View allAll Photos Tagged Structure
At 3:39PM on January 7, 2018 the Los Angeles Fire Department responded to a reported structure fire at 4537 N Eagle Rock Blvd to find a 75' x 250' vacant commercial building with heavy smoke showing. The property, surrounded by security fencing, required forcible entry to gain full access to the structure.
While truck companies made their way to the roof, interior fire attack encountered heavy smoke and heat upon entry. Minutes later, a partial roof collpase required the transition to a defensive operation. All crews exited safely and 2 1/2 handlines were put into place at exterior doors. The firefighters were able to gain an upperhand on the bulk of the fire and when all safety factors were considered, offensive operations resumed to reach the stubborn pockets of fire.
The structure, built in 1968, had a large, attached building (also vacant) which was defended from any fire damage. 98 firefighters, under the expert command of Assistant Chief Tim Ernst, fully extinguished the fire in just over one hour. Out of abundance of caution, residents from an exposed, large apartment building were evacuated but all were re-housed once knockdown was achieved with no remaining hazards.
LAFD 010718-1009
© Photo by Matthew Hartman
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
A vehicle fire in a fully loaded equipment and hay barn bring mutual aid from CT,NY, and MA . Unfortunately the fast moving fire totally destroyed the structure and it's contents.
The terrace of "Nalbero" is signed EFESTO! Efesto's structure is characterized from elegance , versatility , safety and quality.
SUN VALLEY - The Los Angeles City Fire Department responded quickly to a structure fire in the 7800 block of Claybeck Avenue to find a well involved attic fire in one home extending to an adjacent home's attic via a shared roof - rather than common attic. The August 11, 2020 fire, determined to be electrical in nature, displaced six residents but thankfully caused no injury.
© Photo by Rick McClure
LAFD Incident: 081120-1309
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Rieske [2Fe-2S] protein (green) docked at the Qo site of cytochrome b (white). Partial structure from 3CX5.pdb.
// Produced by Structure Synth V 0.4
// (http://structuresynth.sf.net/)
set maxdepth 600
set background #9f4
{ h 30 sat 0.7 h 67 b 0.8 } spiral
rule spiral w 100 {
box
{ y 0.4 rx 90 hue 1 s 0.995 b 0.999 } spiral
}
rule spiral w 100 {
box
{ y 0.4 rx 90 hue -1 rz -90 s 0.995 b 0.999 } spiral
}
rule spiral w 100 {
box
{ y 0.4 rx 90 hue 0 rz 90 s 0.995 b 0.995 } spiral
}
rule spiral w 3 {
{ rx 90 s 1 1.3 1 } spiral
{ ry 180 h 3 s 1 0.7 1 } spiral
}
Ellora (\e-ˈlȯr-ə\, Marathi: वेरूळ Vērūḷa), is an archaeological site, 29 km North-West of the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty. It is also known as Elapura (in the Rashtrakuta literature-Kannada). Well known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history. It is a protected monument under the Archaeological Survey of India.
ETYMOLOGY
Ellora, also called Verula or Elura, is the cave form of the Ancient name Elapura.
HISTORY
Ellora is known for Hindu, Buddhist and Jain cave temples built during (6th and 9th centuries) the rule of the Kalachuri, Chalukya and Rashtrakuta dynasties. The Jagannatha Sabha a group of five Jain cave temples of 9th century built by Rashtrakuta.
THE BUDDHIST CAVES
These caves were built during the 5th-7th century. It was initially thought that the Buddhist caves were one of the earliest structures, created between the fifth and eighth centuries, with caves 1-5 in the first phase (400-600) and 6-12 in the later phase (mid 7th-mid 8th), but now it is clear to the modern scholars that some of the Hindu caves (27,29,21,28,19,26,20,17 and 14) precede these caves.[citation needed] The earliest Buddhist cave is Cave 6, followed by 5,2,3,5 (right wing), 4,7,8,10 and 9. Caves 11 and 12 were the last. All the Buddhist caves were constructed between 630-700.
These structures consist mostly of viharas or monasteries: large, multi-storeyed buildings carved into the mountain face, including living quarters, sleeping quarters, kitchens, and other rooms. Some of these monastery caves have shrines including carvings of Gautama Buddha, bodhisattvas and saints. In many of these caves, sculptors have endeavoured to give the stone the look of wood.
