transition to the helmet area coincide with the traditional change of master from Peter to Hans von Prachatitz.

 

The decisive change in plan between the substructure and the open floors also affected the purpose of the tower as a symbol of community. Started by Rudolf IV and continued by his brothers, the tower was intended to serve exclusively as a commemorative monument to the founder, but when it was taken over by the city at the beginning of the 15th century, it no longer stood for particular interests , but rather for the cohesion of all groups Society under the Habsburg crown . At the same time that the southern high tower of Prague's St. Vitus Cathedral remained unfinished due to the Hussite unrest in Bohemia , a tower with ever-increasing standards was completed in Vienna. The completed tower construction made it clear through its dominant position that Vienna had now taken the place of Prague in architectural terms, but was also ready to take over its function as “the empire's main state”.

 

The south tower had a mechanical chiming clock since the beginning of the 15th century. The south tower has been without a tower clock since 1861 after it was removed without replacement during the tower restoration.

 

From 1534 onwards, a tower keeper at a height of 72 m performed the function of a fire observer. In 1551, eight deer antlers were attached to the south tower in the superstition that they would protect the cathedral from lightning. [8th]

 

1800 to present

From 1810 to 1815, under the court architect Johann Nepomuk Amann, significant repairs were made to the war damage that had occurred under Napoleon in 1809.

  

Vertical

In the years 1839–1842, the top 17 meters of the dilapidated top of the south tower, which leaned towards the north, was removed by Paul Sprenger ; the stone ornaments were attached to an iron core. However, the iron did not prove to be rust-resistant, so many stones broke due to rust cracking. From 1850 onwards, cathedral builder Leopold Ernst used stone dowels cast with cement and “replaced one error with two others”, as the cement drift also led to serious damage. Therefore, the top 40 meters were demolished again in 1861 by Leopold Ernst and rebuilt as faithfully as possible to the original from 1862 to 1864 by Friedrich von Schmidt, who was appointed cathedral builder in 1863, using medieval stone technology. Several phases of this process can be seen in watercolors by Rudolf von Alt .

 

Schmidt led the restoration of the cathedral for decades, with “improving” interventions in the spirit of the neo-Gothic and Viollet-le-Ducs being undertaken (for example in the gable area of ​​the south windows of the cathedral). On August 18, 1864, the emperor 's birthday , as part of the tower renovation, a new cross and an eagle weighing three hundredweight were placed on the completed spire. In 1870, the figures of Rudolf the founder's parents and parents-in-law from around 1365 (thus older than the tower itself), which were on the corner pillars of the south tower, were replaced by copies. The originals are in the Vienna Museum.

 

Since April 2014, the parameters of the lightning striking there have been recorded on the two lightning rods by sensors installed 20 m above the tower room and are to be scientifically evaluated via the Austria-wide ALDIS project.

 

In 2014, a portrait bust of the entrepreneur Carl Manner was installed in the tracery of the west facade of the south tower as a thank you for the decades of support of the cathedral bauhütte . For over 40 years, an employee of the Bauhütte worked at the cathedral in overalls in the company colors at the expense of the Manner company . This bust looks towards the Hernalser Manner factory.

 

The ongoing renovation work on the south tower began in 1997 when a large pinnacle threatened to collapse. This component was approximately 90 m high and weighed approximately 14 t. In the years that followed, the south facade of the cathedral (with the gables) and the west facade of the south tower were also worked on; from 2021 the east side of the tower will be worked on. Since this side is protected from the weather, there are many details from the 14th and 15th centuries on it, and an area with the dark gray paint from the Middle Ages is still there. During the course of the renovation work, steel rods are drilled into heavily stressed areas to absorb the tensile and pressing forces. They are intended to prevent the stone from cracking under the high load; the load is thereby distributed over the entire cross-section of the pillar construction.

 

North Tower

The north tower was intended to complete the external appearance of the cathedral. Construction work on this tower began in 1467 and lasted until 1511. However, it was stopped due to economic difficulties and religious turmoil - Vienna had become a Protestant city around 1520, while the Lower Austrian estates took action against the Protestants and Lutheran services were banned in town houses - and was not continued because of the approaching Turkish threat, so that the north tower remained unfinished.

 

Under Hans Saphoy von Salmansweiler († 1578 in Vienna), who was the cathedral builder of St. Stephan from 1556 to 1578, there were considerations about expanding the stone stump, but these were abandoned. The brothers Hans and Caspar Saphoy built a tower roof in the Renaissance style . It is a small octagonal bell tower, the so-called “Saphoysche” or “ Welsche Haube ”, on the top of which the double-headed eagle of the House of Austria is enthroned, which is why the north tower is also called the “Eagle Tower”. The north tower is 68.3 meters high in total.

 

Legends surrounding the unfinished north tower

There are many stories and legends that try to explain the unfinishedness of the north tower of St. Stephen's Cathedral. The best-known legend says that the builder Puchsbaum was just an assistant to the builder at the time it was built and made a pact with the devil to complete the north tower within a year. In this way, Puchsbaum would fulfill the builder's condition that he be allowed to take his daughter out. However, Puchsbaum was unable to keep his pact with the devil because - due to the naming of his daughter Maria - he was unable to utter the name of the Lord or another saint for a year.

 

Roof

The most striking thing next to the towers is the roof. It rises 37.5 meters above the nave and 25.3 meters above the choir with a length of 110 meters. It is covered with around 250,000 roof tiles, which are arranged in a zigzag pattern in the nave area and were produced in a total of ten colors by the brick kilns in Unterthemenau ( Poštorná ). Each of these tiles weighs 2.5 kg, is nailed to the rafters with two copper nails and is also embedded in mortar.

  

The roof structure of the cathedral in the area of ​​the choir/nave transition with a view towards the gallery

Above the choir on the south side is the coat of arms of the Austrian Empire with the monogram of Emperor Franz I and the year 1831 (re-covering of the roof), on the north side the coat of arms of the city of Vienna and the coat of arms of the Republic of Austria , below with the year 1950 (completion of the roofing after the destruction in WWII).

 

The roof truss is a steel structure weighing around 600 tons, which replaced the larch wood roof truss from the 15th century, which burned down completely in 1945. During its restoration, a concrete ceiling was also installed over the vaults in advance (in 1946 over the nave with the slightly raised central nave and in 1948 over the choir) in order to protect the interior of the cathedral until the roof was completed and to provide a work and storage area for to have the roof rebuilt. This reconstruction, which was carried out largely in the same shape as the original roof, was completed in November 1950.

 

The first delivery of roof tiles took place on April 6, 1949. The cathedral construction management had special transport boxes made for the deliveries, each holding around 540 pieces of tiles. These boxes were lifted by crane directly to the track system in the roof and moved there by hand as required. After a transport accident on November 7, 1949, a rumor arose that a barn roof in Poysdorf had been covered with the remains of the damaged roof tile delivery for St. Stephen's Cathedral. That wasn't right. In 2023 it was confirmed that the tiles on this roof came from the same tile factory, but did not match the dimensions and colors of the cathedral's roof tiles and that the barn roof had already been covered around 1942.

 

In the mid-summer months, in the late afternoon hours, a reflection of the roof can be seen from the vineyards around Grinzing , which is vaguely reminiscent of a female figure and is nicknamed Jausenfee

 

Giant Gate

The main portal, the so-called “Giant Gate”, is located on the west side of the cathedral between the two “Heathen Towers”. It was built between 1230 and 1250 in Romanesque style and was redesigned into a richly structured funnel portal on the occasion of a visit by Emperor Friedrich II (from the House of Staufer , † 1250). Along with the entire westwork, it is one of the oldest and most important parts of the cathedral. The origin of the name is uncertain; it either derives from the fact that a mammoth bone was placed above the gate for a long time, which was viewed as the bone of a giant, or it goes back to the Middle High German word risen (to sink, to fall), which could refer to the funnel shape of the portal. In the outer wall, several stone figures can be seen in small niches, including two lions; a griffin and a seated figure in a strange posture, probably representing a judge, but popularly referred to as the thorn extractor . The portal itself is bordered on each side by seven funnel-shaped columns decorated with winding plant patterns. On the capitals there are figures of apostles and saints, but there are also scenes that are difficult to interpret. Richly structured arches rise above the capitals and surround the tympanum field , on which Christ is depicted as Pantocrator (Christ as ruler of the world) in a mandorla, whose head is surrounded by a cross nimbus , with one of the statue's knees free. The meaning of this symbolism is unclear; it is associated with acceptance ceremonies in construction huts .

 

Singertor

To the right of Riesentor, on the southern side of the cathedral at the beginning of the nave, is the Singertor, which is considered the most important Gothic work of art in the cathedral. It gets its name from the fact that it served as an entrance gate for the choir's singers. At the same time it was also the usual entrance for the men. It was created around 1360 and is arranged in the form of a pointed arch , with figures of apostles in the vestments . The magnificent tympanum shows the life story of Saint Paul . Also significant is the depiction of the founders of the new Gothic building, Duke Rudolf IV of Austria on the right and his wife Catherine of Bohemia on the left in robes, each accompanied by coats of arms. The gate was restored in 2022, with bones from the old St. Stephen's Cemetery found under the floor, and the gates opened. In order not to disturb those praying at the Maria Pötsch Altar, the gate will only be available as a possible escape route. The Singertor room is used for information and sales purposes and remains accessible from the outside. In July 2023, a new glass gate opened up a view of the interior of the Singer Gate. This glass gate was severely damaged in an act of vandalism on August 27, 2023, but has been restored.

 

Outside, right next to the Singertor, there is a Gothic tomb that is believed to be the alleged burial place of the minstrel Neidhart .

 

Bishop's Gate

The Bishop's Gate is located symmetrically to the Singertor to the left of the Giant's Gate at the beginning of the northern side of the nave. Its name reminds us that it served as an entrance gate for the bishops, whose palace is directly opposite. It was also the entrance gate for women. It was constructed around the same time as the Singertor around 1360 and corresponds to it in terms of construction and structure. The tympanum contains depictions from the life story of St. Mary , although in contrast to the male saints in the Singertor, female saints are depicted here in the robes. Here too you can find the statues of the donors, Duke Rudolf IV of Austria on the right and his wife Catherine of Bohemia on the left, which are largely identical to those in the Singertor.

 

At a specialist conference in November 2019, it was announced that the Dombauhütte, in cooperation with the Federal Monuments Office, had removed dirt from a monumental mural in the vestibule of the Bishop's Gate. The large-format wall painting dates from the early 16th century and depicts a winged altar painted on the wall. In the middle part you can see Saint Leopold, who is flanked by Saints Katharina and Margarethe. Images of the imperial coat of arms with the double-headed eagle and the Austrian shield are interpreted as an indication of an imperial connection. The preliminary drawings of the frame were classified as of the highest quality and were seen as an indication of a work by Albrecht Dürer based on various details in the lines, hands, curls, etc. A passage in the Dürer biography by Joachim von Sandrart , according to which Emperor Maximilian is said to have ordered the artist to create a large wall drawing, is seen in a new light against the background of the discovery.

 

The Kolomani Stone is walled up in the Bishop's Gate, part of the stone on which Saint Koloman is said to have been killed. The Bishop's Gate is only accessible from the inside as the cathedral shop is located there.

 

Eagle Gate

This broad Gothic gate, which is sparsely furnished with a crowned statue of the Virgin Mary from the 17th century, is located on the north side of the nave below the north tower, east of the Bishop's Gate. It owes its name to the north tower above it, which was also called the “Eagle Tower” because a double-headed eagle was previously depicted on its dome as a symbol of the House of Austria .

 

A crucifixion picture by Joachim von Sandrart from 1653 has been installed above the exit to the Adlertor since June 2019 . This picture originally belonged to the Passion Altar behind the tomb of Emperor Frederick III. was placed in the Apostles' Choir (right aisle of the cathedral). It is 6.97 × 4.12 m. This altar was dismantled in 1872/73 and the picture was in the north transept in the 1930s. In 1940 it was loaned to the garrison church , and after this church was destroyed by bombs , it hung outside for a few weeks in 1945, damaged, before it was saved, temporarily stored and restored by the then curator of the Schottenstift Robert Mucnjak. From 1957 it was the altarpiece of the parish church in Neulerchenfeld . After this parish was dissolved in 2013, the works of art that did not belong to the parish were removed. Since the picture belongs to the cathedral chapter of St. Stephan, it was returned to them and consideration was given to loaning the picture to the parish church of St. Michael . That didn't happen. The location in the entrance to the Adlerturmhalle is considered to be the optimal place for the picture in the cathedral. In front of the picture, there has been a copy of the Wimpassinger Cross from the Romanesque period, which was burned in 1945, at this point since 1995 .

  

Asylum ring at Adlertor

The asylum ring or the Leo on the left pillar of the Eagle Gate is a very old pulley , deflection pulley or belt pulley that can still be rotated today. By touching the asylum ring, persecuted people could place themselves under the protection of the church . The term Leo refers to Duke Leopold the Glorious , who introduced this form of asylum.

 

Primglöckleintor

This is located - symmetrically to the Adlertor - on the opposite southern side of the nave below the high south tower, is laid out in a very similar way to the Adlertor and is just as sparingly equipped. Only four console figures showing the four evangelists and an angel in the vault of the vestibule have been preserved from the original furnishings. On the middle pillar of the entrance there is a figure of Mary with the baby Jesus, created around 1420. It owes its name to the fact that a bell was once rung here at the first hour, i.e. at Prim .

