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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.
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)
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
U.S. Secretary of State Rex Tillerson delivered opening remarks at the Redesign Leadership Gathering at the Foreign Service Institute in Arlington, Virginia on November 29, 2017. [State Department Photo/ Public Domain]
Projekt våren 2015 med utbildningarna vid Modeskolan STHLM och Silversmide & Smyckesdesign, Folkuniversitetet.
Kläder: Sigrid von Heijne
Smycken: Sara Emsheimer
Fotograf: Fia Wessén
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
Projekt våren 2015 med utbildningarna vid Modeskolan STHLM och Silversmide & Smyckesdesign, Folkuniversitetet.
Kläder: Fanny Byhmer
Smycken: Lotta Nilsson
Fotograf: Anneli Karlsson
Bildredigering: Sara Gezelius
Furnished interior of recently rehabbed rowhome in Baltimore.
Design and reconstruction of unit courtesy TriStar Investing (tristarinvesting.com/).
The very last of the MG Midgets, leaving the Abingdon works on the 7th December, 1979.
Much like the MGB, the Midget was the last of the great sports cars of the 1960's, being built right up until 1980, but in the same sad twist as the MGB, resulted in it being deprived of its looks, its dignity and its glory.
But the Midget would rise again!
The original MG Midget began production in 1961, being for all intents and purposes a slightly more expensive badge-engineered version of the Austin-Healey Sprite MKII, and retained the quarter-elliptic sprung rear axle from the original Sprite. Power came from a 46hp BMC A-Series engine that was fitted with twin SU carburettors. The car came with a hard top, heater, radio and luggage rack. In October 1962, the engine was retuned to increase power to 56hp, and the original drum brakes were replaced with discs. Top speed was 88mph, and 0-60 was achievable in a mind-blowing 18.3 seconds! In all, the car cost £689 and ran at a consumption of 40mpg, which isn't too bad, although with such incredible speeds at the driver's command 40 miles may be a long time!
However, in a bizarre twist, the doors had no external handles or locks, and the windows were sliding Perspex side-screens. I can't give the early Midgets any points for safety then!
In 1964, the MkII was launched with a variety of external changes, including wind-up windows, swivelling quarter lights, external handles and separate locks. The windscreen also gained a slight curvature and was retained in a more substantial frame. The hood, though modified, continued to have a removable frame that had to be erected before the cover was put on. The rear springs were replaced by more conventional semi-elliptic types which gave a better ride. The engine block was strengthened and larger main bearings were fitted, increasing the power to 59hp.
For the MkIII, the engine was upped to a 65hp version of the A-Series engine used in the racing Mini-Cooper S. This came as a point of contention for fans as the original sporty engine in the Mini-Cooper could produce 76hp, and had been deliberately tuned down for the Midget. The detuned engine was used for reasons of model range placement – with the Cooper 'S' spec engine the Midget would have been faster than the more expensive MGB.
In late 1967, US-spec cars received several safety additions, including a padded dashboard with smaller main gauges, collapsible steering column, scissor-type hood hinges, a third windshield wiper, additional side marker lights, and anti-burst door latches. There were minor facelift changes to the body trim in late 1969, with the sills painted black, a revised recessed black grille, and squared off taillights as on the MGB.
However, things quickly went wrong for the Midget, with problems beginning with the formation of British Leyland, created in 1968 by merging all of Britain's major automotive firms including Rover, BMC (Austin/Morris) and Triumph (which was part of the Leyland Group). From the beginning of 1970, the company set its eyes firmly on winning over the US market, and thus planned their changes to the MG range.
Throughout the 1960's the death of James Dean had resulted in a gradual increase in safety legislation on US Highways, and in order to have a market there, cars had to conform. The height of the headlights, the bumpers, the smoke emissions, the recess of the switches, all of these things were scrutinised and had to be taken into account by car builders.
