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Spring grazing management for dairy herds in South Australia requires an observant farmer to make regular adjustments.
Taken with my grandfather's 1960s era Seagull (Haiou / 海鸥) TLR in 2007, and promptly forgotten all these years, allowing the film to fog up a bit. This was the positive before adjustments, straight out of the scanner.
One of the longest running Citroen products and replacement for the legendary DS, the Citroen CX was a worthy continuation of the groundbreaking developments that made its predecessor such a household name, and was able to mix a spacious interior with incredible comfort and all the panache and style you'd expect from a French family car.
The car was designed and styled by Robert Opron, and took on many external features from the previous DS, including a long sweeping body and smooth curved back. Internally the car updated the many endearing features of the original, with unique hydro-pneumatic integral self-leveling suspension, speed-adjustable DIRAVI power steering (first introduced on the Citroën SM), and a uniquely effective interior design that did away with steering column stalks, allowing the driver to reach all controls while both hands remained on the steering wheel.
The car was powered by a range of 2.0L to 2.5L Inline-4 Citroen engines, producing power outputs between 102hp and 141hp, whilst there was also a 180hp edition featuring SM Injection Electronique.
The car was rushed to launch in 1974, sadly resulting in many teething troubles such as a lack of power-steering, making the car very difficult to drive as 70% of its weight is carried over the front wheels. Originally, the CX was developed as a rotary-engined car, with several negative consequences. The CX engine bay is small because rotary engines are compact, but the Comotor three-rotor rotary engine was not economical and the entire rotary project was scrapped the year the CX was introduced. The firm went bankrupt in 1974, partly due a series of investments like Comotor that didn't result in profitable products.
Throughout its production life however, the company continued adding developments to the car, including a 128hp GTi edition in 1977, rustproofing and fully automatic transmission in 1981, and a new 2.5L Turbo-Diesel engine in 1984.
Although the car garnered a reputation for poor reliability at first, it was soon lauded as one of the best Citroens ever built, and a credible replacement for the legendary DS. By the late 1980's however the car's 15 year old design was now in deep water, and competition such as Audi's and Mercedes of the time were starting to damage the sales. As such, in May 1989, the replacement car, the Citroen XM, was launched, but suffered from poor reliability issues due to the electronic hydropneumatic suspension. As such, the CX Estate version remained in production until 1991 when both problems with the XM were rectified, and a later developed XM Break was released.
In total, 1.2 million of these cars were produced, and are widely considered to be the last great Citroen cars before Peugeot took control in 1976. However, many people forget this car as well as the XM that replaced it, most feeling a strong affection towards the original DS of the 1950's. The car did however make a comeback on Top Gear, as Jeremy Clarkson converted a CX into a gigantic block of flats that doubled as a Motorhome, only to be blown over in the wind and eventually be pushed off a cliff!
virtual set and 3d rendering
Rivoli Table, Eileen Gray 1928
Adjustable Table E 1027, Eileen Gray 1927
Roattino Floor Lamp, Eileen Gray 1931
Moving to South Florida from the north was an adjustment, especially around the Christmas holidays. But I still manage to hold on to many traditions that I grew up with, like Christmas Eve dinner (Svyati Vechir). Ukrainian Orthodox follow the Julian calendar, which is 13 days later than the Gregorian calendar, making Christmas fall on January 7. Christmas Eve dinner consists of 12 different meatless dishes and is traditionally eaten when the first star appears in the sky on January 6. The dishes vary from region to region, but should always include a bread of some sort (ours is always a flat bread called "polanecha"), salt, honey, garlic and pyrohy (that's varenyky for East and Central Ukrainians). Ours included split pea soup, mushrooms, stewed prunes, sauerkraut, parsleyed potatoes, lima beans, and kutia (a mix of whole wheat berries, honey, poppyseed, and ground hazelnuts). My grandparents were from the border between Lemkivshchyna and Boykivshchyna (on the Polish/Ukrainian border). There should be a white tablecloth (couldn't find it) and hay under the table (couldn't find any).
PORCELAIN ROOM FROM THE PALAIS Dubský IN BRNO
Vienna, around 1740
Ke 6201/1912
In 1700 the installation of so-called "porcelain cabinets" in Europe becomes modern. Have they been reliant on European fayences, so were these ones replaced over time by Chinese export goods and from 1700 on also by Japanese porcelains. The Porcelain Room from the Brno Palais Dubsky is one of the first room amenities with European porcelain.
Based on the attached above the pillar mirror Emblem of Czobor of Szent-Mihály, the decor of the room can be traced back to the years after 1724. Back then acquired Countess Maria Antonia of Czobor, lady on Göding, née Princess of Liechtenstein, the subsequent Palais Dubsky in Brno (Brno, today Czech Republic). From this time also stem the porcelains of the Vienna Porcelain Manufactory Du Paquier (1718-44).
