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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.
Both LB02 and SB04 are in the dock.The water has been drained. Next step is to lower LB01, then start integrating all the sections together.
An early (first?) Sony Trinitron TV set integrated with a Betamax videotape recorder. 1975. Model LV-1901 D.
If you stand on the beach of Indiana Dunes State Park at certain times of the year, you'll see feeder streams pouring what looks like dark-brown shoe polish into the blue waters of Lake Michigan. Is this a toxic-waste spill from some leaking landfill or environmentally evil factory?
Nope. It's a natural process that long predates this rustbelt region's industrialization.
The culprit here is the Dunes' oak-dominated tree population. On the towering lakefront dunes themselves, where the soil is a very sandy Entisol, savanna-forming Black Oaks (Quercus velutina) prevail. Their bark and foliage have the highest tannic-acid content of all their genus. Water percolating through their fallen leaves is the chief agent in temporaily dyeing the lake the disconcerting color mentioned above.
But even in the quiet waters of the park's back-of-the-dunes swamp one can spot places where the tannic-acid concentration has built up dramatically.
Here, for instance, you can see it quite clearly, despite the reflection of tree tops and sky. The lighter-brown zones indicate the submerged mat of last year's Pin Oak (Quercus palustris) leaves. Those leaves may be somewhat lower in tannins than the Black Oaks', but they still have enough of the brown stuff to leach it out very noticeably.
In this photo, the dark acidic soup can best be seen at lower right, in the maroon-fringed band of black. If you stick a clear-glass sampling bottle in there, as I have, you'll collect what what could be easily mistaken for Coke or Pepsi. Or yes, for liquid shoe polish.
The other photos and descriptions of this series can be found in my Integrative Natural History of Indiana Dunes State Park album.
+++ 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:
After the first German experiences with the newer Soviet tanks like the T-34 or the Kliment Voroshilov tank during Operation Barbarossa, the need for a Panzerjäger capable of destroying these more heavily armoured tanks became clear.
In early 1942, several German companies designed tank destroyers using existing chassis or components, primarily of both the Panzer III and Panzer IV tank, and integrating the powerful 8,8 cm Panzerjägerkanone 43/1 L/71 (or shortly Pak 43/1), a long-barreled anti-tank gun. Alkett, for instance, came up with the SdKfz. 164 “Hornisse” SPG (later renamed “Nashorn”), and Vomag AG proposed the SdKfz. 163, a derivative of the recently developed SdKfz. 162, the Jagdpanzer IV, which was armed with a Pak 39 L/48 at that time in a low, casemate-style hull.
However, mounting the bulky, heavy and powerful Pak 43/1 into the Panzer III hull was impossible, and even the Panzer IV was not really suited for this weapon – compromises had to be made. In consequence, the “Nashorn” was only a lightly armoured vehicle with an open crew compartment, and the Jagdpanzer IV was much too low and did not offer sufficient internal space for the large cannon.
Vomag’s design for the SdKfz. 163 eventually envisioned a completely new upper hull for the standard Panzer IV chassis, again a casemate style structure. However, the new vehicle was much taller than the Jagdpanzer IV – in fact, the Pak 43/1 and its massive mount necessitated the superstructure to be more than 2’ higher than the Jagdpanzer IV. This also resulted in a considerably higher weight: while a standard Panzer IV weighed less than 23 tons, the SdKfz. 163 weighed more than 28 tons!
The driver was located forward, slightly in front of the casemate, and was given the Fahrersehklappe 80 sight from the Tiger I. The rest of the crew occupied the cramped combat section behind him. Ventilation of the casemate’s fumes and heat was originally provided by natural convection, exiting through armored covers at the back of the roof.
The gun/crew compartment’s casemate was well-protected with sloped sides and thick armor plates. Its thickness was 80 mm (3.93 in) at a 40° angle on the front, 40 mm/12° (1.57 in) for the front hull, 50 mm/25° (1.97 in) for the side superstructure, 30 mm (1.18 in) for the side of the lower hull, 30 mm/0° (1.18 in) for the rear of the casemate and 20 mm/10° (0.79 in) for the back of the hull. The top and bottom were protected by 10 mm (0.39 in) of armor at 90°. This was enough to withstand direct frontal hits from the Soviet 76,2 mm (3”) gun which the T-34 and the KV-1 carried.
