View allAll Photos Tagged Redesign
Redesign of Kafka's Letter To His Father
The letter was typed out on a real typewriter that was running low on ink...made me really appreciate modern keyboards!
I made Etch and all members of the Shadow Squad onto my commando template. When I finish all of them, I'll make a comparison video of the ones I made and the ones CAC made. Decals are made by me, but helmet was designed by Tyler, I just recreated it from scratch. And sorry for the repost, The other pic was crappy :p
MTA Chair & CEO Janno Lieber, Interim NYCT President Craig Cipriano, Acting MTA Bus President/SVP NYCT Buses Frank Annicaro, DOT Commissioner Ydanis Rodriguez, and Queens Borough President Donovan Richards announce the Queens Bus Network Redesign Draft Plan at Jamaica Av. & 150th St. on Tuesday, Mar. 29, 2022.
(Marc A. Hermann / MTA)
I think it's the last version for our Humvee and it is now durable, playable and windscreen is fixed. All the problem fixed and some customers already have the prototype in hand, and feedback is good. I have stop the production of the Humvee and new version will come out very soon. Sorry for any inconvenience caused when u built the old version Humvee.
(further information and pictures are available by clicking on the link at the end of page!)
Cathedral of St. Pölten
The Cathedral of St. Pölten
Apse
The Cathedral of St. Pölten (also cathedral of the Assumption) is a cathedral and since 1785 the cathedral of the Diocese of St. Pölten. Until the dissolution of the Augustinian Canons monastery of St. Pölten in 1784 it was the abbey church. The building appears despite well-preserved late Roman core a baroque building.
History
General view of the monastery of St. Pölten from 1653, still with the now demolished Parish Church on Cathedral Square
Predecessors
The origins of today's monastery of St. Pölten (St. Hippolytus) and thus of the cathedral date back to the period around the year 790. During this time it is said that the brothers Adalbert and Otakar from the Tegernsee monastery founded a daughter house in St. Pölten. The Benedictines also brought the Hippolyt relics to St. Pölten, from which the modern name of the city is derived. Since 828 the monastery was in possession of the diocese of Passau. The from there outgoing missionary activity can be supposed in the Great Moravian Empire, the church on Pöltenberg in Znojmo is suspected to have been founded from there.
With the invasion of the Magyars around the year 907, the monastery was almost completely destroyed. Only after the Battle of Lechfeld in 955 it was rebuilt. The first written mention of the monastery is found in 976 in a charter of Emperor Otto II for Bishop Pilgrim of Passau. Under Bishop Altmann of Passau it was in 1081 converted into an Augustinian Canons monastery and from then on it bore the patronage of St. Peter, in the 12th Century the high altar was the SS. Stephen and Hippolytus consecrated.
Today's church
Around 1150, a three-aisled church without transept church with twin towers was built as West plant (Westwerk), which was, however, already generously rebuilt 1267-1280 after a fire. This church was consecrated in 1228 by Bishop Gebhard in honor of the Virgin Mary ascension into heaven (the Assumption) that Patotrozinium that the Cathedral till today carries. In 1512 there was a devastating fire in the city, thereafter the North Tower was demolished and never rebuilt.
Today's figure of the cathedral emerged in the 17th Century. After a fire in 1621 the present diocese building was designed in the early Baroque. The last high point in the history of construction experienced the former convent under provost Johann Michel Führer. He was thrilled by the high baroque splendor of neighboring residences as Melk Abbey and found in the in the city living Jacob Prandtauer a like-minded partner. The planned reconstruction should expand the diocese building to a second floor and the exterior view of the church should become a three-tower ensemble (similar to the Seitenstetten monastery) with the existing tower at its center. This plan was not fully implemented, mainly because Führer burned the candle at both ends and the monastery was nearly bankrupt when he resigned in 1739. In addition to the spacious redesigning of the entire interior, especially by Daniel Gran and Bartolomeo Altomonte, only the tower was raised and fitted with a new dome.
1784, the monastery was abandoned by Joseph II . On 28 January in the following year the building became diocesan seat (cathedral) of the newly established Diocese of Sankt Pölten on the basis of the by Pius VI. adopted papal bull Inter plurimas.
In 1873 the reverend Josef Kinzl founded the Catholic patriotic folk and Preßverein (press association) for Lower Austria, publishing the St. Pölten messenger. Hence the NÖN (Niederösterreichische Nachrichten - news of Lower Austria) and the Lower Austrian Pressehaus have developed.