Investigations on the integrated wall paneling of the room as well as the fact that the chimney already in Brno had been bricked without smoke outlet and therefore was not heatable, however, have shown that the facilities originally must have been manufactured for a different, right now yet unknown location and only later was adjusted to the smaller dimensions in Brno Palais. However, unclear remains to this day the time gap between the early, emerged before 1730 Vienna porcelains and the earliest in the forties datable ornamentation of the wall panels and a part of the furniture.
1745 the palace passes into the possession of Johann Georg von Piati from which it inherits his son Emanuel Piati of Tirnowitz 1762. The coat of arms of this family was originally painted with oil paint over that of Czobor and only in 1912 it was removed on the occasion of the acquisition of the room by the museum. From the time of the Piati, around 1790, also stems the decor of the room with paintings and the wall clock signed by Brno master watchmaker Sebastian Kurz.
Its current name the palace obtained finally on the ocassion of the wedding of Emanuela of Piati, the daughter of Johann Georg, with Franz Dubsky of Trebomyslic in 1805. As is apparent from later made additions by porcelains of Herend (Hungary) Porcelain Factory (founded in 1839) and by dated with 1847 pieces from the Vienna Porcelain Manufactory, must have been carried out around 1850 a larger restoration and new adaptation of the room. Back then most probably also emerged the seating furnitures as well as the console table of long wall and the canapé table.
PORZELLANZIMMER AUS DEM PALAIS DUBSKY IN BRÜNN
Wien, um 1740
Ke 6201/1912
Um 1700 wird das Einrichten so genannter „Porzellan-Cabinette“ in Europa modern. War man zuerst auf europäische Fayencen angewiesen, so wurden diese mit der Zeit durch chinesische Exportware und ab 1700 auch durch japanische Porzellane ersetzt. Das Porzellanzimmer aus dem Brünner Palais Dubsky ist eine der ersten Zimmerausstattungen mit europäischem Porzellan.
Anhand des über dem Pfeilerspiegel angebrachten Wappens der Czobor von Szent-Mihály lässt sich die Ausstattung des Zimmers bis in die Jahre nach 1724 zurückverfolgen. Damals erwarb Gräfin Maria Antonia von Czobor, Frau auf Göding, geb. Fürstin von Liechtenstein, das nachmalige Palais Dubsky in Brünn (Brno, heute: Tschechische Republik). Aus dieser Zeit stammen auch die Porzellane der Wiener Manufaktur Du Paquier (1718–44).
Untersuchungen an der wandfesten Vertäfelung des Raumes sowie die Tatsache, dass der Kamin bereits in Brünn ohne Rauchabzug gemauert und daher nicht beheizbar war, haben jedoch gezeigt, dass die Ausstattung ursprünglich für einen anderen, heute noch unbekannten Ort verfertigt worden sein muss und erst später den kleineren Dimensionen im Brünner Palais angepasst wurde. Unklar bleibt aber bis heute die zeitliche Diskrepanz zwischen den frühen, vor 1730 entstandenen Wiener Porzellanen und der frühestens in die vierziger Jahre datierbaren Ornamentik der Wandvertäfelungen und eines Teils des Mobiliars.
1745 geht das Palais in den Besitz des Johann Georg von Piati über, von dem es sein Sohn Emanuel Piati von Tirnowitz 1762 erbt. Das Wappen dieser Familie war ursprünglich mit Ölfarbe über jenes der Czobor gemalt und erst 1912 anlässlich der Erwerbung des Zimmers durch das Museum entfernt worden. Aus der Zeit der Piati, um 1790, stammt auch die Ausstattung des Zimmers mit Bildern und der vom Brünner Uhrmachermeister Sebastian Kurz signierten Wanduhr.
Seinen heutigen Namen erhielt das Palais schließlich anlässlich der Hochzeit von Emanuela von Piati, der Tochter Johann Georgs, mit Franz Dubsky von Trebomyslic im Jahr 1805. Wie aus später vorgenommenen Ergänzungen durch Porzellane der Herender Porzellanfabrik (gegründet 1839) und durch 1847 datierte Stücke aus der Wiener Porzellanmanufaktur hervorgeht, muss um 1850 eine größere Restaurierung und Neuadaptierung des Zimmers erfolgt sein. Damals entstanden höchstwahrscheinlich auch die Sitzmöbel ebenso wie der Konsoltisch der Längswand und der Kanapeetisch.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Brooke, her mom Deby and sister Sheena
Strobist: Nikon D200 ISO 400 1/60 sec f9 22mm PW trigger SB800 1/26 power, handheld off camera left.