Indeed America can be owed with introducing many safety features and pieces of legislation we take for granted in modern motoring, but the British manufacturers almost seemed to go out of their way to redesign the cars completely and 100% wrong. In 1974 the glistening chrome was replaced by a gigantic bulbous rubber bumper that protruded from the front of the car like someone's bottom lip!
The A-Series engine was replaced by the 1493cc unit from the Triumph Spitfire and a modified Morris Marina gearbox with synchromesh on all four gears. The increased displacement of the new engine was better able to cope with the increasing emission regulations. Power though was still very much the same as before, producing 65hp and gaining a faster top speed of 100mph, and a 0-60 of 12 seconds, shaving hours of the 18 second times of before!
However, British Leyland was unable to keep the engine power at acceptable levels for US legislation, and thus the car was fitted with air pumps and EGR valves, as well as Catalytic Converters so as to keep in check. The result was that power was shaved to 50hp, and body styling was altered to increase rigidity, coming in the form of square wheel arches.
Much like with the MGB though, the Midget had suffered greatly at the hands of British Leyland. It's attractive little lines and glistening chrome now replaced by angles and plastic bumpers. Exported Midgets failed to sell in masses and would languish in the US for months awaiting sale. British Leyland had no choice but to pull the plug on the Midget once and for all, with the last car being released from the Abingdon works on the 7th December, 1979, with the final 500 for the UK market being painted in special edition black. The MGB was soon to follow, being axed in October 1980, and the historic home of MG in Abingdon was closed as part of British Leyland's desperate attempt to rationalise the financially stricken company.
In all, 226,001 MG Midgets were built in its 18 year life, and much like the MGB these cars had already gained a cult following even before the last ones left the factory. Japan was a keen importer of the Midget as well as the MGB, buying these cars up in droves. Today, you'd not be hard pressed to find these plucky little machines ambling about, chuntering through the countryside with the same grace and style that they had way back in the early 1960's. Even the British Leyland Rubber Bumper ones, despite their poor styling, do make for fantastic kit cars and weekend runabouts, fun and basic motoring for the masses!
Editorial/magazine redesign for Army Family 101 magazine, the family magazine for Fort Campbell, the home of the 101st airborne
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Primary Dilemmas and Solutions:
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DILEMMA: Old design reflects neither army nor family.
SOLUTION: Create a design that speaks to both army servicemen "AND" their family members via color palettes, type palettes, element palettes and improved editorial content organization.
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DILEMMA: Current uniform color theme causes content to run together and does not reflect the military, patriotism or family living.
SOLUTION: Create a color palette based on common army and patriotic colors and give colors a purpose throughout the publication, theme sections, etc. (i.e. give the family and brat life sections a warmer touch while maintaining an army gray as the base).
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DILEMMA: Content runs together and is lost through uniform design coupled with no content organization.
SOLUTION: Separate like content into departments and create a feature well. Create separate color themes for each section.
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DILEMMA: Old type palette does not speak to proper audience and does not complement the content.
SOLUTION: Create a base type palette that improves legibility, content organization and speaks to the proper audiences (both army servicemen and their family members).
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DILEMMA: Old magazine utilizes a flip strategy where the front half of the magazine is "Family Life 101" and when the magazine is flipped over, the second half of the magazine is "Brat Life 101". However, the content in the Brat Life half is not geared towards children. Instead, the content is still geared towards army servicemen with children dependents. This means that both halves of the magazine have the same audience. Also, flip magazines are historically a failed magazine model.
SOLUTION: Create a "Brat Life" section within "Family Life 101" and lose the flip book strategy.
Recently Twitter redesigned a bit, and I didn't think it was so hot. This morning I was bored so I refreshed their redesign. Notes explain the change.
Hey, I redesigned!
See the Designer Wallpaper group pool for more examples, or visit Jon for the original.
Reprox is a printing company established in 1986 and situated in Sao Paulo. To create this logo, I was planning to use primary colors (CMYK), registration and crop marks, etc. Then I realized that, in Brazil, 9 out of 10 printing companies use these elements.
