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Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
This is a ~2040 year old, one denarius silver coin issued by the Roman Empire. The portrait depicts Caesar Augustus (real name: Gaius Octavian), the first emperor of the ancient Roman Empire - he ruled from 27 B.C. to 14 A.D.
This coin was produced at the Caesaraugusta Mint in Spain (= modern day city of Zaragoza) in 19 to 18 B.C. The flip side depicts a comet that appeared in the year 44 B.C. The pit on the cheek is a "banker's mark", which was made to test the legitimacy and solidity of the coin (fakes were made in ancient times).
-------------------------------
Identification: Augustus 37B of "Roman Imperial Coinage, Volume I", Second Edition
-------------------------------
See info. at:
en.wikipedia.org/wiki/Augustus
and
en.wikipedia.org/wiki/Denarius
and
A 22° halo is a halo, one type of optical phenomenon, forming a circle 22° around the sun, or occasionally the moon (also called a moon ring or winter halo). It forms as sunlight is refracted in millions of randomly oriented hexagonal ice crystals suspended in the atmosphere. The halo is large; the radius is roughly the size of an outstretched hand at arms length.As light passes through the 60° apex angle of the hexagonal ice prisms it is deflected twice resulting in deviation angles ranging from 22° to 50°. The angle of minimum deviation is almost 22° (or more specifically 21.84° on average; 21.54° for red light and 22.37° for blue light). This wavelength-dependent variation in refraction causes the inner edge of the circle to be reddish while the outer edge is bluish. As no light is refracted at angles smaller than 22° the sky is darker inside the halo.[3] A 22° halo may be visible on as many as 100 days per year.source: en.wikipedia.org/wiki/22%C2%B0_halo
In the summer, the presence of such ice crystals indicates the presence of stratospheric cirrus clouds, which can indicate an approaching cold front and strong lines of thunderstorms ahead of that front. As the cold air behind the cold front displaces summer heat, the temperature can drop so quickly that spring or summer heat can be followed by a flash freeze. This combination has led to the folklore that a ring around the moon indicates bad weather to come. The halo is not a 100% reliable predictor, but its presence does come close to the reliability of many 7-day forecasts.Brightness does not itself correlate with the probability of bad weather, since there can be many different reasons for increased or decreased brightness, many of them having nothing whatsoever to do with atmospheric conditions. In contrast, the solidity of the ring indicates that large ice crystals are evenly scattered through a large section of sky, which suggests that a similarly large portion of land below is in for a serious storm.source: www.sciences360.com/index.php/the-cause-of-the-ring-aroun...
Entrance foyer, the Plaza Theatre, which was below the Regent, Collins Street, Melbourne, opened on 10 May, 1929. It seated 1235 in its single-level Spanish-style auditorium, with its entrance adjacent to that of the Regent.
"Seating only twelve hundred people, and furnished in true old-world Spanish style, the Plaza provides the acme of comfort for every patron. Every seat is a luxurious lounge armchair. The entire floor space is covered with deep rich carpets. At every turn an objet d'art, never obtrusive but bringing a dash of old-world adventure and romance to the new world masterpiece of theatre construction." [Plaza Theatre advertisement (full-page), The Herald, 10 May, 1929, p. 11].
"Following the recent practice of designing theatres in accordance with the style of some particular period, the Plaza is Spanish in its decorative scheme. Entrance from Collins Street is by way of stairs leading to a court constructed after the manner of a Spanish close. the floor simulates the rough paving of a courtyard, and on one side a fountain pays. Through archways to the right is a rockery with orange trees, and here furniture of the appropriate Spanish period has been placed.
The auditorium also is decorated in a Spanish scheme, in which atmosphere rather than any particular period is suggested. On the roof a variegated design in which red, yellow and green are prominent, gives an appearance of solidity, and the scheme is extended to the leather chairs...
The 'talkies' provide their own accompaniment, and consequently an orchestra is unnecessary. An organ had been installed, however, to supplement the pictures when that is called for, and for solo items." [The Argus, 11 May, 1929]
In February, 1959, a new Cinerama screen and projection system were installed in the Plaza. The Regent Plaza Theatre is cited as one of the few cinemas adapted for Cinerama outside of North America.
The Cinerama screen was well forward of the proscenium, in front of the pit and the organ chambers. Although the organ was no longer able to be played in public, it was still operable, and was used by organists playing at the Regent for practice between the Cinerama sessions.
The Plaza closed in November, 1970. In December that year an auction was held at the theatre where everything that was not bolted down was auctioned off, raising a few thousand dollars.
Entrepreneur David Marinner earmarked the Regent for restoration when he established a revival movement for classical performing arts theatres in Melbourne during 1991. The Plaza Theatre was also fully and magnificently restored to its original ballroom format and reopened in 1996.
Built in 1906 at no. 4190 Bridge Street.
"Constructed in 1906, the Old Imperial Bank is a massive limestone structure with an eclectic blend of Romanesque Revival and French Renaissance architecture. This grand three-storey building occupies the southeast corner lot in Niagara Falls' historic downtown at Bridge Street and Zimmerman Avenue.
The property is recognized for its heritage value by the City of Niagara Falls By-law 78-67.
The Old Imperial Bank building is one of the few old commercial structures remaining in Niagara Falls. The bank's central location in the downtown indicates the significant role it played in the economic development of the surrounding businesses and is a remarkable symbol of the once prosperous Village of Elgin.
The Old Imperial Bank is over 100 years old and it continues to this day to dominate the downtown landscape. The Imperial Bank was first located in a building across the street from its current location, on the southwest corner of Bridge Street and Clifton (now Zimmerman) Avenue. In 1905 the Imperial Bank bought Coulson's Bake Shop on the designated property and tore it down for the new bank to be built. Designed in 1906 by the Toronto firm of Darling and Pearson, the new bank building was a branch of the Imperial Bank (later known as the Canadian Imperial Bank of Commerce) until 1967. The bank became nationally famous in 1964 when it was the site of Niagara Falls' biggest bank robbery. Cutting into the southeast corner vault from an adjacent building, the robbers escaped with $900,000. They were captured three weeks later. Ironically, the building's stone construction was specifically designed to represent solidity, safety and security. Despite this unfortunate incident, the bank has withstood over 100 years of wear and still stands as a solid and distinguished reminder of the downtown's earlier prosperity.
The building is an eclectic blend of architectural styles contributing to a dominant yet elegant presence on the corner. It is a mixture of Romanesque Revival and French Renaissance styles as both were common in North America during this time period. The Old Imperial Bank was constructed with a quarry faced limestone exterior. The solid stone sections seem almost overly large for the building's scale, but they appear to have been deliberate to imply a building of strength and security that the Imperial Bank hoped to portray as its image. This monumental image is exhibited by details such as the carved door lintels and large cut stone window surrounds." - info from Historic Places.
"Niagara Falls is a city in Ontario, Canada, adjacent to, and named after, Niagara Falls. As of the 2021 census, the city had a population of 94,415. The city is located on the Niagara Peninsula along the western bank of the Niagara River, which forms part of the Canada–United States border, with the other side being the twin city of Niagara Falls, New York. Niagara Falls is within the Regional Municipality of Niagara and a part of the St. Catharines - Niagara Census Metropolitan Area (CMA).
Tourism is a major part of the city's economy: its skyline is comprised of multiple high-rise hotels and observation towers that overlook the waterfalls and adjacent parkland. Souvenir shops, arcades, museums, amusement rides, indoor water parks, casinos, theatres and a convention centre are located nearby in the city's large tourist area. Other parts of the city include historic sites from the War of 1812, parks, golf courses, commercial spaces, and residential neighbourhoods.
Tourism started in the early 19th century and has been a vital part of the local economy since that time. The falls became known as a natural wonder, in part to their being featured in paintings by prominent American artists of the 19th century such as Albert Bierstadt. Such works were reproduced as lithographs, becoming widely distributed. Niagara Falls marketed itself as a honeymoon destination, describing itself as the "honeymoon capital of the world". Its counterpart in New York also used the moniker. The phrase was most commonly used in brochures in the early twentieth century and declined in usage around the 1960s." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. During this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
Find me on Instagram.
The post-war AC Bristols were much sought after in the USA for whom the company built this pretty roadster to the standards of the Bristol aviation company with power provided by a BMW-designed 6-cylinder engine. Proof of its solidity is that the car is still in its original state.
