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Si tratta di un'opera composta da sette figure a grandezza naturale in terracotta con tracce di policromia. L'anno di realizzazione dell'opera e l'identità di chi la commissionò sono avvolti nel mistero, così come l'esatta disposizione delle statue. Le ipotesi di datazione più accreditate oscillano tra il1463 e il 1490. Al centro sta il Cristo morto, disteso con la testa reclinata su un cuscino. Attorno si dispongono le altre figure, tra le quali spiccano le due Marie, Maria di Cleofa e ai piedi del Cristo, Maria Maddalena, straziate dal dolore con le vesti gonfiate dal vento. Più composte sono le altre figure, anche se i loro volti mostrano una dolorosa partecipazione. Si riconoscono poi la Madonna, con le mani giunte, Maria di Giuseppe (madre di Giacomo il Maggiore e Giovanni l'Evangelista) seguiva Gesù come discepola, che stringe le cosce in un gesto di rammarico, mentre san Giovanni è rappresentato in un silenzioso pianto, con un palmo che regge il mento. Staccata dagli altri è una figura inginocchiata in abiti rinascimentali, generalmente collocata a sinistra, che rappresenta Giuseppe D'Arimatea e che guarda verso l'osservatore. It is a work composed of seven life-size figures in terracotta with traces of polychrome. The year of realization of the work and the identity who commissioned it are wrapped in mystery, as well as the exact arrangement of the statues. The most credible dating hypotheses oscillate between 1463 and 1490. At the center is the dead Christ, lying with his head reclining on a pillow. Around the other figures are arranged, among which stand out the two Marie, Mary of Cleophas and at the feet of Christ, Mary Magdalene, torn by grief with clothes swelled by the wind. The other figures are more composed, even if their faces show a painful participation. Then we recognize the Madonna, with folded hands, Mary of Joseph (mother of James the Greater and John the Evangelist) followed Jesus as a disciple, who tightens her thighs in a gesture of regret, while Saint John is represented in a silent cry , with a palm that supports the chin. Detached from the others is a figure kneeling in renaissance clothes, generally placed on the left, which represents Giuseppe D'Arimatea looks towards the observer. www.wikipedia
The Museum of the Dreamers
The Phantastenmuseum is a museum in the Palais Palffy in the 1st district of Vienna Inner City. It shows the evolution of fantastic, surreal and visionary art of the postwar period to the present.
History
Following discussions between the Austrian artist Ernst Fuchs (* 13. Februar 1930 in Wien; † 9. November 2015) and the publisher, organizer and author Gerhard Habarta the idea of a museum of fantastic art in Vienna came to the realization. The "Austrian Cultural Center since 1958" in the Palais Palffy was enthusiastic about the idea, the plans for the new museum were concretised in the year of 2010. In autumn 2010 was started with the adaptation of the premises, which was completed in January 2011. The opening of the museum took place under the patronage of Federal President Heinz Fischer on 15 January 2011.
Premises
For the museum parts of the historical Palais Palffy due to war damage in the 1950s renovated were used.
The foyer was designed by Lehmden student Kurt Welther about The Marriage of Figaro. Here, also a lobby with the ticket office, the information and the museum shop has been set up. In this one gifts like replicas of famous works of art, sculptures, jewelery, catalogs and posters as well as original editions are sold. On the 1st floor is located opposite the Figaro Concert Hall the gallery. It is a 150 m² large space for solo exhibitions. The museum occupies the entire top floor and consists of designed spaces. In addition to works from its own collection and permanent loans, documents and portraits of artist personalities are shown.
The museum
The museum is divided into the following areas:
Impulses: Here are the inspirations identified which brought the young artists first information after the war, with works by Edgar Jené and Gustav K. Beck and Arnulf Neuwirth.
Academy: Here, the young creatives found an artistic home, including works by Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden and Kurt Steinwendner before he turned into the filmmaker and object artist Curt Stenvert.