 

Gable on the nave

Four gables rise above the southwestern part of the nave wall . Its westernmost lies above the wall above the Singertor and is called the Friedrichsgiebel. This gable was the only one that was completed in the 15th century; the other three gables (to the east) were initially only covered with brickwork. They were only supplemented with tracery in 1853–55 under cathedral builder Leopold Ernst in accordance with the state of the art of building technology at the time . The Friedrich gable was also dismantled and rebuilt, so that differences from the other gables are difficult to recognize. However, the cement used at the time introduced sulfur compounds into the limestone, which led to cracks, plastering and blasting . The gables had to be renewed in the 1860s under Friedrich von Schmidt . Further damage later resulted from the fact that the steel roof structure, which was replaced after 1945, did not fit exactly onto the walls. Deviations that were not originally present had to be compensated for; they also led to increased weathering on the gables. The combination of different building materials, brick and stone, also caused damage to the Friedrich gable. In 2015, the Friedrich gable and the gable adjoining it were renewed; the other two eastern gables were scheduled for restoration in 2016. The work on the western half of the south facade was completed, and the black sinter layers on the eastern part of the facade were removed in 2017. This black coating was largely made of gypsum, created from a chemical reaction of sulfur compounds in the air with the building's limestone. However , this process had already slowed down in previous years due to the lower proportion of sulfur compounds in the air ( acid rain ). The work on the eastern part of the south facade and on the west side of the south tower was estimated to take another two years in 2018, which was also due to the fact that a construction elevator had to be available up to the highest scaffolding levels. The work was completed in autumn 2020, and the scaffolding was dismantled at the beginning of 2021. This means that the main view of the cathedral (south side with tower) can be seen again without scaffolding after almost 25 years.

 

With the completion of this renovation work, the original color of the southern facade was traced, which was in various shades of ocher. However, around 1500 their stones were additionally covered with an ocher-colored lime slurry with black and white painted joints, which simulated large stones. On the one hand, this coating was a design tool and, on the other hand, it protected the stones from weathering. Remains of this painting were found under the canopy roof of the Neidhart grave, but there is no thought of replacing it. Further remains of a (dark gray) mud from the early 15th century were found on the east side of the south tower.

 

Capistran pulpit

The Capistran pulpit is a small Gothic pulpit made of sandstone, which is located on the outside corner of the north choir of St. Stephen's Cathedral. It was built between 1430 and 1450, but originally stood on a small hill near today's Churhaus at the “Stephansfreithof”, the cemetery at St. Stephan, and was used for funeral orations and speeches by priests.

 

Her name is reminiscent of the Franciscan John Capistrano , a once famous preacher against a luxurious and depraved lifestyle; He warned of the threat to Christianity posed by the advance of the Ottomans , but was also an inquisitor , military leader and initiated pogroms against Jews . On June 6, 1451, Capistrano arrived in Vienna and gave 32 sermons from this pulpit, which were apparently very well received. In 1453, after the fall of Constantinople , he called for a crusade against the Ottomans in Vienna , then moved with the troops he had collected to the enclosed city of Belgrade and thus contributed significantly to the lifting of its siege and the short-term general repulsion of the Ottoman army in 1456

 

After he was canonized by Pope Alexander VIII (1689-1691) in 1690 and his veneration spread, the pulpit was renovated in 1737, attached to the outside of the cathedral and with the addition of a baroque top - the statue of the saint stands on a fallen one Turks, surmounted by angels in radiant splendor - transformed into a monument.

 

Other features

On the west side you can see the listed signs of the resistance movement O5 , which resisted National Socialism from 1938 to 1945 . Originally they were painted white; when they faded, they were replaced by the engraving.

 

On the left side of the main gate there are two metal bars embedded in the wall, these are the cloth and linen corners . These cubits were once legal measures of length and could be used by every citizen to check the dimensions of goods. In the Middle Ages, craftsmen were threatened with punishment if their products did not have the correct measurements (keyword: Bäckerschupfen ); With the help of the Ellen, the craftsmen were able to protect themselves from punishment and the consumers from possible fraud. To the left above the cubits there is a circular depression in the masonry, which, according to legend, served as a measure of the size of a loaf of bread. In reality, this is simply a sign of wear and tear on a gate fastening, as until the second half of the 19th century the main gate of the cathedral was closed with a rococo grille that could be opened to the outside and was attached to the outer wall with hooks. On the right side of the gate there is a circle of the same size, in which you can see from the metal remains in the center that a hook was attached here.

 

Axle bend

The south wall of the choir is around 70 cm longer than its north wall. The choir swings approximately 1° from the long axis of the nave towards the north. The nave and choir are aligned with different sunrise points. This is not seen as the result of a measurement error, but rather as an intention: the axis of the nave is aligned with the sunrise on St. Stephen's Day (December 26th), while the axis of the choir points to the next Sunday, January 2nd. From the relationship of the building axes and the angle of the deviation, the time of the dimensions and thus the turn of the year 1137/1138 (today's calendar and year count) can be deduced. The (today's) roof ridge does not reflect this small deviation, it is straight across both parts of the building.

 

Longhouse

The four bays in the vault of the nave are square, which is a special feature of St. Stephen's Cathedral. It is assumed that an influence of the previous Romanesque building is still at work here. However, these yokes on the outer wall were reinforced by another intermediate pillar, so they rest on five supports and have ten vault caps.

 

The nave is also not built completely regularly: it becomes about 1.1 m narrower towards the east, and its gable walls are not exactly in line with the walls below. These deviations were one of the technical challenges when building the new steel roof structure after the fire in 1945.

 

Auer and Mannersdorfer stone for St. Stephen's Cathedral

The surviving invoices from the church master's office testify to the enormous Auer and Mannersdorfer stone deliveries for St. Stephan in the years 1404, 1407, 1415–1417, 1420, 1422, 1426, 1427, 1429, 1430 and 1476. According to the calculations, the quantities of stone that were obtained from the quarries between Mannersdorf and Au am Leithagebirge are very large, for example in 1415: 732 pieces, 1416: 629 pieces, 1417: 896 pieces, 1426: 963 loads, 1427: 947 loads and 1430: 761 loads.

 

The stone purchase was carried out by the church master's office under the technical advice and control of the cathedral builder or his representative, the Parlier . In any case, the work in the quarries was under the supervision of the cathedral construction works . Some names of the “Auer Steinbrecher” are known: Michelen Unger von Au, Peter stainprecher von Au and “Mannersdorfer Steinbrecher”: Chrempel, Amman, Niklas, Sallmann, Uchsenpaur, Velib, Hannsen von Menhersdorf (Mannersdorf), Trunkel and von dem Perendorffer . The stones were brought in by horse-drawn cart. The shipments from the Leitha Mountains from Mannersdorf and Au each comprised only one block (“stuk”), for which the price for breaking was constant, but that for freight fluctuated, apparently depending on weight.

 

The complete change to Mannersdorf stone occurred with the construction of the Albertine Choir (1304–1340). Like Auerstein, Mannersdorfer Stein is a fine to medium-grain sand-lime stone. The majority of the wall blocks and all the profiles , including the figure consoles in the choir, are made of it . The conditions are particularly clear in the high tower in the large bell chamber , where the more sophisticated stones and cornerstones and all the finer profiles, window frames , tracery , etc. were reserved for the Mannersdorfer/ Auerstein from the Leitha Mountains. In the nave, cuboids in the walls, as well as the yokes adjoining the Eligius Chapel and, above all, the northern wall pillars are made of “Mannersdorfer”.

 

In contrast, for the Servant Mother of God, it was determined through investigations in the central laboratory of the Federal Monuments Office that sand-lime stone from Atzgersdorf was used for this statue.

 

In addition to the Mannersdorf sandstone, the Mannersdorf algal lime was also used on the old cathedral. There is evidence of some gargoyles , for example on the vestibule of the Singer Gate (1440–1450).

 

Durability of the stones

In 1930, Alois Kieslinger , a geologist at the Vienna University of Technology, commented critically on the question of the durability of natural stone: “The six 'old' churches of Vienna? And how much of it is old? We are currently repairing the twelfth spire [!] at St. Stephen’s.”

 

The restoration work on the cathedral is proceeding according to a long-prepared plan: a restoration cycle lasts around 35 to 40 years. Regardless of this, the building is regularly checked by the stonemasons of the cathedral building works because damage occurs again and again due to rusted iron reinforcements (rust requires more space than iron and can therefore crack the stone).

 

Interior

The church interior of the cathedral has three naves, with two different cross-sections : the nave is a pseudo-basilica , the central nave vault lies almost entirely above the side aisle vaults, so that windowless high nave walls rise above the arcades . The choir, on the other hand, has the cross section of a hall church; the central nave and side aisles are almost the same height. As usual, the main nave is aligned with the main altar, the left aisle has a Marian program, and the right aisle is dedicated to the Apostles .

 

Although the interior acquired its appearance in the Middle Ages, the original artistic and liturgical ensemble from that time is only partially present, as the building was extensively changed again during the Baroque period. The figure of grace of the so-called Servant Mother of God from the period between 1280 and 1320 is an original from that time, the design of which is based on French models. It was extensively restored in 2020 and the original version is now easier to recognize.

 

Almost 90 sculptures, mostly in groups of three, are attached to the pillars of the nave at a height of approx. 8 m. They were commissioned by private donors and are a characteristic feature of the cathedral. The sculptures on the west side were restored around 2020, and in 2021 the most important object in this context was the statue of St. Sebastian next to the organ base on the north wall of the nave. It comes from the school of Niklas Gerhaert , the sculptor of the gravestone of Frederick III. and is considered one of the cathedral's most valuable sculptures.

 

Altars

The first recorded reports about altars come from the time of the choir's consecration by Bishop Albert of Passau on April 23, 1340. The bishop not only consecrated the choir hall and anointed it at the Apostle signs, some of which are still preserved today, but also consecrated six other altars. Three were in the choir and three on the rood screen , the stone partition between the nave (also known as the lay church) and the choir (also known as the clergy church). The main altar was often called the “Vronaltar” in medieval sources because of its proximity to the sacrament house and was on the back wall of the central choir with St. Stephen as its patron. No further information about the main altar has been preserved, except that it was probably a winged altar . An invoice from 1437 shows how the sexton was paid for opening and closing the wings.

 

According to contemporary reports, the old winged altar became worm-eaten at some point and had to be removed. It was transferred to the monastery of St. Agnes on Himmelpfortgasse (hence also known as Himmelpfort Monastery ). This monastery was later abolished under the rule of Emperor Joseph II in the 18th century, at which point the trace of the winged altar was lost.

 

High altar

The cathedral's high altar is an early Baroque masterpiece made of marble and stone. Its structure is similar to a portal and is therefore a Porta-Coelis (sky gate) altar. The topic is the stoning of Saint Stephen, the cathedral's namesake. The altar is crowned by a statue of the Immaculata. It was commissioned by Prince-Bishop Philipp Friedrich Graf Breuner on March 1, 1641, because the Gothic wood-carved winged altar had already been completely eaten away by woodworms.

 

The altar was built by Johann Jacob Pock , who was a master stonemason, sculptor and architect, and by his brother Tobias Pock - who painted the altarpiece - and consecrated on May 19, 1647. The altarpiece, created on an area of ​​28 square meters on tin plates, shows the stoning of Saint Stephen outside the walls of Jerusalem. In the background you can see a crowd in which other saints are depicted, which also refers to the second patronage of the cathedral - the patronage of All Saints.

 

Side altars

There are numerous other altars on the pillars and side aisles. For the cathedral, Tobias Pock later created the altarpiece of the Peter and Paul Altar, which the stonemasons' guild built in 1677 and which has been preserved under the organ base as the second oldest baroque altar in the cathedral .

 

The most important is the Wiener Neustädter Altar from 1447 – a typical Gothic winged altar showing scenes from the life of the Blessed Virgin Mary. The Wiener Neustädter Altar only came to the cathedral in 1883; before that it was in the Neukloster Abbey in Wiener Neustadt . It is therefore not part of the original medieval furnishings of St. Stephen's Cathedral.

 

Under the late Gothic Öchsel canopy is the altar of the miraculous image of Maria Pócs or Pötsch . It is a copy of an Eastern Church icon made in today's Máriapócs (Hungary, then Pötsch ). The image was said to be a miracle of tears and, according to popular belief, it supported the imperial troops in the Turkish wars. It was brought to Vienna in 1697 on the orders of Emperor Leopold I and was originally placed on the high altar. It has been in its current location since 1945. In 2022, the two bishop figures above the altar were cleaned and restored, with the original coloring becoming recognizable again.

 

The Joseph Altar and the Women's Altar are located opposite each other at the eastern end of the nave. The Joseph Altar on the southern pillar was built in 1700. Like the women's altar on the northern side, it is surrounded by an elliptical communion bench . It was built by Matthias Stein(d)l . The saints represent the evangelists: below Matthew and Mark , above Luke and John . The altar is crowned by the depiction of the Annunciation of Mary , with the archangel Gabriel and the Holy Spirit dove . The altarpiece depicting the nurturing father Josef was donated by Ferdinand von Radek and painted on metal plates by the Viennese court painter Anton Schoonjans .