The SdKfz. 163’s main weapon, the Pak 43/1, was a formidable gun: Accurate at over 3,000 m (3,280 yards) and with a muzzle velocity of over 1,000 m/s (3,280 ft/s), the 88 mm (3.5 inch) gun has more than earned its reputation as one of the best anti-tank guns of the war. Even the early versions, with a relatively short L56 barrel, were already able to penetrate 100mm of steel armour at 30°/1000m, and late versions with the long L71 barrel even achieved 192mm.
The main gun had an elevation of +15°/-5° and could traverse with an arc of fire of 12° to the left and 17° to the right, due to the weapon’s off-center position and limited through the side walls and the “survival space” for the crew when the Pak 43/1 was fired. The recoil cylinder was located under and the recuperator above the gun. There were also two counterbalance cylinders (one on each side), and the gun featured a muzzle brake, so that the already stressed Panzer IV chassis could better cope with the weapon’s recoil.
The Pak 43/1 was able to fire different shells, ranging from the armor piercing PzGr. 39/43 and PzGr. 40/43 to the high explosive Gr. 39/3 HL. The main gun sight was a telescopic Selbstfahrlafetten-Zielfernrohr la, with Carl Zeiss scopes, calibrated from 0 to 1,500 m (0-5,000 ft) for the Pz.Gr.39 and 0 to 2,000 m (6,500 ft) for the Pz.Gr.40. There was a 5x magnification 8° field of view.
46 8.8 cm rounds could be stored inside of the SdKfz. 163’s hull. In addition, a MP 40 sub-machine gun, intended to be fired through the two firing ports on each side of the superstructure, was carried as a hand weapon, and a single MG 34 machine gun was located in the front bow in a ball mount for self-defense, at the radio operator’s place. Another MG 34 could be fastened to the open commander’s hatch, and 1.250 rounds for the light weapons were carried.
The SdKfz. 163 was, together with the SdKfz. 164, accepted by the Oberkommando des Heeres (OKH) in late 1942, and immediately ordered into production. Curiously, it never received an official name, unlike the SdKfz. 164. In practice, however, the tank hunter was, in official circles, frequently referred to as “Jagdpanzer IV/ 43” in order to distinguish it from the standard “Jagdpanzer IV”, the SdKfz. 162, with its 7,5cm armament. However, the SdKfz. 163 also received unofficial nicknames from the crews (see below).
Production was split between two factories: Alkett from Berlin and Stahlindustrie from Duisburg. Alkett, where most of the Panzer IVs were manufactured, was charged with series production of 10 vehicles in January and February 1943, 20 in March and then at a rate of 20 vehicles per month until March 1944. Stahlindustrie was tasked with a smaller production series of 5 in May, 10 in June, 15 in July and then 10 per month (also until March 1944), for a planned initial total of 365 vehicles.
Initially, all SdKfz. 163s were directly sent to the Eastern Front where they had to cope with the heavy and well-armoured Soviet tanks. Soon it became apparent that these early vehicles were too heavy for the original Panzer IV chassis, leading to frequent breakdowns of the suspension and the transmission.
Efforts were made to ameliorate this during the running production, and other Panzer IV improvements were also gradually introduced to the SdKfz. 163s, too. For instance, the springs were stiffened and new all-metal road wheels were introduced – initially, only one or two front pairs of the road wheels were upgraded/replaced in field workshops, but later SdKfz. 163s had their complete running gear modified with the new wheels directly at the factories. These late production vehicles were recognizable through only three return rollers per side, in order to save material and production costs.
Furthermore, an electric ventilator was added (recognizable by a shallow, cylindrical fairing above the radio operator’s position) and the loopholes in the side walls for observation and self-defense turned out to be more detrimental to the strength of the armor than expected. In later models, these holes were completely omitted during production and in the field they were frequently welded over, being filled with plugs or 15 mm (0.59 in) thick steel plates. Another important modification was the replacement of the Pak 43/1’s original monobloc barrel with a dual piece barrel, due to the rapid wear of the high-velocity gun. Although this did not reduce wear, it did make replacement easier and was, over time, retrofitted to many earlier SdKfz. 163s.
