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For those of you that don't know, I co-wrote a book this year with Programmer Andrew Morton. The book is about using the Flickr API and PHP together, to help build customized websites, and manage your Flickr photos. The book has something for everyone, and is written to be accessible and useful to both novice web designers and advanced programmers.
If you are interested in web programming, the book is on the shelves now! If want to save some trees, you can get the book as an ebook directly from the publisher, Apress.
If you are interested in reviewing the book, let me know. Limited availablity!
Finally, if you dig this book, you should digg it
The Patriot APC is designed and manufactured by the Amaruko Corporation exclusively for the Commonwealth. America and China lost out in the bidding for the contract due to the conflict in Antarctica. Britain however, managed to convince the corporation to supply only them.
Patriot APC Specifications:
Powerplant:
Petro-chemical mark 6
Operational range:
450 miles
Top speed:
60mph (on road)
40mph (off road)
Armament:
Pintle 50.cal
optional smoke grenade launchers
optional mortar
Crew Capacity:
Driver
Gunner
6 infantrymen or 1 remote weapons platform and 2 operators.
“The EU is facing another ‘whatever it takes’ moment”, EP President Roberta Metsola said when introducing Italy’s Prime Minister Mario Draghi to the plenary. She added that Mr Draghi already steered the EU out of a crisis when he was President of the European Central Bank. “I have no doubt that we can rely on your experience again as the EU faces another existential crisis”.
On the war in Ukraine, Ms Metsola highlighted that “the coordination, solidarity and unity the EU has shown against this war must remain the blueprint for our actions going forward.” On the future of the EU, she pointed out that, “no suggestions for change that have been made by the Conference should be off limits. Because if not now, then when?”
Read more: www.europarl.europa.eu/news/en/press-room/20220429IPR2822...
These photos are free to use under Creative Commons license CC-BY-4.0 and must be credited: "CC-BY-4.0: © European Union 2022 – Source: EP". (creativecommons.org/licenses/by/4.0/) No model release form if applicable. For bigger HR files please contact: webcom-flickr(AT)europarl.europa.eu
Facing more or less northward. Taken along the trail leading to the summit of Vesuvius.
Everyone knows that it was Mount Vesuvius that buried Pompeii, Herculaneum, and other ancient communities in AD 79. And everyone happens to be wrong, at least if one adheres to modern geologic and geographic jargon. In current terminology, it wasn't Vesuvius that wreaked that havoc, but the famous volcano's long-lived predecessor, Mount Somma.
According to an excellent paper and accompanying geologic map, "Volcanic Evolution of the Somma-Vesuvius Complex (Italy)" (Sbrana et al., Journal of Maps, January 2020), Mount Somma assembled itself as a major stratovolcano from about 44 ky to 22 ky ago. And then, from 22 ky to AD 79, it suffered a number of Plinian eruptions, each of which resulted in the collapse of its central cone and the formation of a caldera.
Whenever italicized terms begin to proliferate, it's time to stop and provide some definitions. Let's do this in tabular form:
Plinian eruption: named for that prolific letter-writer, Pliny the Younger, whose uncle (you guessed it—Pliny the Elder) was ancient Rome's foremost naturalist and seeker after the odd and curious. See the comments section of Part 1 for more on this dynamic duo.
Because Pliny the Younger did a superb job of describing the AD 79 event, that type of highly violent and destructive eruption now bears his name. As a great mass of pyroclastic material is shot high into the atmosphere, it forms a mushroom cloud that eventually suffers gravitational collapse and falls onto and buries surrounding terrain. So much of the underlying magma chamber is emptied in a short time that the volcano caves in under its own weight. The result is a
Caldera. Essentially this is just a very big crater that has formed due to the process of magma-chamber collapse described above.
So what is Vesuvius? It's the newer stratovolcano that has risen atop the Somma caldera since the 1600s AD. The latest alterations and additions to its Gran Cono summit and its downslope lava flows were made during its most recent major eruption, in 1944.
But this is very confusing if you happen to be a Classics scholar and you read the famous letter of Pliny the Younger concerning the AD 79 eruption (Epistulae 6.16) in the original Latin. You'll come upon this passage detailing the aforesaid eruption:
Nubes incertum procul intuentibus ex quo monte; Vesuvium fuisse postea cognitum est
My own crude translation of this is, "A cloud that came from a mountain not identifiable from this far away, but which was later understood to be Vesuvius." Hmm. This shows that what we now call Mount Somma the ancients called Vesuvius. Uffa!