 

Tombs

The tomb of Frederick III is in the south choir. It was created by Niclas Gerhaert van Leyden from 1463 and is one of the most important sculptural works of art of the late Middle Ages. It was made from Adnet marble (an Austrian limestone), which is particularly difficult to work because of its mottled nature. The cover plate of the tomb comes from Master Niclas himself (he died in 1473). It alone weighs over 8 tons and shows a portrait-like depiction of the emperor in coronation regalia, surrounded by his coat of arms and attributes of power. After Master Niclas' death, work on the tomb continued according to his designs and was completed in 1513. The relief depictions on the sides of the tomb were made by Max Velmet and are reminiscent of the emperor's numerous monastery foundations. Michael Tichter created the balustrade with its 54 figures .

 

It was part of the cathedral builder's remit to build the tomb of Emperor Friedrich III every year. to clean in the cathedral. A letter from Matthias Winkler , master builder of St. Stephan's cathedral, dated August 26, 1734:

 

To a highly praiseworthy Imperial Court Chamber

Submissive – most obedient request. Your High Count Excellency and Grace.

The annual 6 fl .

 

Pulpit

Another masterpiece of late Gothic sculpture is the pulpit made of Breitenbrunner sand-lime brick . It was long attributed to Anton Pilgram , but today the design is more closely associated with the workshop of Niclaes Gerhaert van Leyden . The pulpit basket rises from the pulpit base like a stylized flower. On the pulpit are the portraits of the four church fathers , the handrail is populated by frogs and amphibians. In the lower part of the stairs is the window peep - the sculptural self-portrait of an unknown master. For the railing, see number symbolism .

 

Oratorio

Johann Jacob Pock's second major completed work in the cathedral was the Imperial Oratory , begun in 1644 and built on behalf of the City of Vienna. The first payment for the stonemasonry was made on April 16, 1644 with a total cost of 1,100 fl . The chief chamberlain recorded the completion of the work in the account book in March 1646. The city was satisfied with the work and presented Master Pock with a silver-gilt pitcher with an engraved crest because of his hard work .

 

From the canon sacristy you reach the emperor's prayer room via a curved staircase. The steps are made of the hardest imperial stone , from the quarry near the house (“Hausbruch”), the tenant was the imperial court sculptor Pietro Maino Maderno . The oratorio was founded by Emperor Ferdinand III. entered for the first time.

 

Chapels

The cathedral is equipped with several chapels that are important in terms of art history. On the west side of the cathedral there are four chapels that date back to the Gothic expansion under Duke Rudolf IV in the second half of the 14th century and were completed at the beginning of the 15th century. Two are on the northwest (left) and two on the southwest (right) corner of the cathedral, each arranged one above the other.

 

The Prinz Eugen Chapel and the Eligius Chapel are located on the ground floor .

On the first floor above these two chapels there are two more chapels, the St. Valentine's and St. Bartholomew's chapels.

Two important - equally symmetrically arranged - Gothic chapels are located outside the nave, each to the east of the cathedral's two main Gothic towers, the St. Catherine's and St. Barbara's chapels .

Kreuz or Prinz Eugen Chapel

 

The Kreuzkapelle with the Prinz Eugen crypt

The lower chapel, located in the northwest corner of the cathedral, is known by various names. As a Morandus chapel after the patronage, as a cross chapel after the late Gothic cross located there, as a Tirna chapel after the Tirna family who had the chapel built in the 14th century and immortalized their coat of arms three times on the outer front of the chapel, later as a Liechtenstein or Savoy chapel the families who exercised patronage there, or as the Prince Eugene Chapel, after the tomb of the probably most famous Austrian general, Prince Eugene of Savoy -Carignan (* 1663, † 1736). The place of his final resting place was not given to Emperor Charles VI. but to Princess Maria Theresia Anna Felizitas of Liechtenstein , the wife of his nephew Emanuel Thomas Duke of Savoy-Carignan, Count of Soissons . After her husband's early death in 1729, she had the burial place set up for him and other members of the House of Savoy , donated the stone slab embedded in the floor that closes the entrance to the crypt, and the baroque altar with the late Gothic cross above it, created in 1731. In 1754 she commissioned the marble epitaph for her husband and Prince Eugene on the southern side wall of the chapel. The executive artists were Joseph Wurschbauer as a sculptor and goldsmith and Gabriel Steinböck as a stonemason.

 

Eligius Chapel

The lower of the chapels on the southwest corner of the cathedral, which is to the right of the Giant Gate, has two interesting keystones from the 14th century: one shows Christ as the Man of Sorrows, the other Mary with child. There is also the only surviving Gothic winged altar, which was made for the cathedral church itself. This is the Valentine's Altar, which is dedicated to Saint Bishop Valentine and was therefore originally created for the St. Valentine's Chapel in the cathedral. There are also the “House Mother of God” (around 1330) from the abandoned Himmelpfort Monastery and various pillar figures from the 14th century. The chapel is only available to worshipers.

 

Valentine's Chapel

It is located to the left of the Giant Gate directly above the Prinz Eugen Chapel next to the northern Heidenturm and was completed around 1480. It houses the cathedral's important collection of relics , which dates back to Duke Rudolf IV. In the middle of the room is the sarcophagus with the bones of Saint Valentine. During restoration work in November 2012, consecration crosses were discovered in the chapel, as well as a number of scribbles ( graffiti ) that were attached at the same time (in the still wet plaster ) from the days before St. Nicholas Day 1479 (profestum nicolai). The consecration crosses indicate that this chapel was consecrated (or at least its preparation) in 1479; another consecration is documented for 1507. The graffiti show jesters' hats, coats of arms, parts of names and the phrase manus beanorum maculant loca sactorum ( Latin : "The hands of the Beani defile the holy places") and prove that a student initiation ritual , a deposition , took place in the chapel room at this time : The name of the person affected is Jeronymus Kisling, a son of a Viennese trading family, later a city council member and head of the Vienna Fugger factory.

 

Bartholomew's Chapel

The Bartholomew's Chapel, also called the "King's or Duke's Chapel", is a former Michael's Chapel and is located on the southern (right) side of the nave directly above the Eligius Chapel, next to the southern Heidenturm. Its most important pieces of equipment, the so-called “Habsburg windows” with medieval depictions of representatives of the Austrian ruling family, had been in the then newly built Historical Museum of the City of Vienna and the Museum of Applied Arts since 1887 . In 2011, the first of these windows was returned to the cathedral by the city administration, In 2022, the installation of the original windows in the Bartholomew Chapel continued. Special glasses were made to protect the windows and the climatic conditions are constantly monitored; The places where windows have not yet been installed or have been lost are temporarily covered with darkening foil to avoid glare from too much brightness. Worth mentioning are the two Gothic keystones, each of which shows the Archangel Michael , once with the soul scales and once as a dragon slayer .

 

St. Catherine's or baptismal chapel

The St. Catherine's or baptismal chapel, consecrated in 1395, is located on the southern side of the Apostle's nave directly next to the (high) south tower. It was probably named in honor of the wife of Duke Rudolf IV, Catherine of Luxembourg, is octagonal and has a hanging keystone . It also contains the baptismal font , which was completed in 1481. The baptismal font has an octagonal base, above which there is a fourteen-sided baptismal font, the crown is heptagonal. The Seven Sacraments , the Evangelists and scenes from the life of Christ are depicted in lively late Gothic depictions .

 

Opposite the entrance to the chapel are the remains of the Turkish monument.

 

Barbara Chapel

The Barbara Chapel, consecrated in 1447, is located on the northern side outside the nave of the cathedral on the east side of the north tower. It was originally under the patronage of St. Urbanus and has hanging keystones. A reliquary container with ashes from the Auschwitz concentration camp and another with earth from the Mauthausen concentration camp are inserted into the beams of the late Gothic cross there from around 1470, which comes from the parish church in Schönkirchen in Lower Austria . It contains a bust of the blessed martyr Sr. Maria Restituta Kafka , a victim of National Socialism , created by Alfred Hrdlicka .

 

Opposite St. Barbara's Chapel, in the tower hall, is the original of the Lord of Toothaches , a Gothic Man of Sorrows . The Gothic stone figure was originally located outside the cathedral at the front of the central choir. It has been replaced by a copy there since 1960. According to legend, students made fun of him because he looked like he had a toothache, whereupon they were struck with a toothache themselves and had to apologize.

 

Sacristies

The “Upper Sacristy” is located at the eastern end of the cathedral in the north, was expanded in the 17th century and furnished in the first quarter of the 18th century. The room is decorated with frescoes by the impor

Nayland College - reunion of 7th Form of 1974

My good buddy, Alan Cressler, and I recently visited a remote site in Clay County, Alabama for an Alabama endemic, Spigelia marilandica "candy-stripe" form. The common name for the species is Indian Pink. There are only two sites for this rare, unusually colored form, and they are both in Alabama.

 

For a discussion of the varied forms of this species which I've had the privilege to photograph, please go to Jim's Blog.

This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.

 

Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.

 

Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.

 

You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.

 

These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/

 

If you have any further information on the photographs, please leave a comment.

26,Apr,10' Yuhliu Geopark, Wanli Township, Taiwan-- 野柳, 萬里鄉, 台灣省

The mushroom rocks grouped on the wave-cut platform are formed with globe-shape rocks on the top while supporting by the thin stone pillars on the bottom. Queen’s Head is the most famous mushroom rock in Yehliu. The formation process of mushroom rock can be divided into three phases:

1. Two broken concretions within rock layers are formed vertical to the sea level; as a result, the erosion caused by seawater may progress along the concretions, leading to the formation of stone pillar lining up in row.

2. The formation of mushroom rock is caused by differential erosion as the top rock layer containing calcium and being more durable for erosion than the lower rock layer.

3. The mushroom rock as formed is under continuous plate extrusion and thus is raised above sea level. Once it’s exposed to the planet’s atmosphere, it will suffer from weathering as well as rain erosion and turn into the shape as we see it now.

The mushroom rocks can be divided into three types according to the difference appearances as manifested on the head and neck of the rock: “Thin-neck rock”,” thick-neck rock” and “neckless rock”. As many of the thin-neck mushroom rocks undertake heavier load on the top and they may be toppled down easily if striking by earthquake or violent winds and waves. The mushroom rocks may turn into various kinds of shapes in a progressive manner as they are chronically eroded by wind, sun and rain. They may involve into neckless rock, thick rock, thin rock and even the broken-end rock eventually. The top of the thin rock may fall apart if the neck of the rock contains incomplete sands and thud accelerating the formation of broken-end rock.

野柳的海蝕平台上有兩群外觀似磨菇，上部有一個粗大的球狀岩石，下方是較細的石柱佇立著，這種岩石稱為蕈狀岩。野柳最著名的蕈狀岩便是女王頭。蕈狀岩形成過程分為三階段：

1. 岩層間有兩組破裂的節理，大致垂直於海平面，於是海水容易沿著節理侵蝕，而形成一列列類似柱子的岩柱。

2. 岩柱的上層是含鈣質的砂岩層，比下方的岩層較堅硬，在同樣的海水波浪、季風及烈日等共同因素作用下，發生了差異侵蝕，上方鈣質的砂岩層較耐侵蝕，而下方的岩柱較容易被侵蝕，久而久之，形成上粗下細的蕈狀岩。

3. 蕈狀岩受到持續的板塊擠壓作用，逐漸隆起而脫離海水面，一旦脫離海水面受到不斷進行的風蝕、雨蝕等大自然作用，便慢慢形成現在所見的蕈狀岩，而且會繼續接受大自然的雕塑。

依蕈狀岩頭部、頸部的差異狀況，可將他們分成三類：地勢較高的「細頸形」、中間的「粗頸形」以及地勢較低的「無頸形」。許多細頸形的蕈狀岩石因負荷上部大岩塊的支撐力較弱，若遇地震或是颱風暴浪，則有瀕臨倒塌的危險。蕈狀岩受到風吹、日曬、雨淋之後，會慢慢被侵蝕成各種形狀。大致的過程便是由原來的鈣質砂岩中，形成無頸狀，繼而被侵蝕成粗頸狀。隨著時間過去，再被侵蝕成細頸狀、乃至於因無法支撐蕈狀岩頭部而成斷頭狀。如果在細頸型的頸部，無意中的觸摸膠結不良的沙粒，會使砂礫因而掉落，加速演育成斷頭狀。

 

Forming and breaking in the sky, I fancy all shapes are there; Temple, mountain, monument, spire; Ships rigged out with sails of fire, And blown by the evening air.- J.K. Hoyt