Contemporaries: These include older artists of fantastic, who had survived the dictatorship, like Greta Freist, Kurt Goebel, Charles Lipka or the CIA agent Charles von Ripper. And the young ones, as Rudolf Schoenwald or Arnulf Rainer as well as painters who moved in later Art Club. These include the "partisan" Maria Biljan-Bilger, Peppino Wieternik before he turned to the abstract, and Carl Unger who designed a large glass front of the Palais Palffy.
Art Club: It gathered the artistic elite of the post-war period and became with the Strohkoffer (straw suitcase) a social center.
Dog Group: It became the first counter-movement, in which the rebels as Ernst Fuchs, Arnulf Rainer and Maria Lassnig, Wolfgang Kudrnofsky and maverick visionary Anton Krejcar with graphics that today have become valuable manifested themselves.
The Pintorarium of Friedensreich Hundertwasser, Ernst Fuchs and Arnulf Rainer fought actionistically with wall newspaper and nude demonstration against the established Academy, bad architecture and for the freedom of the spirit.
Hundertwasser realized the theories of Pintorarium in his buildings. A photo documentation of Kurt Pultar.
Vienna School of Fantastic Realism: The core of the museum with pictures of Arik Brauer, Wolfgang Hutter, Fritz Janschka, who lives in the United States and Anton Lehmden. Of Rudolf Hausner is - in addition to an oil painting - the documentation of long-term work on his Ark of Odysseus to see. In addition to an early work by Ernst Fuchs, a specially created for the museum great painting version of a 55 years ago arosen drawing is shown.
In the department of simultaneous 16 images of that Viennese Fantasts can be seen who presented themselves in the 1960s for the first time, among other things, in the gallery that installed Ernst Fuchs.
In the Department Next Generation are those almost still "young ones" which - despite temporary exclusion by the avant-garde - are committed to the new tendencies of the fantastic. They studied partly with Hausner, Lehmden, Hutter and Fuchs and also learned as wizards.
The Graphic Cabinet presents some etchings and lithographs to stamps. Here the global network is shown in about 30 works by international visionaries. Representatives from Japan, the US, Australia and European centers are the ambassadors of associations of fantastic artists, the Ambassadors of the Fantastic Universe.
Phantastenmuseum
Das Phantastenmuseum ist ein Museum im Palais Pálffy im 1. Wiener Gemeindebezirk Innere Stadt. Es zeigt die Entwicklung der phantastischen, surrealen und visionären Kunst von der Nachkriegszeit bis zur Gegenwart.
Geschichte
Nach Gesprächen zwischen dem österreichischen Künstler Ernst Fuchs und dem Verleger, Organisator und Autor Gerhard Habarta entstand die Idee zur Verwirklichung eines Museums für phantastische Kunst in Wien. Das „Österreichische Kulturzentrum seit 1958“ im Palais Pálffy zeigte sich von der Idee begeistert, die Pläne für das neue Museum wurden im Jahr 2010 konkretisiert. Im Herbst 2010 wurde mit der Adaptierung der Räumlichkeiten begonnen, die im Jänner 2011 abgeschlossen wurde. Die Eröffnung des Museums fand am 15. Jänner 2011 unter dem Ehrenschutz von Bundespräsident Heinz Fischer statt.
Räumlichkeiten
Für das Museum wurden Teile des historischen, aufgrund Kriegsschäden in den 1950er Jahren renovierten Palais Pálffy genutzt.
Das Foyer wurde vom Lehmden-Schüler Kurt Welther zum Thema Figaros Hochzeit gestaltet. Hier wurde auch ein Empfangsbereich mit der Ticketkasse, der Information und dem Museums-Shop eingerichtet. In diesem werden Geschenke wie Nachbildungen berühmter Kunstwerke, Skulpturen, Schmuck, Kataloge und Kunstdrucke sowie auch Original-Editionen verkauft. Im 1. Stock befindet sich gegenüber dem Figaro-Konzertsaal die Galerie. Es handelt sich um einen 150 m² großen Raum für Einzelausstellungen. Das Museum nimmt das gesamte Obergeschoss ein und besteht aus gestalteten Räumen. Neben den Werken aus eigenem Bestand und Dauerleihgaben werden Dokumente und Porträts der Künstlerpersönlichkeiten gezeigt.