I decided to use something different. I used 2 primary colors and 2 secondary colors which produces more colors.
I’d like to thank Rodolfo França www.flickr.com/photos/rodox/ for the valuable comments during the logo design.
2017 Chevrolet Equinox Redesign – The Chevrolet Equinox is due for a redesign that is complete the 2017 model 12 months. For its 3rd generation, Chevy is moving the crossover that is popular a new platform with a high possibility of adding turbo energy.
2017 Chevrolet Equinox Redesign
2017...
(further pictures and a lot of information you can see by clicking on the link at the end of page!)
Hofburg Michaelertrakt
Michaelertrakt
Famous dome
In his monumental outline to redesign the Hofburg Johann Lucas von Hildebrand in 1724 provided a large semi-cylindrical structure at St. Michael's Place, which was surmounted by a dome. For cost reasons, the overall planning was badly received by Emperor Charles VI. Joseph Emanuel Fischer von Erlach had to design three new projects. They contained for the time being no central dome. Finally, he began with the construction of the Winter Riding School adjoining wing of the building, but this remained unfinished around 1735. Later pictures show a half-finished, to the cornice progressed rotunda. The whole thing gave a somewhat ruin-like impression. Under the following Habsburgs the provisional status quo was maintained. In place of the left wing of today's Michaelertrakt was namely since the times of Emperor Ferdinand I a small ballroom in which the Court society played badminton. Maria Theresa in 1740 allowed the Court musician Johann Selliers to convert these sports venue into a comedy house, which should be at disposal both the Yard and the High Society. After several renovations, it had in 1760 found its final shape. Here was almost 130 years written theater history and cultivated the famous Burgtheater German. The Hofburgtheater was a meeting place for the Viennese society. The royal box through a corridor was connected with the imperial apartments.
Michaelertrakt
1888, the last performance took place. Shortly thereafter, the theater was demolished. Meanwhile, it had been replaced by the new Burgtheater on the Ringstrasse. Only now was the chance to close the gap between the Hofburg Imperial Chancellery Wing and the Winter Riding School and erect a representative portal. The already 72 years old castellan of the castle Ferdinand Kirschner took on this task, basing himself on the plans of the architect Joseph Emanuel Fischer von Erlach, which after the construction of the Imperial Chancellery Wing remained unimplemented. Nevertheless, the door building of St. Michael's tract is an independent work of the late historicist Viennese Ringstrassen era. It was strongly influenced by unexecuted designs of Nicolaus Pacassi (1769) and Carl von Hasenauer (1888 ). Construction work was completed after four years of construction 1893. As building material largely Zogelsdorfer sandstone was used. By the end of the monarchy, the St. Michael's gate served as the main entrance to the Imperial Palace. Only in the year 1919 the passage for public has been opened. In the years 1987/88 an extensive exterior restoration took place which was followed by an interior restoration of the dome in 1990.
Michaelertrakt
The Michaelertrakt limits with its concave wings the southeast side of St. Michael's Square. It extends between the Winter Riding School and the Imperial Chancellery Wing. The large central dome and two side domes give the building an imperial expression, so that hardly any of the always numerous photographing tourists would hit upon the idea that with it only 25 years before the end of the monarchy a centuries-old provisional solution was removed. Art historically more significant than the two wings is Michaelertor (gate). The huge Rotundenbau (rotunda building) is Vienna's largest passageway. The main cornice of the portal building is supported by four fluted column pairs. The large groups of figures on the parapet above it were created by the sculptor Johann Benk. They symbolize the three virtues that every ruler should possess - justice, wisdom and strength. Just above the main gate are the by two genii supported imperial coat of arms of Johann Silbernagel and a building inscription attached. The entrances into the rotunda are flanked by four giant Heracles figures that stem from different sculptors (Edmund Hofmann, Anton Paul Wagner, Johann Scherpe and Josef Lax). They correspond to the Heracles groups that created Lorenzo Mattielli at the castle yard side. Already Fischer von Erlach had provided at the curved fronts on Michaelerplatz large niches for monuments. Kirschner here had two monumental fountains of Laaser marble attached, whose sculptures should symbolize the power and glory of Austria. The "power at sea" at the facade to the riding school was designed by Rudolf Weyr and the "power on land" at the corner to Schauflergasse by Eduard Hellmer.