So perhaps it's best to be a little vague, tolerant, and adjustable. Let's just use the term found in the article title cited above, "the Somma-Vesuvius Complex." In fact, I'm going to get even more sciency and abbreviate it to the SVC. How cool is that?
In this shot, the SVC can be categorized as:
- Vesuvius Gran Cono slope (angle of repose of about 30 degrees from horizontal): the dark portion at lower left, foreground;
- Somma caldera floor, with considerable tree growth;
- Somma caldera rim.
The rim is of special interest because it reveals classic stratovolcano composition (alternating layers of tephra and lava) as well as striking examples of dikes. The dikes resemble narrow, vertical walls projecting radially outward from the rim. In fact, they're former fissures or feeder channels for volcanic vents. Some of the magma they contained solidified within them, and created flat-sided bodies of rock considerably more resistant than the pyroclastic material around them.
The other photos and descriptions of this series can be found in my Integrative Natural History of Mount Vesuvius & the Gulf of Naples album.
Date of Photos – 02/16/2012
Location - Langley Research Center - Aircraft Landing Dynamics Facility
Photographer – Joe Bibby
Maankwartier / Moon Quarter Heerlen NL
New construction of 90,000m2 homes, shops, commercial units, hotel and public parking garage. Towards the design of artist Michel Huisman, a new district is being built as a connecting element across the railway yard. Wauben Architects is responsible for the translation of the spatial concept into an architecturally and technically feasible plan. The unique inner-city location on top of the rail infrastructure is very complex and has high performance requirements for logistics, safety and sound insulation. The gigantic complex has many user functions, many of which are delivered as a hull. An accurate integration of escape routes and installations ensures maximum flexibility and adaptability.
Attempts by the Dutch Railways NS around 1995, in close cooperation with the municipality to redevelop the station and expand it with shops and offices, ran aground, even in times when commercial property in the Netherlands was still doing well. When everyone in Heerlen had resigned themselves to the inevitable, a local artist - Michel Huisman - came up with a plan through the media. Huisman was and is not an architect, but with his passionate drawings and ditto stories he managed to get a majority of local politics on a par with the project, renamed it Maankwartier / Moon Quarter. The Maankwartier must connect the center of Heerlen to the north side of the city via rail. The implementation consists of large-scale retail trade (12,000 m2), shops (2,000 m2), hotel / catering industry (7,500 m2), offices (13,900 m2), owner-occupied and rented housing (99 units) and two underground parking garages with 1,175 parking spaces at north and south side and a bicycle parking for 800 bicycles. Weller Property Development develops the offices, the large and small-scale retail trade, the parking facilities and rental apartments. The municipality of Heerlen is responsible for the physical overhang of the railway and all public infrastructure. The municipality has also realized a new bus station. Furthermore, the municipality has issued a guarantee for the purchase of 4000 m2 of office space. NS Stations is the developer of the new train station and associated shops. Building development Jongen participates with a parking garage, 6200 m2 of space for a supermarket, 4000 m2 of office space and a number of owner-occupied apartments. The concrete slab that comes over the railway is the basis for a hotel and some shops, because legislation does not permit living above the railway.
Duncan Rawlinson has crafted this image by integrating his photography with AI technology. By combining these mediums, Duncan presents a large-scale robotic figure that showcases his skill in photography and his experimentation with AI's potential to expand visual boundaries. The artwork is a straightforward example of how traditional techniques can evolve through AI to produce new, thought-provoking visuals.
Jewish cemetery in Külsheim, Germany
The cemetery is an awesome place for the Jews who call it in Hebrew: Bet ha-chaj (House of the living), Bet ha-kwarot (Hause of graves), Bet ha-olam (Eternal House) and in Yiddish 'Getort' (Good Place). It is a place of 'eternal rest', meaning that no grave can be reused and that there is no end to the use of a grave. Jews only go to the cemetery with their heads covered in respect of the Holiness of this place. Visiting a grave the Kaddisch Prayer is said and as ancient ritual a little stone is put onto the grave as memorial of the visit.
The tombstones in Külsheim stand with their simplicity for equality of all men in death. The few decorative details symbolise religious believes. Blessing hands indicate that the dead was from the tribe of Kohanim (Priests), the jug for someone from the Levites, the ram horn for a shofar player, the circumcision knife for a Mohalim, crowns are a symbol for a respected family name, grapes for a blessed life on earth, representations of animals however, are from more recent times and indicate surnames.
The last line at the lower end of a tombstone is mostly a shortened saying in Hebrew: 'Be his(her) soul bound into the eternal life.'