Architecture
The Choir of the Cathedral of St. Pölten
"As little as the viewer is expecting when he is looking at the outside of this cathedral, so surprising is the entry in the same, because objects appear to meet him from all sides, which deserve special attention, but probably at the same time arouse the wish that more light might brighten these masterpieces, God's temple somewhat economically illuminating".
- Representation of Erzherzogthums (Archduchy) Austria under the Ens (River Enns), 1835
The exterior
The floor plan of the exterior facade still consists largely from the around 1150 constructed building. Originally built as a three-aisled church without transept with twin towers as Westwerk, it was between 1267-1280 generously rebuilt in late Romanesque style after a fire.
The cathedral is directly connected to the diocese building, on the north side the church closes at the cloister. Despite the high degree of conservation of the late Romanesque building structure, is the construction baroque dominated by the mighty south tower with its double onion dome and the dome lanterns on the south aisle. From the late Romanesque building, the apse and the south façade have been preserved.
With exception of the two lower floors of the south tower, both towers have a Eckquaderung (corner block). At the west facade is main portal of the cathedral located with skylights and a broken pediment attachment. On both sides of the portal at the level of the second floor each is a statue of a saint: Hippolytus left, right, Augustine.
The interior
The interior of the church by Jakob Prandtauer, Joseph Munggenast, Daniel Gran and Bartolomeo Altomonte was baroquised. The ceiling frescoes designed partly Thomas Friedrich Gedon.
Organ
The organ is a work of Swiss company Metzler organ building from 1973 with 36 stops on three manuals and pedal. The prospectus stems from the original organ from the year 1722, built by Johann Ignaz Egedacher.
Bell
The cathedral has an almost complete peal from the Baroque period, cast in 1696 by Mathias Prininger from Krems. Only the bell 3 went lost through the bell deliveries in World War I and had to be re-acquired after two world wars.
No. Name nominal weight
(kg) diameter
(cm) casting year caster
1 Immaculataglocke a0 +2 4318 189 1696 Mathias Prininger
2 Zwölferin (ringing at twelve o'clock) cis1 +0 2223 151 1696 Mathias Prininger
3 Bishop anniversary bell e1 +2 1066 120 1955 Josef Pfundner
4/4 or Poor soul bell a1 +0516 93 1696 Mathias Prininger
5 Food bell cis2 +0264 73 1696 Mathias Prininger
There are also two other small bells that do not belong to the actual bells.
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
de.wikipedia.org/wiki/Dom_zu_St._P%C3%B6lten
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
MTA New York City Transit President Richard Davey at West Farms Square on Monday, June 27, 2022, the first weekday of the Bronx Bus Network Redesign. Davey greeted customers and employees, and rode the Bx36 route.
(Marc A. Hermann / MTA)
Since this set has blown up, I figure I'll address some common things I'm hearing:
- I know this is redundant, and not really classic or iconic, but I love this album and it seemed obvious to translate it into this style. It was fun for me to make, so all you Coldplay haters be thankful I didn't do Lady Gaga :P
Vårprojekt 2015 med utbildningarna vid Modeskolan STHLM och Silversmide & Smyckesdesign, Folkuniversitetet.
Kläder: Lisa Wakie
Smycken: Elisabeth Grigoriu
Fotograf: Evelina Lindqvist
Bildbehandlare: Nikko Knösch
Bionicle (c) Lego Group
~Hand design by syoya
~Plants and vines inspiration by Brickthing
MOC/revamp built by Me
Video review: youtu.be/b1TncfShr5Y
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.
The wheelie bike craze had been started by Swimm's Stingray back in 1963, and Raleigh's US arm had answered with the Rodeo in 1966 and the Fireball in 1968, all of them with very "swoopy" lines, but the British parent company commissioned industrial designers Ogle to come up with a very different and angular take in 1969 thus was born the "Chopper" and with a redesign in 1972 came this version the "Chopper Mk II". The main difference was the kink at the base of the seat stays offering more relaxed geometry, whilst effectively lengthening the wheelbase, and of course a safer design for the gear knob.
I shall not bore you with my tales of my own spectacular crashes for there are just too many!