Michaelertrakt
The powerful, with sheet copper covered dome over the rotunda looks like a giant emperor's canopy. It is decorated with gilded valances and is illuminated by barred oculi (Ochsenaugen, bulls eyes) inside. Their height is 54 m outside and inside 35 m. Similar designed but slightly smaller are the two side domes. In addition to the thoroughfare for the wagons and the cars, two large side portals for pedestrians lead into the rotunda. The upper part of the driveway is completed by a high-quality hand-forged decorative lattice. On the walls of the left pedestrian entrance the "welfare of the Emperor" (Providentia Augusti) and the "hope of the fatherland" (Spes Publica) are represented allegorically. The right passage shows the "piety of the Emperor" (Pietas Augusti) and the "loyalty of the people" (Fides Publica). At the left side the former stage door of the Old Burgtheater was preserved as a window. To St. Michael's square, in the passages two groups of figures can be found, the "departure of the ruler in the war" by Otto König and the "Victorious Homecoming" by Stefan Schwartz. From the large circular hall two staircases lead into the two adjoining wings up. The Batthyány staircase is named after Karl Graf Batthyány, a general of Prince Eugene, who later became educator and lord chamberlain of Emperor Joseph II. It led till the fall of the monarchy into the offices of the dreaded Lord chamberlain's office. The opposite Feststiege (grand staircase) is an imposing, späthistoristische (late historicist), three-arm staircase. On the ground floor is on the right the entrance to the eye-popping exhibition rooms of the royal table and silver chamber and the Imperial Apartments. On the left, in 2003 a new foyer for the Spanish Riding School was created. In the exit to the Inner Castle yard stand in pillar niches four groups of sculptures the mottoes of the Emperor Charles VI, Maria Theresa, Joseph II and Franz Josef II symbolizing. They originate from the studios of the sculptors Anton Brenek, Richard Kauffungen, Franz Becher and Josef Beyer. The rooms on the piano nobile of the Michaelertrakt are equipped with gilded stucco ceilings and doors from the turn of the century. Three paintings by Josef Fux in magnificent oak-wood frame show the pageant for the silver wedding of Franz Joseph and Elisabeth.
2017 Audi SQ7 Redesign
2017 Audi SQ7 Redesign – The extremely predicted 2017 Audi SQ7 terrific SUV is called for to be a lot more qualified as well as aspect compared to the Q7 design. Audi has actually begun starting press screening of its up and also coming 2017 Audi SQ7. Like various ...
Redesigned the thing I didn't like about pre-crash bike, the dropouts... these are stainless steel and fit neatly into the chainstay
I know a lot of people are not a fan of Mulan's redesign but I on the other hand absolutely adore it!
I've been meaning to make this dress for quite some time now and I finally had some free time today! I've hoarded all these fabrics for months lol It's not perfect but a lot of my sweat and blood went into making it! So Enjoy guys!
Mini rant - If I, an amateur sewer/doll collector can make this outfit, I'm sure the DIsney Store is more than capable of mass producing it.
Brand and logo redesign for the Harvest Bible Church Logo.
The main challenge was to somehow link in the notion of harvest with the uber symbolic cross whilst keeping this particular church logo free of the visual cliches that often accompany many church logos.
I was approached by the Harvest Bible Church after they had seen the general style of my existing logo portfolio, so this was also a determining factor with the design style. A clean, smart, well defined church logo design was what this client was seeking.
The idea you see is basically formed from the imperfect lines of a soon to be harvest field, but also draws on the idea of a recently ploughed field which sets the beginning and creation of the crop cycle.