This cemetery was created in 1658 and is therefore one of the oldest in the region of Franconia (Germany). It was the central Jewish cemetery for Külsheim, Hardheim, Gissigheim, Königheim, Tauberbischofsheim and Hochhausen. The Jewish community paid a tax to the city of Külsheim for the use of the cemetery. The last person was buried here in April 1938.
Dammaged tombstones date from the Third Reich period. 1952 the fence around the cemetery was redone. Today the 'Suprime Council of Israelites of Baden' owns the cemetery.
The location of the medieval cemetery, previous to this one, is unknown. It might have been in the district called 'Paradise'.
Echoes of Tomorrow" is a visual ode to a future where artificial intelligence and robotics seamlessly integrate with human aspirations. This series delves into the potentialities of architecture, design, and daily life, transformed by the limitless creativity and precision of AI. It captures a world where physical constraints persist, yet human ingenuity is amplified through the vast possibilities offered by technology. These images offer a glimpse into a plausible future where constructions and landscapes are crafted with a detail and scale currently unimaginable - a tribute to the unforeseen ahead.
Poem:
In the glow of gilded domes agleam,
Where the wheels of time ignite their spark,
She stands, a relic of a bygone dream,
Gazing forth at dawn's impending arc.
She watches robots weave thoughts and steel,
In a choreography of code's own verse,
Where the line betwixt creator and creation
Is blurred in technology's harmonious curse.
We don ourselves in dreams' attire,
Forge bridges from lucid streams of data,
In a world where AI's breath infuses life
Into abodes we cherish, ever fonder.
Haiku:
Golden domes rise high,
Dreams of AI gently bloom,
New dawn, hope descends.
Miami International Airport (IATA Code: MIA) does deserve praise for its integrated transportation facilities, with Tri-Rail, Metrorail, city transit and longer distance bus facilities all close to hand at the modern Transit Center. Tri-Tail EMD GP49 #81
Castelbouc
maisons du hameau de Castelbouc à Ste Enimie, dominant le Tarn, totalement intégré au paysage.
DSC_7520w
In the Integration Facility at the Baikonur Cosmodrome in Kazakhstan, Expedition 46-47 backup crewmembers Kate Rubins of NASA (left), Anatoly Ivanishin of the Russian Federal Space Agency (Roscosmos, center) and Takuya Onishi of the Japan Aerospace Exploration Agency (JAXA) pose for photos Dec. 1 in front of the Soyuz TMA-19M spacecraft during a crew fit check. The trio is backing up prime crewmembers Tim Peake of the European Space Agency, Tim Kopra of NASA and Yuri Malenchenko of the Russian Federal Space Agency (Roscosmos), who will launch Dec. 15 from Baikonur for a six-month mission on the International Space Station. NASA/Victor Zelentsov
Como integrar la naturaleza en la ciudad .
Un verdadero ejemplo el parque de cabecera de Valencia .
Todo un logro .
Visit spotlight.duke.edu/50years/ to learn more about Duke University's yearlong commemoration of the 1963 desegregation of the undergraduate student body.
Integrate solar panels for your home or building and see how much energy power you can save! Visit www.solarcompaniesgoldcoast.com
Inside the Vertical Integration Facility at Space Launch Complex 2 at Vandenberg Air Force Base in California, United Launch Alliance (ULA) workers assist as the Delta II interstage is lowered and mated to the booster, or first stage, on June 12, 2018. NASA's Ice, Cloud and land Elevation Satellite-2 (ICESat-2) will launch on the final Delta II rocket. ICESat-2 will measure the height of a changing Earth, one laser pulse at a time, 10,000 laser pulses a second. The satellite will carry a single instrument, the Advanced Topographic Laser Altimeter System. ICESat-2 will help scientists investigate why, and how much our planet's frozen and icy areas, called the cryosphere, is changing in a warming climate. Photo credit: USAF 30th Space Wing/Mark Mackley
CAPSTONE spacecraft, built by Terran Orbital and owned and operated by Advanced Space, being prepared for payload integration at Rocket Lab Launch Complex 1
Sunday 28th September 2014 saw improvements made by Arriva to their Guildford - Cranleigh - Horsham corridor services.
Previously, the three buses an hour had run as follows:
1x 53: Guildford - Cranleigh - Park Mead - Ewhurst.
1x 53: Guildford - Cranleigh - Park Mead short.
1x 63: Guildford - Cranleigh - Slinfold - Horsham.
This is revised from 28th September as:
1x 53: Guildford - Cranleigh - Park Mead - Ewhurst.
1x 63: Guildford - Cranleigh - Park Mead (double run) - Slinfold - Horsham
1x 63X: Guildford - Cranleigh - Horsham, not via Slinfold.