Most famous of the Buddhist caves is cave 10, (refer map) a chaitya hall (chandrashala) or 'Vishvakarma cave', popularly known as the 'Carpenter's Cave'. Beyond its multi-storeyed entry is a cathedral-like stupa hall also known as chaitya, whose ceiling has been carved to give the impression of wooden beams. At the heart of this cave is a 15-foot statue of Buddha seated in a preaching pose. Amongst other Buddhist caves, all of the first nine (caves 1–9) are monasteries. The last two caves, Do Tal (cave 11) and Tin Tal (cave 12) have three stories.
CAVE 10
Cave 10 is a vihara with eight cells, four in the back wall and four in the right wall. It had a portico in the front with a cell. Possibly served as a granary for other viharas.
THE VISHWAKARMA
The Vishwakarma (Cave 10) is the only chaitya griha amongst the Buddhist group of caves. It is locally known as Vishwakarma or Sutar ka jhopda "carpenter's hut". It follows the pattern of construction of Caves 19 and 26 of Ajanta. On stylistic grounds, the date of construction of this cave is assigned to 700 A.D. The chaitya once had a high screen wall, which is ruined at present. At the front is a rock-cut court, which is entered through a flight of steps. On either side are pillared porticos with chambers in their back walls. These were probably intended to have subsidiary shrines but not completed. The pillared verandah of the chaitya has a small shrine at either end and a single cell in the far end of the back wall. The corridor columns have massive squarish shafts and ghata-pallava (vase and foliage) capitals. The main hall is apsidal on plan and is divided into a central nave and side aisles by 28 octagonal columns with plain bracket capitals. In the apsidal end of the chaitya hall is a stupa on the face of which a colossal 3.30 m high seated Buddha in vyakhyana mudra (teaching posture) is carved. A large Bodhi tree is carved at the back. The hall has a vaulted roof in which ribs have been carved in the rock imitating the wooden ones.
THE HINDU CAVES
The Hindu caves were constructed between the middle of sixth century to the end of the eighth century. The early caves (caves 17–29) were constructed during the Kalachuri period. The work first commenced in Caves 28, 27 and 19. These were followed by two most impressive caves constructed in the early phase - Caves 29 and 21. Along with these two, work was underway at Caves 20 and 26, and slightly later at Caves 17, 19 and 28. The caves 14, 15 and 16 were constructed during the Rashtrakuta period. The work began in Caves 14 and 15 and culminated in Cave 16. All these structures represent a different style of creative vision and execution skills. Some were of such complexity that they required several generations of planning and co-ordination to complete.
THE KAILASANATHA TEMPLE
Cave 16, also known as the Kailasa temple, is the unrivaled centerpiece of Ellora. This is designed to recall Mount Kailash, the abode of Lord Shiva – looks like a freestanding, multi-storeyed temple complex, but it was carved out of one single rock, and covers an area double the size of Parthenon in Athens. Initially the temple was covered with white plaster thus even more increasing the similarity to snow-covered Mount Kailash.
All the carvings are done in more than one level. A two-storeyed gateway resembling a South Indian Gopura opens to reveal a U-shaped courtyard. The courtyard is edged by columned galleries three storeys high. The galleries are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are three structures. As is traditional in Shiva temples, the first is a large image of the sacred bull Nandi in front of the central temple. The central temple - Nandi Mantapa or Mandapa - houses the Lingam. The Nandi Mandapa stands on 16 pillars and is 29.3 m high. The base of the Nandi Mandapa has been carved to suggest that life-sized elephants are holding the structure aloft. A living rock bridge connects the Nandi Mandapa to the Shiva temple behind it. The temple itself is a tall pyramidal structure reminiscent of a South Indian Dravidian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous lingam at its heart – carved from living stone, is carved with niches, pilasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Shiva) while on the right hand side the deities are Vaishnavaites (followers of Vishnu). There are two Dhvajastambhas (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art. The construction of this cave was a feat of human genius – it entailed the removal of 200,000 tonnes of rock, and took 100 years to complete.
The temple is a splendid achievement of Rashtrakuta Karnata architecture. This project was started by Krishna I (757–773) of the Rashtrakuta dynasty that ruled from Manyakheta in present day Karnataka state. His rule had also spread to southern India, hence this temple was excavated in the prevailing style. Its builders modelled it on the lines of the Virupaksha Temple in Pattadakal. Being a south Indian style temple, it does not have a shikhara common to north Indian temples. – The Guide to the Architecture of the Indian Subcontinent, 1996, Takeo Kamiya, Japan Architects Academy and archaeological Survey of India.