Despite these improvements, the SdKfz. 163 remained troublesome. Its high silhouette made it hard to conceal and the heavy casemate armour, together with the heavy gun, moved the center of gravity forward and high that off-road handling was complicated – with an overstressed and easily damaged suspension as well as the long gun barrel that protruded 8’ to the front, especially early SdKfz. 163s were prone to stoop down and bury the long Pak 43/1 barrel into the ground. Even the vehicles with the upgraded suspension kept this nasty behavior and showed poor off-road handling. This, together with the tank’s bulbous shape, soon earned the SdKfz. 163 the rather deprecative nickname “Ringeltaube” (Culver), which was quickly forbidden. Another unofficial nickname was “Sau” (Sow), due to the tank’s front-heavy handling, and this was soon forbidden, too.
Despite the suspension improvements, the tank’s relatively high weight remained a constant source of trouble. Technical reliability was poor and the cramped interior did not add much to the vehicle’s popularity either, despite the SdKfz. 163 immense firepower even at long range. When the bigger SdKfz. 171, the Jagdpanther, as well as the Jagdpanzer IV/L70 with an uprated 7.5 cm cannon became available in mid-1944, SdKfz. 163 production was prematurely stopped, with only a total of 223 vehicles having been produced. The Eastern Front survivors were concentrated and re-allocated to newly founded Panzerjäger units at the Western front, where the Allied invasion was expected and less demanding terrain and enemies were a better match for the overweight and clumsy vehicles. Roundabout 100 vehicles became involved in the defense against the Allied invasion, and only a few survived until 1945.
Specifications:
Crew: Five (commander, gunner, loader, driver, radio operator)
Weight: 28.2 tons (62,170 lbs)
Length: 5.92 m (19 ft 5 in) hull only
8.53 m (28 ft) overall
Width: 2.88 m (9 ft 5 in)
Height: 2.52 m (8 ft 3 in)
Suspension: Leaf spring
Fuel capacity: 470 l (120 US gal)
Armour:
10 – 50 mm (0.39 – 1.96 in)
Performance:
Maximum road speed: 38 km/h (23.6 mph)
Sustained road speed: 34 km/h (21.1 mph)
Off-road speed: 24 km/h (15 mph)
Operational range: 210 km (125 mi)
Power/weight: 10,64 PS/t
Engine:
Maybach HL 120 TRM V12 petrol engine with 300 PS (296 hp, 221 kW)
Transmission:
ZF Synchromesh SSG 77 gear with 6 forward and 1 reverse ratios
Armament:
1× 8.8 cm Panzerabwehrkanone PaK 43/1 L71 with 46 rounds
1× 7.92 mm Maschinengewehr 34 with 1,250 rounds in bow mount;
an optional MG 34 could be mounted to the commander cupola,
and an MP 40 sub-machine gun was carried for self-defense
The kit and its assembly:
This fictional tank is, once more, a personal interpretation of a what-if idea: what if an 8.8 cm Pak 43/1 could have been mounted (effectively) onto the Panzer IV chassis? In real life, this did not happen, even though Krupp apparently built one prototype of a proposed Jagdpanzer IV with a 8.8 cm Pak 43 L/71 on the basis of the SdKfz. 165 (the “Brummbär” assault SPG) – a fact I found when I was already working on my model. Apparently, my idea seems to be not too far-fetched, even though I have no idea what that prototype looked like.
However, the PaK 43/1 was a huge weapon, and mating it with the rather compact Panzer IV would not be an easy endeavor. Taking the Jagdpanther as a benchmark, only a casemate layout would make sense, and it would be tall and voluminous. The “Brummbär” appeared to be a suitable basis, and I already had a Trumpeter model of a late SdKfz. 165 in the stash.
Just changing the barrel appeared too simple to me, so I decided to make major cosmetic changes. The first thing I wanted to change were the almost vertical side walls, giving them more slope. Easier said than done – I cut away the side panels as well as wedges from the casemate’s front and rear wall, cleaned the sidewalls and glued them back into place. Sound simple, but the commander’s hatch had to be considered, the late SdKfz. 165’s machine gun mount had to go (it was literally cut out and filled with a piece of styrene sheet + PSR; the front bow machine gun was relocated to the right side of the glacis plate) and, due to the bigger angle, the side walls had to be extended downwards by roughly 1.5mm, so that the original mudguard sideline was retained.