This increases the service level to Horsham to two buses per hour. In addition, journeys to/from Horsham now run later in the day.
Following Arriva selling their Horsham operations to Metrobus in October 2009, the 63 had extended from Horsham town centre to Horsham Hospital (previously, it ran across town to Oakhill, but this was dropped and given to Metrobus, them running a separate service 65).
As a result of the 28th September 2014 changes, the 63 was withdrawn between Horsham town centre and Horsham Hospital.
Bus stop provision at Horsham rail station is actually quite good, especially southbound, where buses have their own bit of road away from the main road itself. Here's Arriva Kent & Surrey 3930 (GK51 SZJ) seen with a 63 to Guildford, in the company of a Southern class 377.
North Street, Horsham, West Sussex.
Edda Ferd, PSV – Hybrid Platform Supply Vessel
The Edda Ferd is a platform supply vessel used to support oil rig operations in the North Sea.
A new build, the Østensjø Edda Ferd has been designed with a focus on quality, safety and efficiency. This is the first integration of a Corvus Energy ESS and Siemens’ BlueDrive PlusC propulsion system.
Name: Edda Ferd
Type: 92.6 m Platform Supply Vessel (PSV)
Duty: North Sea Offshore Drilling Platform Service & Support
Pack: 40 x 6.5kWh
Capacity: 260kWh
Bus Voltage : 888VDC
Partners: Østensjø Rederi, Siemens, Corvus Energy
Edda Ferd, PSV is based in Haugesund, Norway operating in the North Sea.
General
Operator:Østensjø Rederi AS
Built:2013
Builder:Astilleros Gondan. Spain
Yard no.:444
Call sign:LAZO7
Flag:NIS
Port of Registry:Haugesund
IMO no.:9625504
MMSI No.:259161000
Classification:DnV +1A1, SF, E0, OFFSHORE SERVICE VESSEL+, SUPPLY, DK(+), DYNPOS-AUTR, HL(2.8), LFL*, CLEAN DESIGN, NAUT-OSV(A), COMF-V3-C2, OIL REC, DEICE
Safety regulations:NMA, Trade Worldwide within GMDSS A3, Solas 1974/1978, International Convention on Load Lines, Pollution Prevention - MARPOL 1973/1978, INLS Certificate
Dimensions
Length o.a.:92,6 m
Length b.p.:82,2 m
Breadth mld.:20,6 m
Depth mld.:9,0 m
Draft max.:7,2 m
Air draft:32,46m
Tonnage - Deadweight
Deadweight:5122 t
Gross tonnage:4870 GT
Net tonnage:1462 NT
Deck loading capacities
Cargo deck:1038 m2
Deck equipment
Anchor chain:2 x 11 shacles.
Anchor Windlass / Mooring Winch:15,5 tons.
Mooring winch:Forward: 2 x 16 tons Aft: 2 x 10 tons
Deck cranes:Port: 1 x MacGregor SWL1,5 t@ 8m / Starboard: 1 x MacGregor SWL 3,0 t @ 10m
Tugger winches:2 x 15 tons.
Propulsion
General:Battery Hybrid Power Station and 2 x VSP each 2700 kW. 2 x AC asynchronous water-cooled motors each 2700 kW.
Main engines:2 x MAK 6M25C a` 2000kW - 2 x MAK 9M25C a`3000 kW
Fuel type:MDO /MGO
Auxiliaries / Electrical power
Generators:2 x Simens generator 2222 kW / 2 x Simens generator 3333 kW
Emergency generator:Caterpillar Emergency generator 158 kW
Speed / Consumption
Max speed / Consumption:abt. 16,0 knots
Main propellers
Maker:Voith Schneider propellers
Type:2 x 2700 KW
Thrusters
Bow thrusters:2 x 1400 kW FP , electric driven low noise tunnel thrusters. Plus 1 x 800 kW RIM tunnel thruster
Bridge / Manoeuvering
Bridge controls:5 control stands. (forward, 2 x aft, starboard, port)
Loading / Discharging:Simens IAS. Remote monitoring of all tanks including loading/discharging operations and start/stop of all pumps.
Dynamic positioning system
Type:Kongsberg K-Pos.
Approval / Class:DNV DYNPOS-AUTR. IMO Class 2
Reference systems:DPS 112, DPS 132, CyScan, Mini-Radascan
Sensors:3 x Gyro, 3 x Motion Reference Unit, 2 x Wind sensor
ERN number:99,99,99,99
Liquid tank capacities
Marine Gas Oil:1100 m3 included 2 chemical and 4 special prod. tanks connected to fuel system.