2.000 cc
6 in-line
Post-War Preservation Unrestored Cars
Presented by Bruno Vendiesse
Chantilly Arts & Elegance Richard Mille
Château de Chantilly
Chantilly
France - Frankrijk
June 2019
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
One of the real pleasures of Flickr is finding out so much more about the areas you thought you knew.
I have been to Wymondham a few times, delivered beer to a hotel (more of that another time) and a friend used to run the Railway Inn near the station, but I hadn't really explored the town.
But having seen a friend's shots, I really thought I should go back and look at it anew. And then there was this building, the Abbey Church with two towers, ruins and all the associated history.
Whatever you think of the works inside, it is as a complete building, something to leave me, at least, in awe at the beauty. Of course, it might not please everyone, but it does me.
Many thanks to Sarah and Richard for taking me here.
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This massive church and its famous twin towers will be familiar to anyone who has ever been within five miles of Wymondham, pronounced Win-d'm; its presence always there above the roof tops, and still there on the horizon when the rooftops can no longer be seen. Closer to, it is like a mighty city on a hill. It is often referred to as Wymondham Abbey, which isn't entirely correct; but there was an Abbey here, and you can see a scattering of remains in the fields between the church and the river, gradually reduced over the centuries as the stone and rubble were taken away for use elsewhere.
We came to Wymondham on a day that was breathtakingly cold; although the temperature was hovering around freezing, there was a biting east wind that made it feel colder still. Hence, the clarity of the light in the photographs above. The top photograph, taken from the south on the far bank of the river, is worth a second glance, because it provides a number of clues as to how this extraordinary and magnificent building came to be the way it is today.
In the beginning, there was a Benedictine Priory, an offshoot of the Abbey of St Albans. It was founded here because, after the Conquest, William I granted the lands of Wymondham to the Duc d'Albini, and the Duke's brother was Abbot of St Albans. Part of the project consisted of building a massive Priory church, much bigger than the one you see today. In style, it was like the Abbey church of Bury St Edmund, or Ely Cathedral. It was a cruciform church about 70 metres long, and had twin west towers - you can see something similar today at Kings Lynn St Margaret. As at St Margaret, there was a third tower above the central crossing, the chancel extending a long way eastwards, and transepts that were as tall as the nave roof. It was completed during the 12th century.
You can see a surviving trace of the south-west tower in the photograph above. The base of its northern wall rises above the roofline at the western end of the clerestory, just beside the current west tower. The central crossing tower, however, was built to the east of the current east tower, the chancel extending eastwards beyond it.
D'Albini intended the church to serve the parish as well as the Priory, but this was not managed without recourse to the advice of Pope Innocent IV, who granted the people use of the nave and the north aisle, the Priory retaining the south aisle, transepts and chancel.
However, when the central crossing tower became unsafe in the late 14th century and had to be taken down, the Priory rebuilt it to the west of the crossing, actually within the nave. This is the east tower that you see today, now a shell. In turn, the parish extended the church further west, demolishing the two west towers and replacing them with the massive structure you see today. It really is huge; although it is not as tall as the church tower at Cromer, its solidity lends it a vastness not sensed there.
When the new east tower was built, the western face of it cut off the nave from the chancel, creating two separate spaces. When the west tower was built, it blocked off the former west window between the old towers. Because of this, Wymondham is the only medieval parish church in Norfolk, and one of the few in England, that has no window at either end.
Wymondham Priory became an Abbey in 1448, and seems to have lived its final century peaceably enough before being closed and asset-stripped by Henry VIII in the 1530s. The church then became solely the charge of the parish; the eastern parts, apart from the tower, were demolished.
Still without parapet or panelling, the west tower was never finished; but it features in the turbulent history of mid 16th century England because William Kett, one of the leaders of Kett's Rebellion, was hung from the top of it by Edward VI's thought police, a reminder of just how closely church and state became allied during the Reformation. It did give me pause for thought - hanging your enemy from a church tower seems such an obvious thing to do when you want to make a point. I wonder just how many more times it happened to less notable victims over the centuries, on church towers up and down the land?
You enter today through the great north porch, which is similar to that nearby at Hethersett, even to the extent of having an almost identical series of bosses. They depict rosary scenes in the life of Christ and the Blessed Virgin.
As I said, we came here on a spectacularly cold day, but I was delighted to discover that the interior of the church was heated, even on a Saturday. The church attracts a considerable number of visitors, as you might expect; but I still thought this was a nice gesture.
Wymondham church is above all else an architectural wonder; but in many ways this is a simple building, easy to explore and satisfying to visit. It has the feel of a small Anglican cathedral in that there is a pleasing mix of ancient Norman architecture and modern Anglican triumphalism; as in a cathedral, there are open spaces, and the old pews have been replaced with modern chairs, which almost always seems to work well. The glorious arcading, triforium and clerestory create a sense of great height; this, coupled with the lack of east or west windows, can make you feel rather boxed in, but I found I quite liked that; it made the place seem more intimate, despite its size.
The modern, triumphant feel to the place is largely owing to the vast reredos by Ninian Comper. This is generally considered to be his finest single work, and forms the parish war memorial. It was built and gilded during the 1920s and 1930s, and you have to say it is magnificent. It consists of three tiers of saints, with a glorious Christ in Majesty topping the tiers under the great tester. It was never completed; the space where the retable should be is now hidden by curtains.
The rood and beam, a bay to the west, is also Comper's work, and it is hard to conceive that work of this kind and to this scale will ever again be installed in an English church. The low sun, slanting through the south windows of the clerestory, picked out the gilding, and clever lighting from underneath helped to put Comper's vision of Heaven into practice. The row of candlesticks on the altar leaves you in no doubt in which wing of the Church of England Wymondham finds itself.
Comper's glory shouldn't distract you from the early 16th century facade above the sedilia. It is terracotta, and probably from the same workshop as the Bedingfield tombs at Oxborough. Here you see what might have happened to English church architecture if theReformation hadn't intervened. Looking west from the sanctuary, the original west window is clearly discernible, now home to the organ.
If Comper's work is a little rich for you, you may prefer the north aisle, which is wide enough to be a church in itself. Cleared of clutter, a few rows of chairs face a gorgeous early 20th century triptych depicting Mary and John at the foot of the cross. The Madonna and child towards the west is also Comper's, but the 1930s towering font cover on the typical East Anglian 15th century font is not; it is by Cecil Upcher. The south aisle is truncated, the eastern bays now curtained off; but here are the few medieval survivals in glass. From slightly later, but the other side of the Reformation divide, is an Elizabethan text on the arcade. It probably marks the point to which the pulpit was moved by the Anglicans in the 16th century.
St Mary and St Thomas of Canterbury is a church that it is easy to admire, and it certainly impressed me. Perhaps, it is not so easy a building to love. Inevitably, there is something rather urban in its grandeur, and even the warmth of the heating couldn't take the edge off the remoteness and anonymity you inevitably find in such a space.
However, the friendliness of the people on duty helped to make up for this. The area beneath the west tower has been converted into a shop, and the nice lady working there was very chatty and helpful. I have to say that I think it would concentrate my mind a bit, knowing that mighty weight was above me. The shop itself is good of its kind, selling books and religious items rather than just souvenirs, and more icons and rosaries than you would normally expect to find in an establishment of the Church of England.
The lady said that she was a Methodist really, and found the services rather formal, but she'd started coming to the Abbey because her daughter went there. "You ought to come, Mum, we're just like real Catholics!", she giggled, as she recalled her daughter's words. As a 'real Catholic' myself, I couldn't help thinking that we would have stripped out Comper's reredos long ago, and Masses would be accompanied by guitars and percussion, possibly with a modicum of clapping and the help of an overhead projector screen; but I kept my counsel.
Simon Knott, January 2006
Egypt, Dynasty 25 (730-663 BC)
Black granite, 664-653 BC
Toledo Museum of Art, Libby Endowment
This Statue follows traditions used for almost 3000 years for Egyptian royal statues: left foot striding forward, hands clenched at the sides, nude except for kilt and jewelry. The space between the body, arms and legs was left filled with stone, lessening the danger of breakage but also increasing the effect of solidity and mass. The roughened surfaces on sandals, wristlets, and shoulder and chest ornaments were once covered with gleaming gold.