Das Museum
Das Museum ist in folgende Bereiche gegliedert:
Impulse: Hier werden die Impulse aufgezeigt, die den jungen Künstlern erste Informationen nach dem Krieg brachten, mit Werken von Edgar Jené und Gustav K. Beck und Arnulf Neuwirth.
Akademie: Hier fanden die jungen Kreativen eine künstlerische Heimat, mit Werken von Albert Paris Gütersloh, Ernst Fuchs, Fritz Janschka, Anton Lehmden und Kurt Steinwendner, bevor er zum Filmemacher und Objektkünstler Curt Stenvert wurde.
Zeitgenossen: Dazu zählen ältere Künstler des Phantastischen, die die Diktatur überlebt hatten, wie Greta Freist, Kurt Goebel, Charles Lipka oder der CIA-Agent Charles von Ripper. Und die Jungen, wie Rudolf Schönwald oder Arnulf Rainer sowie Maler die sich im späteren Art Club bewegten. Dazu gehören die „Partisanin“ Maria Biljan-Bilger, Peppino Wieternik, bevor er sich zum Abstrakten wandte, und Carl Unger der für das Palais Pálffy eine große Glasfront gestaltete.
Art Club: Er versammelte die künstlerische Elite der Nachkriegszeit und wurde mit dem Strohkoffer ein geselliges Zentrum.
Hundsgruppe: Sie wurde zur ersten Gegenbewegung, in der sich die Aufrührer wie Ernst Fuchs, Arnulf Rainer und Maria Lassnig, Wolfgang Kudrnofsky und der Außenseiter-Phantast Anton Krejcar mit heute wertvoll gewordenen Grafiken manifestierten.
Das Pintorarium von Friedensreich Hundertwasser, Ernst Fuchs und Arnulf Rainer kämpfte aktionistisch mit Wandzeitung und Nacktdemonstration gegen die etablierte Akademie, schlechte Architektur und für die Freiheit des Geistes.
Hundertwasser verwirklichte die Theorien des Pintorariums in seinen Bauten. Eine Fotodokumentation von Kurt Pultar.
Wiener Schule des Phantastischen Realismus: Der Kern des Museums mit Bildern von Arik Brauer, Wolfgang Hutter, dem in den USA lebenden Fritz Janschka und von Anton Lehmden. Von Rudolf Hausner ist - neben einem Ölbild - die Dokumentation der langjährigen Arbeit an seiner Arche des Odysseus zu sehen. Neben einem Frühwerk von Ernst Fuchs ist auch eine eigens für das Museum geschaffene große Gemälde-Fassung einer vor 55 Jahren entstandenen Zeichnung ausgestellt.
In der Abteilung der Gleichzeitigen sind 16 Bilder jener Wiener Fantasten zu sehen, die sich in den 1960er-Jahren zum ersten Mal präsentierten, u.a. in der Galerie, die Ernst Fuchs installierte.
In der Abteilung Next Generation sind jene fast „noch Jungen“, die sich – trotz zeitweiliger Ausgrenzung durch die Avantgarde – neuen Tendenzen des Phantastischen verpflichtet fühlen. Sie haben zum Teil bei Hausner, Lehmden, Hutter und Fuchs studiert und auch als Assistenten gelernt.
Das Graphische Kabinett stellt einige Radierungen und Lithographien bis hin zu Briefmarken aus. Hier wird in etwa 30 Werken internationaler Phantasten die weltweite Vernetzung gezeigt. Vertreter aus Japan, den USA, Australien und europäischen Zentren sind die Botschafter von Vereinigungen phantastischer Künstler, den Ambassadors of the Fantastic Universe.