POT water:1000 m3
Drill Water/Ballast:2280 m3
Mud:Mud/Brine system 513 m3. Special product system 370 m3. Total 883 m3.
Brine:Brine/mud system 513 m3. Special product system 702 m3. Total 1215 m3
Base oil:Total 702 m3. When using combined tanks.
Methanol:Total 440 m3. When using combined tanks.
Special products LFL/LFL*:720 m3
Drill Cuttings:720 m3
Liquid discharge
Fuel Oil pumps:2 x 150 m3/h- 9 bar
Brine pumps:2 x 100 m3/h – 22.5 bar.
Liquid Mud pumps:2 x 100 m3/h – 24 bar.
Specal products pumps:2 x 100 m3/h – 9 bar.
Drill water pumps:1 x 250 m3/h – 9 bar.
Drill cutting pumps:4 x 40 m3/h – 9 bar.
Fresh water pumps:1 x 250 m3/h – 9 bar.
Methanol pumps:2 x 75 m3/h – 9 bar .
Slop system:1 x 20 m3/h
Tank washing system:1 x 30 m3/h
Discharge piping:5"
Bulk tank capasities
Bulk Cement Tanks:4 tanks. Total capacity: 260 m3
Bulk Discharge:2 x 100 t/hr
Navigation equipment
Radar:1 x Furuno FCR-2827 S /ARPA - 1 x Furuno FAR-2837 S / ARPA
Electronic Chart System:2 x TECDIS
Compass:3 x Simrad Gyro GC 80
Autopilot:Simrad AP-70
Echo Sounder:Furuno FE-700
Navtex:Furuno NX-700A
DGPS:Furuno GP-150
AIS:Furuno FA-150
Voyage data recorder:Furuno VR-3000
LRIT:Sailor 6130 LRIT
Log:Furuno DS-80
Communication equipment
General:GMDSS installation in accordance with IMO regulations for vessels operating within Sea Area A3
GMDSS Radio MF/HF Transceivers & DSC:1 x Furuno FS-1575
VHF:2 x GMDSS Furuno FM-8900 / 3 x GMDSS Jotron TR-20 portable / 3 x Sailor 6248
GMDSS EPIRB:1 x Jotron 40 S Mk2 - 1 x Jotron 45 S Mk2
GMDSS SART:2 x Kannad SARTII
UHF:6 x Motorola GM-360 - 6 x Motorola GP-340 ATEX
Sattelite system:1 x Inmarsat / 1 x Iridium
Accommodation
Total no. berths:38 x Beds
Total no. of cabins:27 x Cabins
Single cabins:16 x Single cabins
Double cabins:11 x Double cabins
Office:2 x Offices
Hospital:1 x Hospital
Ventilation/A-C for accommodation:High pressure single-pipe fully redundant ventilation system. Full heating/AC throughout the accommodation
Other:Messroom, Dayrooms, Conferenceroom, Gymnasium,Galley,Dry Provitions,Freezing room, Wardrobes.
Lifesaving / rescue
Approved lifesaving appliances for:40 persons
Liferafts:6 x 25 persons
Rescue/MOB boat:Alusafe 770 Mk2 - Twin installation.
Fire-fighting/foam:Water/Foam pump/ monitors covering cargo deck area
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Grumman Mohawk began as a joint Army-Marine program through the then-Navy Bureau of Aeronautics (BuAer), for an observation/attack plane that would outperform the light and vulnerable Cessna L-19 Bird Dog. In June 1956, the Army issued Type Specification TS145, which called for the development and procurement of a two-seat, twin turboprop aircraft designed to operate from small, unimproved fields under all weather conditions. It would be faster, with greater firepower, and heavier armor than the Bird Dog, which had proved very vulnerable during the Korean War.
The Mohawk's mission would include observation, artillery spotting, air control, emergency resupply, naval target spotting, liaison, and radiological monitoring. The Navy specified that the aircraft had to be capable of operating from small "jeep" escort class carriers (CVEs). The DoD selected Grumman Aircraft Corporation's G-134 design as the winner of the competition in 1957. Marine requirements contributed an unusual feature to the design: since the Marines were authorized to operate fixed-wing aircraft in the close air support (CAS) role, the mockup featured underwing pylons for rockets, bombs, and other stores, and this caused a lot of discord. The Air Force did not like the armament capability of the Mohawk and tried to get it removed. On the other side, the Marines did not want the sophisticated sensors the Army wanted, so when their Navy sponsors opted to buy a fleet oil tanker, they eventually dropped from the program altogether. The Army continued with armed Mohawks (and the resulting competence controversy with the Air Force) and also developed cargo pods that could be dropped from underwing hard points to resupply troops in emergencies.