In fall 2012, DOT cut the ribbon on a comprehensive redesign of Manhattan’s Delancey Street on the Lower East Side. One of the latest in a series of safety projects citywide, the project shortened pedestrian crossings at 14 locations, increased pedestrian space and crossing time, and enhanced signal timing and travel lanes for vehicles entering and exiting the Williamsburg Bridge.
The redesign adds more than 21,000 square feet of pedestrian space along the street, restricts several vehicle turns and also makes travel lanes more consistent. A new vehicle access point at Clinton Street also simplifies the connection from the FDR Drive, eliminating the need for vehicles to travel through residential streets to reach the bridge via Norfolk Street.
Learn more: on.nyc.gov/PGt5tO
Since this set has blown up, I figure I'll address some common things I'm hearing:
- I know this is redundant, and not really classic or iconic, but I love this album and it seemed obvious to translate it into this style. It was fun for me to make, so all you Coldplay haters be thankful I didn't do Lady Gaga :P
Marc Chagall, 1887-1985, Mutterschaft/Motherhood, 1914
Albertina - Sammlung Batliner
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
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.
Participants capture during the Session: Redesigning Humanitarian Action: Beyond the Crisis at the Annual Meeting 2017 of the World Economic Forum in Davos, January 18, 2017
Copyright by World Economic Forum / Sikarin Thanachaiary
A redesign of the newest scrabble logo and an attempt to revive the best of the old logo. More about the project on: matt.cc/post/212251069
Leg decals came out pretty small... So did the leg decals on Hex, which is currently sealing. I'm hoping to complete the Shadow Squad by Friday and make a comparison review by mid-February.
The Ricoh GRii is a compact digital point and shoot camera that is a redesign of the classic film cameras released by Ricoh in 1996. They were made famous by Daidō Moriyama the Japanese street photographer. Since then it has gone through many iterations and won several awards while staying faithful to the original cult classic and vintage design.
The Ricoh GRii has a fixed focal length that gives you a 28mm field of view (after crop factor). It has all the great functionality that you would take for granted with a professional DSLR, and is also packed full of great features that you would expect in any modern camera with extra goodies like an inbuilt ND filter (which you can set to auto) for those extra bright light situations when the maximum shutter speed of 1/4000 second won’t do, High Dynamic Range compensation for those high contrast situations that actually works. There is also interval and composite shooting modes, various prefocusing or “snap” modes that add extra punch to the focusing system and a whisper silent leaf shutter. And as you would expect, it’s extremely customisable.
When it comes to using the Ricoh GRii the menu although a nerds paradise is very intuitive to use. There is also a quick menu that allows you to get to all the functions you would need to change and adjust on the fly. It produces great DNG files that are rich in colour and crisp detail up to ISO 1600, the lens is super sharp at f4, and the controls are exactly where you would expect them, it’s an ergonomic dream.
The combination of great features and compact award winning design and a proven history of achievement, means you can shoot with something you know is reliable in any situation for capturing any subject of moment whether you are out with friends, or fancy a spot of macro. Where this camera really comes to life is street photography; as it offers precision with stealth. It’s a great little camera that you can always keep with you, and it’s great fun to use.
If you would like to use any of my photos please get in touch.
You can find me here on Facebook , Twitter , Instagram
Please visit my website www.sunprints.co.uk
Thank you
My new logo redesign for Language school Waves (Budva, Montenegro). The old one i did decade ago. ;]
The Renault Avantime is a grand tourer marketed by the French manufacturer Renault, designed and manufactured by Matra, between 2001 and 2003. As a one-box design without B-pillars, styled by Patrick Le Quément, the Avantime combined the design elements of an MPV, estate or shooting brake with the style of a 2+2 coupé and elements of a convertible.
The name 'Avantime' is a portmanteau of the French word Avant' (meaning "ahead") and the English word 'time'.
The Avantime was designed and developed in-house by Renault affiliate Matra and was conceived by Philippe Guédon, head of the automotive division at Matra, who "believed that the children of Espace owners remained loyal to the car even after they had grown up and left home. As a result, the renowned estate was gaining a generation of new drivers."
Styled by Patrick Le Quément, the Avantime was intended to combine the space of an estate with the four place pillarless qualities of a coupé. Regarding the styling, Thierry Metroz, design project manager, said, "We wanted someone walking around the car to be continually astonished." Anthony Grade, Renault‘s vice-president of design said, "The exterior and interior had to be coherent.
The one-box design eliminated B-pillars and featured an aluminium structure, aluminium panels for the greenhouse and a full sunroof of strengthened heat-reflecting glass.