...somewhere along the line i've turned into my grandpa. How did this occur? i'm not ready to grow up yet...
SOTD: Jump Then Fall - Taylor Swift
"I like the way your hair in your face, you got the keys to me, I love each freckle on your face. Oh I've never been so wrapped up, honey. I like the way you're everything I ever wanted. I had time to think over and I can say is come closer."
of one's own potential and self-confidence in one's ability,
one can build a better world.
Dalai Lama
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Luc Sala
with Aja Waalwijk, Britta Lillesøe, Wolfgang Sterneck,
Ferry Maidman, Peter H. Rosen:
Festivalization: the boom in events
Platform for change, out line of a new industry
Participation, identification, realization and transformation as the core parameters of permanent or temporary autonomous zones.
The need for physical contact, anonymous freedom, community and transformation, fueled by cyber-isolation gives rise to new models of togetherness and autonomy.
Expressed in festivals, communities, free cultural spaces and tribes, these influence in turn our states of mind, bring new ideas, innovation and help change our world view.
Festivalization: the boom in events
www.lucsala.nl/festivalization.pdf
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The Africa Youth Conference was held in Nairobi, Kenya, on October 23-25 2018.
Organized and sponsored by UN Women, UNDP, UN Environment, UNESCO, UNFPA, UNICEF, and other partners, the conference offered a regional platform to 300+ young people and key stakeholders to share ideas and experiences and showcase innovative approaches to effectively address youth challenges in Africa.
Africa has the youngest population with over 40% of the population below the age of 15, while about 20% of the population fall between 15-24 years age. This is indeed the opportunity that exists to harness the potential of youth in the realization of Sustainable Development Goals.
Pictured: Natalie Wambui, Kenyan author and poet.
Photo: UN Women/Emad Karim
The photo above shows two different realizations of a working origami roller bearing;
The yellow bearing is the inner yellow triangle and the 3 inner rolled sheets of paper making the cylinders.
The Red Bearing is folded from a single 21 inch square sheet of card stock (very light poster board). The rollers are simulated using inner fins that are folded curves.
The yellow bearing was my original concept before I learned that you had to use a single square.
Both will spin relatively freely on an axel. You could use any rod including a tightly rolled sheet of paper.
The yellow bearing will support considerable weight. I have used additional card stock to make arms which are strapped to the inner triangle. Arm extensions can be added by inserting additional material. I have tested the yellow bearing with three arms that were over two meters in length. The bearing still rotated freely with very minimal effort.
I also strapped 15 (1 inch) wooden blocks to test for weight. The rolled cylinders do not squash perceptibly and provide a relative smooth rotation with very minimal effort.
The red bearing depends on the strength of the paper for bearing up under weight. I believe the fins will squash inward but have not tested this bearing under substantial weight. Under moderate weight, it holds up quite well.
You can reduce the width of the red bearing by using a narrower rectangle, thus reducing the friction caused by drag. I can see using this roller on a vehicle that will roll on slight inclines. I might have to try this with either my Duesenberg or my fire truck.
For a discussion of machine design with bearing go to this link:
machinedesign.com/whats-difference-between/what-s-differe...
You will notice that most bearing have many more rollers. I decided that for my “paper only” design that just 3 contact points would be most efficient.
- One-off
- Fantastic design, dramatic look
- An accessible dream
This exceptional body is the realization of the dream of a truly passionate collector. It was triggered off by the discovery of the photos of a convertible Bucciali TAV 30, exhibited in the 1931 and the 1932 editions of the Paris Motor Show, at the Grand Palais. He completely fell in love with this exceptional car. These rare photos were published in the excellent book by Christian Huet on Bucciali cars, published in 2004.