In mid-1961, the first Mohawks to serve with U.S. forces overseas were delivered to the 7th Army at Sandhofen Airfield near Mannheim, Germany. Before its formal acceptance, the camera-carrying AO-1AF was flown on a tour of 29 European airfields to display it to the U.S. Army field commanders and potential European customers. In addition to their Vietnam and European service, SLAR-equipped Mohawks began operational missions in 1963 patrolling the Korean Demilitarized Zone.
Germany and France showed early interest in the Mohawk, and two OV-1s were field-tested by both nations over the course of several months. No direct orders resulted, though, but the German Bundesheer (Army) was impressed by the type’s performance and its capability as an observation and reconnaissance platform. Grumman even signed a license production agreement with the French manufacturer Breguet Aviation in exchange for American rights to the Atlantic maritime patrol aircraft, but no production orders followed.
This could have been the end of the OV-1 in Europe, but in 1977 the German government, primarily the interior ministry and its intelligence agency, the Bundesnachrichtendienst (BND), showed interest in a light and agile SIGINT/ELINT platform that could fly surveillance missions along the inner-German border to the GDR and also to Czechoslovakia. Beyond visual reconnaissance with cameras and IR sensors, the aircraft was to be specifically able to identify and locate secret radio stations that were frequently operated by Eastern Block agents (esp. by the GDR) all across Western Germany, but primarily close to the inner-German border due to the clandestine stations’ low power. The Bundeswehr already operated a small ELINT/ECM fleet, consisting of converted HFB 320 ‘Hansa’ business jets, but these were not suited for stealthy and inconspicuous low flight level missions that were envisioned, and they also lacked the ability to fly slowly enough to locate potential “radio nests”.
The pan and the objective were clear, but the ELINT project caused a long and severe political debate concerning the operator of such an aerial platform. Initially, the Bundesheer, who had already tested the OV-1, claimed responsibility, but the interior ministry in the form of the German customs department as well as the German police’s Federal Border Guard, the Bundesgrenzschutz and the Luftwaffe (the proper operator for fixed-wing aircraft within the German armed forces), wrestled for this competence. Internally, the debate and the project ran under the handle “Schimmelreiter” (literally “The Rider on the White Horse”), after a northern German legendary figure, which eventually became the ELINT system’s semi-official name after it had been revealed to the public. After much tossing, in 1979 the decision was made to procure five refurbished U.S. Army OV-1As, tailored to the German needs and – after long internal debates – operate them by the Luftwaffe.
The former American aircraft were hybrids: they still had the OV-1A’s original short wings, but already the OV-1D’s stronger engines and its internal pallet system for interchangeable electronics. The machines received the designation OV-1G (for Germany) and were delivered in early 1980 via ship without any sensors or cameras. These were of Western German origin, developed and fitted locally, tailored to the special border surveillance needs.
The installation and testing of the “Schimmelreiter” ELINT suite lasted until 1982. It was based on a Raytheon TI Systems emitter locator system, but it was locally adapted by AEG-Telefunken to the airframe and the Bundeswehr’s special tasks and needs. The system’s hardware was stowed in the fuselage, its sensor arrays were mounted into a pair of underwing nacelles, which occupied the OV-1’s standard hardpoints, allowing a full 360° coverage. In order to cool the electronics suite and regulate the climate in the internal equipment bays, the OV-1G received a powerful heat exchanger, mounted under a wedge-shaped fairing on the spine in front of the tail – the most obvious difference of this type from its American brethren. The exact specifications of the “Schimmelreiter” ELINT suite remained classified, but special emphasis was placed upon COMINT (Communications Intelligence), a sub-category of signals intelligence that engages in dealing with messages or voice information derived from the interception of foreign communications. Even though the “Schimmelreiter” suite was the OV-1Gs’ primary reconnaissance tool, the whole system could be quickly de-installed for other sensor packs and reconnaissance tasks (even though this never happened), or augmented by single modules, what made upgrades and mission specialization easy. Beyond the ELINT suite, the OV-1G could be outfitted with cameras and other sensors on exchangeable pallets in the fuselage, too. This typically included a panoramic camera in a wedge-shaped ventral fairing, which would visually document the emitter sensors’ recordings.
A special feature of the German OV-1s was the integration of a brand new, NATO-compatible “Link-16” data link system via a MIDS-LVT (Multifunctional Information Distribution System). Even though this later became a standard for military systems, the OV-1G broke the ground for this innovative technology. The MIDS was an advanced command, control, communications, computing and intelligence (C4I) system incorporating high-capacity, jam-resistant, digital communication links for exchange of near real-time tactical information, including both data and voice, among air, ground, and sea elements. Outwardly, the MIDS was only recognizable through a shallow antenna blister behind the cockpit.