THE DASHAVATARA
The Dashavatara (Cave 15) was begun as a Buddhist monastery. It has an open court with a free-standing monolithic mandapa at the middle and a two-storeyed excavated temple at the rear. The layout of the temple is closely related to caves 11 and 12. Large sculptural panels between the wall columns on the upper floor illustrate a wide range of themes, which include the ten avatars of Vishnu. An inscription of grant of Dantidurga is found on the back wall of the front mandapa. According to Coomaraswamy, the finest relief of this cave is the one depicting the death of Hiranyakashipu, where Vishnu in man-lion (Narasimha) form, emerges from a pillar to lay a fatal hand upon the shoulder of Hiranyakashipu.
OTHER HINDU CAVES
CAVE 21
Other notable Hindu caves are the Rameshvara (Cave 21), which has figurines of river goddesses Ganga and Yamuna at the entrance and the Dhumar Lena (Cave 29) whose design is similar to the cave temple on Elephanta Island near Mumbai. Two other caves, the Ravan ki Khai (Cave 14) and the Nilkantha (Cave 22) also have several sculptures. The rest of the Hindu caves, which include the Kumbharvada (Cave 25) and the Gopilena (Cave 27) have no significant sculptures.
The five Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect. Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works. The most remarkable Jain shrines are the Chhota Kailash (cave 30), the Indra Sabha (cave 32) and the Jagannath Sabha (cave 33). Cave 31 is an unfinished four-pillared hall and a shrine. Cave 34 is a small cave, which can be approached through an opening on the left side of Cave 33. Amongst other devotional carvings, a place called samvatsarana can be found in Elora caves. Samvatsarana is of special interest to Jains, as it is a hall where the tirthankara preaches after attaining omniscience.
THE INDRA SABHA
The Indra Sabha (Cave 32) is a two storeyed cave with one more monolithic shrine in its court. It has a very fine carving of the lotus flower on the ceiling. It got the appellation "Indra Sabha" probably it is significantly ornate and also because of the sculpture of the yaksha (dedicated attendant deity) Matanga on an elephant, which was wrongly identified as that of Indra. On the upper level of the double-storied shrine excavated at the rear of the court, an U image of Ambika, the yakshini of Neminath, is found seated on her lion under a mango tree, laden with fruits.
OTHER JAIN CAVES
All other Jain caves are also characterized by intricate detailing. Many of the structures had rich paintings in the ceilings - fragments of which are still visible.
GEOLOGY OF ELLORA
Ellora occupies a relatively flat region of the Western Ghats. Ancient volcanic activity in this area created many layered basalt formations, known as Deccan Traps. During the Cretaceous, one such volcanic hill formed on the southwest-facing side of Ellora. Its vertical face made access to many layers of rock formations easier, enabling architects to pick basalt with finer grains for more detailed sculpting.
INSCRIPTIONS AT ELLORA
Several inscriptions at Ellora range from 6th century to 15th century. The best known of them is an inscription of Rashtrakuta Dantidurga (c. 753-57 A.D.) on the back wall of the front mandapa of Cave 15, which gives an account of his conquests. Inscriptions on the Kailash temple itself range from 9th to 15th century. Jain cave Jagannatha Sabha has 3 inscriptions that give the names of monks and donors. A Parshvanth temple on the hill has a 11th-century inscription that gives the name of the donor from Vardhanapura.
The Great Kailasa (Cave 16) is attributed to Krishna I (c. 757-83 A.D.), the successor and uncle of Dantidurga. A copper plate grant by Karka II (c. 812-13 A.D.) narrates that a great edifice was built on a hill by Krishnaraja at Elapura (Ellora).
The Ellora caves, unlike Ajanta, were never lost. There have been several written records that indicate that these caves were visited regularly. The earliest is that of the Arab geographer Al-Mas‘udi of the 10th century A.D. In 1352 A.D. Sultan Hasan Gangu Bahmani, who camped at the site and visited the caves. The others are by Firishta, Thevenot (1633–67), Niccolao Manucci (1653-1708), Charles Warre Malet (1794), and Seely (1824)
WIKIPEDIA
Diagram of the structure of the Arctic Council, available to use for free as an illustration image in articles etc.