#Mémoire2cité au coeur de l Histoire des cites modernes et de la #rénovationurbaine en département #LOIRE 42 www.youtube.com/watch?v=o1Atq0M75MQ le #Logementsocial dans tous ses états..Histoire & Mémoire de l' #Habitat / #SAINTETIENNE #ANRU #DEMOLITION #Banlieue #RenouvellementUrbain #Mémoire2cité #HLM cinematheque.saint-etienne.fr/Default/SearchMinify/CfGzVz... @ #ANRU #Demolition - Après 1945, les collines agricoles du sud-est de la ville connaissent un programme d’urbanisation de grande ampleur pour répondre à la crise du logement. Près de 4600 logements sociaux vont ainsi être construits en quatre tranches successives de 1953 à 1970 : Beaulieu, la Marandinière, Montchovet, la Métare et la Palle formant aujourd’hui les quartiers sud-est. Touché par la crise économique et urbaine de dingue, le secteur sud-est apparaît à la fin des années 1990 comme un espace monofonctionnel dédié en totalité à l’habitat locatif social et porté par un seul bailleur l'OPAC devenu Métropole Habitat. Bien que bénéficiant de nombreux atouts (accessibilité et environnement agréable...), le quartier souffre du gigantisme de son urbanisation et du manque de résidentialisation des unités d’habitation. Par une action en profondeur et dans la durée, la Ville de Saint-Étienne, à travers son Programme de Rénovation Urbaine (PRU), a amorcé une transformation durable du quartier depuis 1989 avec la 1ere demolition du programme à la rue Pierre Loti le 31 janvier 1989 (BANLIEUE89), 30 ans de renouvellement urbain sur la ville.... une ville pilote en la matiere des 1990. Aujourd'hui et demain Les quartiers sud-est vont poursuivre leur mutation, avec l’appui continu de l’Agence Nationale de Rénovation Urbaine et ses partenaires l'ANRU2. Développer le secteur économiqueL'objectif est de dynamiser l’économie dans ce territoire en portant de nouveaux projets et en restructurant l’offre commerciale de proximité. La Ville de Saint-Étienne a prévu la création de nouvelles zones d’activités permettant l’accueil d’entreprises. Ainsi une zone d’activités économiques, rue Pierre Loti, répondra aux besoins fonciers des entreprises et des artisans locaux. Ce projet de zone économique, en visibilité directe de la RN 88, permettra l’implantation d’une cinquantaine d’entreprises et la création de 300 emplois. Un nouveau centre commercial sur le secteur de la Marandinière, couplé à la démolition des centres commerciaux de la Palle et Sembat, permettra de restructurer et moderniser l’offre commerciale de proximité. Renouveller l'offre d'habitat Une qualité résidentielle s’affirme progressivement au sein des quartiers Sud-Est, grâce à une nouvelle offre d’habitat variée qui émerge depuis plusieurs années. Les nombreuses démolitions réalisées et à venir (Boulevard des Mineurs en 2018 et immeubles Loti en 2020), ainsi que les réhabilitations d’immeubles en cours, vont permettre de diversifier l’offre de logements. L’un des objectifs du projet urbain est donc de conforter la vocation résidentielle du quartier en stimulant l’offre et en accompagnant des projets comme la construction de logements passifs sur le secteur de Beaulieu, la transformation de l’ancienne école Baptiste-Marcet et la réhabilitation de logements à Monchovet. Améliorer le cadre de vie des habitantsLes quartiers sud-est bénéficient d’un environnement naturellement riche et varié, à l’interface entre les grands parcs de la ville (jardin des Plantes, parc de l’Europe, Bois d’Avaize) et le Pilat. Le projet urbain de la Ville de Saint-Étienne prévoit de relier ces espaces naturels entre-eux avec la création d’une continuité verte, qui permettra aux marcheurs et autres randonneurs de bénéficier d’un véritable réseau de chemins autour de la commune. Le boulevard Alexandre-de-Fraissinette, véritable colonne vertébrale du quartier, et la rue Pierre-Loti seront entièrement revus pour assurer un meilleur partage de l’espace entre tous les modes de déplacements (voiture, vélo et piéton) et assurer un maillage inter-quartiers plus efficace. fr.calameo.com/read/0005441131b4119eaa674Depuis 2014, la rénovation urbaine dans les quartiers sud-est s’est traduite par de nombreux travaux: la construction du centre commercial de la Grande Marandinière, l’aménagement d’un lotissement de treize maisons individuelles passives, impasse Clémenceau, les rénovations des écoles de Montchovet et de Beaulieu, la réhabilitation de locaux rue Henri-Dunant (pour y installer la Maison des associations), et enfin les démolitions récentes du centre commercial du boulevard de la Palle et d’un garage, au 41 rue de Terrenoire.Démolitions mais aussi constructions sont au programme. Plusieurs acteurs entrent en jeu dans le financement de ces projets, notamment l’ANRU (Agence nationale de rénovation urbaine) mais aussi la Ville, le Département et la Région. Ainsi, le contrat avec l’ANRU, signé le 14 mars, dégage une somme de 23 millions d’euros, somme à laquelle il faut ajouter 3,3 millions d’euros de la Région. Pour les années à venir, les objectifs visent à la poursuite du développement économique, de la mutation de l’habitat par des constructions individuelles ou de petits immeubles, des démolitions ponctuelles, de la valorisation des espaces publics et du renforcement des espaces du quartier. Deux secteurs sont concernés : Loti et la Grande Marandinière. Le 11 AVRIL 1964, le développement de la ville de Saint Etienne, et ses travaux ..La ville de Saint Etienne se développe tout comme l'ensemble du territoire... Pour accompagner cet accroissement de population, de nouveaux quartiers se construisent aux abords de la ville chaque jours. Et pour faire face aux problèmes de circulation, un boulevard périphérique a été aménagé. Réalisé à l'occasion de la construction de la déviation sud de l'autoroute de Saint Etienne, ce reportage témoigne de la visite du sénateur maire de la ville, Mr. Michel DURAFOUR, sur le chantier du tunnel de la déviation. Accueilli par Mr. Rocher, président de la société forêzienne de travaux publics, Michel DURAFOUR découvre avec les membres du conseil municipal l'avancée des travaux. (voir aussi le chantier de l A 47 avec la video du tunnel du rond-point içi : www.ina.fr/video/LXC9610041788 . Ce quartier est né des programmes de grands ensembles mis en œuvre à partir des années 1950 afin de réduire la pénurie de logements. La mairie choisit donc de développer un quartier moderne 4 600 logements en HLM pour pouvoir loger plus de 30 000 habitants avec des loyers modérés dans des bâtiments modernes. Ce quartier avait comme emblème un des plus grands immeubles d’Europe surnommé la Muraille de Chine qui était visible depuis l’autoroute. Ce quartier s’est construit en quatre tranches : Beaulieu I (Beaulieu) de 1953 à 1955 ; Beaulieu II (La Marandinière) en 1959 ; Beaulieu III (Montchovet) en 1964 ; Beaulieu IV (La Palle) en 1971. Il est aujourd’hui en profonde mutation avec un programme de renouvellement urbain qui prévoit la démolition de plus 1000 logements et la reconstruction de 250. Bâtiments spécifiques : CHPL (Centre Hospitalier Privé de la Loire) qui remplace la Muraille de Chine ; Ecole Nationale d'ingénieurs de Saint-Etienne Un modèle de l'urbanisme des années 1950. Beaulieu-Montchovet: La ville choisit de construire un immense quartier neuf de plus de 4.600 logements, prévu pour loger 30.000 habitants, sur les basses pentes du Pilat, à la sortie sud-est de Saint-Etienne.Entre les forêts, qui seront classées parc naturel quelques années plus tard, et les quartiers chics du cours Fauriel, c'est un des endroits les mieux situés de la ville.C'est aussi le seul grand emplacement proche du centre où il n'y aie pas eu de mines, parce que les couches de charbon s'arrêtent juste avant : le terrain est assez solide pour supporter de gros immeubles. Içi le chantier de construction de MONTCHOVET soit Beaulieu 3, la continuitée des constructions HLM de nos quartiers sud-est (les chantiers de l'OPAC) , la vidéo içi :www.ina.fr/video/LXF99004401 .Retour sur son historique de 1962 à aujourd'hui e n 2018.Un grand-Ensemble qui rappelle combien la politique d'urbanisme des années 1960 et suivantes a été conduite en dépit du bon sens la video içi www.google.fr/search?q=montchovet+ina&oq=montchovet+i... et là www.ina.fr/video/CAC00029801 , mais aussi içi www.ina.fr/video/CAC00029801 - avec Claude BARTOLONE içi avec la Visite à Saint Etienne du ministre délégué à la ville le jour de la démolition de la muraille de Chine. Rencontre avec des associations pr discuter du futur du quartier Montchovet. www.ina.fr/video/LY00001263573 - fresques.ina.fr/rhone-alpes/fiche-media/Rhonal00046/demol... - et les differentes videos de la demolition la encore : La démolition de la "muraille de Chine" de Saint Etienne www.youtube.com/watch?v=aq1uOc6Gtd0, www.youtube.com/watch?v=YB3z_Z6DTdc terrible :( ^^ l interview de Michel Thiolliere Le Grisou.fr a interviewé Michel Thiollière, ancien maire de Saint-Etienne et sénateur de la Loire, membre du Parti radical et actuel vice-président de la Commission de régulation de l'énergie. Il livre son analyse sur les prochaines échéances politiques, notamment la campagne des municipales en cours à Saint-Etienne, les alliances de la droite et du centre, mais aussi le mandat de Maurice Vincent. Michel Thiollière s'attarde également sur les besoins de l'agglomération stéphanoise et évoque les enjeux énergétiques en France.(Interview : Maxime Petit -- Réalisation : Studios Bouquet) www.youtube.com/watch?v=AJAylpe8G48,"François Mitterrand, après la visite de deux quartiers -l'un à Saint Etienne et l'autre à Vénissieux, inscrits sur la liste de ceux à réhabiliter -, parle du plan de réhabilitation pour de meilleures conditions de logement.François Mitterrand / Georgina Dufoix / Gilbert Trigano / François Dubanchet / Marcel Houël Thèmes : Grands travaux et grands projetsLe Président > 1er septennat 1981-1988 > 1981-1986 ÉclairageDepuis la fin des années 1970, la région lyonnaise apparaît comme l'épicentre des violences urbaines qui se déroulent en France. Durant l'été 1981, des violences urbaines ont conduit le gouvernement à engager le plus tôt possible une nouvelle politique en faveur des quartiers dégradés. Malgré les premières opérations de réhabilitation engagées par la Commission nationale pour le développement social des quartiers, la situation demeure extrêmement tendue dans un certain nombres de quartiers populaires. L'assassinat d'un jeune de la Cité des 4 000 par un habitant en juillet 1983 a ravivé les débats autour du thème du "mal des grands ensembles" selon l'expression de l'époque. D'autre part, le contexte politique conduit également le pouvoir à s'intéresser encore davantage à la question de la dégradation urbaine dans la mesure où de très nombreux quartiers populaires n'ont pas cette fois-ci apporté leurs suffrages aux candidats de la gauche.La visite de François Mitterrand dans deux quartiers dégradés de la région lyonnaise constitue donc un signal fort à l'égard des populations qui y vivent. Ce déplacement fait également écho à celui réalisé quelques jours plus tôt au sein de la Cité des 4 000 à La Courneuve en Seine Saint Denis (voir Visite de François Mitterrand à La Courneuve). Le principe est d'ailleurs le même et il est exprimé par le président de la République : voir par lui-même l'état réel de ses quartiers. Le fait qu'il soit mentionné dans le reportage que "ces visites surprises" se soient faites dans la "plus grande discrétion" (notamment sans les élus locaux concernés) marque effectivement la volonté du président de la République d'établir une sorte de lien direct avec les habitants qui vivent dans ces quartiers. Il ne s'agit pas de faire l'annonce de nouvelles mesures mais "de voir les choses par moi-même" selon l'expression utilisée par François Mitterrand lors de son allocution à la Préfecture à Lyon. Au moment où la Commission nationale pour le développement social des quartiers établit la liste définitive des 22 quartiers qui bénéficieront d'un programme de réhabilitation, la visite du président de la République sur le terrain suggère une forme de "présidentialisation" du thème de la réhabilitation des grands ensembles.La création au même moment de Banlieue 89 suscitée par deux architectes proches de François Mitterrand, Roland Castro et Michel Cantal-Duparc, suggère également l'intérêt du président de la République pour les questions urbaines (voir Inauguration de l'exposition organisée par Banlieue 89)."http://fresques.ina.fr/mitterrand/fiche-media/Mitter00106/visite-de-francois-mitterrand-a-saint-etienne-et-aux-minguettes.html JournalisteVisites surprises qui se sont déroulées dans la plus grande discrétion, seule Madame Georgina Dufoix, Secrétaire d’Etat à la Famille et aux Immigrés, Monsieur Gilbert Trigano, le PDG du Club Méditerranée qui participe à la Commission Dubedout, et deux collaborateurs du Chef de l’État étaient présents. Ni à Saint-Étienne, ni à Vénissieux, les autorités locales n’y ont participés. Peu avant midi, le Président est arrivé à la Préfecture du Rhône à Lyon où s’est déroulée pendant 45 minutes une séance de travail avec les élus locaux et notamment Messieurs Dubanchet, Maire de Saint-Étienne et Houël, Maire de Vénissieux. Réunion qui a donné l’occasion d’aborder les problèmes de fond, devait souligner François Mitterrand.