Even though the OV-1Gs initially retained their former American uniform olive drab livery upon delivery and outfitting in German service, they soon received a new wraparound camouflage for their dedicated low-level role in green and black (Luftwaffe Norm 83 standard), which was better suited for the European theatre of operations. In Luftwaffe service, the OV-1Gs received the tactical codes 18+01-05 and the small fleet was allocated to the Aufklärungsgeschwader (AG) 51 “Immelmann”, where the machines formed, beyond two squadrons with RF-4E Phantom IIs, an independent 3rd squadron. This small unit was from the start based as a detachment at Lechfeld, located in Bavaria/Southern Germany, instead of AG 51’s home airbase Bremgarten in South-Western Germany, because Lechfeld was closer to the type’s typical theatre of operations along Western Germany’s Eastern borders. Another factor in favor of this different airbase was the fact that Lechfeld was, beyond Tornado IDS fighter bombers, also the home of the Luftwaffe’s seven HFB 320M ECM aircraft, operated by the JaBoG32’s 3rd squadron, so that the local maintenance crews were familiar with complex electronics and aircraft systems, and the base’s security level was appropriate, too.
With the end of the Cold War in 1990, the OV-1Gs role and field of operation gradually shifted further eastwards. With the inner-German Iron Curtain gone, the machines were now frequently operated along the Polish and Czech Republic border, as well as in international airspace over the Baltic Sea, monitoring the radar activities along the coastlines and esp. the activities of Russian Navy ships that operated from Kaliningrad and Saint Petersburg. For these missions, the machines were frequently deployed to the “new” air bases Laage and Holzdorf in Eastern Germany.
In American service, the OV-1s were retired from Europe in 1992 and from operational U.S. Army service in 1996. In Germany, the OV-1 was kept in service for a considerably longer time – with little problems, since the OV-1 airframes had relatively few flying hours on their clocks. The Luftwaffe’s service level for the aircraft was high and spare parts remained easy to obtain from the USA, and there were still OV-1 parts in USAF storage in Western German bases.
The German HFB 320M fleet was retired between 1993 and 1994 and, in part, replaced by the Tornado ECR. At the same time AG 51 was dissolved and the OV-1Gs were nominally re-allocated to JaboG 32/3. With this unit the OV-1Gs remained operational until 2010, undergoing constant updates and equipment changes. For instance, the machines received in 1995 a powerful FLIR sensor in a small turret in the aircraft’s nose, which improved the aircraft’s all-weather reconnaissance capabilities and was intended to spot hidden radio posts even under all-weather/night conditions, once their signal was recognized and located. The aircrafts’ radio emitter locator system was updated several times, too, and, as a passive defensive measure against heat-guided air-to-air missiles/MANPADS, an IR jammer was added, extending the fuselage beyond the tail. These machines received the suffix “Phase II”, even though all five aircraft were updated the same way.
Reports that the OV-1Gs were furthermore retrofitted with the avionics to mount and launch AIM-9 Sidewinder AAMs under the wing tips for self-defense remained unconfirmed, even more so because no aircraft was ever seen carrying arms – neither the AIM-9 nor anything else. Plans to make the OV-1Gs capable of carrying the Luftwaffe’s AGM-65 Maverick never went beyond the drawing board, either. However, BOZ chaff/flare dispenser pods and Cerberus ECM pods were occasionally seen on the ventral pylons from 1998 onwards.
No OV-1G was lost during the type’s career in Luftwaffe service, and after the end of the airframes’ service life, all five German OV-1Gs were scrapped in 2011. There was, due to worsening budget restraints, no direct successor, even though the maritime surveillance duties were taken over by Dornier Do 228/NGs operated by the German Marineflieger (naval air arm).
