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Painting and markings:
I tend to be conservative when it comes to liveries for what-if models, and the P29G is no exception. At first, I thought that this build could become an operational supersonic daylight interceptor (the J29G), so that I could give the model full military markings and maybe a camouflage paint scheme. However, this idea would not work: the potential real life window for such an aircraft, based on the Saab 29, would be very narrow. And aircraft development in the late Fifties made quantum leaps within a very short period of time: While the J29A entered service, work on the Mach 2 Saab 35 was already underway – nobody would have accepted (or needed) a Mach 1 fighter, based on late Forties technology, at that time anymore, and there was the all-weather Saab J32B around, too. The update program with new wings and a more powerful afterburner engine was all that could be done to exploit the Tunnan’s potential, resulting in the (real world’s) J29E and F variants.
I eventually decided that the J29G would only be a prototype/research aircraft, consequently called P29G, and through this decision I became more or less settled upon a NMF finish with some colorful markings. Consequently, the model was painted with various shades of metal colors, primarily Polished Aluminum Metallizer from Humbrol, but also with Humbrol 191 and Matt Aluminum Metallizer as well as ModelMaster Steel Metallizer. Around the exhaust section, I also used Revell 91 (Iron) and ModelMaster Exhaust Metallizer. Some single panels and details were painted with Revell 99 (Aluminum), and I also used generic decal material in silver to simulate some smaller access panels. Grey decal sheet was used to simulate covers for the cannon nozzles.
The cockpit interior was painted, according to Saab 29 standard, in a dark greenish-grey (Revell 67), and bluish grey was used inside of the landing gear wells (Revell 57). The pitot boom received black and white stripes.
For markings I let myself get inspired from the real world Saab 29 and 32 prototypes, which were all marked with a colored “U” tactical code on the fin and also on the front fuselage, simply meaning “Utverding” (= “Test”). I found four red decals, and I also gave the aircraft a yellow cheatline, lent from an Airfix F-86D decal sheet. The Swedish roundels come from a generic aftermarket sheet, most stencils were taken from the Revell OOB sheet and a Printscale J29 sheet.
Before the model was sealed with semi-gloss acrylic varnish from Italeri, some grinded graphite was rubbed onto the rear fuselage, adding a metallic shine and simulating exhaust stains.
Painting and markings:
As mentioned above, the livery is based on an official profile which I deem authentic and canonical. My aircraft depicts a different machine from VFT-127, though, since I could not (and did not really want to) 100% replicate the profile's machine from the Macross PLUS source book, "13 Red". Especially the squadron’s emblem on the fin would create massive problems.
For the two-tone wrap-around scheme I used Humbrol 72 (Khaki Drill) and 98 (Chocolate Brown), based on the printed colors in the source book where I found the scheme. The pattern is kept close to the benchmark profile, and, lacking an underside view, I just mirrored the upper scheme. The starboard side pattern was guesstimated.
As a second-line aggressor aircraft, I weathered the VF-4 with a black ink wash, some post-shading with various lighter tones (including Humbrol 160, 168, 170 and 187) and did some wet-sanding treatment for an uneven and worn look.
Interior surfaces were painted according to visual references from various sources: the landing gear and the air intakes became white, while the cockpit was painted in RAF Dark Sea Grey.
In order to add some color to the overall brown aircraft I decided to paint the missiles all around the hull in white with tan tips – in the profile, the appear to be integrated into the camouflage, what I found dubious.
Most stencils come from the OOB sheet, but I added some more from the scrap box. The grey "kite" roundels come from an 1:72 Hasegawa Macross F-14 Tomcat kit sheet, which I acquired separately for a reasonable price. Even though it took four weeks to be delivered from Asia, the investment was worthwhile, since the sheet also provided some useful low-viz stencils.
The VAT-127 “Zentraedi Busters” unique tail insignia was more complicated, because these had to be printed at home. As a side note, concerning the fin marking, I recently found a translation of the benchmark profile's text on mahq.net, which is interesting: "The Regult within the targeting reticle on the tail met with disapproval from micronized Zentraedi pilots, and so was only used for a short time." The comment also reveals that the original aircraft's modex is "713", not just "13" as depicted, so I tried to reflect these details on my build, too.
I eventually settled for a solution that was partly inspired by the kit’s OOB fin marking and the wish for more contrast for the motif: I scanned the original Regult pod illustration from the source book and printed it on white decal sheet. This was sealed with two layers of glossy acrylic varnish (applied with a rattle can) and then cut into a white field that fills the fixed part of the fin (using the WAVE kit’s OOB fin markings as reference). Once in place and dry, two black outlines were added separately (generic decal material) which help blend the decal and the surroundings. Finally, thin strips of silver decal sheet were used for the fins’ leading edges.