(Bruit)François MitterrandLes deux quartiers que je viens de visiter, celui de Montchovet à Saint-Étienne et celui de Monmousseau à l’intérieur des Minguettes sur la commune de Vénissieux, sont inscrits sur la liste des 22 quartiers à réhabiliter, retenus, proposés par la Commission Dubedout devenue la Commission Pesce, et retenus par le Gouvernement. Et je compte appliquer nos efforts pour qu’effectivement, ces quartiers soient réhabilités, c’est-à-dire, soient habitables. Qu’on y trouve, pour ceux qui y vivent, euh, suffisamment de convivialité, de capacité de développer une famille et, euh, revenant de son travail quand on en a, de pouvoir vivre avec les autres. Les conditions de logement, la construction de ces ensembles, les liaisons avec l’extérieur, l’école, le sport, les espaces verts, bref, l’espace tout court, contribuent, vous le comprenez bien à, au futur équilibre, ou contribueront au futur équilibre de ces quartiers. Alors, je préfère voir les choses par moi-même. Il faut bien se dire que à l’origine de nombreux désordres sociaux se trouvent ces fâcheuses, ces déplorables conditions de vie. Et moi, je veux lutter contre ces désordres et pour cela, il faut que je m’attaque avec le Gouvernement et ceux qui ont la charge auprès de moi, je veux absolument m’attaquer aux sources d’un malaise et d’un déséquilibre social qui sont d’une immense ampleur. Raison de plus pour commencer par un bout avec énergie et continuité. Et de ce point de vue, je compte bien, au cours des semaines et des mois à venir, persévérer dans cette enquête personnelle qui me permet ensuite de donner des instructions précises à ceux qui participent à la gestion de l’État., à Saint-Étienne comme dans les communes de sa proche banlieue. Une sorte de grand monument à la gloire des HLM, comme si on avait fait exprès de la faire aussi énorme pour montrer comme les gens étaient fiers de ce quartier. Autour on construit tout ce qu'il faut pour les habitants : une école, Montchovet, qui donne sur le grand pré derrière, une MJC, une piscine, un centre commercial, avec la Poste, plus tard le bureau de police. En 1978, comme les enfants des habitants grandissent, on ouvre un deuxième collège dans la ZUP. Il prendra le nom de Jean Dasté, qui a créé la Comédie de Saint-Etienne, le plus grand théatre de province en France, et son école de comédiens. Après 1984 les loyers des HLM ont augmenté, beaucoup d'habitants sont partis. La population de Saint-Etienne diminue surtout dans les quartiers sud : beaucoup de gens déménagent vers la plaine du Forez, moins froide, où il y a la place de batir des maisons. On a rénové beaucoup d'appartements anciens en ville : la crise du logement est finie. On ne sait même plus qu'elle a existé. Les ZUP ont vieilli et la plupart des gens préfèrent se loger dans des appartements récents. Alors on ferme : le collège de Beaulieu, l'école de la Marandinière, la Poste. La Muraille coute très cher à entretenir : il n'y a plus asssez d'habitants pour payer les frais. Les HLM ont décidé de la détruire: c'est le plus gros projet de démolition jamais réalisé en Europe. Les familles qui restaient ont du déménager. On va faire exploser la Muraille de Chine au printemps de l'an 2000. Peut être qu'il fallait le faire, mais pour les gens du quartier c'est un gros morceau de notre Histoire qu'on nous détruit.1954: les premiers travaux à Beaulieu : la campagne devient une ville à grands coups de bulldozer..Le projet est de construire en grande quantité des logements de bonne qualité, avec tout le confort, des chambres pour les enfants, l'eau, le chauffage central, des sanitaires, des arbres et des pelouses, et surtout .... des loyers accessibles pour tous. Ce seront les Habitations à Loyers Modérés, les HLM.Il faudra les construires en dehors des villes, pour en finir avec le mélange des industries et des logements, qui amène le bruit et la pollution. Y prévoir tous les équipements : commerces, écoles, collèges, lycées, transports, parcs, équipements sportifs, police, pompiers, Postes. Construire des villes entières où tout le monde aura accès à ce qui n'était encore que le luxe de quelques gens très riches.Cinq villes sont choisies pour être prioritaires : Paris ( Pantin ) et Lyon ( Bron-Parilly) à cause de leur taille, Angers et Rouen détruites dans les bombardements de 1944, Saint-Etienne, la ville la plus sinistrée de France pour le logement. C'est là que naissent les cinq premières Zone à Urbaniser en Priorité, les ZUP, modèles de l'urbanisme pour toute une génération. Elles ne s'appellent pas encore comme ça : on les construites avant que l'expression de ZUP existe, c'est de leur réussite que naitra le modèle repris partout pour lequel on inventera le mot plus tard.Beaulieu I: le projet d'urbanismeMaquette de 1953 - Projet des architectes Gouyon-ClémentUne architecture géométrique, de grands espaces, des arbres, des formes qui soulignent le relief.La ZUP de Beaulieu est construite en quatre tranches:- Beaulieu I ( Beaulieu ) de 1953 à 1955- Beaulieu II ( La Marandinière ) en 1959- Beaulieu III ( Montchovet ) en 1964, dont fait partie la Muraille de Chine, le grand immeuble le long du boulevard à gauche.- Beaulieu IV ( La Palle ) en 1971Le quartier:Au premier plan, en bas à droite Beaulieu, la Marandinière est à droite derrière l'autoroute, Montplaisir à gauche, Monchovet au milieu, le long du boulevard de la Palle.A gauche des tennis, les batiments du collège de Beaulieu. C'était l'autre collège de la ZEP, le seul collège "sensible" de France a avoir été fermé, en 1995.Nouvelles techniques, nouveaux matériaux :Construire vite pour un prix raisonnable oblige à inventer de nouvelles techniques, d'autant que l'on manque de travailleurs qualifiés.La construction s'industrialise: immeubles à structure porteuse ( des poteaux en béton armé tiennent les dalles, ce ne sont plus les murs qui soutiennent les immeubles ), murs rideaux ( les murs sont fait de morceaux préfabriqués accrochés aux dalles ), éléments standardisés ( les éléments: murs, tuyauterie, portes et fenêtres, sanitaires, etc... sont tous identiques, fabriqués en usine en grande série, installés de la même façon dans tous les immeubles ), nouveaux matériaux ( matières plastiques, béton armé, acier ) qui ne s'utilisaient pas dans la construction traditionnelle.Cela permet de diminuer les prix, en automatisant les fabrications, mais aussi parce qu'on peut utiliser des ouvriers beaucoup moins qualifiés, qui ne font que du montage et que l'on paye moins cher.Bien après les gens se plaindront de ces appartements tous identiques, de ces matériaux peu agréables, de la taille inhumaine des batiments.Mais à l'époque il faut compter deux à trois ans d'attente pour obtenir un appartement dans le quartier. Les familles sont si contentes de leur quartier tout neuf que les collègiens qui prennent le bus emportent une paire de bottes en plus de leur chaussures pour aller des immeubles à l'arrêt de bus : pas question de ramener de la boue dans les bus ou dans les escaliers.La crise du logement:1950 : la France connait la pire crise du logement de son Histoire. La crise économique de 1929 puis la guerre de 1939-1945 ont arrêté la construction de logements, déja insuffisante avant 1930, pendant plus de vingt ans.La France est au maximum du "baby-boom" ( période de très forte natalité qui commence à la fin de la guerre ) : les 40 millions de français de 1950 font deux fois plus de bébés que les 60 millions d'aujourd'hui. La très forte croissance économique relance l'immigration. Plus de la moitié des familles sont mal logées alors que la France commence la plus forte croissance démographique de son Histoire.La IV° République, héritière du programme de la Résistance donne la priorité aux besoins sociaux : école, santé, logement, sur la rentabilité financière. L'Etat, les villes, sont décidés à investir dans le logement, qui est déclaré prioritaire dans le Plan d'organisation de l'économie.Entre les années 50 et 60, et suite à la seconde guerre mondiale, la municipalité stéphanoise a vu sa population passée d’un peu moins de 180 000 habitants en 1950 à plus de 200 000 habitants dix ans plus tard en 1960. Cette forte augmentation de la population pouvait s’expliquer par le fort taux de natalité de cette époque (baby-boom), mais aussi par l’afflux de travailleurs de la classe ouvrière venus dans la grande cité stéphanoise pour trouver un travail. De ce fait, la construction d’un logement sain pour chaque ouvrier était devenue une priorité absolue pour les élus qui considéraient à raison que cela était une condition vitale dans le cadre de ce grand développement. Pour ce faire, la ville a lancé dans les années 50 une vaste opération de construction de barres d’habitation dans la zone de Beaulieu, destinée à fournir un logement à une population grandissante.Une barre d’habitation innovanteA l’époque, avec une majorité d’architectes, les appartements modernes construits possédaient des cloisons lourdes empêchant toute modification interne ainsi que des espaces de renvoi sombres et non ventilés ressemblant à des alcôves.Mais à l’inverse, pour certains architectes précurseurs de la région à l’image d’Yves et Henri Gouyon, la modernité reflétait le gout de la clarté, de l’air, et du soleil, avec de larges horizons. Ainsi, ces derniers donnaient la priorité non pas aux façades qu’ils considéraient comme de simples élévations du plan, mais aux cellules d’habitations et à leur orientation. Dans cette optique, le bâtiment proposé par Henri Gouyon, qui était donc un partisan de l’espace ouvert moderne, supprimait les circulations et profitait de ce gain de place pour aménager de nouveaux espaces de vie communes. De plus, dans ces cellules d’habitations, les architectes ont tirés profit au maximum de la double orientation des appartements (ces derniers étaient traversant) avec par exemple l’accolement de balcons.Conception et réalisation d’un quartier entierPour le projet de Beaulieu, l’on confia la conception ainsi que la réalisation des interventions aux agences Henri et Yves Gouyon puis Yves Gouyon et associés. Ainsi, dés le milieu des années 50, des études concernant Beaulieu II – La Marandinière furent conduites, suivis de la construction du bâtiment entre 1957 et 1959. S’en suivit Beaulieu III – Montchovet entre 1962 et 1964, surnommé la « Muraille de Chine », qui comprenait entre autres, une barre de type HLM haute de 10 à 17 mètres et longue de 270 mètres, avec 560 logements. Suites à ces constructions, l’urbanisation des vallées et collines du sud-est de Saint-Etienne continua jusque dans les années 70 avec les séries de la Métare I, II, et III. Au total, ce sont plus de 8 000 logements, pour l’essentiel de type HLM, qui ont été construits durant cette période.Ces constructions ont également contribué à la création du parc de l’Europe et d’un boulevard circulaire qui servait de jonction entre les différents édifices et le centre-ville de la cité stéphanoise.Un projet pharaoniqueLe centre commercial fut un projet d’une dimension sans précédent pour la ville, plus grand centre commercial intra-urbain de la région Loire-Auvergne, avec 100 magasins, 1500 places de stationnement, 90 000 m² de surface, et sur 3 niveaux (4 niveaux avec la terrasse). Le 2 octobre 1979, CENTRE DEUX ouvre ses portes pour la première fois, et constitue une renaissance et un véritable tournant pour la ville.L’avis de l’architecteDe toutes les constructions de cette époque, Beaulieu est un des ensembles construits qui se porte le mieux si l’on en croit les nombreuses enquêtes menées auprès de la population de ces logements, dont certains l’occupe pratiquement depuis le début. Les arbres atteignent désormais le haut des immeubles, et la rue Le Corbusier adjacente a pris les allures « d’une banlieue des années 30 » avec un niveau d’urbanisme parfaitement acceptable. En conclusion, on peut parler pour cette construction d’un véritable savoir faire architectural et en quelques sortes d’art urbain. Ce projet a été récompensé par un prix d’urbanisme, mettant en valeur le travail en amont du projet. St-Etienne Cimaise Architectes -Entretien avec François Tomas, géographe, spécialiste de l'aménagement urbain, et enseignant à l'université et à l'école d'architecture de Saint-Etienne. Il est notamment l'auteur des Grands Ensembles, une histoire qui continue (Publications de l'université de Saint-Etienne, 2003). Cet intellectuel a également mis la main à la pâte. Entre 1977 et 1983, il fut adjoint à l'urbanisme du maire communiste de l'époque, Joseph Sanguedolce. Engagé au PC de 1974 à 1985, il a, depuis, rejoint le Parti socialiste «comme militant de base»Quelle est l'ampleur des destructions provoquées par la Seconde Guerre mondiale à Saint-Etienne?La ville subit un important bombardement des Alliés le 26 mai 1944. Celui-ci vise les usines qu'utilisaient les Allemands dans la région pour leur effort de guerre et les noeuds de communication ferroviaire. Comme prévu, la gare de Châteaucreux, les usines de Marais et le tunnel de Tardy sont touchés. Mais les bombes, larguées trop rapidement, atteignent aussi les quartiers du Soleil et de Tardy - notamment les écoles - ainsi que l'église Saint-François, emplie de fidèles. Au total, le bilan est lourd: un millier de morts, 1 500 blessés, 22 000 sinistrés; 800 immeubles ont été plus ou moins détruits.Que prévoit-on pour la reconstruction?Pas grand-chose. A la différence de la refonte spectaculaire du Havre, par exemple, on se contente ici de bâtir de petits immeubles, plus modernes bien sûr, mais sans réelle innovation architecturale ou urbanistique.Est-il vrai que Saint-Etienne, après guerre, traîne une réputation de «capitale des taudis»?C'est exact, et celle-ci n'est pas usurpée. En 1946, 7% seulement des logements sont jugés «confortables», et 17%, «acceptables»; 56% sont médiocres, et 20% peuvent véritablement être qualifiés de taudis: 1 logement sur 5 n'a pas d'eau à l'évier, les deux tiers ne disposent pas de WC, et 95%, de salle d'eau. Mais le problème n'a pas été créé par la guerre. Depuis la fin du XIXe siècle, Saint-Etienne a beaucoup grandi, mais très peu construit. Résultat: la ville a vieilli sur elle-même et se trouve après guerre dans une situation désastreuse, que les bombardements ont simplement aggravée.C'est alors qu'Alexandre de Fraissinette, maire élu en 1947, fixe le logement comme l'une de ses priorités.Oui. Et ce ne sera pas un vain mot. Rendez-vous compte: on passe de 114 logements construits en 1948 à 531 en 1951, 1 085 en 1954, 1 694 en 1957 et même 2 932 en 1959! L'effort est gigantesque. Mais le changement est aussi qualitatif. A la fin des années 1940 et au début des années 1950, la France va connaître une rupture architecturale avec l'apparition des premiers grands ensembles. Saint-Etienne sera l'une des villes symboles de cette rupture.Comment cette nouvelle architecture est-elle accueillie?Très favorablement par les classes moyennes, beaucoup moins par les classes populaires.Cela paraît paradoxal, pour du logement social!Le paradoxe n'est qu'apparent. On l'a oublié aujourd'hui, mais les premiers grands ensembles sont réservés aux familles de moins de trois enfants ayant des revenus corrects, autrement dit aux classes moyennes. Alors que, depuis la guerre, celles-ci devaient se contenter d'une ou de deux pièces mal équipées, elles se voient soudain proposer des logements spacieux, avec de la verdure, de la lumière, une salle d'eau, des WC, le chauffage central. Cela leur paraît merveilleux! Les pauvres, eux, continuent de s'entasser dans de petits appartements sans confort, quand ce ne sont pas des taudis, en particulier à Tarentaize et à Beaubrun, ou des bidonvilles, du côté de Méons, près des puits de mine et des usines sidérurgiques. Ce n'est que plus tard, à partir des années 1970, que les grands ensembles seront prioritairement réservés aux pauvres et aux familles immigrées. Mais, dans les années 1950, les grands ensembles sont encore synonymes de progrès social. Et même au-delà. On est persuadé que ce nouvel habitat va entraîner le recul de la maladie, de la délinquance, voire de la mésentente entre les époux! Il existe ainsi une «commission du bonheur ou des grands ensembles»!On croit rêver...C'était l'ambiance de l'époque, avec ses utopies et ses excès. Pour les architectes, si l'un des repoussoirs est le taudis de centre-ville, l'autre est le petit pavillon de banlieue, symbole à leurs yeux de l'individualisme petit-bourgeois, avec ses gaspillages de terrain, son absence d'horizon et son coût pour la communauté...Quels sont les quartiers typiques de cette période, à Saint-Etienne?Le premier est constitué par le très bel ensemble de la place du Maréchal-Foch. Il s'agit d'une étape intermédiaire entre l'îlot traditionnel (des immeubles accolés, formant un pâté de maisons) et sa suppression totale. Du côté de la Grand-Rue, plusieurs immeubles constituent encore des semi-îlots. Mais, à l'ouest, deux immeubles sont déjà totalement indépendants: ils sont construits au milieu de la verdure. Et cela, c'est très nouveau. Jusqu'à présent, tous les immeubles érigés à Saint-Etienne, y compris les plus hauts, étaient accolés à d'autres édifices. Cela reste encore, cinquante ans plus tard, l'un des quartiers chics de Saint-Etienne.L'autre grande opération de l'époque, c'est