Before going any further, a little history is in order. This enigmatic brand bears the name of Paul-Albert Bucciali, who often managed to realize his wildest of dreams. In 1930, he designed a body that had all the elements of drama and seduction: long hood, lowered chassis, low-profile windows and very large wheels, like those of the Bugatti Royale. The original curve of the front fender hugged the wheel to extend horizontally back to the height of the chassis. The sides of the long hood were visually cleaned up to receive a large "arrow-like stork", like the one he had used on his fighter plane, a Spa 26, one of the six squadrons of these Storks from World War I. After preparing the drawings in the Bucciali workshop at Courbevoie, the "project" was entrusted to the famous coachbuilder Saoutchik. The body was built on the old chassis TAV 2 of 1928, which was stripped of all its mechanicals. This was a car specifically for the motor show, designed to find a buyer, who would then be able to finance the production of the new S chassis and the gearbox of the TAV 3. A buyer actually came through in 1931, but he wanted a sedan body and not a convertible! For this beautiful convertible, there was no buyer at all, so it was destroyed in 1934.
Realizing his dream became an obsession for the collector, who decided in 2010, to buy a complete Cord L29 FWD chassis. It was powered by an 4.9-liter in-line eight from Lycoming. The Bucciali brand still existed, so he got the authorization in 2012 to carry out a reproduction of the convertible TAV 30 of 1931, under certain conditions of maintaining quality, and the right to make just one example. The original document is part of the file that comes with the car.
The making of this ambitious project was entrusted to the Bonnefoy workshop, in Cher, which fabricated the frame members by extending and modifying the Cord chassis, by developing the suspension system and the steering linkages to fit the larger wheels that were specially made for this prototype. Though based on a wooden frame, the body is made of sheet steel, while the hood, doors and trunk lid are in aluminum. The owner, with the Bonnefoy workshop, customized the achievement, by changing the color of the bodywork and of the storks and adding a rear boot. Completed in 2013, the result was most impressive and car was specially exhibited at the Retromobile Salon of 2014, where the car starred. This outstanding achievement was the subject of a compliance certificate issued by the Bucciali brand and this certificate will be given to the buyer too.
Once a dream has been fulfilled, it usually fades away with time, giving way to another. This is the reason the current owner is putting his dream Bucciali-Cord on sale. Just four authentic Buccialis remain in the world today; therefore, this spectacular car is a very unique opportunity to acquire the only official copy which is both impressive and unrivaled.
Sale Retromobile 2016 by Artcurial Motorcars
5 Février 2016
Estimation € 500.000 - 700.000
Sold for € 596.000
Salon Retromobile 2016
Paris Expo - Porte de Versailles
Paris - France
Februari 2016
Nobody can talk about grace as much as I do without coming to the realization that none of us truly deserves all the great things we have in our lives. But believing in grace doesn't mean that I don't believe in hard work, or that I think all my blessings are unearned.
Dave wondered if the MSU I graduated from is the same MSU he attended--it isn't, but his asking the question made me realize that there's a story I'd always wanted to share here but never did. And if this gets dangerously close to bragging on myself, well, I've never denied having a healthy ego.
I spent the first year and a half of college at a small liberal arts college affiliated with my church. I won't name it because my experiences there had little to do with the college and more to do with where I was in life at that time. But let's just say I was not happy there. I wasn't happy anywhere at that time.
You see, I was depressed. And I didn't know it.
After three semesters I felt like what I needed most was a change of scenery so I left there and transferred to Minnesota State (which was still going by Mankato State in those days). I came in as an accounting major, which strikes me as laughable now--I'm no more fit to be an accountant than I'm fit to be a mother. By the end of my first quarter at MSU, my grade point had dropped to 1.98 and I found myself--a kid who had been in the Talented and Gifted program since 2nd grade--on academic probation. I was three hundredths of a grade point away from being expelled.
In the spring quarter of my sophomore year I made the first smart decision of my academic career and changed my major to 'undecided.' That quarter I only took classes that I knew I would find interesting. That meant American literature, meteorology, Constitutional law, and social and political philosophy. I didn't know where these courses would lead me. I didn't care. I just didn't want to get thrown out of school.