This design variation, compared with the original “13 Red” illustration, led to the idea of a flight leader’s machine with slightly more prominent markings. In order to take this concept further I also gave the aircraft a white stripe around the front fuselage, placed under the kite roundel and again with black outlines for a consistent look. It’s not much different from “13 Red”, but I think that it looks conclusive and, together with the white fin markings and the missiles, livens up the VF-4’s look.
The appropriate flight leader tactical code “01 Red” was puzzled together from single digits from a Begemot Su-27 sheet, the rest of the bort numbers were taken from the OOB sheet (which incidentally feature a “01” code, too).
Concerning the OOB decal sheet, there’s much light but also some deep shadow. While the register is excellent and the carrier film flexible enough to lay down smoothly, the instructions lack information where to place the zillion of stencils (“No step” and “Beware of Blast” stuff) are to be placed! You only get references for the major markings – the rest has either to be guessed, OR you are in possession of the VF-4 source book from Softbank Publishing which was (incidentally?) released in parallel with the WAVE kit. This mecha porn offers an overview of all(!) relevant stencils on the VF-4A’s hull, and ONLY with this information the exhaustive decal sheet makes some sense…
As final steps, the VF-4 received some dry-brushing with light grey around the leading edges, some chipped paint was simulated with dry-brushed aluminum and, finally, light soot stains around the vectoring nozzles all around the hull and the weapon bays were created with graphite. Then the kit was sealed with matt acrylic varnish (Italeri).
Markings:357th Fighter Squadron (357 FS) is part of the 355th Fighter Wing at Davis-Monthan Air Force Base, Arizona.
SN:80-0279
Specifications (A-10A)
General characteristics
Crew: 1
Length: 53 ft 4 in (16.26 m)
Wingspan: 57 ft 6 in (17.53 m)
Height: 14 ft 8 in (4.47 m)
Wing area: 506 ft² (47.0 m²)
Airfoil: NACA 6716 root, NACA 6713 tip
Empty weight: 24,959 lb (11,321 kg)
Loaded weight:
Standard: 30,384 lb (13,782 kg)
On CAS mission: 47,094 lb (21,361 kg)
On anti-armor mission: 42,071 lb (19,083 kg)
Max takeoff weight: 50,000 lb (23,000 kg)
Powerplant: 2× General Electric TF34-GE-100A turbofans, 9,065 lbf (40.32 kN) each
Performance
Never exceed speed: 450 knots (518 mph, 833 km/h)
Maximum speed: 450 knots (518 mph, 833 km/h) at 5,000 ft (1,500 m) with 18 Mk 82 bombs[35]
Cruise speed: 300 knots (340 mph, 560 km/h)
Stall speed: 120 knots (220 km/h) [36]
Combat radius:
On CAS mission: 250 nmi (288 mi, 460 km) at 1.88 hour single-engine loiter at 5,000 ft (1,500 m), 10 min combat
On anti-armor mission: 252 nmi (290 mi, 467 km), 40 nm (45 mi, 75 km) sea-level penetration and exit, 30 min combat
Ferry range: 2,240 nmi (2,580 mi, 4,150 km) with 50 knot (55 mph, 90 km/h) headwinds, 20 minutes reserve
Service ceiling: 45,000 ft (13,700 m)
Rate of climb: 6,000 ft/min (30 m/s)
Wing loading: 99 lb/ft² (482 kg/m²)
Thrust/weight: 0.36
Armament
Guns: 1× 30 mm (1.18 in) GAU-8/A Avenger gatling cannon with 1,174 rounds
Hardpoints: 11 (8× under-wing and 3× under-fuselage pylon stations) with a capacity of 16,000 lb (7,260 kg),with provisions to carry combinations of:
Rockets:
4× LAU-61/LAU-68 rocket pods (each with 19× / 7× Hydra 70 mm rockets, respectively)
4× LAU-5003 rocket pods (each with 19× CRV7 70 mm rockets)
6× LAU-10 rocket pods (each with 4× 127 mm (5.0 in) Zuni rockets)
Missiles:
2× AIM-9 Sidewinders air-to-air missiles for self-defense
8× AGM-65 Maverick air-to-surface missiles
Bombs:
Mark 80 series of unguided iron bombs or
Mk 77 incendiary bombs or
BLU-1, BLU-27/B Rockeye II, Mk20, BL-755[37] and CBU-52/58/71/87/89/97 cluster bombs or
Paveway series of Laser-guided bombs or
Joint Direct Attack Munition (A-10C)[38] or
Wind Corrected Munitions Dispenser (A-10C)*SUU-42A/A Flares/Infrared decoys dispenser pod and chaff pod or
AN/ALQ-131 & AN/ALQ-184 ECM pods or
Lockheed Martin Sniper XR & LITENING targeting pods (A-10C) or
2× 600 US gallon Sargent Fletcher drop tanks for extended range/loitering time.