Credit: Arctic Council Secretariat
From the website...
www.encinojon.com/greg/johnhub.html
JOHN CARL HUBINGER (1851-1907)
HUBINGER, JOHN C., manufacturer, millionaire and public benefactor, is one of the most remarkable men of this country; a Napoleon in business affairs, a man of destiny, through his own indomitable will, tireless energy and brilliant genius he has built up a magnificent structure on a financial foundation as solid as the rock of Gibraltar.
Mr. Hubinger was born in New Orleans, La., forty-six years ago, and is the son of John F. Hubinger, who was born in Bavaria, in 1828, and still survives, as well as his mother, who is a native of France.
It will this be seen that Mr. Hubinger, having been born in Louisiana, is a Creole, a term peculiar to the state, and having the same significance as Buckeye to those born in Ohio, or Nutmegs to those who first saw the light of day in Connecticut.
At the age of 4 his family moved north and at Falmouth, Ky., young Hubinger received in the public schools the first and only educational training he ever received from any school system; this experience covered about four years of study, and he applied himself so closely that he got a fair foundation, which he has since built on by private study and observation, until to-day he can be considered a well informed man outside of business matters, in which he excels.
His career has been an eventful one, full of exciting incidents, and it is a remarkable fact that he was 30 years of age before he amassed his first thousand dollars, having innumerable ups and downs in life, but never despairing and always aggressive.
It would require a volume the size of this to recount a history of his life from the time he started out to earn a living up to the present time when he controls millions of business interests, and is at the zenith of his usefulness. We will not attempt anything more than a passing notice of such facts as will interest his friends.
Of an inventive turn, he secured several patents which he sold to more or less advantage, and tried innumerable schemes at one time or another, succeeding at times and losing at others his little capital, through the boldness of his methods.
The idea of Elastic starch came to him years ago, when he acted as agent for a starch concern, and he had it constantly in mind, eventually arriving at the secret which he holds alone to-day, and which has make Elastic starch the most popular in the market.
In connection with his two brothers he founded the Elastic Starch company, at New Haven Conn., under the name of The J. C. Hubinger Bros.' Co., and at a later period opened another factory at Keokuk, Iowa, where he subsequently amassed a large fortune and became known as one of the most enterprising and public spirited citizens in the state.
In the west his interests are colossal, as well as the ventures which he has made successful; among his holdings being large tracts of real estate, improved and unimproved, in different parts of the western country.
He is owner of the Keokuk street railway system, the electric light plant and system, the Mississippi Valley Telephone company, capitalized at $2,225,000. This takes in a large number of cities in that section, and is the most dangerous and largest competitor of the Bell Telephone company in America, having over 10,000 telephone subscribers.
A man of rare executive ability, he finds time to personally direct the policy of all the enterprises in which he is interested, and at the same time to evolve many more brilliant schemes of a local nature, all of which are put through in a practical and successful way.
The magnitude of his transactions almost surpass belief; in the starch business they dispose of about 25,000,000 packages each year, the legitimate profits from which are enormous, and in other ways he handles not less than $3,000,000 annually.
His liberality is the marvel of the country in which he is known, and at his palatial home, overlooking the historic Mississippi river, he and his charming wife dispense a boundless hospitality to those fortunate enough to be their guests. All the luxuries and benefits that wealth can procure are there supplied, and an atmosphere of culture and refinement pervade the entire establishment.
Mr. Hubinger's family consists of himself, wife and four children, and while fond of promoting large enterprises, he is still fonder of the home circle and there spends all of his time that is not taken up by business cares.
-- Gue, B. F. Biographies and portraits of the progressive men of Iowa Des Moines : Conway & Shaw, 1899. Pages 256-257.
CHRONOLOGY
Born in March 1852 in New Orleans, LA.
Moved to Falmouth, KY, then to Keokuk, IA.
First jobs: laborer for Tim Ford, a railroad contractor; also a broom maker.
Moved to New Haven, CT.
Developed "Elastic" laundry starch in 1871, and sold it door to door by bicycle.
Joined by his two brothers, he founded the J.C. Hubinger Bros. Co.
Married Sadie Watts July 16, 1884.
Moved back to Keokuk in 1887 (1885?)
Established first Keokuk factory at 208 Main sometime after August 1887.