The gun barrel caused some headaches, too. I had an aftermarket metal barrel for a PaK 43/1 from a Tiger I in the stash, and in order to keep things simple I decided to keep the SdKfz. 165’s large ball mount. I needed some kind of mantlet as an adapter, though, and eventually found one from a Schmalturm in the stash – it’s quite narrow, but a good match. It had to be drilled open considerably in order to accept the metal barrel, but the whole construction looks very plausible.
Another cosmetic trick to change the SdKfz. 165’s look and esp. its profile was the addition of protective side shields for the entry hatch area at the rear (frequently seen on Jagdpanzer IVs) – these were created from 0.5 mm styrene sheet material and visually extend the casemate almost the up to hull’s rear end.
Painting and markings:
Inspiration for the paint scheme came from a picture of a Jagdpanther that took part in the 1944 Ardennenoffensive (Battle at the Bulge): It was painted in the contemporary standard tones Dunkelgelb (RAL 7028), Olivgrün (RAL 6003) and Rotbraun (RAL 8012), but I found the pattern interesting, which consisted primarily of yellow and green stripes, but edged with thin, brown stripes in order to enhance the contrast between them – not only decorative, but I expected this to be very effective in a forest or heath environment, too.
The picture offered only a limited frontal view, so that much of the pattern had to be guessed/improvised. Painting was done with brushes and enamels, I used Humbrol 103 (Cream), 86 (Light Olive) and 160 (German Red Brown) in this case. The green tone is supposed to be authentic, even though I find Humbrol’s 86 to be quite dull, the real RAL 6003 is brighter, almost like FS 34102. The brown tone I used, RAL 8012, is wrong, because it was only introduced in Oct. 1944 and actually is the overall factory primer onto which the other colors were added. It should rather be RAL 8017 (Schokoladenbraun), a darker and less reddish color that was introduced in early 1944, but I assume that frontline workshops, where the camouflage was applied in situ, just used what they had at hand. Dunkelgelb is actually very close to Humbrol 83 (ochre), but I decided to use a lighter tone for more contrast, and the following weathering washing would tone everything down.
I also extended the camouflage into the running gear – not a typical practice, but I found that it helps breaking up the tank’s outlines even more and it justifies wheels in different colors, too. The all-metal road wheels were painted with a mix of medium grey and iron. The black vinyl track was treated with a cloudy mix of grey, red brown and iron acrylic paint.
The kit received a washing with highly thinned dark brown acrylic paint as well as an overall dry-brushing treatment with light grey. Around the lower front of the hull I also did some dry-brushing with red brown and iron, simulating chipped paint. After the decals had been applied, the model was sealed with acrylic matt varnish and finally I dusted the lower areas and esp. the running gear with a grey-brown mix of mineral artist pigments, partly into a base of wet acrylic varnish that creates a kind of mud crust.
Whether you need a complete Salesforce Tableau integration solution or you can find errors during extract, we can assist you with anything and everything you need regarding the process. Our experienced developers exhibit hands-on experience in Tableau as well as Salesforce. The acquisition just made our job easier. Be it file extraction, knowledge of character limits on certain fields, such as calculated fields or recreating calculated fields in Tableau after creation of the extract, we can do it all.
Wake Forest hosts an event honoring the 50th anniversary of integration, Faces of Courage, in Brendle Recital Hall on Friday, September 21, 2012.
an urban intervention project along sg klang's pasar seni stretch.. contemporary art center for kuala lumpur. the intent is to integrate and to re create urban theatrical spaces within the center.
Kamayurá village on the shores of Lake Ipavu, Xingu Indigenous Park, Mato Grosso: Integration of remnant and planted woods, patchwork fields, and communal living spaces. Reflections on the fragile balance between man and nature, inspired by Robert Frost:
Nothing Gold Can Stay
Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Robert Frost
New Hampshire
1923
Interesting analysis of Frost's poem:
The United Launch Alliance Atlas V first stage has been positioned inside the Vertical Integration Facility at Space Launch Complex 41 at Cape Canaveral Air Force Station in Florida. The rocket is scheduled to launch the Tracking and Data Relay Satellite, TDRS-M. It will be the latest spacecraft destined for the agency's constellation of communications satellites that allows nearly continuous contact with orbiting spacecraft ranging from the International Space Station and Hubble Space Telescope to the array of scientific observatories. Liftoff atop the ULA Atlas V rocket is scheduled to take place from Cape Canaveral's Space Launch Complex 41 on Aug. 3, 2017 at 9:02 a.m. EDT.
