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Relocated from Philae Island to Agilika Island.
Patrons: Tiberius Caesar Augustus 42 BCE-37 CE (r.14-37 CE) &
Caesar Nerva Traianus (Trajan) 53-117 CE, emperor (r.98-117 CE).
In June 2023, U.S. Coast Guard certified lampist Kurt Fosburg visited CBMM to relocate a third-order Fresnel lens from display in the second floor of the 1879 Hooper Strait Lighthouse to its new home at the entrance of the new Welcome Center where it will greet guests upon their arrival to campus.
Photo by George Sass
These remaining Concrete Plinths with their Holdfasts once supported the 350ft Transmitter Towers used on the Experimental Chain Home Radar Station.
During World War One the grounds and stables of Bawdsey Manor were requisitioned by the Devonshire Regiment and having been returned to the Quilter family after the War the Bawdsey Manor Estate was selected as the site for a new Research Station for the development of 'Radio Direction Finding' in 1935. The Treasury allocating one million pounds for the continuation of the research started at Orfordness. The Manor, estate buildings and 168 acres of land were sold to the Air Ministry in 1936 and Robert Watson Watt was appointed as Superintendent. In January 1937 the RAF’s Radio Direction Finding (RDF) Training School was established there and the first Chain Home Radar Station was developed on the site, coming on line in May 1937. In August a filter room was established to process data from two other recently opened Chain Home Stations, the tracking information obtained being used for the deployment of Fighter Aircraft. The Station was fully operational by the 24th of September 1937 providing long range early warning for the southern North Sea and the Channel approaches, as well as Radar coverage for Coastal Convoys. As well as research for the Air Ministry, a War Department (Army) Team was working on the development of Gun-Laying Radar that would enable Anti-Aircraft Guns to fire accurately with poor visibility. By 1939 acceptable Gun-Ranging Equipment was in service with an accuracy of 25 yards at a range of 10 miles.
Another important area of research was the development of an Identification, Friend or Foe (IFF) System allowing friendly Aircraft to be differentiated from hostile planes. As a result of this research, Aircraft were fitted with aerials incorporating motor-driven tuners that caused the reflected signal received by Ground Radar Stations to vary in amplitude. Later models employed an electronic unit that detected the presence of 'Friendly Radar' and then transmitted a coded signal causing the Ground Radar display to indicate a Friendly Aircraft. By Easter 1939 15 Chain Home Stations were available for use around the coast and Chain Home went into a 24 hour Watch System. On the outbreak of World War Two the Research Station staff were relocated to dispersed locations around the country. Bawdsey continued in the forefront of the expansion of the Radar Network with an AMES Type 2 Chain Home Low on a 200ft platform on the southern (No.4 of 4) Transmitter Tower. (Each Tower was 350ft high) This was able to detect Low Flying Aircraft and Coastal Shipping but not Small Vessels or Low Flying Aircraft just above sea level.
Towards the end of 1941 Coastal Defence Radar (Army CD Mk IV) was established at Bawdsey, this installation was taken over by the RAF on the 7th of December 1942 making RAF Bawdsey the only site in the UK with three types of Radar (CH, CHL and CD) in operation. By August 1943 Coastal Defence was changed to an AMES Type 55 Chain Home Extra Low (CHEL) again this was mounted on a 200ft platform on the northern (No.1) Transmitter Tower. In September 1944 RAF Bawdsey began monitoring the launch of V2 Rockets using specially developed Chain Home Receivers codenamed ‘Oswald’. Although there was no defence against the V2 Rocket once it had been launched Oswald was able to provide Bomber Command with the location of the Launch Sites which could then be attacked. Other CH Stations equipped with Oswald were RAF Stoke Holy Cross, RAF High Street, RAF Great Bromley, RAF Dunkirk & RAF Swingate. The run-down of Radar Stations started before the end of the War from a peak of 194 Stations in 1944 with only 36 remaining by 1947 and only 29 of those were manned at full readiness. RAF Bawdsey is listed as being operational with both CH and CHEL in 1948.
In 1950 the Station was chosen to participate in the ROTOR Programme which involved the construction of a new Underground Operations Room on a new 21 acre site on the north side of the Bawdsey Manor Estate, this was planned to be operational by January 1952 as part of the ROTOR Plan Stage 1. Towards the end of 1953, the Chain Home Equipment was taken out of service and placed in a state of ‘Care and Maintenance’ and the Chain Home Low array was removed from the southern Transmitter Tower.