Built mansion on Grand Ave. Across the street was Hubinger Park.
Built a telephone exchange at Sixth and Blondeau; expanded during the 1890's.
Owner of the Keokuk Electric Railway System, the Electric Light and Power plant,
the Mississippi Valley Telephone Company, and many other investments.
Second marriage to Viola Miller in June 1896.
In 1900 business was so successful, he reopened the J.C. Hubinger Co. factory
on Bank St., introducing "Red Cross" and "Hubinger's Best" brand starches.
In the following years, however, the company went downhill as the use of
starch in clothing went out of style.
Died in near-poverty January 27, 1908 in a boarding house on High St.
Was buried in Oakland Cemetery, Keokuk, IA.
The Hubinger family sold the Keokuk starch factory in 1926; today, the
Hubinger company produces a wide variety of corn products including
starch, oil and syrup.
Category: Bridge And Structures...
Hounorable Mention: Surespan Construction ...
For: Hudson Hope Bridge Post - Tensioning Strand Rehabilitation
New Leaf Structured Settlements
3700 Koppers Street Suite #143
Baltimore MD 21227
(410) 538-2752
1-800-517-7671
First conceptional approach with the topic structure close-ups.
Shot with Nikon D5100.
ISO 400
38 mm
f/4.5
1/80 sec
Editing in PS Lightroom 5.
A view of the Union Switch & Signal Model S-8 electro-mechanical interlocking machine, showing both the mechanical levers (large levers extending to the floor) and electrical levers mounted above the frame.
About 16:45, a structure fire was reported at 3629 Palmdale Blvd cross of Landon Avenue, LAC131's, with smoke showing 5 miles out. LAC Engine 131 arrived on scene to find a single story, single family dwelling well involved, with a majority of the fire to the rear of the structure. In addition to Engine 131, Engines 93, 37, 92, Quint 24, Squad 131, Patrol 92 and Battalion 17 got knockdown about 12 mintues later. No injuries and cause is unknown.
// Produced by Structure Synth V 0.5
// (http://structuresynth.sf.net/)
set maxobjects 3000
set maxdepth 14000
{ sat 0.5 hue 50 b 0.9 } R1
set background #555
rule R1 {
{ y 0.5 rz 8 rx 1 h 6 s 1.01 1 1 ry 0.1 z 0.1 } R3
{ s 1 } sbox
}
rule R3 {
{ x 0.5 rz 8 rx -1 h 6 } R1
{ s 1 } sbox
}
rule sbox {
{ b 0.6 } grid
box
}
A tiered retaining wall winds between Rocky Top Drive and the Tijeras Canyon Arroyo in southeast Albuquerque.
University of Music and Performing Arts Vienna
(further pictures you can see by clicking on the link at the end of page!)
Motto tradition and innovation
Founded in 1817
Government-sponsored
Location Vienna, Austria
Director Ulrike Sych
Approximately 3,000 students
Approximately 850 employees
Professors of about 140
www.mdw.ac.at website
The University of Music and Performing Arts 2007
Columned hall to the stairs, Kaiserstein
Pillar staircase to open shaft, Kaiserstein
Institution building and former main building including Academy Theatre, Lothringerstraße 18
The University of Music and Performing Arts Vienna (mdw) is an Austrian university located in the 3rd District of Vienna Landstraße, Anton-von-Webern-Platz 1, it claims to be the largest art university in Austria and largest music university in the world. Approximately 3,000 students are supported by more than 850 teachers. It is since 2002 in 24 institutions structured offering the artistic, artistic-scientific and purely scientific doctrine. Since 2002 Werner Hasitschka is rector.
History
Already in 1808, was discussed on the establishment of a conservatory of music modelled on Paris (Conservatoire de Paris). The Society of Friends of Music in Vienna, founded in 1812 had set itself this ventur to the main task, so in 1817 a singing school was launched, which laid the foundation stone for such an institution. Thus 1817 is also known as the official founding year of mdw. In 1819 began with the Engagierung (engagement) of Joseph Boehm, professor of violin, music lessons.
With short interruptions was during the 19th Century the curriculum massively expanded so that in the 1890s more than 1,000 students could be counted. In 1909, this private institution was nationalized on resolution of the Emperor and was now kk Academy of Music and Dramatic Art.