Photo credit: NASA/Kim Shiflett
Looks like the guys at Digg have been busy. If a digg article refers directly to YouTube video, it will show up right next to the post.
The Rosette Nebula Caldwell 49 NGC 2237 94 of 99 65 and 70sec subs totaling 1hr 48min integration time on 12/26/2014. Average seeing, average transparency
Hap Griffin-modded Astrodon UV/IR filtered T2i w/ MPCC
AT8IN on Orion Atlas Pro AZ/EQ G.
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.
10 April 2019, 'Integration' Press Point
Belgium - Brussels - April 2019
© European Union / Fred Guerdin
Karl-Heinz LAMBERTZ, President of the Committee of the Regions
Jean-Paul BUFFAT, Deputy Head of Cabinet
learn integration is widely used in sociology, economy, mathematics, electronics engineering and many other fields. Here, we will discuss integration in terms of mathematics, which is called as integral calculus or integration calculus. In mathematics integration is the fundamental concept of calculus; it is the operation of calculating the area between the x-axis and the curve of a function.
This photo was taken in Embú, São Paulo,
late in the afternoon when all were tired from
sightseeing.
I sat in a small café for some liquid and was
touched by this sight, a European man cuddling
a small dark skinned child, seated at the far
end of the the snack bar. It was a moving
image to see this European man cuddling the
child resting.
So I left and took the picture from a distance
since I did not wish to disturb the scene.
I would like to congratulate this gentleman
for his kind and generous heart.
Although not a great artistic picture,
it is one of my favourites since it reflects
the need and possibilities of a better inter racial
integration for all of us, at least that is what
i felt at the time, and still do.
It was a wakening call which I wish to share
with all others.
Both man and child were not disturbed and
unaware that I took the picture.
Above all, this gentleman‘s kindness and
understanding overwhelmed me, and I think
he could be an example for those who have
a contrary opinion, and if so, I believe
that this image may enlighten many.
Look carefully at the man‘s expression an then,
at the little girl.
Perhaps you may notice peace and a sense
of pride in the man‘s eyes.
Heidi Robinson.
Danielle Pettee / makeup artist, hair stylist, & clothing designer.
2 430EX IIs 10 degree left & right shoot-thru keys, 430EX II 135 degree right kicker.
Beverly Burnett dresses up.
Canon F1n, 50mm f1.4 SSC, Vivitar 282 flash
Kodachrome 64
1981
Taken in 1981 at Beale AFB, California, Physiological Support Division, USAF Hospital Beale.
PSD is the flight integration facility where pressure suits survival kits, parachutes and other flight equipment are maintained, fitted, overhauled or integrated into the aircraft systems. (At this time U2R/TR-1, and SR-71A)
This is a David Clark S1033 suit, a seven layered suit used to unlimited altitude. The suit uses 100% oxygen which enters the suit through a pressure regulator in the rear of the helmet. The helmet has a face curtain to assure that any suit leaks do not decompress the face area, and that pressure is available for breathing. Exhaled gases get passed through the face curtain to the suit environment. The suit pressure is maintained with compressed Oxygen from the aircraft system, through a dual stage suit pressure controller. The regulator is operated by two vacuum aneroids which compress seals, if the ambient cabin pressure is less than required, the vacuum aneroids contract allowing system pressure to enter the suit. The small pulley with the steel cable running through it is the helmet hold-down strap which stops the helmet from rising when the suit is inflated.
In the event of ejection there are 2 auxiliary oxygen bottles in the survival kit which should supply enough oxygen for the crewman to reach the ground.
Integrated into the suit is the parachute harness, connected by the Koch connector on her left shoulder. The parachute is a semi-rigid chute ballistically opened by a mortar fired 25 pound steel slug. The chute utilizes a quarter deployment bag, only partially opening at altitude. Once speed has reduced, the chute fully deploys, and is of a diameter of 35 feet.
The suit also contains automatic life preservers under each arm, equipped with a salt water sensor which immediately inflates the preservers when exposed to sea-water.
There have been successful ejections above 80,000 feet.