Beaulieu I.Evidemment. On est, cette fois, face à un grand ensemble «pur». Le chantier commence en 1953 - il y a juste cinquante ans - et s'achève en 1955. Ce nouveau quartier de 1 264 logements est remarquablement conçu. Non seulement il respecte la topographie des lieux, mais aussi il joue avec elle: les bâtiments sont implantés soit parallèlement, soit perpendiculairement aux courbes de niveau, ce qui met en valeur la colline tout en préservant son sommet. Pour rompre l'anonymat, les entrées, les façades et les balcons sont individualisés. Les logements sont de qualité, et les espaces verts, confiés aux services de la ville, tout simplement magnifiques. Beaulieu produit d'ailleurs un effet prodigieux sur ses premiers habitants.Son implantation n'est pas non plus le fait du hasard...En effet. Compte tenu des préoccupations hygiénistes de l'époque, le conseil municipal a choisi ce site «loin des zones minières et industrielles, à l'abri des poussières et des fumées, au climat salubre». Il souligne qu'il ne sera «jamais exploité par les houillères, car son sous-sol est stérile» et qu'il est également «bien relié à Saint-Etienne par le cours Fauriel, la seule avenue large de la ville». C'est véritablement le contre-modèle du taudis. Il a d'ailleurs, lui également, remarquablement bien vieilli.Etes-vous aussi enthousiaste pour les projets qui ont suivi Beaulieu I?Hélas!... Beaulieu II-La Marandinière (1957-1959), Beaulieu III-Montchovet (1962-1964), avec la fameuse «muraille de Chine», Beaulieu IV-la Palle (1967-1970) et la Métare (1962-1974), représentant à eux tous quelque 6 000 logements, constituent - à l'exception de la Métare, qui ne comprend que des appartements en copropriété - des échecs complets. Et tragiques.Pourquoi cette différence?Beaulieu I a bénéficié d'une accumulation de partis pris judicieux qui n'ont pas été appliqués par la suite. Outre la qualité de son architecture et de ses espaces verts, on a évité le zonage bête et méchant, qui allait s'imposer plus tard: les zones commerciales, d'un côté; les tours et les barres d'habitation, d'un deuxième; les emplois, d'un troisième. Enfin, Beaulieu I, réservé presque exclusivement aux classes moyennes, n'a pas connu le processus de dégradation que l'on constatera ailleurs, et dont la destruction de la «muraille de Chine» constituera le symbole.Qui ont été les grands aménageurs de cette époque?Parmi les politiques: le maire, Alexandre de Fraissinette (modéré), et son premier adjoint, qui lui succédera à sa mort, le radical Michel Durafour. Parmi les architectes: Edouard Hur et Henri Gouyon, concepteurs de Beaulieu I. Et, bien sûr, l'Etat, qui reste très présent. C'est lui qui, de manière générale, garde la haute main sur l'urbanisme. Beaulieu constitue une opération nationale, décidée de Paris. Cependant, ce qui est remarquable, c'est que, pour Beaulieu I, l'Etat va accepter de composer.Dans quels domaines?Le ministère de la Reconstruction souhaitait, ici comme ailleurs, que l'opération fût entièrement industrialisée. Autrement dit, que l'on adaptât au bâtiment les méthodes de l'automobile. Les constructions devaient se faire en préfabriqué, et l'on devait se contenter de les monter sur place. Mais, à Saint-Etienne, les architectes, soutenus par le maire, s'opposent à cette directive. Parce qu'ils sont expérimentés, et reconnus, ils vont obtenir gain de cause. Et heureusement.Y a-t-il eu des projets, conçus à cette époque, qui n'ont pas vu le jour? A la fin des années 1950, l'Etat fait appel à de grands architectes pour remodeler les villes. A Saint-Etienne, c'est Dufau, distingué par le prix de Rome, qui est choisi. Il présente un projet radical: raser les 70 îlots qui se trouvent à l'est de la Grand-Rue, entre la place du Peuple et Bellevue, et les remplacer par autant de tours et de barres! Son projet, finalement, ne sera appliqué qu'en partie. Au sud, jusqu'à Bellevue, presque tout est démoli, beaucoup de tours et de barres sont construites. Au nord, les démolitions sont également presque systématiques, mais, cette fois, les nouveaux immeubles reproduisent la forme traditionnelle de l'îlot. On détruit également une partie du quartier derrière la grande poste, ainsi que l'ancienne caserne de Tréfilerie et la prison de Bizillon. Le futur Centre-Deux...C'est cela. Au départ, l'opération se nomme «prison-Tréfilerie», mais les promoteurs, qui ont le sens du commerce, préfèrent la rebaptiser. Ce quartier est conçu comme un centre d'affaires à l'américaine, type la Défense, à Paris, ou la Part-Dieu, à Lyon. On explique aux élus que, s'ils veulent que Saint-Etienne devienne une grande ville, ils doivent la doter d'un centre d'affaires, avec des immeubles atteignant 100 ou 150 mètres de hauteur, comme aux Etats-Unis! Le projet est lancé (en 1969), mais il sera peu à peu amendé, pour tenir compte de la réalité économique, de la montée des oppositions et de l'évolution des mentalités.Comment l'économie stéphanoise se porte-t-elle alors?La ville croit encore à l'avenir de la mine et des industries traditionnelles. Cela se comprend: le plan Monnet pour la relance de l'économie française s'appuie sur l'énergie, les transports, les industries lourdes... Bref, tous les points forts de Saint-Etienne, mais ce sera un cadeau empoisonné, car, bercée par cette illusion, la cité s'endort. Quand elle se décidera à moderniser ses structures industrielles, ce sera toujours avec quelques années de retard. Au fond, c'est dans les années 1950 que l'on commet les erreurs qui conduiront, plus tard, au démantèlement des industries locales.Le secteur tertiaire a-t-il déjà commencé son essor?Pas encore. Dans les années 1950, Saint-Etienne reste une ville très fortement industrielle. La tertiarisation, avec l'enseignement supérieur, la transformation de l'hôpital en centre hospitalier régional et universitaire et l'essor de Casino, avec les supermarchés et les hypermarchés, ne commencera véritablement que dans les années 1960.Culturellement, la ville est aussi très active...Elle est même, à ce moment-là, l'un des hauts lieux de la création culturelle en France, notamment dans les domaines théâtral et artistique. Maurice Allemand fait du musée de Saint-Etienne l'un des plus grands musées d'art moderne en France. Et Jean Dasté propose au public le théâtre moderne. Ce bouillonnement est dû, notamment, à Alexandre de Fraissinette. Comme, après lui, Michel Durafour, il est persuadé que l'avenir de la cité est dans la modernité. Il considère donc qu'elle doit être déclinée dans tous ses aspects: économique, urbanistique et culturel.La population comprend-elle cette volonté?Oui et non. Dans les années 1950, il existe un certain consensus, car tout le monde partage la vision d'un avenir meilleur. Mais, en réalité, Fraissinette, et surtout Durafour, sont très décalés. Dans leur obsession d'une ville «blanche», ils refusent en bloc le passé, dont on a heureusement découvert depuis lors les richesses. Ils rêvent d'une ville qui n'existe pas, peuplée d'habitants qui ne ressemblent pas aux Stéphanois réels... C'est d'ailleurs ce qui, plus tard, provoquera la chute de Michel Durafour.Le chantier de l'autoroute de Saint Etienne 01 nov. 1965, la video içi www.ina.fr/video/LXC9610041788 - ST-Etienne,Montchovet (Beaulieu III) "la Muraille de Chine" construction 1962-1964, architecte HUR/FARRAT/GOUYON.Rappelez vous...Aout 1983, François Mitterand, se déplace incognito à la Muraille de Chine à Saint-Etienne. Quelques mois plus tard, la grande réhabilitation de cette barre d’habitation sera lancée.& le 24 octobre 1987 : visite officielle à Saint-Etienne. Il retourne à La Muraille de Chine pour constater les travaux. Le même jour il se rendra à Saint-Chamond et Roanne.« En 1983, le président s’est rendu à Montchovet à l’improviste »François Mitterrand est venu une première à Montchovet en 1983 incognito. Pourquoi une telle démarche ?C’est l’architecte Roland Castro qui a convaincu le président d’aller dans des quartiers populaires. Son but était de lui montrer où vivaient les gens à cette époque et qu’il fallait entreprendre un programme de rénovation.François Mitterrand m’a appelé et m’a dit d’organiser trois ou quatre » descentes » sur le terrain mais le président ne voulait ni policiers, ni gendarmes. Il m’a simplement demandé d’avertir, par correction, le préfet une fois arrivé. C’était d’ailleurs le meilleur gage de sécurité car lorsque vous n’êtes pas attendu, il n’y a pas de risques. Nous sommes donc allés à Saint-Etienne à Montchovet, aux Minguettes à Lyon, dans le 93.. et, à chaque fois, à l’improviste> Quelle a été la réaction des habitants ?Ils étaient très étonnés de croiser le président de la République dans leur cage d’escaliers ! Partout, nous avons reçu un accueil très chaleureux.Nous étions quatre : le président, Roland Castro, un policier et moi-même. Je me souviens qu’aux Minguettes, le président a été invité par une famille pour boire le thé. Les habitants étaient très heureux que le président s’intéresse à eux.> Comment François Mitterrand a-t-il réagi en voyant la vie de ses quartiers ?Il était fasciné. Je n’irais pas jusqu’à dire que c’était, pour lui, une découverte mais il était un rural et le fait de se confronter à la vie de ces gens qui vivaient dans de grandes barres fut enrichissant.> Ces visites impromptues ont-elles été suivies d’effets ?Oui car la mission Banlieues 89 est née de ces visites de terrain. Ce fut d’ailleurs la naissance de la politique de la ville.> En 1987, cette fois, la visite fut officielle - Proposer de nouveaux logements dans une démarche environnementale forte. Dans la poursuite des opérations engagées depuis 2001 (démolition de la Muraille de Chine en 2000, implantation du CHPL, de l ’AIMV en 2005), une qualité résidentielle s'affirme progressivement au sein des quartiers Sud-Est, grâce à une nouvelle offre d'habitat variée (en forme comme en type de produits). Le dynamisme du quartier s'appuie sur l'accueil et le développement de services, d'activités économiques et d'équipements d'agglomération (centre nautique, Nouveau Théâtre de Beaulieu...) et de proximité (salles de sport, travaux dans les écoles). Les atouts paysagers du site sont pleinement exploités dans une démarche environnementale forte. L'aménagement des espaces libres et la requalification des axes structurants et de desserte renforcent les liaisons internes aux quartiers et les ouvrent sur l'ensemble de la ville. Beaulieu, un patrimoine de qualité, valorisé et adapté à ses occupants40 logement ont été adaptés au vieillissement de leur occupants (bacs à douche, volets électriques, aménagement des ascenseurs, …). L'amélioration des espaces extérieurs, résidentiels ou publics (rue K.Marx, square Renoir, allée Clémenceau) viendra rendre plus conviviaux ces lieux de vie partagés. Petite Marandinière : une cité jardin qui se rénove en gardant son caractère Sur la Petite Marandinière, 320 logements de Métropole Habitat ont été rénovés. Les bâtiments ont été transformés pour arriver à 32 logements, avec création de T3, T4, et T5 en tenant compte de la rénovation thermique et du confort des logements. 54 logements ont été construits, répartis en 6 bâtiments à l'architecture contemporaine et fonctionnelle (surfaces généreuses, double ou triple orientation, terrasse ou loggia). En parallèle, les espaces publics ont été réaménagés dans une démarche environnementale durable et innovante : résidentialisation et embellissement des espaces extérieurs, traitement paysager d'ensemble, requalification des voiries et des circulations douces adaptées aux usages, gestion optimisée du stationnement et des eaux pluviales...Une nouvelle mixité pour le quartier : les maisons de ville "Jardins Sembat" 22 maisons de ville (du T3 au T5) ont été construites à l’angle de la rue Marcel Sembat et du boulevard de Fraissinette. Conçu et développé par l'équipe XXL-Civita-Spirit, ce projet se caractérise par la qualité de la construction (matériaux durables, aménagement soigné des espaces extérieurs…) et par la mise en valeur paysagère du site, ouvert sur les collines du Pilat. 3 types de maisons ont été proposées en location libre : maisons jumelées le long du boulevard de Fraissinette, maisons en pente en fond de parcelle adossée au talus, maisons patio au cœur de l’îlot. Un nouveau centre nautique sur le secteur Loti Souhaité par les habitants, exemplaire d’une démarche participative de coproduction, le centre nautique Yves Naime a été ouvert à l'été 2013, en remplacement de l'ancienne piscine de la Marandinière. Ce centre nautique comprend un bassin sportif (25m, 6 lignes d'eau), un bassin destiné aux activités ludiques (bains bouillonnants, aquagym...), une pataugoire et des plages extérieures.Grande Marandinière : un secteur d'habitat en développement . Après la démolition de la barre Sisley et celle en cours de la barre Féguide, c'est un nouveau quartier qui se dessine sur ce secteur. La reconfiguration de la rue Sisley en voie de promenade avec des vues en belvédère et l'aménagement d'une « coulée verte » ont profondément modifié le paysage urbain du secteur. Ce nouvel environnement a permis à Métropole Habitat de réaliser un programme immobilier de 27 logements locatifs. Dans ce bâtiment collectif moderne et fonctionnel, chaque logement comporte un espace extérieur privatif, balcon ou terrasse. Au rez-de-chaussée, des locaux d'activités (centre social espace-loisirs) ou de services sont déployés le long de la nouvelle rue Sisley. La Palle : des résidentialisations de qualitéLa résidentialisation des immeubles du boulevard de la Palle apporte aux habitants de nouvelles terrasses privatives en rez-de-chaussée, des espaces en cœur d’îlots plus agréables, et de nouveaux parcours piétonniers avec aires de jeux. Elle s’accompagne de la réhabilitation des immeubles (réfection des façades, changement des garde-corps…). Des opérations de résidentialisation ont été menées immeuble par immeuble de 2006 à 2009. Elles permettent de définir les limites entre les parties publiques ouvertes à tous, et les parties privées. Des petits jardins privatifs sont ainsi aménagés pour chaque logement de rez-de-chaussée.Le Pont Aven : du logement social à haute performance environnementaleDéveloppé par Métropole Habitat, le Pont-Aven est un exemple en matière de construction écologique. Il accueille 20 logements sociaux du T2 au T5. L’ensemble de la conception du bâtiment intègre des critères environnementaux : parois extérieures en brique mono-mur, eau chaude solaire, chauffage collectif au gaz naturel, ventilation intérieure à double flux pour une meilleure circulation de l’air, équipements électriques et sanitaires économes en énergie. La toiture végétalisée permet quant à elle une meilleure conservation de la fraîcheur en été, les auvents du toit protègent les fenêtres du soleil et les eaux de pluie seront récupérées pour arroser les espaces extérieurs…Résultat : une diminution des rejets en CO2 et une baisse significative des charges de chauffage pour les locataires.Favoriser l'accessibilité et les relations inter-quartiers Le réaménagement du boulevard de la Palle a favorisé une meilleure desserte du quartier en transports en commun. Une station de taxis, des pistes cyclables et des pelouses ont été aménagées le long du boulevard, sécurisant ainsi la traversée piétonne