I did well in all the classes, but I felt a real affinity for the philosophy course. I devoured my readings and wanted more. And I delighted in not having to turn in a bunch of bogus busywork--the grade for the entire class came down to one paper.
I got an A for a paper on William James' "The Moral Equivalence of War." I was addicted. So I changed my major to philosophy, which led to derisive hooting from my friends.
"What are you ever going to do with a degree in philosophy?"
It's true, there aren't many job openings for philosophers. But there are even fewer employers looking for people who can't think or can't work hard without a gun to their heads.
Everything fell into place. For the rest of my college career I got one B and one C. The rest of my grades were As. I worked hard, not just at the stuff that I liked but also at the stuff that I didn't. (Being filled up in philosophy classes helped me deal with all the general education dreariness that's part of almost everyone's college experience.)
By the time I graduated in August 1994 I'd raised my GPA from 1.98 to 3.53 overall. I'd been diagnosed with subclinical depression, a condition I still struggle with from time to time. And I found myself in a position I hadn't envisioned just two and a half years earlier: having options for what happened to me next. I chose seminary (or seminary chose me) but I could've gone on to library school or further study in philosophy or public administration--I'd been offered all of those opportunities.
The key to success, I'm convinced, lies in two things: knowing what you love, and doing it. No matter what. No matter if the Web articles tell you it's a promising career field or not. No matter if your family understands your choice or not. You can't be a success without being inwardly happy, because inward happiness is the first and greatest element of success.
And for me, those gold letters 'magna cum laude' make me very happy. I know what I did to deserve them.
Art house Leidse Rijn Utrecht Netherlands - 2004-2010
Stanley Brouwn - artist - idea
Bertus Mulder - architect - realization
Recent realization: Since I began illustrating professionally, I haven't done nearly as much sketching for fun as I used to. Creative play helps remind me not to worry so much about being technically perfect, to just have fun with it.
I took advantage of the 1-day DeSerres Member 25%-off sale today at our local store (you need a coupon) to buy a bunch of supplies, most of which I'm going to use for PURE PLAY. Thank SO MUCH to my children's book writer/illustrator sister, Ruth Ohi, for alerting me to the sale; I usually unsubscribe from promo mailing lists so missed the announcement.
The small packets are cartridge refills for my favourite sketching pen, the Pentel Pocket Brush Pen. I go through a lot of them, so figure I may as get a bunch of them for the 25% discount. Also bought a pile of sketchbooks, watercolor sketchbooks and watercolors to play around with over the coming year.
Before you super-experienced artists start advising me to get higher-grade supplies -- I'm purposely opting for less expensive alternatives because (1) I'm still learning and (2) getting more expensive supplies will make me more self-conscious about experimenting.
Just LOOKING at my new art toys is making my fingers itch, wanting to dive in and start playing. CAN'T WAIT.
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More about me and my work: DebbieOhi.com. Twitter: @inkyelbows
All images ©2013 Debbie Ridpath Ohi. Please don't use without permission, thanks.
Towards the end of the Korean War, the USAF came to the realization that their transport fleet was becoming obsolete. The C-46 Commandos and C-47 Skytrains in service were no longer adequate, while the C-119 Flying Boxcar was having difficulties. In 1951, the USAF issued a requirement for a new tactical transport, an aircraft that would need to carry at least 72 passengers, be capable of dropping paratroopers, and have a ramp for loading vehicles directly into the cargo compartment. Moreover, it must be a “clean sheet” design, not a conversion from an existing airliner, and the USAF preferred it be a turboprop design. Five companies submitted designs, and six months later the USAF chose Lockheed’s L-402 design—over the misgivings of Lockheed’s chief designer, Clarence “Kelly” Johnson, who warned that the L-402 would destroy the company. Little was Johnson to know that, fifty years later, the L-402—designated C-130 Hercules by the USAF—would still be in production, and one out of only five aircraft to have over 50 years of service with the original purchaser.