PHILIPPINE SEA (March 18, 2017) Aviation Boatswain’s Mate (Handling) 3rd Class Julessa Heathe, front, from Kingston, Jamaica, and Airman Jovonte Ross, from Bainbridge, Ga., both assigned to crash and salvage crew, search for hot spots during a simulated aircraft fire on the flight deck of amphibious assault ship USS Bonhomme Richard (LHD 6). Bonhomme Richard, flagship of the Bonhomme Richard Expeditionary Strike Group, with embarked 31st Marine Expeditionary Unit, is on a routine patrol, operating in the Indo-Asia-Pacific region to enhance warfighting readiness and posture forward as a ready-response force for any type of contingency. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jeanette Mullinax/Released)
MV-22B Ospreys with Marine Medium Tiltrotor Squadron 161 (Reinforced), 15th Marine Expeditionary Unit, fly in formation during Amphibious Squadron/Marine Expeditionary Unit Integration Training (PMINT) aboard Camp Pendleton, Calif., March 5, 2015. The Marines of Battalion Landing Team 3rd Battalion, 1st Marine Regiment, 15th Marine Expeditionary Unit, used Ospreys for quick inserts and extracts during a simulated amphibious assault aboard Camp Pendleton. (U.S. Marine Corps photo by Sgt. Jamean Berry/Released)
#OnceUponATime
In spring 2013 I organized #SpaceBembel, a #SpaceSocial where a group of #SpaceTweeps got together again to share some space fun in Frankfurt.
As one of my mottos is "no #SpaceTweetup without a proper badge" I designed one and distributed it to all participants.
What I had started back then became kind of a tradition in the meantime:
Inspired by several #Space- and #ScienceTweetups I painted logos for every event I attended,
got them printed on badges for all, as well as thank-you posters, t-shirts, etc. as memento of our shared adventures.
And 2013 has been quite a ride :-)
#SpaceBembel *
#ASE26 *
#BuraMooN 1 & 2 * #SpaceKoelschX * #CERNTweetup * #ItIsStonehengeReunionOClock * #ScienceTweetup
And 2014 is also amazing already:
I already created designs for #SpaceFestVI and #AlexTweetup taking place in May
and @SpaceUpUK in July 2014.
I am very much looking forward to sharing these events with so many friends from all over the world.
More to come ;-)
www.flickr.com/photos/spaceholix/collections/721576354819...
So #AlexTweetup is about our trip to Baikonur shared by 16 dedicated #SpaceTweeps and two #SpaceMascots named #PinkLittleDragon and @CamillaSpace.
All of us will share this unique adventure of witnessing the Soyuz launch of our German astronaut Alexander Gerst ( #FF @Astro_Alex ) to #ISS on 28. May 2014 via Twitter, Facebook and other social media channels.
Here is the collection of my brainstorming and the design process as well as many pictures of the past 5 years, from the day at #TdLR09, where we "met" Alexander Gerst and the other #shenanigans for the very first (but not the last) time, shortly after their assignments for a trip to #ISS.
Oh yes, there was a time before twitter and other social media ;-)
www.flickr.com/photos/spaceholix/sets/72157644182872632/
My latest design features the #NebraSkydisk - one of the most beautiful and most fascinating archeological and astronomical artefacts ever found - until today.
This is the oldest-known illustration of our cosmos so far, with an estimated age of 3600 years (!!!), the earliest known diagram of the heavens, which makes it one or may be THE most important archaeological discovery of the twenty-first century.
It was discovered by treasure hunters on July 4th 1999 near the city of Nebra in Germany and since then fascinates not only the experts as its history is really exciting from then till now.
www.dailymotion.com/video/x1a45jq_the-nebra-sky-disc-anci...
en.wikipedia.org/wiki/Nebra_sky_disk
www.bibliotecapleyades.net/arqueologia/nebra_disk.htm
I fell in love with this beauty as soon as I saw it the very first time several years ago.
And I always wanted to paint it one day!
So what better match could there be than combining this masterpiece -created by stargazers thousands of years ago, who loved observing (and already started understanding) our night sky- with two fantastic #SpaceEvents in May 2014.
#SpaceFestVI in Pasadena ( www.spacefest.info/VI/brochure.html ), THE #SpaceEvent of the year, where many astronauts of the dawning of space exploration did reunite and inspire all of us
and then -end of May- our #AlexTweetup - where we celebrate the launch of @esa astronaut Alexander Gerst, whose mission name is #TheBlueDot (!!!).