Avionics
Pave Penny laser tracker pod (mounted beneath right side of cockpit) for use with Paveway LGBs
A-10C
A-10As updated under the incremental Precision Engagement (PE) program featuring a new glass cockpit (including digital moving map displays), advanced datalink, and all-weather multi-mission precision weapons and laser targeting capability.
Marking the international day for Social Media around the globe, the 30th of June was no different in the capital of Jordan. Tweeps, Facebook addicts and the tech-savy community celebrated the transformation of how we communicate, connect and create every single day. l was there to share with friends Jordan’s first-time-ever celebration of the event.
Follow me: @KhaledHIjab
Facebook: www.facebook.com/khaled.hijab
The seventh B.C. Cabinet and First Nations Leaders’ Gathering began on Tuesday, Nov. 29, 2022, marking the first in-person gathering since the COVID-19 pandemic began in 2020 and the atmospheric river of 2021. Learn more:
Italy. Florence (Firenze).
Piazza del Duomo.
By the beginning of the 15th century, after a hundred years of construction, the structure was still missing its dome. The basic features of the dome had been designed by Arnolfo di Cambio in 1296. His brick model, 4.6 metres (15 ft) high, 9.2 metres (30 ft) long, was standing in a side aisle of the unfinished building, and had long ago become sacrosanct. It called for an octagonal dome higher and wider than any that had ever been built, with no external buttresses to keep it from spreading and falling under its own weight.
The commitment to reject traditional Gothic buttresses had been made when Neri di Fioravante's model was chosen over a competing one by Giovanni di Lapo Ghini. That architectural choice, in 1367, was one of the first events of the Italian Renaissance, marking a break with the Medieval Gothic style and a return to the classic Mediterranean dome. Italian architects regarded Gothic flying buttresses as ugly makeshifts. Furthermore, the use of buttresses was forbidden in Florence, as the style was favored by central Italy's traditional enemies to the north.[9] Neri's model depicted a massive inner dome, open at the top to admit light, like Rome's Pantheon, but enclosed in a thinner outer shell, partly supported by the inner dome, to keep out the weather. It was to stand on an unbuttressed octagonal drum. Neri's dome would need an internal defense against spreading (hoop stress), but none had yet been designed.
The building of such a masonry dome posed many technical problems. Brunelleschi looked to the great dome of the Pantheon in Rome for solutions. The dome of the Pantheon is a single shell of concrete, the formula for which had long since been forgotten. A wooden form had held the Pantheon dome aloft while its concrete set, but for the height and breadth of the dome designed by Neri, starting 52 metres (171 ft) above the floor and spanning 44 metres (144 ft), there was not enough timber in Tuscany to build the scaffolding and forms.[10] Brunelleschi chose to follow such design and employed a double shell, made of sandstone and marble. Brunelleschi would have to build the dome out of bricks, due to its light weight compared to stone and easier to form, and with nothing under it during construction. To illustrate his proposed structural plan, he constructed a wooden and brick model with the help of Donatello and Nanni di Banco, a model which is still displayed in the Museo dell'Opera del Duomo. The model served as a guide for the craftsmen, but was intentionally incomplete, so as to ensure Brunelleschi's control over the construction.
Brunelleschi's solutions were ingenious. The spreading problem was solved by a set of four internal horizontal stone and iron chains, serving as barrel hoops, embedded within the inner dome: one at the top, one at the bottom, with the remaining two evenly spaced between them. A fifth chain, made of wood, was placed between the first and second of the stone chains. Since the dome was octagonal rather than round, a simple chain, squeezing the dome like a barrel hoop, would have put all its pressure on the eight corners of the dome. The chains needed to be rigid octagons, stiff enough to hold their shape, so as not to deform the dome as they held it together.