The design borrowed the automotive space frame of the first generation Renault Espace (load bearing galvanized structure with non-load bearing composite panels) and used Renault's 24 valve, 207 hp (152 kW) 3.0L V6 engine, which was coupled to a six-speed manual transmission or five-speed automatic transmission.
The Avantime's sales were poor. When Matra decided to pull out of the automotive production business in 2003 (partly as a result of the financial loss incurred by the poor sales of the Avantime), Renault chose to discontinue the Avantime rather than move its production elsewhere. 8,557 were built from 2001 to 2003, a figure that makes it one of the worst-selling cars of all time.
As for most of the models built his November, the Renault Avantime is a major redesign of a previously created model. In LUGNuts there was a build challenge named 'Redo or Redemption' just for this type of build.
Chassis n° 74626
Les Grandes Marques du Monde au Grand Palais
Bonhams
Parijs - Paris
Frankrijk - France
February 2019
Estimated : € 205.000 - 225.000
Sold for € 212.750
Introduced in 1938, the 327 sports-tourer used the shortened, boxed, ladder-type chassis of the 326 saloon, shared by the 320, but with semi-elliptic rear springing in place of torsion bars. The gearbox was a Hurth four-speed manual unit with freewheel between 1st and 2nd gears, enabling clutch-less gearchanges at low speeds, while there were hydraulic brakes all round.
BMW's pushrod six had by now been enlarged to 1,971cc and developed around 55bhp in the 327, which could also be ordered with the 328 sports car's engine at extra cost. The 328's engine featured an ingenious new cylinder head, designed by Rudolf Schleicher, which incorporated hemispherical combustion chambers and inclined valves without recourse to overhead, or twin, camshafts. Instead, the engine's single, block-mounted camshaft and pushrod valve actuation were retained, thus avoiding an expensive redesign. Two rocker shafts were employed, one situated above each bank of valves, giving the engine an external appearance almost indistinguishable from that of a twin-overhead-cam design. Downdraft inlet ports contributed to the motor's deep breathing, and its tune-ability made it a popular choice for British racing car constructors, most notably Cooper, during the 1950s. The 328 engine produced 80bhp, an exemplary output for a normally aspirated 2.0-litre unit at that time, with more available in race trim.
Deploying the 328's state-of-the-art engine in a more civilised and comfortable package, the 327/328 is relatively rare, with only 428 completed up to 1940 when production ceased. Autocar magazine had got its hands on a 328-engined Type 327 Sports Cabriolet in 1939, achieving the highly creditable maximum speed, for a 2.0-litre car, of 96.77mph (156km/h) while testing the BMW at Brooklands.
Previously a 'barn find', this original BMW 327/328 appears to have been known to the 'Paris Oldtimer Club' since 1987, and in 2015 was sold by French dealer Christian Decombas to Mr Konstantin Zhukov. The car was then fully restored by Atelier Zhukov in 2016/2017 and sold to the present owner in 2018 (see photographic record of the restoration on file). One of the fastest and most elegant of 1930s sports cars, this rare and highly desirable BMW 327/328 is offered with French Carte Grise (1987) and Lithuanian registration papers.
A entry into the Out with the New category of the Colossal Castle Contest. The idea is to rebuild a recent Castle set in the style of castle sets in the 80s. I chose to rebuild The Gatehouse Raid set (#70402). I looked at pictures of Black Falcon and Crusader sets and only used techniques that were used in sets during the 80s. Unfortunately I didn't have enough old grey panels and bricks to build the castle, so I used bley. The older sets generally had more figs for the size of the build than more recent sets, so I added an extra attacking soldier. The drawbridge works nicely, and is operated by a crank in the gatehouse.
Projekt våren 2015 med utbildningarna vid Modeskolan STHLM och Silversmide & Smyckesdesign, Folkuniversitetet.
Kläder: Aritsara Cherry Kaeochin och Emelie Lundin
Smycken: Sanna Simonsson
Fotograf: Akseli Kaukoranta
Bildbehandlare: Pia Örn och Sofia Rogers
The mihrab (at the center of the Makkah wall where the imam usually leads the prayer) wasn't added until the second redesign around 670 CE of the mosque. It's the second mihrab ever to be added to a mosque, the first being in Muhammad's (saw) mosque in Madinah.
Here's the elegant design from the interior.
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