The C-130 was designed to give mostly unfettered access to a large cargo compartment—the ramp forms an integral part of the rear fuselage, the wing is mounted above the fuselage, and the landing gear is carried in sponsons attached to the fuselage itself, while the fuselage has a circular design to maximize loading potential. The high wing also gives the C-130 good lift, especially in “high and hot” situations. The Allison T56 turboprop was designed specifically for the Hercules, and has gone on to become one of the most successful turboprop designs in history.
After two YC-130 prototypes, the Hercules went into production as the C-130A in 1956, to be superseded by the improved C-130B in 1959. The latter became the baseline Hercules variant: C-130As had three-blade propellers and a rounded “Roman” nose, while the B introduced the more familiar, longer radar nose and four-blade propellers. (Virtually all A models were later retrofitted to the long nose, though they kept the three-blade propellers.) In the 50 years hence, the basic C-130 design has not changed much: the C-130E introduced underwing external fuel tanks, while the C-130H has a slightly different wing. Even the new C-130J variant only introduced new engines with more fuel efficient six-bladed propellers: the basic design remains the same. Lockheed also offers stretched versions of the Hercules, initially as a civilian-only option (the L-100-30); the British Royal Air Force bought this version as the C-130K and it was later adopted by other nations, including the United States.
The basic C-130 is strictly a transport aircraft, but the versatility of the aircraft has meant it has been modified into a dizzying number of variants. These include the AC-130 Spectre gunship, the HC-130 rescue aircraft and WC-130 weather reconnaissance version. Other versions include several dozen EC-130 electronic warfare/Elint variants, KC-130 tankers, and DC-130 drone aircraft controllers. The USAF, the US Navy, and the US Marine Corps are all C-130 operators as well. Besides the United States, there are 67 other operators of C-130s, making it one of the world’s most prolific aircraft, with its only rivals the Bell UH-1 Iroquois family and the Antonov An-2 Colt biplane transport. C-130s are also used extensively by civilian operators as well as the L-100 series.
The “Herky Bird,” as it is often nicknamed, has participated in every military campaign fought by the United States since 1960 in one variation or the other. During Vietnam, it was used in almost every role imaginable, from standard transport to emergency bomber: as the latter, it dropped M121 10,000 pound mass-focus bombs to clear jungle away for helicopter landing zones, and it was even attempted to use C-130s with these bombs against the infamous Thanh Hoa Bridge in North Vietnam. (Later this capability was added as standard to MC-130 Combat Talon special forces support aircraft; the MC-130 is the only aircraft cleared to carry the GBU-43 MOAB.) It was also instrumental in resupplying the Khe Sanh garrison during its three-month siege. Hercules crews paid the price as well: nearly 70 C-130s were lost during the Vietnam War. In foreign service, C-130s have also been used heavily, the most famous instance of which was likely the Israeli Entebbe Raid of 1976, one of the longest-ranged C-130 missions in history. C-130s are often in the forefront of humanitarian missions to trouble spots around the world.
As of this writing, over 2300 C-130s have been built, and most are still in service. It remains the backbone of the USAF’s tactical transport service; attempts to replace it with the Advanced Tactical Transport Program (ATTP) in the 1980s and to supplement it with the C-27J Spartan in the 2000s both failed, as the USAF realized that the only real replacement for a C-130 is another C-130.
This former Royal Norwegian Air Force C-130H is in the Pima Air and Space Museum's restoration yard. Serial Number 355 was built for the RNAF, and served its entire career with 335 Squadron at Oslo-Gardemoen, from around 1978 to 2008. It was retired in favor of a C-130J, and flown to storage at AMARC in Arizona. In 2020, it was chosen by Coulson Aerospace for conversion to a C-130 firebomber, and towed from AMARC to Pima.