Both events bring people together (again), who travel all around the world to share their love of space and our beautiful blue marble …
And I am really honored that sharing my badges and designs with so many #SpaceTweeps AND astronauts of the very first era of space exploration until today made so many people smile again. And these smiles seem to be contagious ;-D
I cannot really explain it, there simply is this very special close link between us.
NOTE:
#NebraSkyDisk is under the copyright of the Landesamt für Denkmalpflege und Archäologie Sachsen-Anhalt
- Landesmuseum für Vorgeschichte -
www.lda-lsa.de/en/nebra_sky_disc/
As my design project is an artistic realization for two private travel groups, I was kindly given official permission to integrate the #NebraSkydisk in my artworks here.
Hence I have to emphasize that my artwork may ONLY be shared as per following license:
CC BY-NC-ND 3.0 DE
creativecommons.org/licenses/by-nc-nd/3.0/de/
I herewith explicitly send my thanks to the
STATE OFFICE FOR HERITAGE MANAGEMENT AND ARCHAEOLOGY
- THE STATE MUSEUM OF PREHISTORY IN HALLE / GERMANY -
and - as asked for - I will gladly send pictures of my design as well as badges and photos of #SpaceFestVI in Pasadena and #AlexTweetup in Baikonur to the Museum for its collection / exhibition.
It is my pleasure to share the #NebraSkydisk far beyond the borders of Germany - especially during events, which only can take place, because some people started documenting their night-sky-observations thousands of years ago.
#SpaceholixThenAndNow ;-)
Covered below is an overview of all the details embodied in my #AlexTweetup mission logo
----------------------------------------------------------------------------------------------------------------------------
#AlexTweetup
- Facebook group for all #SpaceTweeps interested in the trip to the launch of Alexander Gerst on 28. May 2014
www.facebook.com/groups/AlexanderTweetup/
Baikonur * May 26th - 30th 2014
- Travel period for #AlexTweetup in Baikonur
www.dlr.de/dlr/presse/desktopdefault.aspx/tabid-10308/471...
BLUE DOT
- Mission name of Alexander Gerst
blogs.esa.int/alexander-gerst/
XL
- Mission no. 40 - in roman numerals
THEN + NOW
- Connection between space exploration THEN #NebraSkydisk (dated about 3.600 years ago in Germany) and NOW (#BlueDot mission of German astronaut Alexander Gerst)
WISEMAN * GERST * SURAJEW
- names of the international crew of mission no. 40
en.wikipedia.org/wiki/Expedition_40
SHAPING THE FUTURE ...
Mission theme of Alexander Gerst's mission #BlueDot
www.esa.int/Our_Activities/Human_Spaceflight/Astronauts/A...
... IN LEO
en.wikipedia.org/wiki/Low_Earth_orbit
- Abbreviation LEO #LowEarthOrbit - the home of #ISS
CONSTELLATIONS:
LEO
en.wikipedia.org/wiki/Leo_(constellation)
- reflecting LowEarthOrbit - the orbit of #ISS
DRACO
en.wikipedia.org/wiki/Draco_(constellation)
- representing #DRAGON - the partially reusable spacecraft developed by @SpaceX, which has docked to #ISS already several times and will deliver cargo regularly.
We enjoyed seeing the capsule used during the maiden flight in Florida at SpaceX Launch Control Center during an event before the #NASATweetup for #STS135
en.wikipedia.org/wiki/Draco_(rocket_engine)
- also representing #PinkLittleDragon - the travel buddy of #The2AndAHalfSpaceTweeps @LightspeedLeo @4tuneQkie and @travelholic ( avoving @Spaceholix ) and our #SpaceMascot.
This #VIP #VeryInspiringPinkLittleDragon is traveling all around the world with us and he already has attended several great #SpaceTweetup and #ScienceTweetup events organized by @NASA @DLR_de @ESA @CERN @Helmholtz_de as well as #ASE26 #SpaceFestV and #SpaceFestVI
and he has already met many of the most inspiring #SpaceExplorers and #Astronauts from the #Mercury and #Apollo era - till today, as well as #scientists @MeteoriteMen #CometHunters ...
SWAN
- representing the footprint / autograph of our dear friend and great #SpaceMascot and #VIP #VeryIntelligentPoultry:
@CamillaSpace is encouraging not only children of all ages to ask questions about the Sun and space and she was planned to be part of this mission accompanying NASA astronaut @astro_reid on his trip to #ISS.