Originally located among the rows of colossal statues of Dynasty 25 rulers that lined the roads leading to the Great Temple of Amun in Gebel Barkal, this image of Tanwetamani lost its head when these statues were thrown down and broken in 593 BC by an Egyptian army.
1992 Tetsuo HARADA
LE 38ème PARALLÈLE
1992s234-38th parallele-kajigawa-Japan
Hauteur 4 m, l’axe 20 m, dallage 25 m2
Granit rose de la Clarté
Kajigawa, Niigata, Japon
La ville de Kajigawa, au Japon, est située sur le 38ème parallèle (latitude). Cette ligne sépare la Corée du Nord de la Corée du Sud.
Tetsuo Harada a réalisé cette sculpture pour la paix et la réconciliation entre les deux Corée. Les deux blocs de la pyramide se rejoignent exactement au niveau du 38ème parallèle et sont unis par une spère.
Le Tricot de la Terre, porteur de paix et d’union, est également présent dans cette sculpture.
Comme Tetsuo Harada, la ville de Kajigawa et le Ministère de l’Equipement qui ont commandé cette sculpture, souhaitent exprimer ce message de paix. Ils invitent les autres villes du monde situées également sur le 38ème parallèle à exprimer cet espoir par la culture, l'art ou le sport.
La ville d’Athènes, également située sur le 38ème parallèle, a adopté ce thème “38ème parallèle, horizon” pour le programme artistique et culturel des Jeux olympiques de 2004. Le 38ème traverse : Italie, Espagne, Portugal, Turquie, Iran, Turkmenistan, Tajikistan, Chine, Corée, Japon, Californie, Utah, Colorado, Kansas, Indiana, Kentucky, Virginia.
1992
THE 38th PARALLEL
Height 4 m, axis 20 m, paving 25 m2
Pink Granite of Clarity
Kajigawa, Niigata, Japan
The city of Kajigawa, Japan, is located on the 38th parallel (latitude). This line separates North Korea from South Korea.
Tetsuo Harada created this sculpture for peace and reconciliation between the two Koreas. The two blocks of the pyramid meet exactly at the level of the 38th parallel and are joined by a marker.
The Knit of the Earth, bearer of peace and union, is also present in this sculpture.
As Tetsuo Harada, the city of Kajigawa and the Ministry of Equipment who commissioned this sculpture, wish to express this message of peace. They invite the other cities of the world also located on the 38th parallel to express this hope through culture, art or sport.
The city of Athens, also located on the 38th parallel, has adopted this theme "38th parallel, horizon" for the artistic and cultural programme of the 2004 Olympic Games. The 38th parallel runs through: Italy, Spain, Portugal, Turkey, Iran, Turkmenistan, Tajikistan, China, Korea, Japan, California, Utah, Colorado, Kansas, Indiana, Kentucky, Virginia.
1992 KAGIGAWA-NIIGATA (JAPON)
ASSOCIATION DE VILLE ET DE L’EQUIPEMENT
Le 38ème parallèle sépare la Corée de nord de celle du Sud. Ce lieu particulier devient dans la ville de Kagigawa le symbole de la Paix. Tetsuo HARADA semble tout à fait indiqué en y installant le Tricot de la Terre. Les liens du Tricot de la Terre se tournent vers cette sculpture, forte, pyramidale, rehaussée d’une très belle colonne de granit. La solidité et le temps semble imposer leur sérénité. On y vient à pied, en vélo, en voiture sur cet air destiné à la rencontre et au dialogue. Du train on l’aperçoit petite et de plus en plus grande avant de disparaître dans son écrin de verdure et de rizières. Plus qu’une simple destination le 38ème parallèle entoure la terre et se veut réunir les hommes de Paix. Athènes contribue à donner une suite ...
Sur le 38ème le programme est ouvert pour Hamonten (Chine), San Fransisco (USA), Sado (Japon).
1992 KAGIGAWA-NIIGATA (JAPAN)
CITY AND EQUIPMENT ASSOCIATION
The 38th parallel separates North and South Korea. This particular place becomes in the city of Kagigawa the symbol of Peace. Tetsuo HARADA seems quite appropriate by installing there the Knitting of the Earth. The links of the Knitwear of the Earth turn towards this sculpture, strong, pyramidal, raised by a very beautiful granite column. Solidity and time seem to impose their serenity. One comes there on foot, by bicycle, by car on this air intended for the meeting and the dialogue. From the train you can see it small and getting bigger and bigger before disappearing into its green and rice fields. More than a simple destination, the 38th parallel surrounds the earth and is intended to bring together men of Peace. Athens contributes to give a continuation ...
On the 38th the program is open for Hamonten (China), San Fransisco (USA), Sado (Japan) ...
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ASSOCIATION OF THE CITY AND THE EQUIPEMENT
The 38th parallel separtes North and South Korea. The sculpture represents in a way the union of both these countries. This particular site in Kagigawa city becomes symbol of Peace. Tetsuo Harada’s ideas and interests find a great deal of expression here, through the theme of the “Earth Weaving”. The links of the “Earth Weaving” head towards this sculpture, strong pyramidal, matched with an imposing granite column. The solidity and the permanence seem to surround the site with serenity. One can go there walking or by car, the area is dedicated to meetings ans dialogue. By train, one can catch the sight of it, slowly disappearing amongst the setting of greenery and paddy fields. More than a mere destination, th e38th parallel surrounds the earth and aims to unify men of peace. Athena contributes to giving a continuation...
One the theme of the 38th, opportunieies are to be found the Hamonten (China), San Francisco (USA), Sado (Japan)...
El paralelo 38 separa Korea del norte de Korea del sur. La escultura representa en cierta manera la union de estos dos paises. Tetsuo Harada parece completamente la persona indicada en este lugar para construir “La tejeduria de la tierra”. Los vinculos de La tejeduria de la tierra vuelven hara esta escultura, fuerte piramidal realjada par una manestuosa columna de granito. La solidez y la parecn imponer su serenidad. Se viene en este sitio destinado a los encuentros y al dialogo andando, en bicideta, en coche. Desde el tren se preda divisar pequerran mas y mas grande, rapidamente desapareciedo joyera de verdura y de arrozales. Mas que una simple destincion, “el 38 paralelo” rodea toto el planeta y quiere runir los hombres de paz. Alterras contribuye a dar una continuacion...
A proposito des 38 paralelo, los aportunidades quedan abiertas en Hamonten (China), San Francisco (Estados Unidos), Sado (Japon)...
For me by far its best recolour yet thanks to a very clean looking licensed SHELL livery and fake blacked out windows which some may consider crude but I think actually gives this fairly basic casting some extra solidity in appearance.
Found recently at Tesco as part of 2022 Case E.
Mint and boxed.
Wymondham Pron. Win-dum Abbey.
when the central crossing tower became unsafe in the late 14th century and had to be taken down, the Priory rebuilt it to the west of the crossing, actually within the nave. This is the east tower that you see today, now a shell. In turn, the parish extended the church further west, demolishing the two west towers and replacing them with the massive structure you see today. It really is huge; although it is not as tall as the church tower at Cromer, its solidity lends it a vastness not sensed there.
east tower: looking up When the new east tower was built, the western face of it cut off the nave from the chancel, creating two separate spaces. When the west tower was built, it blocked off the former west window between the old towers. Because of this, Wymondham is the only medieval parish church in Norfolk, and one of the few in England, that has no window at either end.
Ceiling of the main auditorium, the Plaza Theatre, which was below the Regent, Collins Street, Melbourne, opened on 10 May, 1929. It seated 1235 in its single-level Spanish-style auditorium, with its entrance adjacent to that of the Regent.
"Seating only twelve hundred people, and furnished in true old-world Spanish style, the Plaza provides the acme of comfort for every patron. Every seat is a luxurious lounge armchair. The entire floor space is covered with deep rich carpets. At every turn an objet d'art, never obtrusive but bringing a dash of old-world adventure and romance to the new world masterpiece of theatre construction." [Plaza Theatre advertisement (full-page), The Herald, 10 May, 1929, p. 11].
"Following the recent practice of designing theatres in accordance with the style of some particular period, the Plaza is Spanish in its decorative scheme. Entrance from Collins Street is by way of stairs leading to a court constructed after the manner of a Spanish close. the floor simulates the rough paving of a courtyard, and on one side a fountain pays. Through archways to the right is a rockery with orange trees, and here furniture of the appropriate Spanish period has been placed.