Though Pima does lack a C-130H (they have a C-130A and LC-130D), this looks to be a temporary home for 355. It still retains its RNAF colors and Spraylat preservative; the device on the rudder is a gust lock. If this aircraft will be flying again before long, I'm glad I got a shot of 355 in June 2022.
Project realization: 2017
Architect: @Gillespies, London
Project: Since 1779, The Piece Hall has stood proudly at the heart of Halifax. Originally built to support the trading of ‘pieces’ of cloth, it has been a meeting point of Halifax’s commercial, civic and cultural life for almost 250 years. In an ambitious and exciting new chapter, The Piece Hall has been reimagined as a new cultural and commercial centre. The Piece Hall has recently undergone a £19 million conservation and transformation programme.
On this day,,, I learned that the little I thought I knew about photography is nothing... such a depressing realization.. but it can be a driving factor.. i guess. :-/
- unsure.
Information on buildings and architecture
Führungen am Campus WU Leerzeile Leerzeile
University of the Future
Internationalism, innovation, diversity – the new Campus WU is the concrete realization of WU’s vision for a modern university. The fundamental principles of the new architecture reflect the values and ideas we cherish at WU.
As a public institution, WU has lived up to its responsibility of building its new campus in an economical, ecological, and socially sustainable manner. WU’s decision to locate the new campus in Vienna’s second district will redefine this area and transform it into an educational hub. We have not only constructed new buildings, but in the process we have also given concrete realization to our ideas of what the university of the future should look like. The new campus is more than just a place for academic research and teaching and learning practical skills; it is also designed to create a new space for social, cultural, and political life.
The imposing Library & Learning Center (LC), designed by the Iraqi-British architect Zaha Hadid, is a testament to the central importance of research and teaching at WU. The Library & Learning Center is surrounded by five building complexes, including the Teaching Center, which houses most of WU’s auditoriums. The Teaching Center is intended mainly for bachelor degree students, while the master degree programs are taught primarily in the individual Department buildings. The Executive Academy building is the home of continuing education and life-long learning programs. In this way, the various buildings and their functions reflect the three tiers of teaching and learning represented by the Bologna Process.
WU’s Department-based organizational structure was also a contributing factor. In the past, the various Institutes that make up the Departments were scattered across different locations. Now they have been brought together in four Department buildings, which will make life much easier for both students and faculty.
These are not the only improvements the new campus has to offer: All rooms have natural light, and the auditoriums feature state-of-the-art teaching equipment, including digital whiteboards. There are 3,000 student workplaces, three times as many as in the old buildings in Vienna’s ninth district. These workplaces are located not only in the dedicated self-study areas, but also in project rooms that can be booked by teaching staff and students alike. They cater to different needs by providing quiet spots for focused academic work as well as opportunities for work on group projects in communicationfriendly study areas.
The top priority in planning the new campus was to create an environment for WU students and staff that is conducive to productive work and communication.
Not only the buildings themselves, but also the surrounding grounds offer plenty of opportunities for communication and meeting people. 55,000 m² of Campus WU’s total 100,000 m² of floor and surface area is open, publicly accessible space. Fences or barriers would contradict our vision of an open campus.
Visitors and area residents are more than welcome at Campus WU. The campus offers not only food for thought, but also restaurants, cafés, and shops, all in a stimulating architectural environment.
As different as they may look, however, the buildings are all based on the same overall technical concept: the building infrastructure is standardized in terms of construction, energy supply, ventilation, and sanitary facilities. The entire campus has been designed in accordance with “green building” principles. Much of the required energy is obtained using geothermal energy from groundwater.
Another key feature of Campus WU is barrier-free accessibility. All auditoriums are specially equipped for people with disabilities, all areas are designed to be wheelchair accessible, and the campus also features a tactile guidance system for the visually impaired.
We have not only made sure to comply with all relevant legal guidelines, but we have also drawn on experience gained from best practice examples. WU aims to play a pioneering role – in all respects.