Her footprint is heading from the Swiss flag (home country of Camilla's "executive secretary" Romeo Durscher ( about.me/romeoch ) to the US flag via #ISS
www.wired.com/2012/11/camilla-nasa-rubber-chicken/
XXVIII
V
MMXIV
- 28. 05. 2014 = launch date of mission 40 in roman numerals stylised in shape of ISS
* “ @ “ AND “ # “
- reflecting the tools of the peer-to-peer connection of astronauts @Astro_Alex and @astro_reid and many others with #SpaceTweeps and future space enthusiasts, who will further spread news about the adventures all around the world via social media channels, e.g. @twitter, Facebook, Google+ and others.
16 FLAGS
www.nasa.gov/mission_pages/station/structure/elements/par...
- representing all current international partners and participants cooperating on #ISS – the most ambitious international collaboration ever
which -in my eyes- really would be worthy of the nobel peace prize www.spacesafetymagazine.com/iss-nobel-peace-prize/
Between the flags I left additional room for more countries to join that global project in the near future.
Especially in difficult political times like today this cooperation hopefully will enable our world to grow together more closely step by step.
Now we are looking forward to this trip and are curious how everything will work out.
This definitely is a very adventurous trip and if someone had told me 5 years ago, when we met that guy in blue for the very first time that we would be going to KAZAKHSTAN half a decade later to see HIS launch, I would NEVER EVER have believed it.
It seems our lives as #Spaceholix have many surprises in store for us ;-)
If YOU want to know more about all this, just follow the hashtag of our group:
#AlexTweetup
;-)
The cryostat assembly was built at a different clean room within SLAC and then delivered to the integration team. Here, the cryostat assembly is unwrapped and inspected after transportation. (Andy Freeberg/SLAC National Accelerator Laboratory)
Operational Contract Support Joint Exercise 2016 provides training across the spectrum of OCS readiness from requirements and development of warfighter staff integration and synchronization through contract execution supporting the Joint Force Commander. (U.S. Air Force photo by Staff Sgt. Jonathan Snyder/Released)
PACIFIC OCEAN (March 4, 2015) Sailors from Assault Craft Unit (ACU) 1 man a Rigid Hull Inflatable Boat (RHIB) while serving as a safety patrol during an exercise conducted by the Maritime Raiding Force assigned to the 15th Marine Expeditionary Unit (MEU) aboard Wasp-class amphibious assault ship USS Essex (LHD 2). Essex is currently underway conducting a PHIBRON/MEU Integration (PMINT) training exercise with Amphibious Squadron THREE and 15th MEU in preparation for an upcoming deployment. (U.S. Navy photo by Mass Communication Specialist 1st Class Jason M. Graham/Released)
The third (pictured) and fourth European Service Modules are currently in production at Airbus facilities in Bremen, Germany. They are a key element of the Orion spacecraft, the first to return humans to the Moon since the 1970s.
These modules provide the spacecraft with propulsion, power and thermal control, and will supply astronauts with water and oxygen. The Orion spacecraft is composed of a European Service Module, a Crew Module Adapter and a Crew Module. The latter two components are provided by NASA.
Powering flights to the Moon is a collaborative effort. The components and hardware used in the European Service Modules are built and supplied by more than twenty different companies from ten different countries in Europe.
When ready for launch, each module will have a total mass of 13500 kg, almost two-thirds of which is propellant (rocket fuel). More than 11 km of cables are needed to send commands and receive information from the many on-board sensors. As can be seen in the photo, tie-wraps (yellow) come in handy when it comes to keeping all these cables organised.
The first European Service Module is already attached to the Orion spacecraft and awaiting launch for Artemis I later this year. The second European Service Module has been formally transferred to NASA and is completing integration at the Operations and Checkout building at the Kennedy Space Center. It will be used on the Artemis II mission, the first crewed mission to fly all the way to the Moon in half a century.
By delivering six European Service Modules, ESA is ensuring NASA’s Artemis programme continues to develop a sustainable presence on and around the Moon in international partnership.
Learn more about Orion and Europe’s involvement here. Follow the latest updates via the Orion blog.
Credits: ESA–A. Conigli
DSC_9823proc