The horizontal and vertical lines converge creating this square/hatched shape which provides for a meaningful link to that one place where people will ultimately converge: the church.
Today, Chief Eddie Driggers and Mayor Keith Summey introduced the police department's newly designed police vehicles to the public. The new design incorporates the established city colors. Mayor Summey said, “The new vehicles are a long way from the first cars that hit the streets in the 70's.”
Photo by Ryan Johnson
A few weeks ago, that great guy Memory posted this on Flickr. He had used only the parts from set 8958 to create a custom model thingy.
I had the set, so I thought 'hey, why not?'. And also, I wanted to built something other than a boring old tractor, which pretty much everyone has built. I wanted to experiment with the tracks, so I wrapped one around three wheels (a tight fit), then built around that. You wouldn't believe how few goddamn pieces that set has. But I did it: a MineBike (sure, it's a little close to my made-up minecycle a few weeks ago, but that's all I can describe this as). The MineBike is intended for fast reconaissance missions (due to its small ground contact), but it also has a hook thingy for connecting big trays. Enjoy!
The 1948 - 1953 Chevrolet Series 3100 half-ton pickups benefited from a redesign that took Chevy trucks into a new era of comfort, convenience, and style.
Chevy's restyled "Advance-Design" trucks were introduced in 1947, well ahead of its first new postwar cars, and little changed in appearance through 1953. The basic intent was to provide more room and comfort for occupants.
All Advance-Design pickups had a new bench seat accommodating three persons, instead of the old separate seats -- and for the first time the seat was adjustable for leg reach.
The cab, described as "Unisteel Battleship" construction, was larger in every direction. New extra-wide doors swung open on concealed hinges and extended down to cover the sills. Glass area grew considerably via a wider windshield, side windows, and backlight -- Chevy called the result "Observation Car Vision."
Interiors were more colorful than ever before on a commercial Chevrolet, and the dashboard was functional and more glittery.
Mechanical conveniences included interior door locks, a large steering wheel, new steering geometry for less effort, more conveniently positioned foot pedals, an accessory radio, roomy glovebox, and full needle instrumentation.
The 1948-1953 Chevrolet Series 3100 half-ton pickups also featured "four-fold ventilation" through the easy-crank-down side windows, cowl-top ventilator, foot-operated floor vent, and a fresh-air inlet on the curb side of the cowl.
Light-duty trucks in 1947-1949 came only with a 216.5-cid six; later ones may be 235.5-cid, formerly used in heavier trucks. For 1950, the 235.5-cid engine got a redesigned cylinder head, to become the "105 Hi-Torque" six.
Changes through the period included gray (instead of body-color) inner grille bars for 1949; vent wings, a lower rear-view mirror, and elimination of left-hand cowl vents for 1951; pushbutton (instead of rotating) door handles for 1952; and a slimmer hood nameplate for 1953.
Collectible Pluses of the 1948-1953 Chevrolet Series 3100 Half-Ton Pickups
* Sleek styling
* Plenty of examples to choose from
* Strong collector support
* Pickups lead all other body styles in value
Collectible Minuses of the 1948-1953 Chevrolet Series 3100 Half-Ton Pickups
* Not strong as an investment
* Some body trim parts are very scarce
If You Need Logo Design So Let Me Know.
#logo #logodesign #graphicdesign #design #redesign #creativedesign #businesslogo #uniqe #vector #minimal #modern #professional #modernlogodesign #customlogo #startup #CoronaVirusUpdates #COVID19
"Mr. Sandman...bring me a dream...make him the cutest that I've ever seen...give him two lips like roses or clover....then tell him that his lonesome nights...are...over."
People saying my nightmare BF drawing looked like Cell. What's wrong with you people? THIS is Cell.