Each of Brunelleschi's stone chains was built like an octagonal railroad track with parallel rails and cross ties, all made of sandstone beams 43 centimetres (17 in) in diameter and no more than 2.3 metres (7.5 ft) long. The rails were connected end-to-end with lead-glazed iron splices. The cross ties and rails were notched together and then covered with the bricks and mortar of the inner dome. The cross ties of the bottom chain can be seen protruding from the drum at the base of the dome. The others are hidden. Each stone chain was supposed to be reinforced with a standard iron chain made of interlocking links, but a magnetic survey conducted in the 1970s failed to detect any evidence of iron chains, which if they exist are deeply embedded in the thick masonry walls. Brunelleschi also included vertical "ribs" set on the corners of the octagon, curving towards the center point. The Ribs, 13 feet (4 meters) deep, are supported by 16 concealed ribs radiating from center. The ribs had slits to take beams that supported platforms, thus allowing the work to progress upward without the need for scaffolding.
A circular masonry dome, such as that of Hagia Sophia in Istanbul can be built without supports, called centering, because each course of bricks is a horizontal arch that resists compression. In Florence, the octagonal inner dome was thick enough for an imaginary circle to be embedded in it at each level, a feature that would hold the dome up eventually, but could not hold the bricks in place while the mortar was still wet. Brunelleschi used a herringbone brick pattern to transfer the weight of the freshly laid bricks to the nearest vertical ribs of the non-circular dome.
The outer dome was not thick enough to contain embedded horizontal circles, being only 60 centimetres (2 ft) thick at the base and 30 centimetres (1 ft) thick at the top. To create such circles, Brunelleschi thickened the outer dome at the inside of its corners at nine different elevations, creating nine masonry rings, which can be observed today from the space between the two domes. To counteract hoop stress, the outer dome relies entirely on its attachment to the inner dome at its base; it has no embedded chains.[14]
A modern understanding of physical laws and the mathematical tools for calculating stresses was centuries into the future. Brunelleschi, like all cathedral builders, had to rely on intuition and whatever he could learn from the large scale models he built. To lift 37,000 tons of material, including over 4 million bricks, he invented hoisting machines and lewissons for hoisting large stones. These specially designed machines and his structural innovations were Brunelleschi's chief contribution to architecture. Although he was executing an aesthetic plan made half a century earlier, it is his name, rather than Neri's, that is commonly associated with the dome.
Brunelleschi's ability to crown the dome with a lantern was questioned and he had to undergo another competition. He was declared the winner over his competitors Lorenzo Ghiberti and Antonio Ciaccheri. His design (now on display in the Museum Opera del Duomo) was for an octagonal lantern with eight radiating buttresses and eight high arched windows. Construction of the lantern was begun a few months before his death in 1446. Then, for 15 years, little progress was possible, due to alterations by several architects. The lantern was finally completed by Brunelleschi's friend Michelozzo in 1461. The conical roof was crowned with a gilt copper ball and cross, containing holy relics, by Verrocchio in 1469. This brings the total height of the dome and lantern to 114.5 metres (375 ft). This copper ball was struck by lightning on 17 July 1600 and fell down. It was replaced by an even larger one two years later.
The commission for this bronze ball [atop the lantern] went to the sculptor Andrea del Verrocchio, in whose workshop there was at this time a young apprentice named Leonardo da Vinci. Fascinated by Filippo's [Brunelleschi's] machines, which Verrocchio used to hoist the ball, Leonardo made a series of sketches of them and, as a result, is often given credit for their invention.
Leonardo might have also participated in the design of the bronze ball, as stated in the G manuscript of Paris "Remember the way we soldered the ball of Santa Maria del Fiore".
A road marking in Spain.
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Another shot of Fugro's geotechnical drilling vessel, MARKAB as she enters Shoreham Harbour yesterday.
To find out about her current location and more details go to:
www.marinetraffic.com/ais/details/ships/353598000
or
via Playground Markings UK bit.ly/1Lq6ayE
"New zebrafish study provides insights into causes of congenital heart defects"
March 28, 2007, at the corner of Jackson Avenue and Wilburne Avenue, Seaford. An older Seaford fireman once told me that Seaford did not have a fire alarm box system, the telegraphic system in design more than a century old. However, a few such marked poles exist.
Detail of the markings on an adult female giraffe. Taken at the Greater Vancouver Zoo. (see the baby giraffe in my photostream).
Gerhard Richter (1932), FLOW, 2013 (Kunstharzlack hinter Glas auf Aluplatte - synthetic resin paint behind glass on aluminium plate), Albertina - Dauerleihgabe aus österreichischem Privatbesitz
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Marking the international day for Social Media around the globe, the 30th of June was no different in the capital of Jordan. Tweeps, Facebook addicts and the tech-savy community celebrated the transformation of how we communicate, connect and create every single day. l was there to share with friends Jordan’s first-time-ever celebration of the event.