General characteristics:
Crew: Two: pilot, observer/systems operator
Length: 44 ft 4 in (13.53 m) overall with FLIR sensor and IR jammer
Wingspan: 42 ft 0 in (12.8 m)
Height: 12 ft 8 in (3.86 m)
Wing area: 330 sq. ft (30.65 m²)
Empty weight: 12,054 lb (5,467 kg)
Loaded weight: 15,544 lb (7,051 kg)
Max. takeoff weight: 18,109 lb (8,214 kg)
Powerplant:
2× Lycoming T53-L-701 turboprops, 1,400 shp (1,044 kW) each
Performance:
Never exceed speed: 450 mph (390 knots, 724 km/h)
Maximum speed: 305 mph (265 knots, 491 km/h) at 10,000 ft (3,050 m)
Cruise speed: 207 mph (180 knots, 334 km/h) (econ cruise)
Stall speed: 84 mph (73 knots, 135 km/h)
Range: 944 mi (820 nmi, 1,520 km) (SLAR mission)
Service ceiling: 25,000 ft (7,620 m)
Rate of climb: 3,450 ft/min (17.5 m/s)
Armament:
A total of eight external hardpoints (two ventral, three under each outer wing)
for external loads; the wing hardpoints were typically occupied with ELINT sensor pods, while the
ventral hardpoints frequently carried 300 l drop tanks to extend loiter time and range;
Typically, no offensive armament was carried, even though bombs or gun/missile pods were possible.
The kit and its assembly:
This build became a submission to the “Reconnaissance” Group Build at whatifmodellers.com in July 2021, and it spins further real-world events. Germany actually tested two OV-1s in the Sixties (by the German Army/Bundesheer, not by the air force), but the type was not procured or operated. The test aircraft carried a glossy, olive drab livery (US standard, I think) with German national markings.
However, having a vintage Hasegawa OV-1A in the stash, I wondered what an operational German OV-1 might have looked like, especially if it had been operated into the Eighties and beyond, in the contemporary Norm 83 paint scheme? This led to this purely fictional OV-1G.
The kit was mostly built OOB, and the building experience was rather so-so – after all, it’s a pretty old mold/boxing (in my case the Hasegawa/Hales kit is from 1978, the mold is from 1968!). Just a few things were modified/added in order to tweak the standard, short-winged OV-1A into something more modern and sophisticated.
When searching for a solution to mount some ELINT sensor arrays, I did not want to copy the OV-1B’s characteristic offset, ventral SLAR fairing. I rather settled for the late RV-1D’s solution with sensor pods under the outer wings. Unfortunately, the OV-1A kit came with the type’s original short wings, so that the pods had to occupy the inner underwing pair of hardpoints. The pods were scratched from square styrene profiles and putty, so that they received a unique look. The Mohawk’s pair of ventral hardpoints were mounted, but – after considering some drop tanks or an ECM pod there - left empty, so that the field of view for the ventral panoramic camera would not be obscured.
Other small additions are some radar warning sensor bumps on the nose, some extra antennae, a shallow bulge for the MIDS antenna on the spine, the FLIR turret on the nose (with parts from an Italeri AH-1 and a Kangnam Yak-38!), and I added a tail stinger for a retrofitted (scratched) IR decoy device, inspired by the American AN/ALG-147. This once was a Matchbox SNEB unguided missile pod.
Painting and markings:
For the intended era, the German Norm 83 paint scheme, which is still in use today on several Luftwaffe types like the Transall, PAH-2 or CH-53, appeared like a natural choice. It’s a tri-color wraparound scheme, consisting of RAL 6003 (Olivgrün), FS 34097 (Forest Green) and RAL 7021 (Teerschwarz). The paints I used are Humbrol 86 (which is supposed to be a WWI version of RAL 6003, it lacks IMHO yellow but has good contrast to the other tones), Humbrol 116 and Revell 9. The pattern itself was adapted from the German Luftwaffe’s Dornier Do 28D “Skyservants” with Norm 83 camouflage, because of the type’s similar outlines.
A black ink washing was applied for light weathering, plus some post-shading of panels with lighter shades of the basic camouflage tones for a more plastic look. The cockpit interior was painted in light grey (Humbrol 167), while the landing gear and the interior of the air brakes became white. The scratched SLAR pods became light grey, with flat di-electric panels in medium grey (created with decal material).
The cockpit interior was painted in a rather light grey (Humbrol 167), the pilots received typical olive drab Luftwaffe overalls, one with a white “bone dome” and the other with a more modern light grey helmet.
The decals were improvised. National markings and tactical codes came from TL Modellbau sheets, the AG 51 emblems were taken from a Hasegawa RF-4E sheet. The black walkways were taken from the Mohak’s OOB sheet, the black de-icer leading edges on wings and tail were created with generic black decal material. Finally, the model was sealed with a coat of matt acrylic varnish (Italeri).
An interesting result, and the hybrid paint scheme with the additional desert camouflage really makes the aircraft an unusual sight, adding to its credibility.
The flight James Webb Space Telescope NIRSpec instrument, undergoing integration.
Credit: Astrium/NIRSpec
HPPT! Happy Pretty Pink Tuesday. In a potted pink geranium, there appears this integrated flower:) Blessings to each of you:)
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.