For the later history of Bawdsey Manor as fighter control school see RAF Bawdsey GCI Rotor Radar Station. Today Bawdsey Manor is occupied by Alexanders International School, a residential language school. Many of the RAF Buildings have now been demolished but the Transmitter and Receiver Block, two buried reserves and a number of other buildings from all the major phases of the site still survive.
During World War Two RAF Bawdsey was identified as a potential target and in September 1939 was protected by three 40mm Bofors Guns and two .303 Lewis Anti-Aircraft Guns. With an increased fear of a German invasion, these Defences were supplement in 1940 by Slit Trenches, Sandbag Gun Emplacements, a concrete Gun Post and at least ten Type-24 Pillboxes, nine of these are still extant. There were several attacks on the Station during 1940 which did little damage with no casualties and on the 18th of October 1940 Anti-Aircraft Gunners shot down a German bomber. Sporadic attacks continued over the following three years with some loss of life, the last Bombing Raid near Bawdsey was on the 30th of June 1944. A V1 Rocket crashed on the beach on the 21st of September 1944 and a V2 Rocket detonated over the sea on the 9th of October.
Airman 1st Class Colin Anderson, a C-27 mechanic with the 135th Maintenance Squadron, Maryland Air National Guard, monitors the air pressure and operates the console for air bags that lifts the F-86 static display Nov. 5, at Warfield Air National Guard Base, Baltimore, MD. Over 50 members of the 135th and 175th Maintenance Squadron’s crash recovery teams worked to move the Korean War aircraft to make room for the new 135th operations building. (Photo By Staff Sgt. Benjamin Hughes)
The Whitney Museum of American Art, known informally as the "Whitney", was founded in 1931 by Gertrude Vanderbilt Whitney (1875–1942), a wealthy and prominent American socialite and art patron. The museum focuses on 20th- and 21st-century American art, with a permanent collection that comprises more than 21,000 pieces by more than 3,000 artists.
The Whitney occupied a modernist Upper East Side building from 1966 through 2014 before relocating to its current home, a nine-story, 200,000-square-foot Renzo Piano-designed building at 99 Gansevoort Street, in May 2015.
Alisal Recycler is a premier office mover, committed to help making your business move as simple as possible. Our services include the moving/relocation of:
Offices
Laboratories
Factories / Warehouses
Store fixtures
Corporate Suites
Hotel Furniture
Trade show equipment
From a bit of scanning on the interweb, it would appear that the three locos and three coaches seemingly abandoned in the vast former goods yard of Trieste docks are more than likely from the Trieste Railway Museum.
The museum was located nearby but was closed for renovation in 2017. And a bit like the tramway linking up Trieste with Villa Opicina that closed in 2016 following an accident….it remains shut! Things move slowly in Italy.
The yellow loco has an “ABL” makers plate on the side and the smaller green one is made by Deutz. No idea about the heavily vandalised old coach out of shot to the right.
Spotted this mother squirrel moving her little ones to a new location. This location was very near my mother-in-laws back door. But Mom may have moved them simply because they had out grown the hollow in the pecan tree! The hole just above her is where the little ones were.
Used the Motion Detection script in CHDK on the S5.
Kingdom | Richmond, VA | October 5, 2013
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We're going to be moving, so we're holding a relocation sale this week, offering 20% off all books purchased from the 'Vintage Books' section of our website between today and next Monday (2.07.12 –9.07.12).
We'll refund 20% off any vintage book purchase, once the payment has been made.
August Garden Journal Shots
relocated for the porch project but now back up there.
I use a lot fresh but harvesting for pesto has also begun.
Relocation - Day 2. Almost all our home sweet home is packed in boxes and it's being loaded in a big Finnish truck. Sigh. Sun and nearly 20 degrees in the outside. The neighbors coming and wishing us good luck even if we were plain foreigners just 2 years ago. I'm enjoying once more the view from the roof of our house in the top of a cliff.