Bigadi and I (teamed up as Trashcats) redesigned another Converse print AD for the 250th issue of the Visions Magazin. The "original AD" is shown one spread before our redesigned one.
for my second print run i decided to redo the cover. hindsight, eh? i'm so much happier with this one. git it here! www.etsy.com/listing/83209886/cheeky-2012-pinup-calendar
Lego Spyrius Redesign
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If you like my work, want to see it early, and get extra content, then consider supporting me on Patreon: www.patreon.com/user?u=21579382
I'm also making the Illustrator file for my minifig template available on Patreon for all levels.
Looks like i'm in then.
See the Designer Wallpaper group pool for more examples, or visit Jon for the original.
Update: The redesign
This picture is out of date and has been updated in other photos within this set. No more PCs.
I am a Mac guy. This is not my primary set-up but I do use it for generating Shoutcast streams.
Alienware ALX (Vista)
Sony UX390n (Vista)
IBM titanium thinkpad (XP)
Winbook JV (Suse)
Audio equipment for broadcasting over internet or recording to Marantz drive (not in frame)
Stanton Mixer
Pioneer CDJ 800MK2 (DJ CD Turntable)
Stanton head phones
Apple HiFi (works great as studio monitor)
Soundsticks (plugged into the Alienware)
All of the appendages terminate at the edge of the paper except for the chelicerae. This one is folded from a rectangle. PVA glue was applied with a brush for the shaping.
Well they redesigned the Powerpuff Girls for that Dance Pantsed Special, I thought I would have a go. Powerpuff Girls created by Craig McCracken and copyright Cartoon Network.
Vienna Volksoper
The Volksoper is after the Vienna State Opera, the second-largest opera house in Vienna. The program will include operettas, operas, musicals and ballet.
(Pictures you can see by clicking on the link at the end of page!)
Seen from the Volksoper Währingerstraße from
History
Founding and time as spoken theater
The Jubilee City Theatre woodcut from the Leipzig magazine of 19 January 1899
1897 Karl Lueger was appointed mayor of Vienna. The architectural thought - ie the redesign of Vienna - was the prevailing social, economic and political trend in this as ring road time known era. In the same year the emperor anniversary Municipal Theatre Association (Kaiserjubiläums-Stadttheater-Verein) was founded by committed citizens of the City of Vienna to set up with the objective of the 50th Jubilee of Emperor Franz Joseph I in 1898 a theater for the performance of German speaking pieces in Waehring.
In addition to this club significantly involved was also the Christian Social dictrict leader of Währing Anton Baumann because the building until 1905 stood in the 18th District. The theater association commissioned the architect Alexander Graf with the implementation of the building, which together with the architect Franz Freiherr von Krauss built the Emperor's Jubilee City Theatre in just 10 months.
The total costs were estimated at 650,000 guilders before construction begins. This amount was financed through shares, which were sold like hot cakes. With some delay, the construction work was started in March, 1898. The high pressure of time led to a violation of the construction costs by approximately 25%, or 160,000 guilders. This missing amount was not subsidized by public authorities, but was imposed the director Adam Müller-Guttenbrunn in the form of a lease rate increase.
Another shadow over the opening on 14 December 1898 cast the fact that the emperor himself stayed away from the opening of the house, as his wife Elizabeth had been killed three months earlier. After this bad start of the theater followed after not yet five years in 1903, the first bankruptcy .
The musical theater from 1903 until the postwar years
The Jubilee City Theatre at the time of opening, 1898
On 1 September 1903, Rainer Simon took over the directorate. He for himself had completed his apprenticeship with famous singers such as Julius Stockhausen or composers like Engelbert Humperdinck. A clear goal in mind, although he would indeed continue the popular German speaking parts in the sense of its predecessor, but put the first steps towards musical theater. During the 1904/05 season - in which for the first time appeares in the subtitle Volksoper, too - Simons introduced the first comic operas. Due to the great public appeal, Simons already ventured 1906-1908 the leap to the big opera. From 1908 the venue operated only under the name Volksoper.