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Marking of 17 May. 17 May is Norway's Constitution Day and is celebrated as National Day; both designations are used during the day. The day has been celebrated since the 1820s, and from 1823 the date was referred to in the newspapers as "Constitution Day". The first official celebration was in 1827. The day was celebrated in full after the death of King Karl Johan in 1844. It is stipulated in the law of 26 April 1947 that 1 and 17 May are national public holidays.
via Playground Markings UK bit.ly/1hzQiAS
"Lithium can be safe, effective for children suffering from bipolar disorder"
MArkings: 61st Fighter Squadron (61 FS) is part of the 56th Fighter Wing at Luke Air Force Base, Arizona
SN:83-1161
Specifications (F-16C Block 30)
General characteristics
Crew: 1
Length: 49 ft 5 in (14.8 m)
Wingspan: 32 ft 8 in (9.8 m)
Height: 16 ft (4.8 m)
Wing area: 300 ft² (27.87 m²)
Airfoil: NACA 64A204 root and tip
Empty weight: 18,900 lb (8,670 kg)
Loaded weight: 26,500 lb (12,000 kg)
Max takeoff weight: 42,300 lb (19,200 kg)
Powerplant: 1× F110-GE-100 afterburning turbofan
Dry thrust: 17,155 lbf (76.3 kN)
Thrust with afterburner: 28,600 lbf (128.9 kN)
Performance
Maximum speed:
At sea level: Mach 1.2 (915 mph, 1,470 km/h)
At altitude: Mach 2+ (1,500 mph, 2,414 km/h)
Combat radius: 340 mi (295 nm, 550 km) on a hi-lo-hi mission with six 1,000 lb (450 kg) bombs
Ferry range: 2,280 NM (2,620 mi, 4,220 km) with drop tanks
Service ceiling: 60,000+ ft (18,000+ m)
Rate of climb: 50,000 ft/min (254 m/s)
Wing loading: 88.3 lb/ft² (431 kg/m²)
Thrust/weight: 1.095
Armament
Guns: 1× 20 mm (0.787 in) M61 Vulcan gatling gun, 515 rounds
Hardpoints: 2× wing-tip Air-to-air missile launch rails, 6× under-wing & 3× under-fuselage pylon stations holding up to 20,450 lb (9,276 kg) of payload
Rockets:
4× LAU-61/LAU-68 rocket pods (each with 19× /7× Hydra 70 mm rockets, respectively) or
4× LAU-5003 rocket pods (each with 19× CRV7 70 mm rockets) or
4× LAU-10 rocket pods (each with 4× Zuni 127 mm rockets)
Missiles:
Air-to-air missiles:
2× AIM-7 Sparrow or
6× AIM-9 Sidewinder or
6× IRIS-T or
6× AIM-120 AMRAAM or
6× Python-4
Air-to-ground missiles:
6× AGM-45 Shrike or
6× AGM-65 Maverick or
4× AGM-88 HARM
Anti-ship missiles:
2× AGM-84 Harpoon or
4× AGM-119 Penguin
Bombs:
2× CBU-87 Combined Effects Munition
2× CBU-89 Gator mine
2× CBU-97 Sensor Fuzed Weapon
Wind Corrected Munitions Dispenser capable
4× GBU-10 Paveway II
6× GBU-12 Paveway II
6× Paveway-series laser-guided bombs
4× JDAM
4× Mark 84 general-purpose bombs
8× Mark 83 GP bombs
12× Mark 82 GP bombs
B61 nuclear bomb
Others:
SUU-42A/A Flares/Infrared decoys dispenser pod and chaff pod or
AN/ALQ-131 & AN/ALQ-184 ECM pods or
LANTIRN, Lockheed Martin Sniper XR & LITENING targeting pods or
up to 3× 300/330/370 US gallon Sargent Fletcher drop tanks for ferry flight or extended range/loitering time.
Avionics
AN/APG-68 radar
Ford Police Interceptor Sedan 2014 - New Colour and New marking / Nouvelle couleur et nouveau lettrage
In a remote canyon in Death Valley National Park, writings of ages long past can be seen on the walls. I have no idea how old these writings are, but they seem to have been there for a long, long time. In a place that seldom gets rain they are quite eroded in places. This is the first time I can recall seeing petroglyhs in person, and it was amazing to experience a connection with long lost people.