Originally one of 40 gas lamps on London‘s Waterloo Bridge (opened 1817), offered to Port Adelaide Council in 1936 when bridge was to be rebuilt. Lamp was to be erected on the future Birkenhead Bridge, however the lamp languished in Council depot as its design did not fit with the architect’s modern bridge. In 1946 it was erected in a garden near the bridge, at a later date it was relocated to the grounds of Glanville Hall at Semaphore.
“The Port Adelaide City Council was informed by letter last night that the London County Council had granted its request for a lamp from the Waterloo Bridge, which was recently demolished. It has been suggested that the lamp should be placed in a prominent position on the Birkenhead Bridge.” [Advertiser 13 Mar 1936]
“A link between the old Waterloo Bridge, which spans the Thames, and the proposed Birkenhead Bridge, to span the Port River, will be established when a lamp from the historic London bridge is placed on the Birkenhead Bridge. The lamp is a gift to the Port Adelaide Council from the London County Council. Twenty months ago Mr. Herbert Morrison knocked out the first stone on the old Waterloo Bridge, and since then men have been working on the demolition of the structure, which had began to subside into the mud, making rebuilding necessary.” [The Mail 4 Apr 1936]
“The Chief Inspector of Factories in South Australia, Mr. J. P. Burnside, who will leave for England shortly, will arrange for the collection and shipment to Australia of two lamp standards from the bridge. They have been presented to the Port Adelaide City Council by the London County Council, and one will be erected at each end of the new Birkenhead Bridge when it is constructed.” [News 16 Apr 1936]
“The chief engineer of the London County Council (Mr. T. Pierson Frank) has informed the Port Adelaide City Council that it would not be possible to grant the request for a second lamp standard from the recently demolished Waterloo Bridge, as they had all been allocated. The council had intended to erect a lamp at each end of the new Birkenhead Bridge. An earlier request for one lamp was granted by the London County Council.” [Advertiser 10 Jun 1936]
“As shipping charges on the Waterloo Bridge lamp standard donated by the London County Council have amounted to £18/11/. including £7 for insurance, the Port Adelaide Council has decided to approach the Orient Line for a reduction in freight charges. The lamp standard, which arrived in the liner Orford last Saturday, is to be erected on the proposed Birkenhead Bridge. Lamp standards from Waterloo Bridge have been sent to various parts of the Empire. [News 28 Aug 1936]
“Lying in the Port Adelaide Corporation depot waiting for some one to suggest a use for it, is one of the big gas lamps taken from the Waterloo Bridge when it was demolished some years ago. . . It was originally intended to have the lamp placed on the Birkenhead Bridge, but its value is sentimental rather than aesthetic, and the architects and designers of the bridge showed little enthusiasm for the suggestion that povision [sic] should be .made for the lamp in the design of the bridge. The lamp stands about 5½ ft. high on an iron base of about the same height, giving the lamp and stand an overall height of about 11 ft. with a base 24 in. square. It has been suggested that it should be used as a silent cop, suitably fenced off, at one of the busier points of the city with an electric light installed in the old square gas lamp. . . It cost the council about £30 to bring the lamp out to Australia.” [Advertiser 4 Feb 1938]
“A suggestion. . . that the lamp should be placed in the new traffic island near the Hindmarsh Bridge has been received unfavorably by the council authorities.” [Advertiser 8 Feb 1938]
“After various suggestions for the disposal of the Waterloo Bridge lamp. . . it was decided that Alderman Clouston and the City Engineer (Mr. W. W. Tapp) should find a suitable site for the lamp as a traffic cop near the site of the Birkenhead Bridge, preferably in Nelson street.” [Advertiser 11 Feb 1938]
“Two ornamental lamps are to be erected in front of the new Port Adelaide Council offices, and the old lamp from Waterloo Bridge. London, has been again inspected as it reclines with lumber in a council yard. But the new building is architecturally modern, and the lamp old in design, so the two would not harmonise.” [News 1 Feb 1940]
“The cable announcing that London's new Waterloo Bridge was for the first time, fully open for traffic today, reminded me to ring the Port Adelaide Corporation offices to see what happened to one of the big gas lamps from the old Waterloo Bridge which was presented to the council by the London County Council in 1936. . . I was told the lamp is still stored away in the council yard. . . The new Waterloo Bridge was started in October, 1937, and construction went on all through the blitz.” [News 21 Nov 1944]
“Port Adelaide will have an historic link with London soon when a bronze lamp from the old Waterloo Bridge is erected near the Birkenhead Bridge. . . It is one of the 40 lamps of the original Waterloo Bridge. All the lamps are distributed throughout the Empire. The Port Adelaide Council recently decided to erect the lamp in a garden plot on the Birkenhead approach to the bridge.” [Advertiser 20 Jun 1946]
The Zacuto FS700 Grip Relocator gives users the freedom to place the Sony FS700 removable grip onto any 15mm rod. You can place the FS700 Relocator at a handgrip for shoulder mounted work or anywhere on a rig that is most comfortable for you and your set up. It uses Zacuto’s Zwivel technology so it can be swiveled up and forward or straight down for optimal comfort and rig compatibility. The FS700 handle screws into the Relocator with a ¼ 20 screw and is secured in place with a standard Arri rosette.