The auditorium also is decorated in a Spanish scheme, in which atmosphere rather than any particular period is suggested. On the roof a variegated design in which red, yellow and green are prominent, gives an appearance of solidity, and the scheme is extended to the leather chairs...
The 'talkies' provide their own accompaniment, and consequently an orchestra is unnecessary. An organ had been installed, however, to supplement the pictures when that is called for, and for solo items." [The Argus, 11 May, 1929]
Gustav Michael Pillig was in entire charge of the designing of decoration and the figure modelling for the Plaza Theatre.
In February, 1959, a new Cinerama screen and projection system were installed in the Plaza. The Regent Plaza Theatre is cited as one of the few cinemas adapted for Cinerama outside of North America.
The Cinerama screen was well forward of the proscenium, in front of the pit and the organ chambers. Although the organ was no longer able to be played in public, it was still operable, and was used by organists playing at the Regent for practice between the Cinerama sessions.
The Plaza closed in November, 1970. In December that year an auction was held at the theatre where everything that was not bolted down was auctioned off, raising a few thousand dollars.
Entrepreneur David Marinner earmarked the Regent for restoration when he established a revival movement for classical performing arts theatres in Melbourne during 1991. The Plaza Theatre was also fully and magnificently restored to its original ballroom format and reopened in 1996.
install shots from "Just a conspiracy of cartographers, then?" at Narwhal Art Projects, 2013. Photos by Jimmy Limit.
Rohtas Fort, (Qila Rohtas) is an exceptional example of early Muslim military architecture in Central and South Asia, for it was built essentially for military purposes. Following the defeat of the Mughal Emperor Humayun in 1541, Sher Shah Suri built a strong fortified complex at Rohtas, a strategic site about 16 kilometres north-west of the city of Jhelum.
The gigantic fort is founded on steep rocks jutting into the river Kahan, its ramparts protected on the west and north sides by the river and by high hills on its east and south. It was never taken by assault and survives intact to the present day. The main fortifications consist of the massive walls, which extended for more than 4km; they are lined with bastions and pierced by monumental gateways.
There are indications that more structures had existed earlier, which either collapsed due to neglect, or were demolished in Mughal or later periods.
The Rohtas Fort is now a protected monument under the Antiquities Act 1975, and maintained by the Department of Archaeology, Government of Pakistan. Owing to its marvelous qualities of strength and solidity, and being the finest specimen of medieval military architecture in Pakistan, the fort was inscribed in the World Heritage List, by UNESCO, in 1997.
Although built for purely military purposes, yet a few of its twelve gates were exceptionally fine examples of the architecture of that period. The Sohail Gate, guarding the south west wall, is in fair condition even today and it is being used as a rest house. This gate is an example illustrating that how a feature built for strength could also be made architecturally graceful. As it is more than eighty feet in height so it provides a grand entrance to the magnificent fort complex. Every part of its structure has been carried out in broad and simple manner, each line and plane has a sober and massive elegance, while the whole is aesthetically competent. Within the fort a small town has developed and several thousand people live here.
Source: www.rohtasfort.com/
Panoramic Shot of Entrance to Rohtas Fort, taken during PPA's recent trip to Rohtas and Jhelum. It was a wonderful venture. Met many new fellows and enjoyed their company.
Main auditorium, the Plaza Theatre, which was below the Regent, Collins Street, Melbourne, opened on 10 May, 1929. It seated 1235 in its single-level Spanish-style auditorium, with its entrance adjacent to that of the Regent.
"Seating only twelve hundred people, and furnished in true old-world Spanish style, the Plaza provides the acme of comfort for every patron. Every seat is a luxurious lounge armchair. The entire floor space is covered with deep rich carpets. At every turn an objet d'art, never obtrusive but bringing a dash of old-world adventure and romance to the new world masterpiece of theatre construction." [Plaza Theatre advertisement (full-page), The Herald, 10 May, 1929, p. 11].
"Following the recent practice of designing theatres in accordance with the style of some particular period, the Plaza is Spanish in its decorative scheme. Entrance from Collins Street is by way of stairs leading to a court constructed after the manner of a Spanish close. the floor simulates the rough paving of a courtyard, and on one side a fountain pays. Through archways to the right is a rockery with orange trees, and here furniture of the appropriate Spanish period has been placed.
The auditorium also is decorated in a Spanish scheme, in which atmosphere rather than any particular period is suggested. On the roof a variegated design in which red, yellow and green are prominent, gives an appearance of solidity, and the scheme is extended to the leather chairs...
The 'talkies' provide their own accompaniment, and consequently an orchestra is unnecessary. An organ had been installed, however, to supplement the pictures when that is called for, and for solo items." [The Argus, 11 May, 1929]
In February, 1959, a new Cinerama screen and projection system were installed in the Plaza. The Regent Plaza Theatre is cited as one of the few cinemas adapted for Cinerama outside of North America.
The Cinerama screen was well forward of the proscenium, in front of the pit and the organ chambers. Although the organ was no longer able to be played in public, it was still operable, and was used by organists playing at the Regent for practice between the Cinerama sessions.
The Plaza closed in November, 1970. In December that year an auction was held at the theatre where everything that was not bolted down was auctioned off, raising a few thousand dollars.
Entrepreneur David Marinner earmarked the Regent for restoration when he established a revival movement for classical performing arts theatres in Melbourne during 1991. The Plaza Theatre was also fully and magnificently restored to its original ballroom format and reopened in 1996.
Part of the complete sequence of seven early 14th century windows preserving most of their original glass in the choir clerestorey.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
River Dargle Flood Defence Scheme.
These images were taken towards the end of the second week of February 2017.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.
At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
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Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
And, at the same time, the guys are clearing away material used to build access ramps down into the riverbed.
The thought crossed my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Carlo Carrà was one of the most influential Italian painters of the first half of the 20th century. He is best known for his still lifes in the style of Metaphysical painting. He studied painting briefly at the Brera Academy in Milan, but he was largely self-taught. In 1909 he met the poet Filippo Marinetti and the artist Umberto Boccioni, who converted him to Futurism, an aesthetic movement that exalted patriotism, modern technology, dynamism, and speed. Carrà’s most famous painting, The Funeral of the Anarchist Galli (1911), embodies Futurist ideals with its portrayal of dynamic action, power, and violence.
With the advent of World War I, the classic phase of Futurism ended. Although Carrà’s work from this period, such as the collage Patriotic Celebration, Free Word Painting (1914), was based on Futurist concepts, he soon began to paint in a style of greatly simplified realism. Lot’s Daughters (1915), for example, represents an attempt to recapture the solidity of form and the stillness of the 13th-century painter Giotto. Carrà’s new style was crystallized in 1917 when he met the painter Giorgio de Chirico, who taught him to paint everyday objects imbued with a sense of eeriness. Carrà and de Chirico called their style pittura metafisica (“Metaphysical painting”), and their works of this period have a superficial similarity.
In 1918 Carrà broke with de Chirico and Metaphysical painting. Throughout the 1920s and ’30s, he painted melancholy figurative works based on the monumental realism of the 15th-century Italian painter Masaccio. Through such moody but well-constructed works as Morning by the Sea (1928), and through his many years of teaching at the Milan Academy, he greatly influenced the course of Italian art between the World Wars.
William Henry Moore (Plot - )
(October 19, 1872 – August 16, 1960)
Was a lawyer, author and Member of the Canadian House of Commons.
William Henry Moore was born in Stouffville, Markham Township, Ontario, on Oct 19 1872 to Rev. James Beach Moore and Hannah Elizabeth Greenwood. Moore was a direct descendant of Samuel Moore, an official in the 1670s in the American colony of East Jersey. He was also the great-great-grandson of Samuel Moore, a United Empire Loyalist and member of the Quaker movement, and the great-grand-nephew of three notable political leaders of the mid-1800s: Elias Moore, Reform M.P.P. during the Upper Canada Rebellion of 1837; Enoch Moore, who was convicted of high treason for his role in those same rebellions; and, Lindley Murray Moore, President of the Rochester N.Y. Anti-Slavery Society in 1838. He graduated in Arts at the University of Toronto in 1894 and went on to post graduate studies in Political Science. While studying at Cornell Law School, he was admitted into one of the Greek letter organizations (fraternities). He then went to Osgoode Hall to study law. He married Christine Mabel Bertram in Toronto June 23, 1898 (daughter of George Hope Bertram, MP for Toronto Center).