After many highly successful years, finally in 1925 the Volksoper massively had to fight with the effects of inflation. After some brief closures and various rescue attempts by the working groups Volksoper was closed on 5 July in 1928 and only on 5 November 1929 reopened as New Vienna Schauspielhaus. 1938 took over the city of Vienna the now Urban Vienna Volksoper (Städtische Wiener Volksoper) later renamed Opera House of the City of Vienna. Towards the end of the Second World War the Volksoper became, for several months, the second largest cinema of the city with 1,550 seats, since after 1 September 1944 for all theaters was ruling prohbition of theater performances and there were some Viennese cinemas already destroyed by air raids.
After the Second World War, the Volksoper served as temporary quarters for the destroyed Staatsoper. After the opening of the restored State Opera building in 1955, the People's Opera became again independent musical theater with operas, operettas and musicals. In the same year, the Volksoper was integrated into the Austrian Federal Theatre.
Recent history
Under the director Karl Dönch took place in 1973 a first major reconstruction of the theater house.
1979 Robert Jungbluth has initiated in his former role as Secretary General of the Federal Theatre Association for the Volksoper a guest performance in Japan. It was the first operetta which was performed in Japan. In 1984, followed an American tour.
September 1991 to June 1996, the Staatsoper and the Volksoper were under joint command. During this time singers were hired for both houses simultaneously. The season was, however, autonomous, since both platforms serve different priorities.
The People's Opera as stage house of the Austrian theater became with the Federal Law on the reorganization of the Federal Theatre (Federal Theatre Organisation Act) in 1998 a legally independent company. 1999 took place the establishment of the "Volksoper Wien GmbH" as a 100% subsidiary of the Federal Theatre Holding GmbH.
Since 1 September 2007 is the Volksoper Vienna conducted by Kammerschauspieler Robert Meyer as director and artistic director. Rainer Schubert acts as Deputy Director. At the same time Mag. Christoph Ladstätter was appointed Chief Financial Officer. Diethmar Strasser acts as artistic director of operations, and Gerrit Prießnitz is the musical director of studies.
Robert Meyer is pursuing a consistent policy of reform. Its goal is to position the Volksoper again as "the musical theater in Vienna" to enhance the operetta and to a wider audience.
Iron Curtain
An iron curtain of the Vienna Volksoper
On the Iron Curtain, the dedication of the house of the 50th anniversary of the reign of Franz Joseph I. By the two year figures 1848, on your left, and 1898, on your right, good recognisable. This was painted by Karl Schuller and Georg Janny.
The curtain is showing in the center front Vindobona. The man in the right half of the picture is supposed to symbolize the citizens of Vienna. By removal of the blindfold this one now should be able to see the beautiful muses, too.
Before the war, the curtain was cleared away and was then lost until it reappeared in the 1990s in the attic of the Theater an der Wien.
Facts and Figures
Spectators and house
Current seating plan of the Volksoper
At three different levels to visitors a total of 1261 seating and 72 standing places, and 2 wheelchair places are available. From September to June, there is, with few exceptions, every day a performance. The most important figures in recent years:
Season Performances Visitors avg seat utilization employees
2004/2005 [2 ] 287 293 695 75.41 % unknown
2005/2006 [3 ] 276 280 520 74.77 % 524
2006/2007 [ 4] 281 289 721 78.34 % 523
2007/2008 [ 5 ] 291 325 491 85.77 % 526
The for maintenance activities responsible federal-Holding has spent in the fiscal year 2006/2007 for a facade renovation of the historic building Volksoper EUR 1.1 million.
Specifications
Lighting and views to the orchestra pit at the Volksoper
The orchestra pit is equipped with two electrically powered lifting platforms. The load capacity is 500 kg/m² (front single podium, stage-sided double-decker panel) and is height adjustable from 0 to 2.65 feet below stage level.
The existing red velvet curtain head is hydraulically liftable and raff. The gathering speed is 0.15 to 3.0 m/s, the lifting speed is up to 2 m/s.