entre les terrasses Roinat et le centre hospitalier. A l'intérieur du quartier, la trame piétonnière a été développée dans le principe d'une continuité paysagère entre les différents secteurs. Initiée avec l’aménagement des terrasses Roinat, une coulée verte, nouveau poumon vert du quartier, facilitant la circulation des piétons et des cyclistes, relie désormais le boulevard de la Palle, et plus loin le bois d'Avaize, au Parc de l'Europe. - Après la seconde guerre mondiale, un immense chantier s'ouvre en France dans le but de loger massivement une population démunie, les réalisations des HLM en France et la lutte contre l'habitat indigne insalubre , le film parle de St-Etienne entre autre avec les Cités du soleil 1958 de Jean-Claude Sée : www.dailymotion.com/video/xgj74q .Jusqu'au milieu des années 1970, cette période dite des « Trente Glorieuses l'après guerre et montre la plupart des grandes réalisations de 1945 à 1960. A travers les exemples de la région parisienne et de quelques grandes villes françaises sont posé les problèmes de la diversité architecturale, de l'esthétique et de l'harmonie entre le passé et l'avenir. Les images montrent les grands ensembles de Beaulieu, la Marandiniére, à Saint-Etienne, la cité le Haut du Lièvre à Nancy, des cités à Sarcelles, Asnières, Bron-Parilly, Epinay, Pantin, Bobigny, la cité radieuse de Le Corbusier à Marseille, le front de mer à Royan, la video de l'Année 1962, une réalisation de Philippe Brunet içi www.dailymotion.com/video/xgj2zz » fut le terrain de nombreuses expérimentations architecturales et urbanistiques, fondées notamment sur les idées émises plus tôt dans le siècle par le Mouvement moderne.Aujourd'hui, ces ensembles bâtis sont au cœur d'une autre actualité, liée à leur adaptation à l'évolution des modes de vie de notre société contemporaine. Cette question qui se posa dès la fin des années 1970 apparaît sous un jour nouveau, avec les premières démolitions dans les années 1980 et, plus récemment, le vaste programme de réhabilitation mis en place dans le cadre de la loi Solidarité et Renouvellement Urbain.Après Les Grands Ensembles. Une histoire qui continue…, ce nouvel ouvrage, fruit de la collaboration entre l'École Nationale Supérieure d'Architecture de Saint-Étienne et l'Université Jean Monnet, apporte un éclairage nouveau sur cet héritage bâti, mettant au jour simultanément la question de son vécu et celle des acteurs engagés dans son édification. En réunissant quinze auteurs spécialistes de ce domaine, il s'agit de regrouper autant de points de vue, pour comprendre la diversité et la complexité des enjeux liés à la postérité de ce bâti. - « Petite enquête sur Beaulieu – Le Rond-Point », La Tribune du centre et du sud-est, 13 octobre 1955 et « Le chantier de Beaulieu – Le Rond-Point (1ère tranche) sera terminé le 30 juin 1956 très exactement »,La Tribune du centre & du sud-est, 26 juin 1956 -«St-Etienne, la place des grands ensembles dans l’histoire de l’habitat social français »Saint-Étienne/Beaulieu, au sud-est de l’agglomération, sur le versant sud de la colline de Beaulieu, en forte pente et d’aspect semi-rural, la cité de Beaulieu est mise à l’étude dès 1950. Elle débute en 1953 et comprend 1 221 logements, un groupe scolaire et 35 boutiques. Des parrains prestigieux et l’élite de l’architecture sté- phanoise sont mobilisés pour ce premier grand ensemble local.Tantôt les bâtiments suivent le dessin de la courbe de niveau 600, devenue rue Le Corbusier, tantôt ils s’installent perpendi-culairement à la pente, reliés à la rue par des passerelles ou de grands escaliers. A l’implantation exemplaire des bâtiments répond une maîtrise raffinée du végétal d’accompagnement, décliné selon les modes habituels aux squares urbains, avec une virtuosité étonnante dus aux talents de l’ingénieur des Services techniques de la ville, Jean Marc, associé à l’équipe de concep-tion dès l’origine de l’opération.Le vocabulaire de l’art des jardins s’adapte au grand ensemble : les espaces sont découpés à partir des courbes de niveau et des allées, et caractérisés par un système de haies et de contre-haies (haies étagées doubles ou triples) constituées de troènes com-muns ou dorés, prunus, berbéris et buffets de laurier, et sont plantés d arbres rythmés et colorés (érables négundo et acacias), ou parfois fastigiés (la gamme d’arbres est d’ailleurs peu riche), selon un dessin géométrique et des alternances de couleurs. Ces espaces verts ne sont réalisés qu’à partir de 1964, après avoir été longtemps laissés en prairies fauchées. Cet état de fait, dû au départ à l’étirement des financements des projets d’espaces exté-rieurs, s’inscrivait aussi dans la logique de conception de notre ingénieur, qui pensait « qu’il était nécessaire de laisser vivre un groupe d’habitations avant de planter » – afin de reprendre notamment les chemins tracés par l’usage.Cette réalisation révèle le décalage entre les réflexions et les savoir-faire architecturaux et paysagers et exprime quelques traits caractéristiques de la pratique paysagiste. Le festonnage des haies qui jalonne les espaces extérieurs rejoint celui des collines boca- gères surplombant les bâtiments. Il rappelle le site environnant et inspirera plus tard l’AUA et Alexandre Chemetoff pour la réhabilitation du quartier de Montreynaud.Relevons que, sans l’action concertée des services de la ville et de l’office d’HLM, qui finança entièrement la réalisation des espaces verts, rien n’aurait été fait à cette époque, compte tenu du désintérêt pour cet aspect du projet des principaux responsables du chantier. « D’ailleurs, à cette époque, les architectes ne jouaient pas au paysagiste… », queleques superbes videos du Ministere de la Cohésion et des Territoires içi : .Naissance d'une banlieue mort d'un village 2000 www.dailymotion.com/video/x1a98izRéalisateur : Sidney Jézéquel Production : Les Films Roger Leenhardt Sujet : la commune de Goussainville (95) --------Quatre murs et un toit 1953 www.dailymotion.com/video/xk6xui Scenario et réalisation Pierre Jallaud MRU (ministère de la reconstruction et de l'urbanisme) ----------------Le Bonheur est dans le béton www.dailymotion.com/video/x413amo - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie ---------------------Beaulieu par son constructeur la Cimaise :" Entre les années 50 et 60, et suite à la seconde guerre mondiale, la municipalité stéphanoise a vu sa population passée d’un peu moins de 180 000 habitants en 1950 à plus de 200 000 habitants dix ans plus tard en 1960. Cette forte augmentation de la population pouvait s’expliquer par le fort taux de natalité de cette époque (baby-boom), mais aussi par l’afflux de travailleurs de la classe ouvrière venus dans la grande cité stéphanoise pour trouver un travail. De ce fait, la construction d’un logement sain pour chaque ouvrier était devenue une priorité absolue pour les élus qui considéraient à raison que cela était une condition vitale dans le cadre de ce grand développement. Pour ce faire, la ville a lancé dans les années 50 une vaste opération de construction de barres d’habitation dans la zone de Beaulieu, destinée à fournir un logement à une population grandissante.--- Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq ----SAINT-ETIENNE BEAULIEU une barre d’habitation innovanteA l’époque, avec une majorité d’architectes, les appartements modernes construits possédaient des cloisons lourdes empêchant toute modification interne ainsi que des espaces de renvoi sombres et non ventilés ressemblant à des alcôves.Mais à l’inverse, pour certains architectes précurseurs de la région à l’image d’Yves et Henri Gouyon, la modernité reflétait le gout de la clarté, de l’air, et du soleil, avec de larges horizons. Ainsi, ces derniers donnaient la priorité non pas aux façades qu’ils considéraient comme de simples élévations du plan, mais aux cellules d’habitations et à leur orientation. Dans cette optique, le bâtiment proposé par Henri Gouyon, qui était donc un partisan de l’espace ouvert moderne, supprimait les circulations et profitait de ce gain de place pour aménager de nouveaux espaces de vie communes. De plus, dans ces cellules d’habitations, les architectes ont tirés profit au maximum de la double orientation des appartements (ces derniers étaient traversant) avec par exemple l’accolement de balcons. Conception et réalisation d’un quartier entier. Pour le projet de Beaulieu, l’on confia la conception ainsi que la réalisation des interventions aux agences Henri et Yves Gouyon puis Yves Gouyon et associés. Ainsi, dés le milieu des années 50, des études concernant Beaulieu II – La Marandinière furent conduites, suivis de la construction du bâtiment entre 1957 et 1959. S’en suivit Beaulieu III – Montchovet entre 1962 et 1964, surnommé la « Muraille de Chine la plus grande barre d'Europe avec 540 appartements à sa livraison mi 1964, les chantiers de l'OPAC devenu Métropole-Habitat, www.ina.fr/video/LY00001263522 », qui comprenait entre autres, une barre de type HLM haute de 10 à 17 mètres et longue de 270 mètres, avec 560 logements. Suites à ces constructions, l’urbanisation des vallées et collines du sud-est de Saint-Etienne continua jusque dans les années 70 avec les séries de la Métare I, II, et III. Au total, ce sont plus de 8 000 logements, pour l’essentiel de type HLM, qui ont été construits durant cette période. Ces constructions ont également contribué à la création du parc de l’Europe et d’un boulevard circulaire qui servait de jonction entre les différents édifices et le centre-ville de la cité stéphanoise.Un projet pharaoniqueLe centre commercial fut un projet d’une dimension sans précédent pour la ville, plus grand centre commercial intra-urbain de la région Loire-Auvergne, avec 100 magasins, 1500 places de stationnement, 90 000 m² de surface, et sur 3 niveaux (4 niveaux avec la terrasse). Le 2 octobre 1979, CENTRE DEUX ouvre ses portes pour la première fois, et constitue une renaissance et un véritable tournant pour la ville. L’avis de l’architecteDe toutes les constructions de cette époque, Beaulieu est un des ensembles construits qui se porte le mieux si l’on en croit les nombreuses enquêtes menées auprès de la population de ces logements, dont certains l’occupe pratiquement depuis le début. Les arbres atteignent désormais le haut des immeubles, et la rue Le Corbusier adjacente a pris les allures « d’une banlieue des années 30 » avec un niveau d’urbanisme parfaitement acceptable. En conclusion, on peut parler pour cette construction d’un véritable savoir faire architectural et en quelques sortes d’art urbain. Ce projet a été récompensé par un prix d’urbanisme, mettant en valeur le travail en amont du projet. www.cimaise-architectes.com/realisations/divers/construct... cité HLM labellisée Patrimoine du XXeme siecle -"Il faut bien le dire, avant même d’être livré, Beaulieu est l' un des grands-ensembles, parmis 6 autres qui fasçinait en 1954..En effet c'etait le début de la longue & grande histoire des chantiers de l'Office Public de l'Aménagement et de la Construction* içi, ou à Montreynaud, Solaure, Monthieu etc( l'OPAC l'office public de logements sociaux, devenu plus tard Métropole-Habitat, est la plus importante au niveau National, c'est la plus grosse boite d'HLM). Bref, les habituels promeneurs du coin genre les "Bois du Four (la Metare, le nom ançien, qui par ailleurs appartenait a Mme de Métarie une veuve riche qui légua son domaine soit "la Métare" à la ville, pour un Franc symbolique à l'epoque et aux CHU anciennement les HCL Hospiçes Civils de la Ville comme à Lyon... (on notera qu il y a des tas de logements en centre ville propriété du CHU)..se rendant le dimanchedans le Pilat ou à Rochetaillée et sur les collines* alentours (on en a 7 comme a Rome) font un léger détour par le chantier. Ils constatent alors de visu cet avancement des travaux que la presse qualifie de « belle prouesse ». Le rythme est en effet rapide : « un étage par semaine » pour certaines barres, comme le raconte un témoin. Les « grandes maisons », soient les immeubles de hauteur et nombre de logements importants (IGH), étant alors encore rares dans laville, les Stéphanois n’y sont pas habitués@ les H.L.M. Beaulieu est la 1ere cité Stéphanoise de toutes,. Les barres de dix-sept et quatorze niveaux gises respectivement rues Gomy Herriot et de Vlaminck, ainsi que la tour de 22 niveaux au 33 rue Le-Corbusier,surprennent donc encore pire pour la plus grande barre d'Europe qui arrvera 7 ans plus tard, la Muraille qui mettront certains certaines à la renverse , le gigantisme à l'état brut, du lourd.... La référence qui vient à l’esprit de beaucoup ajoute à la fascination : l’Amérique. « C’est New-York ! c'est tres joile, tres vert... », se rappelle avoir pensé un habitant de la première harre...Mais plus que les immeubles, ce sont surtout les logements qui emportent l’adhésion des « heureux locataires », comme aime à les appeler la presse tout court. La satisfaction procurée aux habitants par l’hygiène et le confort des logements des Grands-Ensembles soit les quartiers NEUF est une information connue, les études de sciences humaines sur le sujet abondent. Aussi, pour le cas de Beaulieu devenu un cas d'Ecole idem pour Montchovet (Beaulieu3) et les transformations de la Marandiniere (Beaulieu2)...Les entretiens réalisés avec des locataires n’apportent pas sur ce point-ci d’éléments nouveaux :les premiers motifs de satisfaction invoqués sont, comme pour bien d’autres Grands-Ensembles Français,l’eau courante, le chauffage central dont sont pourvus les immeubles les plus hauts, les WC intérieurs et salles de bain, l’ensoleillement et la luminosité permis par l’orientation, la hauteur et la disposition des immeubles, les placards et les tout aussi pratiques balcons à parois séchoirs permettant de faire sécher le linge, hiver compris. Entretien avec François Tomas, géographe, spécialiste de l'aménagement urbain, et enseignant à l'université et à l'école d'architecture de Saint-Etienne. Il est notamment l'auteur des Grands Ensembles, une histoire qui continue (Publications de l'université de Saint-Etienne, 2003). Cet intellectuel a également mis la main à la pâte. Entre 1977 et 1983, il fut adjoint à l'urbanisme du maire communiste de l'époque, Joseph Sanguedolce. Engagé au PC de 1974 à 1985, il a, depuis, rejoint le Parti socialiste «comme militant de base»L"apres guerre...Que prévoit-on pour la reconstruction? Pas grand-chose. A la différence de la refonte spectaculaire du Havre, par exemple, on se contente ici de bâtir de petits immeubles, plus modernes bien sûr, mais sans réelle innovation architecturale ou urbanistique.Est-il vrai que Saint-Etienne, après guerre, traîne une réputation de «capitale des taudis»?C'est exact, et celle-ci n'est pas usurpée. En 1946, 7% seulement des logements sont jugés «confortables», et 17%, «acceptables»; 56% sont médiocres, et 20% peuvent véritablement être qualifiés de taudis: 1 logement sur 5 n'a pas d'eau à l'évier, les deux tiers ne disposent pas de WC, et 95%, de salle d'eau. Mais le problème n'a pas été créé par la guerre. Depuis la fin du XIXe siècle, Saint-Etienne a beaucoup grandi, mais très peu construit. Résultat: la ville a vieilli sur elle-même et se trouve après guerre dans une situation désastreuse, que les bombardements ont simplement aggravée.