In 1903, Moore was appointed assistant to the President of the Toronto Railway Company.
In 1913, Moore built a large stone house on the east side of the mouth of the Rouge River in what is now Toronto. The property consisted of 175 acres that he had purchased from the original patentee, William Holmes. He called the estate Moorlands and it was kept in the family until the Metropolitan Toronto and Region Conservation Authority expropriated it in the 1960s. It was opened to the public as the Petticoat Creek Conservation Area in 1975.
Moore worked as a distinguished barrister in Toronto and became a Kings Counsel. He became the Secretary of the Canadian National Railway Company.
In 1922, Moore was awarded an honorary LL.D. by the University of Ottawa. Other awards included Doctor of Letters and Fellow of the Royal Statistical Society.
Moore was avidly interested in economics. In 1926, he was appointed Chairman of the Tariff Board. In his diary entry of Saturday, October 26, 1929, then Prime Minister William Lyon Mackenzie King wrote that he was "much impressed with [Moore's] knowledge of the tariff situation, etc." Moore held that position until 1930, when he was elected to the House of Commons for the riding of Ontario. Later, he would be chairman of the House of Commons Banking and Trade Committee. The French-Canadian journalist, Léopold Richer wrote of him in this role: One must see him in his role as the Chairman of the Banking and Trade Committee. Big and tall, a friendly giant, a thick trunk, sitting solidly in his chair, his legs stretched out, his arms on the armrests. His head gives the impression of solidity; without mincing his words, it doesn’t matter who is speaking, or what they are saying, he will give them their turn. He smokes almost continuously, sitting back in his chair, his pipe held in an enormous fist. His face remains impassive, he leads his listeners a little at a time, with long pauses for their benefit, handling interruptions peacefully. Then, he quietly calls members back to order, gives his opinion, allows others a chance to counter him, assuring all a common measure of justice. After a long session, he rises from his chair, his back hunched, with a tired demeanour, and retreats to the library to escape the petty quarrels.
Moore served in Parliament until April 16, 1945.
He died August 16, 1960 at the age of 87 years
At various times in his life, he was a director of Massey-Harris Co. Ltd., Canadian Colonial Airways Ltd., and Brazean Colliers Ltd.
According to Graham Fraser, Canada's sixth Commissioner of Official Languages, "William Moore was an improbable defender of French-language rights in Canada. He was, as he listed proudly in his biography, of United Empire Loyalist descent, and a farmer in Pickering, Ontario. ...In 1918, when World War I was still raging and in the aftermath of Regulation 17, which abolished French-language education in Ontario, Moore wrote a remarkable book entitled The Clash: A Study in Nationalities. In the book, he argued that British traditions called for bilingualism and inclusion, and shrewdly contrasted them with what he called the rigid Prussian approach."
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
A few days after we built this igloo the area was struck by a massive thaw. We returned to visit this igloo to see how it fared during this huge melt. It had shrunk and the entry way was now lower, but the igloo was otherwise intact and as solid as it would ever got.
Perhaps no building symbolizes America's capitalist ethic as readily as the . George B. Post's million-dollar landmark structure opened its doors for trading on April 22, 1903. On what has come to be the most recognizable Wall Street exterior, six massive Corinthian columns (draped today by a giant American flag) are topped by a pedimental sculpture entitled Integrity Protecting the Works of Man. (The original 90-ton version was replaced in 1936 with a durable lead-coated reproduction.) Designed by sculptor John Quincy Adams Ward, human forms representing Agriculture and Mining (at right) and Science, Industry and Invention (on the left) symbolize the sources of American prosperity. The forms flank a central 22-foot corpus of Integrity. Surrounding ocean waves portray the far-reaching influence of the Exchange. Inside, the cluttered stock floor sits beneath marbled walls and 95-foot windows, which splash the entire trading area with light. Not that anyone on the hive-like floor is paying much attention. As volatile stock prices rise and fall, maybe the solidity of the building itself makes it easier for traders to stomach the fortunes lost and gained on any given day. — Aaron Rasmussen
Ceiling of the main auditorium, the Plaza Theatre, which was below the Regent, Collins Street, Melbourne, opened on 10 May, 1929. It seated 1235 in its single-level Spanish-style auditorium, with its entrance adjacent to that of the Regent.
"Seating only twelve hundred people, and furnished in true old-world Spanish style, the Plaza provides the acme of comfort for every patron. Every seat is a luxurious lounge armchair. The entire floor space is covered with deep rich carpets. At every turn an objet d'art, never obtrusive but bringing a dash of old-world adventure and romance to the new world masterpiece of theatre construction." [Plaza Theatre advertisement (full-page), The Herald, 10 May, 1929, p. 11].
"Following the recent practice of designing theatres in accordance with the style of some particular period, the Plaza is Spanish in its decorative scheme. Entrance from Collins Street is by way of stairs leading to a court constructed after the manner of a Spanish close. the floor simulates the rough paving of a courtyard, and on one side a fountain pays. Through archways to the right is a rockery with orange trees, and here furniture of the appropriate Spanish period has been placed.
The auditorium also is decorated in a Spanish scheme, in which atmosphere rather than any particular period is suggested. On the roof a variegated design in which red, yellow and green are prominent, gives an appearance of solidity, and the scheme is extended to the leather chairs...
The 'talkies' provide their own accompaniment, and consequently an orchestra is unnecessary. An organ had been installed, however, to supplement the pictures when that is called for, and for solo items." [The Argus, 11 May, 1929]
Gustav Michael Pillig was in entire charge of the designing of decoration and the figure modelling for the Plaza Theatre.
In February, 1959, a new Cinerama screen and projection system were installed in the Plaza. The Regent Plaza Theatre is cited as one of the few cinemas adapted for Cinerama outside of North America.
The Cinerama screen was well forward of the proscenium, in front of the pit and the organ chambers. Although the organ was no longer able to be played in public, it was still operable, and was used by organists playing at the Regent for practice between the Cinerama sessions.
The Plaza closed in November, 1970. In December that year an auction was held at the theatre where everything that was not bolted down was auctioned off, raising a few thousand dollars.
Entrepreneur David Marinner earmarked the Regent for restoration when he established a revival movement for classical performing arts theatres in Melbourne during 1991. The Plaza Theatre was also fully and magnificently restored to its original ballroom format and reopened in 1996.
Bauhaus Museum Weimar, Germany
German architect Heike Hanada designed a minimalist concrete museum to celebrate the Bauhaus in Weimar, where the design school was founded 100 years ago. The building is dedicated to the design school creates a physical cultural presence for the Bauhaus in the German city where it was based between 1919 and 1925. Located near the Nazi-era Gauforum square and the Neue Museum Weimar, the Bauhaus Museum is a simple five-storey concrete box broken only with its entrance and a couple of windows. The enclosing shell of light-grey concrete lends the cube stability and dynamic solidity. Equally spaced horizontal grooves run around the facades of the museum, with the words "bauhaus museum" repeated in a band near the top of the building. Hanada designed the museum to be a public building for the city and has attempted to clearly connect it to the neighbouring park. With elements such as plinths, fasciae, portals, stairways and a terrace to the park, the architecture incorporates classical themes that underscore its public character.
The museum contains 2,000 m2 of exhibition space, which will be used to display around 1,000 items from the Weimar Bauhaus collection. A shop and entrance hall is located on the ground floor, with a cafe and toilets below, and three floors dedicated to telling the story of the Bauhaus above. Each of the galleries overlooks double-height spaces and are accessed from a long ceremonial staircase that stretches the height of the building. The visitors ascend a succession of interchanging open spaces and staircases until they finally arrive at the top floor where they are presented with an unobstructed view of the park. The cascading staircases are encased by ceiling-high walls and function as free-standing, enclosed bodies in the interior space. The collection is arranged to inform visitors about the history of the design school, with the gallery on the first floor dedicated to its origins in Weimar and the Bauhaus manifesto that Walter Gropius wrote in 1919. The second floor has exhibits that show how these ideas were implemented, with galleries dedicated to each of the Bauhaus directors – Gropius, Hannes Meyer and Mies van der Rohe – at the top of the building.
The museum in Weimar has opened to coincide with the centenary of the Bauhaus, which was established in the city in 1919. The school was forced to relocate from Weimar to Dessau in 1925, where Gropius designed a new school building for the institution. Following a short time based in Berlin the school closed for good in 1933. Although only open for just over a decade, the Bauhaus is the most influential art and design school in history. The ideas and people associated with the school had an incredible impact on design and architecture, and to mark its centenary we created a series exploring its key works and figures.