With the nationalization it also received an own house: In cooperation with the Vienna Konzerthaus Society from 1912 in the Lisztstraße was built a building together with a sample stage (Academy Opera, today), in which alreay in January 1914 could moved in. After World War I the institution was then State College (1919). In 1928, the Academy has been extended to a drama seminar (Reinhardt-Seminar) and a music educational seminar. Between 1938 and 1945 it was continued as a Reichshochschule (Reich high school) under exclusion of Jewish high school teachers and students.
After the war in 1946 the institution was again an art school, from 1970 to 1998 it was called the University of Music and Performing Arts, since 1998 it has been a university. In 1952 Walter Kolm-Veltée established a special training course for film making. In 1960 a film class led by Hans Winge was added. In 1963 the two courses were combined into the newly formed "Department of Film and Television". This was followed by additional courses, and since 1998, the department is also known as the Vienna Film Academy.
Building
In addition to the headquarters, the mdw-campus at Anton-von-Webern-Platz in the third district, are other branches in the 3rd district in Ungargasse 14, Rennweg 8, in the Metternichgasse 8 and 12 and in the Lothringerstraße 18. In Vienna's first district teaching places are at Karlsplatz 1 and 2, at Schubertring 14 at the corner of Johannesgasse/Seilerstaette and in the Singerstraße 26. Furthermore, in the 4th district in Rienösslgasse 12, in 13th district in the Schoenbrunn Palace Theater as well as in the Palais Cumberland in Penzingerstrasse.
Campus
The monumental functional purpose building in the sober classicising forms of the Hofbauamtes (Vienna Court Building Department) located at the former Wiener Neustadt Canal (speed train track), is situated at the Anton-von-Webern-Platz 1. In 1776 was here at the suggestion of the Emperor Joseph II in the former Jesuit dairy farm an animal hospital built. 1821-1823 followed a new building by Johann Nepomuk Amann a sprawling complex being planned. The main building extends with long façade to the left Bahngasse, there are numerous additional buildings. A large contract received the Kaisersteinbrucher stonemasons, the spacious entrance hall with Tuscan columns, pilasters and coupled columns, the spacious pillar staircase around open shaft, all of them made of light Kaiserstein with the typical blue translucent inclusions - a special room for friends of the imperial stone (Kaiserstein). Until 1996, the building was the headquarters of the University of Veterinary Medicine and its predecessor institutions.
In 1996 the building was chosen as the new seat of the University, and refurbished by architect Reinhardt Gallister. The historic structure was preserved, elements such as glass, wood and stone are the defining style resources and modern technology and equipment has been connected with good acoustics. Studios, classrooms and halls can be hired externally.
Study
Composition and Music Theory
Conducting
Sound engineer
Instrumental studies
Church Music
Educational Studies
Singing and musical theater director
Performing Arts
Film and Television
PhD
Summer Campus
The isa - International Summer Academy is the musical summer campus of the University of Music and Performing Arts Vienna. More than 200 students from over 40 countries take part in two weeks of top-class master classes in the Semmering region and in Vienna. The summer campus was founded in 1991 as an initiative of Michael Frischenschlager. The isa emerged from the euphoria over the fall of the Iron Curtain, with the aim of exceptionally talented young students, mainly from the Central and Eastern European countries (CEE-countries) to allow musical encounters and build international relationships. Since 2005 Johannes Meissl is artistic director of the isa.