The sound curtain of aluminum frame also operates hydraulically. The additional capacity of 300 kg with a point load of 150 kg. The lifting speed as sound curtain is up to 0.8 m/s. The lifting speed as heavy truck is up to 0.5 m/s.
The hydraulically operated Schleierzug has a load capacity of 350 kg with a point load of 150 kg.
The stage area is 480 square meters with a maximum of 500 kg / m² load . The usable platform width is 17.2 meters and the depth of the stage from the front edge to the portal sliding gate are 19 meters.
Volksoper from the belt
The stage surface is made of a rotatable and raisable core disk having a diameter of 7.20 m in the middle, and a rotatable annular disc having an outer diameter of 15 meters of the core slices. Furthermore, there are three hand-operated, stationary personal meditations.
Organizational Structure
Since 1999, the Vienna Volksoper belongs to 100 % to the Federal Theatre holding just like the Staatsoper GmbH Vienna and Burgtheater GmbH. Another subsidiary is the theater GmbH which belongs to 51.1 % to the Federal Theatre Holding. The remaining 48.9% hold the three stage companies in equal parts (each 16.3%). Together with the Vienna State Opera, the Volksoper is subordinaded the independent consortium Ballet of the Vienna State Opera and Volksoper. Directors
Adam Müller- Guttenbrunn (1898-1903)
Rainer Simons (1903-1917)
Raoul Mader (1917-1919)
Felix Weingartner (1919-1924)
August Markowsky/Fritz Stiedry (1924 )
Hugo Gruder-Guntram/Leo Blech (1925 )
Frischler Hermann (1925-1928)
Jacob Feldhammer/Otto Preminger (1929-1931)
Leo Kraus (1931-1933)
Karl Funny-Prean/Jean Ernest (1934-1935)
Alexander Kovalevsky (1935-1938)
Anton Baumann (1938-1941)
Jölli Oskar (1941-1944)
Juch Hermann (1946-1955)
Salmhofer Franz (1955-1963)
Albert Moser (1963-1973)
Karl Dönch (1973-1986)
Eberhard Waechter (1987-1992, 1991-1992 also the director of the Vienna State Opera)
Ioan Holender (1992-1996, also the director of the Vienna State Opera)
Klaus Bachler (1996-1999)
Dominique Mentha (1999-2003)
Rudolf Berger (2003-2007)
Robert Meyer (from 2007)
Premieres
The Kuhreigen, Musical Theatre by Wilhelm Kienzl, 23 November 1911
Love chains, opera in three acts by Eugen d'Albert, 12th November 1912
The Testament, musical comedy by William Kienzl, on 6 December 1916
The lucky hand, drama with music by Arnold Schoenberg, on 14 October 1924
This is the first love affair, operetta by Eysler, 23 December 1934
On the green meadow, operetta by Jara Benes, on 9 October 1936
Spring Parade, operetta by Robert Stolz, on 5 March 1964
Felix. Or of someone who set out to learn to shudder, and jazz opera by Klaudia Kadlec (libretto ) and Max Nagl (music) after the fairy tale by the Brothers Grimm on 23 June 2002
Honorary members
Klaus Bachler
Franz Bauer-Theussl
Rudolf Bibl
Adolf Dallapozza
Otto Fritz
Hans Grötzer
Karlheinz Haberland
Johannes Heesters (since 1984)
Michael Heltau (since 2004)
Robert Herzl (since 1998)
Ioan Holender
Renate Holm
Mirjana Irosch
Wolfgang Schultze
Dagmar Koller
Erich Kuchar
Guggi Löwinger
Sigrid Martikke
Peter Minich
Sonja Mottl Dönch
Helga Papouschek
Herbert Prikopa (since 1986)
Harald Serafin
Wicus Slabbert (since 2005)
Christiane Sorell
Helmut Süß
Paul Walter Rudolf Wasserlof