1992 Tetsuo HARADA
LE 38ème PARALLÈLE
Hauteur 4 m, l’axe 20 m, dallage 25 m2
Granit rose de la Clarté
Kajigawa, Niigata, Japon
La ville de Kajigawa, au Japon, est située sur le 38ème parallèle (latitude). Cette ligne sépare la Corée du Nord de la Corée du Sud.
Tetsuo Harada a réalisé cette sculpture pour la paix et la réconciliation entre les deux Corée. Les deux blocs de la pyramide se rejoignent exactement au niveau du 38ème parallèle et sont unis par une spère.
Le Tricot de la Terre, porteur de paix et d’union, est également présent dans cette sculpture.
Comme Tetsuo Harada, la ville de Kajigawa et le Ministère de l’Equipement qui ont commandé cette sculpture, souhaitent exprimer ce message de paix. Ils invitent les autres villes du monde situées également sur le 38ème parallèle à exprimer cet espoir par la culture, l'art ou le sport.
La ville d’Athènes, également située sur le 38ème parallèle, a adopté ce thème “38ème parallèle, horizon” pour le programme artistique et culturel des Jeux olympiques de 2004. Le 38ème traverse : Italie, Espagne, Portugal, Turquie, Iran, Turkmenistan, Tajikistan, Chine, Corée, Japon, Californie, Utah, Colorado, Kansas, Indiana, Kentucky, Virginia.
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1992
THE 38th PARALLEL
Height 4 m, axis 20 m, paving 25 m2
Pink Granite of Clarity
Kajigawa, Niigata, Japan
The city of Kajigawa, Japan, is located on the 38th parallel (latitude). This line separates North Korea from South Korea.
Tetsuo Harada created this sculpture for peace and reconciliation between the two Koreas. The two blocks of the pyramid meet exactly at the level of the 38th parallel and are joined by a marker.
The Knit of the Earth, bearer of peace and union, is also present in this sculpture.
As Tetsuo Harada, the city of Kajigawa and the Ministry of Equipment who commissioned this sculpture, wish to express this message of peace. They invite the other cities of the world also located on the 38th parallel to express this hope through culture, art or sport.
The city of Athens, also located on the 38th parallel, has adopted this theme "38th parallel, horizon" for the artistic and cultural programme of the 2004 Olympic Games. The 38th parallel runs through: Italy, Spain, Portugal, Turkey, Iran, Turkmenistan, Tajikistan, China, Korea, Japan, California, Utah, Colorado, Kansas, Indiana, Kentucky, Virginia.
1992 KAGIGAWA-NIIGATA (JAPON)
ASSOCIATION DE VILLE ET DE L’EQUIPEMENT
Le 38ème parallèle sépare la Corée de nord de celle du Sud. Ce lieu particulier devient dans la ville de Kagigawa le symbole de la Paix. Tetsuo HARADA semble tout à fait indiqué en y installant le Tricot de la Terre. Les liens du Tricot de la Terre se tournent vers cette sculpture, forte, pyramidale, rehaussée d’une très belle colonne de granit. La solidité et le temps semble imposer leur sérénité. On y vient à pied, en vélo, en voiture sur cet air destiné à la rencontre et au dialogue. Du train on l’aperçoit petite et de plus en plus grande avant de disparaître dans son écrin de verdure et de rizières. Plus qu’une simple destination le 38ème parallèle entoure la terre et se veut réunir les hommes de Paix. Athènes contribue à donner une suite ...
Sur le 38ème le programme est ouvert pour Hamonten (Chine), San Fransisco (USA), Sado (Japon)...
1992 KAGIGAWA-NIIGATA (JAPAN)
CITY AND EQUIPMENT ASSOCIATION
The 38th parallel separates North and South Korea. This particular place becomes in the city of Kagigawa the symbol of Peace. Tetsuo HARADA seems quite appropriate by installing there the Knitting of the Earth. The links of the Knitwear of the Earth turn towards this sculpture, strong, pyramidal, raised by a very beautiful granite column. Solidity and time seem to impose their serenity. One comes there on foot, by bicycle, by car on this air intended for the meeting and the dialogue. From the train you can see it small and getting bigger and bigger before disappearing into its green and rice fields. More than a simple destination, the 38th parallel surrounds the earth and is intended to bring together men of Peace. Athens contributes to give a continuation ...
On the 38th the program is open for Hamonten (China), San Fransisco (USA), Sado (Japan)
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Palais Hardegg
The palace Hardegg is located in the 1st Vienese district Innere Stadt, Freyung 1
History
1847 Empire Count Maximilian Hardegg commissioned the architects Johann Romano and August Schwendenwein with the reconstruction of the palace in rental palais in the style of the early historicism. It is thus one of the very rare examples of a rental palais in the Inner City. The earliest predecessor building, the Admont yard (Admonter Hof), documentary dates back to the 15th Century. In 1572 it became the palace Breuner and it followed many other noble families: 1670 Palffy, 1694 Kaunitz, Metternich in 1797, 1805 Esterházy and 1827 Colloredo-Manfeld.
The relatively narrow bright green facade to the Freyung let not suggest the size of the palace, which extends over two courtyards till Palais Ferstel. The 5-storey building has a rusticated basement with segmental arched windows with Bogenquaderung (arch ashlar structure) that have been opened (transformed) to business portals. A prominent frieze separates the four ashlar upper floors from the base area. The center and side axes are stressed on the first floor by balconies on double brackets that rest on pilaster strips with Diamantquaderung (diamond ashlar). The windows are framed with Corinthian pilasters and the central window, a triplet window, has got an incomplete Dreiecksgiebelverdachung (triangular pediment over roofing) with a coat of arms cartouche. In the centerline the windows of the upper floors are designed as double windows. While the top floor has got segmental arched windows and Fensterverdachung (window over roofing), all the other windows have got in the window formation rounded corners and a straight over roofing. Facia cornices and a massive rim cornice with beautiful ornamental demolding accentuate the horizontal.
River Dargle Flood Defence Scheme.
These images were taken towards the end of the third week of February 2017.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.
At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
=================================================
Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
And, at the same time, the guys are clearing away material used to build access ramps down into the riverbed.
The thought crossed my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Blythe size stand made of painted acrylic resin.
Inspired by 1986 fantasy film "Labyrinth" starring David Bowie and Jennifer Connelly, this stand shows a little corner of the world created by Jim Henson, Terry Jones and Brian Froud. You can clearly see a pair of cheating goblin hands on the point of (or they did it already?!) rotate one of the flagstones over which Sarah has being drawing marks trying not to get lost. I almost hear her crying "It's not fair!" :(
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
The pole is removable and it's crossed by a tin wire that can be bent to grab the doll.
The Old Cambridge Baptist Church is an historic American Baptist church at 398 Harvard Street in Cambridge, Massachusetts.
The congregation was founded in 1844 when several members of First Baptist Church in Cambridge decided to start a new church. The original meeting house was sold to the Congregationalists and became North Avenue Congregational Church. In 1869 the church constructed the current meeting house, a larger Gothic revival stone building, designed by architect Alexander Rice Esty. Old Cambridge Baptist Church was added to the National Register of Historic Places in 1982.
Built of local fieldstone and granite quarried in Somerville, Massachusetts, the building is a notable example of the muscular use of stone, typical of American Gothic Revival architecture. This solidity, coupled with Esty’s display of structural strength in the asymmetrical massing of forms, is further accentuated by the contrast between heavy gray stone and large, graceful, delicate stained glass windows, which the stone walls simultaneously reveal and protect.
In 1897, the original Parrish Hall was lost in a fire. The rebuild was under the direction of noted Boston Theater Architect, Clarence Blackall. The most notable feature of the reconstruction is an 1890 Tiffany & Company Window. This early Tiffany window bridges the gothic stained glass tradition and emerging art nouveau movement.
The church is currently home to various organizations and ministries, such as the Homeless Empowerment Project which publishes the Spare Change News street newspaper, the José Mateo Ballet Theatre, the Adbar Ethiopian Women's Alliance, the Cambridge Child and Family Associates, and others.
en.wikipedia.org/wiki/Old_Cambridge_Baptist_Church
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Main auditorium, the Plaza Theatre, which was below the Regent, Collins Street, Melbourne, opened on 10 May, 1929. It seated 1235 in its single-level Spanish-style auditorium, with its entrance adjacent to that of the Regent.