This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.

 

Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.

 

Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.

 

You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.

 

These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/

 

If you have any further information on the photographs, please leave a comment.

Um olhar...Desenhos,formas,figuras e grafismos

The Mural Wall:

The main memorial is in the form of a triangle intersecting a circle.

Walls: 164 feet long, 8 inches thick; more than 100 tons of highly polished "Academy Black" granite from California: more than 2,500 photographic, archival images representing the land, sea, and air troops who supported those who fought in the war are sandblasted onto the wall.

The Mural was created by Louis Nelson, with the photographic images depicting soldiers, equipment and people involved in the war. When reflected on the wall, there appear to be 38 soldiers, 38 months, and it is also representing the 38 parallel that separated the North and South Korea.

 

19 stainless steel statues:

Within the walled triangle are 19 stainless steel statues designed by Frank Gaylord, each larger than life-size, between 7 feet 3 inches and 7 feet 6 inches tall; each weighs nearly 1,000 pounds. The figures represent a platoon on patrol, drawn from each branch of the armed forces; fourteen of the figures are from the U.S. Army, three are from the Marine Corps, one is a Navy Corpsman, and one is an Air Force Forward Air Observer. They are dressed in full combat gear, dispersed among strips of granite and juniper bushes which represent the rugged terrain of Korea.

 

United Nations Wall:

To the north of the statues and path is the United Nations Wall, a low wall listing the 22 members of the United Nations that contributed troops or medical support to the Korean War effort.

 

Pool of Remembrance:

The circle contains the Pool of Remembrance, a shallow pool 30 feet in diameter lined with black granite and surrounded by a grove of linden trees with benches. The trees are shaped to create a barrel effect, which allows the sun to reflect on the pool. Inscriptions list the numbers killed, wounded, missing in action, and held as prisoners of war, and a nearby plaque is inscribed: "Our nation honors her sons and daughters who answered the call to defend a country they never knew and a people they never met." Additionally, right next to the numbers of American soldiers are those of the United Nations troops in the same categories. In the south side of the memorial, there are three bushes of the Rose of Sharon hibiscus plant, South Korea's national flower.

A further granite wall bears the simple message, inlaid in silver: "Freedom Is Not Free."

Former London Transport.

Taken at St Helens Transport Museum, Merseyside

 

Swallowtail butterflies are large, colorful butterflies which form the family Papilionidae. There are at least 550 species, and though the majority are tropical, members of the family are found on all continents except Antarctica. The family includes the largest butterflies in the world, the birdwing butterflies of Australia (genus Ornithoptera).

 

Swallowtails differ from all other butterflies in a number of anatomical traits. Most notably, their caterpillars possess a unique organ behind their heads, called the osmeterium. Normally hidden, this forked structure can be everted when the caterpillar is threatened, and emits smelly secretions containing terpenes. The adults are often tailed like the forked tail of some swallows, giving the insect its name.

 

(wiki)

 

Seen at Thomas Jefferson's home, Monticello, Virginia, USA.

 

This image forms part of the digitised photographs of the Ross and Pat Craig Collection. Ross Craig (1926-2012) was a local historian born in Stockton and dedicated much of his life promoting and conserving the history of Stockton, NSW. He possessed a wealth of knowledge about the suburb and was a founding member of the Stockton Historical Society and co-editor of its magazine. Pat Craig supported her husband’s passion for history, and together they made a great contribution to the Stockton and Newcastle communities. We thank the Craig Family and Stockton Historical Society who have kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to the collection and allowed us to publish the images. Thanks also to Vera Deacon for her liaison in attaining this important collection.

 

Please contact Cultural Collections at the University of Newcastle, NSW, Australia, if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.

 

Some of the images were scanned from original photographs in the collection held at Cultural Collections, other images were already digitised with no provenance recorded.

 

You are welcome to freely use the images for study and personal research purposes. Please acknowledge as “Courtesy of the Ross and Pat Craig Collection, University of Newcastle (Australia)" For commercial requests please consider making a donation to the Vera Deacon Regional History Fund.

 

These images are provided free of charge to the global community thanks to the generosity of the Vera Deacon Regional History Fund. If you wish to donate to the Vera Deacon Fund please download a form here: uoncc.wordpress.com/vera-deacon-fund/

 

If you have any further information on the photographs, please leave a comment.

Collingwood Historical Society

 

5/12/3 #cf20 #perforations

 

© Pat Miller

Se formos fracos em nossa comunhão com Deus, seremos fracos em tudo.

For the third year running following its great success, St. Mary’s held their creative ‘Trashion Show. Year 13 students came together for the annual event as part of their Catholic Religious Studies (CRS) programme to take a closer look at environmental issues.

 

The day began with a spiritual reflection where a representative from CAFOD attended and spoke to the students regarding the charity’s environmental work oversees, as well as about how their actions impact the lives of others. The students proceeded to play interactive games, further discuss environmental issues and examine Catholic teachings surrounding the matter, before making clothing out of recycled materials. The day concluded in the fashion show where students

Formes

This foxglove took on a very unusual form for just the topmost flower - all the rest were normal. Any ideas what caused this strange growth??

Ler e Formar Leitores no século XXI – leitura e inclusão foi o tema do II Encontro de Bibliotecas Escolares do Alentejo, que decorreu, durante os dias 3 e 4 de julho, no auditório dos Serviços Comuns do Instituto Politécnico de Beja.

Este evento contou com a organização da Coordenação Interconcelhia da Rede de Bibliotecas Escolares, do Instituto Politécnico de Beja e da Câmara Municipal de Beja - Biblioteca Municipal de Beja José Saramago. Teve por objetivos analisar o contributo das bibliotecas e da formação leitora para o exercício de uma cidadania mais consciente, crítica e responsável, assim como evidenciar o papel educativo e formativo das bibliotecas e da leitura no contexto da organização, estratégias e objetivos curriculares das escolas e da melhoria das aprendizagens. Pretendeu igualmente refletir sobre as problemáticas associadas à função e responsabilidade social das bibliotecas, enquanto fatores de inclusão, igualdade e justiça social, além de perspetivar possibilidades e vias de desenvolvimento das bibliotecas e das políticas de leitura no sentido da sua atualização e adaptação aos desafios e exigências do presente.

 

Mais reportagens fotográficas em: www.flickr.com/photos/40478366@N08/collections/

38° 00' 46.87''N

7° 52' 22.19''W

 

Tel Aviv

www.fine-artfoto.com

The Eurasian form has a horizontal white stripe along the back. Eurasian teal show up casually each year along both the Pacific and Atlantic coasts.

 

Burnaby Lake

Taiji cane form

Bear Gulch Caves. These talus caves were formed when steep, narrow fissures formed in the central area of volcanic rock as a result of faulting and shear fractures. The fissures were then filled with a jumbled mass of huge boulders from the cliffs above. Pinnacles National Park. San Benito Co., Calif.

Macro

Close-up of the type form (in the press) with ink on it.

All but the one line of Old English was set on the Linotype - including the border.

The type faces are Memphis Extra Bold Condensed, and Garamond No. 3.

great shapes and finishes too at the science centre