Institutions
Institute for Composition and Electro-acoustics
Institute for Music management
Institute for Analysis, Theory and History of Music
Department of Keyboard Instruments (panel/concert)
Institute for string and other string instruments (panel/concert)
Leonard Bernstein Institute for wind and percussion instruments
Joseph Haydn Institute of Chamber Music and Special Ensembles
Institute for organ, organ and church music research
Institute for singing and music theater
Institute for Drama and Acting Director (Max Reinhardt Seminar)
Institute for Film and Television (Film Academy Vienna)
Institute for Music Education
Institute for Music and Movement Education and Music Therapy
Research Institute of Musical Style
Institute of Popular Music
Institute Ludwig van Beethoven (keyboards in music pedagogy)
Hellmesberger - Institute ( String id Plucked and other music education)
Franz Schubert Institute (wind and percussion instruments in music pedagogy)
Institute Antonio Salieri (vocals in music pedagogy)
Institute Anton Bruckner (music theory, ear training, ensemble direction)
Institute for Folk Music Research and Ethnomusicology
Institute for Viennese Sound Style (Musical Acoustics)
Institute for Music Sociology
Institute of Culture Management and Culture Studies (IKM)
Science
Apart from artistic training form the scientific institutions (or professors and lecturers with the great teaching qualification - Venia Docendi) a significant part of the university's work. A special feature of the MDW is the high integration of science and art. The promotion law is the foundation of a university, and is implemented on the MDW in the PhD program. Departments of scientific work are here:
Dramaturgy
Film Studies
Gender Studies
History and Theory of Popular Music
Gregorian chant and liturgy
Historical musicology (including analysis, music theory and Harmonic Research)
Musical style and performance practice
Cultural Production Engineering,
Musical Acoustics
Music Education
Sociology of music
Music Theory
Music Therapy
Systematic musicology in interdisciplinary approaches
Folk Music Research, Ethnomusicology
Famous graduates
Claudio Abbado
Barbara Albert
Peter Alexander
Christian Altenburger
Maria Andergast
Walter Samuel Bartussek
Johanna Beisteiner
Erwin Belakowitsch
Achim Benning
Zsófia Boros
Thomas Brezinka
Rudolf Buchbinder
Friedrich Cerha
Gabriel Chmura
Mimi Coertse
Luke David
Yoram David
Jacques Delacôte, French conductor
Jörg Demus
Helmut German
Johanna Doderer
Iván Eröd
Karlheinz Essl
Matthias Fletzberger
Sabrina Frey
Beat Furrer
Rudolf Gamsjäger
Raoul Gehringer
Nicolas Geremus
Wolfgang Glück
Wolfgang Glüxam
Eugene Gmeiner
Walter Goldschmidt
Stefan Gottfried
Friedrich Gulda
Robert Gulya
Ingomar Auer
Christoph Haas (born 1949), Swiss conductor
Georg Friedrich Haas
Hans Hammerschmid
Gottfried Hemetsberger
John Hiemetsberger
Robert Holl
Mariss Jansons
Leo Jaritz
Mariama Djiwa Jenie, concert pianist and dancer
Thomas Jöbstl
Thomas Kakuska
Bijan Khadem-Missagh, violin
Angelika Kirschschlager
Hermann Killmeyer
Patricia Kopatchinskaya
Leon Koudelak
Bojidara Kouzmanova
Tina Kordić
Klaus Kuchling
Rainer Küchl
Gabriele Lechner
Wolf Lotter
Gustav Mahler
Edith Mathis
Zubin Mehta
Tobias Moretti
Tomislav Mužek
Helmut Neumann
Josef Niederhammer
Ernst Ottensamer
Erwin Ortner
Rudolf Pacik
Harry Pepl
Günter Pichler
Josephine Pilars de Pilar
Peter Planyavsky
Stefanie Alexandra Prenn
Armando Puklavec
Carole Dawn Reinhart
Gerald Reischl
Wolfgang Reisinger
Erhard Riedlsperger
Jhibaro Rodriguez
Hilde Rössel-Majdan
Michael Radanovics
Sophie Rois
Gerhard Rühm
Kurt Rydl
Clemens Salesny
Heinz Sandauer
Klaus-Peter Sattler
Wolfgang Sauseng
Nikolaus Schapfl
Agnes Scheibelreiter
Heinrich Schiff
Michael Schnitzler
Peter Schuhmayer
Christian W. Schulz
Wolfgang Schulz
Ulrich Seidl
Fritz Schreiber
Kurt Schwertsik
Ulf-Diether Soyka
Christian Spatzek
Arben Spahiu
Götz Spielmann
Othmar Steinbauer
Hermann Sulzberger, (*1957), österreichischer Komponist
Roman Summereder
Hans Swarowsky
Jenő Takács
Wolfgang Tomböck
Karolos Trikolidis, griechisch-österreichischer Dirigent
Mitsuko Uchida
Timothy Vernon, (*1948), kanadischer Dirigent
Eva Vicens, Cembalistin aus Uruguay, lebt in Spanien
Annette Volkamer
Johanna Wokalek
Adolf Wallnöfer
Gregor Widholm
Bruno Weil
Hermann Wlach
Paul Zauner
Herbert Zipper
de.wikipedia.org/wiki/Universit%C3%A4t_f%C3%BCr_Musik_und...