"Seating only twelve hundred people, and furnished in true old-world Spanish style, the Plaza provides the acme of comfort for every patron. Every seat is a luxurious lounge armchair. The entire floor space is covered with deep rich carpets. At every turn an objet d'art, never obtrusive but bringing a dash of old-world adventure and romance to the new world masterpiece of theatre construction." [Plaza Theatre advertisement (full-page), The Herald, 10 May, 1929, p. 11].
"Following the recent practice of designing theatres in accordance with the style of some particular period, the Plaza is Spanish in its decorative scheme. Entrance from Collins Street is by way of stairs leading to a court constructed after the manner of a Spanish close. the floor simulates the rough paving of a courtyard, and on one side a fountain pays. Through archways to the right is a rockery with orange trees, and here furniture of the appropriate Spanish period has been placed.
The auditorium also is decorated in a Spanish scheme, in which atmosphere rather than any particular period is suggested. On the roof a variegated design in which red, yellow and green are prominent, gives an appearance of solidity, and the scheme is extended to the leather chairs...
The 'talkies' provide their own accompaniment, and consequently an orchestra is unnecessary. An organ had been installed, however, to supplement the pictures when that is called for, and for solo items." [The Argus, 11 May, 1929]
In February, 1959, a new Cinerama screen and projection system were installed in the Plaza. The Regent Plaza Theatre is cited as one of the few cinemas adapted for Cinerama outside of North America.
The Cinerama screen was well forward of the proscenium, in front of the pit and the organ chambers. Although the organ was no longer able to be played in public, it was still operable, and was used by organists playing at the Regent for practice between the Cinerama sessions.
The Plaza closed in November, 1970. In December that year an auction was held at the theatre where everything that was not bolted down was auctioned off, raising a few thousand dollars.
Entrepreneur David Marinner earmarked the Regent for restoration when he established a revival movement for classical performing arts theatres in Melbourne during 1991. The Plaza Theatre was also fully and magnificently restored to its original ballroom format and reopened in 1996.
Bréton brut had as a style been established for a short while prior to this buildings inception, but it was its somewhat trend setting architect that gave widespread acceptability and validity to the movement. It captured the imagination of architects reacting against the recoil of New Humanism and restricted by the economics of the time.
The Unité d'Habitation built in Marseille, France in 1952 is absolutely of its time. Every tower block in the immediate vacinity appears to pay homage to the Unité, They are unashamed of their debt, aesthetic or otherwise, and yet even with benefit hindsight do not appear to be 'better buildings', mere pale imitations.
Steel being consumed in the war effort and the lack of skilled labour in France lead to the choice of concrete, with a more honest and rough finish. Banham says it is ever the more successful due to Corbusiers abandonment of the “pre-war fiction that reinforced concrete was a precise, ‘machine-age’ material”. This notion which had been maintained by extravagant and un-necessary means, such as “lavishing on it skilled labour and specialised equipment beyond anything the economics of the building industry normally permitted”. That is equipment that would give rise to the exacting edges and if these were not achieved then the “roughness and inaccuracies” were plastered over to give a more crisp image, hardly accepting the ‘realities of the situation’. The situation was firmly one of a “messy soup” with “dust, grits and slumpy aggregates, mixed and poured under conditions subject to the vagaries of weather and human fallibility”, hardly an image of high-technology.
The war had also changed Corbusiers perspective of technology’s place in architecture, compare for example the machine for living in, the Ville Savoye (Paris, 1929), compared with schemes such as (although later than the Unité) Notre Dame du Haut built at Ronchamp in 1954. The Unité had been described as “the first modern building that has room for cockroaches”, retort to Le Corbusier stating in a letter to Madame Savoye that “‘Home life today is being paralysed by the deplorable notion that we must have furniture” and that “This notion should be rooted out and replaced by that of equipment”. Banham in his book ‘The New Brutalism’ notes the Unité’s “originalities in sectional organisation”, with its rue Intérieure, apartments with double height spaces all of which in section span the entire width of the block. He also suggests “few buildings anywhere in the world had such a hold on the imagination of young architects especially in England”. Corbusier described his rough concrete style as béton brut, words which (rightly or wrongly) would come to be misinterpreted as representing the New Brutalist style as well as that of béton brut. The solidity of the Unité is furthered from mere concrete security by the setting back of “user-scale elements such as windows and doors” into the concrete frame of the building, giving a sense of a secondary boundary further to the superstructure of the building. As Banham describes it, a building where “word and building stand together in the psychological history of post-war architecture” . He attributes further its success to the “hard glare of the Mediterranean sun” . Something which does not quite translate so well in the greyer skies of Britain, something of the disappointment of driving a new car out of a showroom and home, notwithstanding your home being an equally apt setting.
River Dargle Flood Defence Scheme.
These images were taken towards the end of the third week of February 2017.
These are the critical stabilisation works at the Silverbridge site, adjacent to the N11 dual-carriageway:
Back in November 2014, we'd observed bank stabilisation works here involving excavation, repair and building of a support wall structure -- carried out by JONS Construction on behalf of the National Roads Authority.
We would occasionally catch sight of this work in the distance. Quite an impressive little piece of structural engineering.
Having built a retaining concave wall, backfilled for solidity, they were also drilling, fixing and sealing ground anchors to pin the entire structure together.
Now we see that further works are being undertaken.
Word has it that extra ‘stabilisation work’ had to be done to protect the integrity of the riverbank.
At the section here we can see that there’s not much space between the edge of the rock face and the Armco at the side of the dual-carriageway.
Have yet to determine what precisely that will entail. Serious work to reinforce the side access ramp down to the river.
The N11 carriageway runs adjacent to this sunken side of the riverbank -- barely 2 (large) paces divide the two. Even with twin strips of Armco along the roadside, it's perilously close. Traffic speeds along this stretch (maximum speed 100 kmp). Only needs a touch from a heavy vehicle to cause secondary impact, which (worst possible scenario) could result in something going airborne.
Working in these confined spaces puts a premium of safety and communication.
The guys have hard-filled a working shelf on the riverbed, to allow machinery access to the rockface. Obviously some serious drilling is called for before a form of extra 'pinning' is put in place.
They have sunk a series of hollowed tubes/casings -- obviously to form the foundations of a more extensive structure.
And some investigative work around the transverse buttress of the access bridge, parallel to the heavy-duty pipeline carrying water down from the Vartry reservoir.
At a (rough) guess -- I'd say the foundations were sunk to a depth of approx 4+m.
With such secure foundations in place, they would then look to construct a substantial bank of material, and/or retaining wall (similar to that in place further along the roadside bank).
=================================================
Previously the guys drilled and sunk 4+metre deep reinforced tubing and rods along a newly laid concrete base. Those stubs were then used to attach steel rod cradles -- which, in turn, were filled with poured concrete. Result - the wall quickly rises. Variation on the method they've used elsewhere along this stretch of the river.
A continuous stretch of protective wall has now been poured, and joined up with the section originally erected back in 2014.
As we can see from the side-on shot, the base of the wall has pre-cut openings for the retaining pins that have been driven into the side wall of the roadside cliff. These have been sealed and capped.
Progress has been rapid, the full stretch of wall is completed, and the guys are now working on back-filling the empty space between the protective wall and the roadside rock face. You don't just throw in a few trucks loads of soil and hope for the best. You load, layer, level and compress.
And, at the same time, the guys are clearing away material used to build access ramps down into the riverbed.
The thought crossed my mind -- in doing so (removing the stone-filled gabions etc,) are they potentially exposing the river bank on that side to erosion, slippage etc?
We know the destructive force of fast running waters. Hell, this is precisely why the protective works have been carried out along the rest of the stretch, down to the Bray Harbour. Unless they have other plans to stabilise it, what is going to be left here is loose soil -- very close to the access road into the halting site itself.
Some repair/reinforcing work is going on here to protect the (old) buttress that supports the pipework carrying water to the Bray region.
If there's one place in London that merits an Art Deco Fair, it's Eltham Palace,
with its Art Deco entrance hall, created by the textile magnates the Courtaulds in 1936. The much-loved weekend fair is held twice a year - once in the summer and a second time in September - giving visitors the chance to buy original 1930s objects, from furniture and collectables to hats, handbags and jewellery. Browse the original 1930s objects, from jewellery to furniture while you take in the magnificent Art Deco surroundings of the Palace. Ticket price includes entry to Eltham Palace and gardens and you can see the house by guided tour.