With the FS700 Grip Relocator users can comfortably control start/stop of the camera and zoom while working shoulder mounted. The Sony removable grip features four easy-to-use buttons including Start/Stop, Photo, 4x/8x expandable focus, and push-button auto iris. The Sony grip comes with a 12" cable.
Snake River cutthroat trout are moved to outdoor raceways due to the high density within the indoor tanks at Jackson National Fish Hatchery.
Photo: Liz Sunshine/USFWS
This former 1915 Rio Douro entrance rear range light has been relocated and is now on display at the Leca Lighthouse, Leca da Palmeira, Portugal.
The Zacuto FS700 Grip Relocator gives users the freedom to place the Sony FS700 removable grip onto any 15mm rod. You can place the FS700 Relocator at a handgrip for shoulder mounted work or anywhere on a rig that is most comfortable for you and your set up. It uses Zacuto’s Zwivel technology so it can be swiveled up and forward or straight down for optimal comfort and rig compatibility. The FS700 handle screws into the Relocator with a ¼ 20 screw and is secured in place with a standard Arri rosette.
With the FS700 Grip Relocator users can comfortably control start/stop of the camera and zoom while working shoulder mounted. The Sony removable grip features four easy-to-use buttons including Start/Stop, Photo, 4x/8x expandable focus, and push-button auto iris. The Sony grip comes with a 12" cable.
EDV is leading the construction of a new, expanded workshop for REBUILD Globally. This new workshop will be comprised of recycled shipping containers and existing structures on land donated by the Caribbean Lodge Hotel and will allow for the hiring of up to 40 more Haitian employees.
Employment is key to sustainable recovery in Haiti ...because for many Haitians, the earthquake’s effects have gone well beyond just destroying buildings. The disaster also robbed many of their livelihoods, leaving them without means to rebuild their lives.
We are honoured to help REBUILD expand their operations by using volunteer labour to construct their new workshop.
Thanks to REBUILD Globally and the Caribbean Lodge Hotel for letting us get our hands dirty on this great project.
Learn more about this project at www.edvolunteers.org/rebuild-globally-wo rkshop-construction
A relocation service will be the best option for you if you want to shift to a new place with the belongings of your office. The entire process will be a smooth one and you will also be able to save on time as well as money.
Tri Valley Recyclers is a premier office mover, committed to help making your business move as simple as possible. Our services include the moving/relocation of:
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Also,our relocation specialists can assist in setting your priorities, developing a relocation plan and helping with all aspects of your move.
Running a business is a lot of work. Let us take care of your relocation, so you can focus on what's most important to you.
The Zacuto FS700 Grip Relocator gives users the freedom to place the Sony FS700 removable grip onto any 15mm rod. You can place the FS700 Relocator at a handgrip for shoulder mounted work or anywhere on a rig that is most comfortable for you and your set up. It uses Zacuto’s Zwivel technology so it can be swiveled up and forward or straight down for optimal comfort and rig compatibility. The FS700 handle screws into the Relocator with a ¼ 20 screw and is secured in place with a standard Arri rosette.
With the FS700 Grip Relocator users can comfortably control start/stop of the camera and zoom while working shoulder mounted. The Sony removable grip features four easy-to-use buttons including Start/Stop, Photo, 4x/8x expandable focus, and push-button auto iris. The Sony grip comes with a 12" cable.
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.