About Eltham Palace
Restored by English Heritage, this fantastic house boasts Britain's finest Art Deco interior and offers visitors the chance to indulge in the opulence of 1930s Britain whilst at the same time experiencing the solidity and symbolism of medieval London. Eltham Palace began to evolve during the 15th century when Edward IV commissioned the Great Hall, which survives today as a testament to the craftsmanship of the period. More about Eltham Palace
Solidity of Fog (Solidità della nebbia), 1912
Oil on canvas, 100 x 65 cm
Gianni Mattioli Collection
Long-term loan to the Peggy Guggenheim Collection, Venice
Luigi Russolo, to a degree greater than any other of the Futurists, systematically attempted to illustrate in oil paintings the images contained in the Technical Manifesto of Futurist Painting (April 1910). The Solidity of Fog evokes several passages from the manifesto. As a night scene, it specifically illustrates the Futurist delight in the electric lighting that permitted a whole new repertoire of visual sensations and experiences in early 20th century cities: the redoubling of life referred to in the manifesto. The subject, in which atmosphere and mood unite a group of disparate individuals, has a literary equivalent in the so-called Unanimist poetry current in Paris, with which Filippo Tommaso Marinetti was familiar.
The painting is structured by concentric rings radiating from two different points that render tangible the physical sensations of a foggy night. The vague form of a horse drawn carriage is perceptible in the distance. The attempt to paint an equivalent for physical sensation is characteristic of Russolo. Earlier works, for example, took perfume and music as their subjects. Such experiments with synaesthesia link Russolo to the Scapigliatura painters of Northern Italy late in the 19th century, whose Romantic conviction was also that pictorial technique could convey atmosphere and mood.
The Vickers machine gun or Vickers gun is a name primarily used to refer to the water-cooled .303 British (7.7 mm) machine gun produced by Vickers Limited, originally for the British Army. The machine gun typically required a six to eight-man team to operate: one fired, one fed the ammunition, the rest helped to carry the weapon, its ammunition, and spare parts. It was in service from before the First World War until the 1960s, with air-cooled versions of it on many Allied World War I fighter aircraft.
The weapon had a reputation for great solidity and reliability. Ian V. Hogg, in Weapons & War Machines, describes an action that took place in August 1916, during which the British 100th Company of the Machine Gun Corps fired their ten Vickers guns continuously for twelve hours. Using 100 barrels, they fired a million rounds without a failure. "It was this absolute foolproof reliability which endeared the Vickers to every British soldier who ever fired one."Machine gun post
-wikipedia
Organ grilles, main auditorium, the Plaza Theatre, which was below the Regent, Collins Street, Melbourne, opened on 10 May, 1929. It seated 1235 in its single-level Spanish-style auditorium, with its entrance adjacent to that of the Regent on Collins St.
An organ was installed in two chambers, behind very elaborate grilles, at either side of the proscenium, with the console in the centre of the "orchestra pit":
"Seating only twelve hundred people, and furnished in true old-world Spanish style, the Plaza provides the acme of comfort for every patron. Every seat is a luxurious lounge armchair. The entire floor space is covered with deep rich carpets. At every turn an objet d'art, never obtrusive but bringing a dash of old-world adventure and romance to the new world masterpiece of theatre construction." [Plaza Theatre advertisement (full-page), The Herald, 10 May, 1929, p. 11].
"Following the recent practice of designing theatres in accordance with the style of some particular period, the Plaza is Spanish in its decorative scheme. Entrance from Collins Street is by way of stairs leading to a court constructed after the manner of a Spanish close. the floor simulates the rough paving of a courtyard, and on one side a fountain pays. Through archways to the right is a rockery with orange trees, and here furniture of the appropriate Spanish period has been placed.
The auditorium also is decorated in a Spanish scheme, in which atmosphere rather than any particular period is suggested. On the roof a variegated design in which red, yellow and green are prominent, gives an appearance of solidity, and the scheme is extended to the leather chairs...
The 'talkies' provide their own accompaniment, and consequently an orchestra is unnecessary. An organ had been installed, however, to supplement the pictures when that is called for, and for solo items." [The Argus, 11 May, 1929]
In February, 1959, a new Cinerama screen and projection system were installed in the Plaza. The Regent Plaza Theatre is cited as one of the few cinemas adapted for Cinerama outside of North America.
The Cinerama screen was well forward of the proscenium, in front of the pit and the organ chambers. Although the organ was no longer able to be played in public, it was still operable, and was used by organists playing at the Regent for practice between the Cinerama sessions.
The Plaza closed in November, 1970. In December that year an auction was held at the theatre where everything that was not bolted down was auctioned off, raising a few thousand dollars.
Entrepreneur David Marinner earmarked the Regent for restoration when he established a revival movement for classical performing arts theatres in Melbourne during 1991. The Plaza Theatre was also fully and magnificently restored to its original ballroom format and reopened in 1996.
Bréton brut had as a style been established for a short while prior to this buildings inception, but it was its somewhat trend setting architect that gave widespread acceptability and validity to the movement. It captured the imagination of architects reacting against the recoil of New Humanism and restricted by the economics of the time.
The Unité d'Habitation built in Marseille, France in 1952 is absolutely of its time. Every tower block in the immediate vacinity appears to pay homage to the Unité, They are unashamed of their debt, aesthetic or otherwise, and yet even with benefit hindsight do not appear to be 'better buildings', mere pale imitations.
Steel being consumed in the war effort and the lack of skilled labour in France lead to the choice of concrete, with a more honest and rough finish. Banham says it is ever the more successful due to Corbusiers abandonment of the “pre-war fiction that reinforced concrete was a precise, ‘machine-age’ material”. This notion which had been maintained by extravagant and un-necessary means, such as “lavishing on it skilled labour and specialised equipment beyond anything the economics of the building industry normally permitted”. That is equipment that would give rise to the exacting edges and if these were not achieved then the “roughness and inaccuracies” were plastered over to give a more crisp image, hardly accepting the ‘realities of the situation’. The situation was firmly one of a “messy soup” with “dust, grits and slumpy aggregates, mixed and poured under conditions subject to the vagaries of weather and human fallibility”, hardly an image of high-technology.
The war had also changed Corbusiers perspective of technology’s place in architecture, compare for example the machine for living in, the Ville Savoye (Paris, 1929), compared with schemes such as (although later than the Unité) Notre Dame du Haut built at Ronchamp in 1954. The Unité had been described as “the first modern building that has room for cockroaches”, retort to Le Corbusier stating in a letter to Madame Savoye that “‘Home life today is being paralysed by the deplorable notion that we must have furniture” and that “This notion should be rooted out and replaced by that of equipment”. Banham in his book ‘The New Brutalism’ notes the Unité’s “originalities in sectional organisation”, with its rue Intérieure, apartments with double height spaces all of which in section span the entire width of the block. He also suggests “few buildings anywhere in the world had such a hold on the imagination of young architects especially in England”. Corbusier described his rough concrete style as béton brut, words which (rightly or wrongly) would come to be misinterpreted as representing the New Brutalist style as well as that of béton brut. The solidity of the Unité is furthered from mere concrete security by the setting back of “user-scale elements such as windows and doors” into the concrete frame of the building, giving a sense of a secondary boundary further to the superstructure of the building. As Banham describes it, a building where “word and building stand together in the psychological history of post-war architecture” . He attributes further its success to the “hard glare of the Mediterranean sun” . Something which does not quite translate so well in the greyer skies of Britain, something of the disappointment of driving a new car out of a showroom and home, notwithstanding your home being an equally apt setting.
KENZA Short Set: Kenny Rolands
Lady Hat by: Madame Noir
Jewelry Watch/Earrings: November
MVT LED Phone
MVT Winter Clutch Wine
Nails: Rosary Solidity
Heels: Enchante' Alexis
The pair of windows in St Catherine & St John the Baptist's chapel off the south ambulatory were reglazed in 2002 with stunning new glass by Tom Denny. They were created by to celebrate the 900th anniversary of the monks’ arrival at the Abbey, the theme being the Benedictine motto ‘to work is to pray’.
www.thomasdenny.co.uk/tewkesbury-abbey-two-windows
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.