Once the retreat for the rich and famous, the Ponce de Leon hotel, built in 18887 by Henry Flagler in St. Augustine is now part of Flagler College. Believe it or not, college students now use this exquisite dining room with all its Tiffany accessories as their dining hall.
HDR from 3 handheld exposures at ISO 1600. Processed in Photomatix, Photoshop and Topaz Adjust. View LARGER On Black
This adjustable height desk can be used in the siitting or standing position. Find out more: www.simplifiedbuilding.com/blog/adjustable-height-sitting...
This adjustable height desk can be used in the siitting or standing position. Find out more: www.simplifiedbuilding.com/blog/adjustable-height-sitting...
This adjustable height desk can be used in the siitting or standing position. Find out more: www.simplifiedbuilding.com/blog/adjustable-height-sitting...
The Story
In the summer I was lucky enough to spend 3 weeks on a Route 69 Road Trip in the USA. Part of the trip took us to The Joshua Tree National Park on the edge of which this shot was taken. In the UK we dont hve mail boxes so this was a real novelty to me and my kiddies
The Shot
3 exposure shot (-1,0,+1) from using my D200 and a Nikon 12-24mm lens handheld
Opened in Photomatix with detail enhancer set to default.
Then modified using Topaz Adjust , to increase colour and sharpness.
Saturation then boosted and areas of noise reduced.
The noise reduced with Noiseware .
Sensor dust spots and blemishes removed and frame added.
Music
Return to Sender- Elvis Presley
The Book
Animals in My Mailbox by Joseph Golden
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Comments, advice, tips and critique always welcome.
Please feel free also to add notes and tags you feel appropriate
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This adjustable height desk can be used in the siitting or standing position. Find out more: www.simplifiedbuilding.com/blog/adjustable-height-sitting...
Usually the first attempt at a new alien dome would require at least one adjustment so that the dome "snaps" into place....This time though, success straight from the gate!!! This dome snaps perfectly onto the alien head and hugs the contours just underneath.
Images you see here are of both the master sculpt and initial cast with domes attached. I increase the tones in the images so you can see the shell of the clear dome.
More images to come as I continue with the inner jaw and tendons - am thrilled this step in the vac forming was the only step needed. :) #alien #aliencovenant #protomorph #xenomorph #vacuumforming #PETG #dome #sculpting #success
Beautiful stools combine form and function unusually well. The tripod base makes them very stable even though they are adjustable, and the look is fabulous.
Canon 7D
EF-S15-85mm f/3.5-5.6 IS USM
1/1000 at f/3.5
ISO 100
Focal Length 15mm
Post processed in Lightroom, Topaz Adjust, Topaz DeNoise.
This adjustable height desk can be used in the siitting or standing position. Find out more: www.simplifiedbuilding.com/blog/adjustable-height-sitting...
The height of both the desk and the chair can be adjusted, according to...age? No. Not grade either. Um...desk size, yeah. Well-known furniture measurement.
Kolkata /koʊlˈkɑːtɑː/(Bengali: কলকাতা) formerly Calcutta /kælˈkʌtə/(Bengali: ক্যালকাটা) is the capital of the Indian state of West Bengal. Located on the east bank of the Hooghly river, it is the principal commercial, cultural, and educational centre of East India, while the Port of Kolkata is India's oldest operating port and its sole major riverine port. As of 2011, the city had 4.5 million residents; the urban agglomeration, which comprises the city and its suburbs, was home to approximately 14.1 million, making it the third-most populous metropolitan area in India. As of 2008, its gross domestic product (adjusted for purchasing power parity) was estimated to be US$104 billion, which would be third highest among Indian cities, behind Mumbai and Delhi. As a growing metropolitan city in a developing country, Kolkata confronts substantial urban pollution, traffic congestion, poverty, overpopulation, and other logistic and socioeconomic problems.
In the late 17th century, the three villages that predated Kolkata were ruled by the Nawab of Bengal under Mughal suzerainty. After the Nawab granted the East India Company a trading licence in 1690, the area was developed by the Company into an increasingly fortified trading post. Nawab Siraj ud-Daulah retook Kolkata in 1756 after the Company started evading taxes and due to increasing militarization of the fort. The East India Company retook it in the following year, and defeated the Nawab of Bengal (Mir Qasim) in 1764 when he tried to squeeze them out of the region. Per the treaty signed between the company and the Mughal emperor after the battle, the East India company gained the right to collect revenue from the province, thus becoming the imperial tax collector. In 1793 the East India company was strong enough and to abolish Nizamat (local rule), and assumed full sovereignty of the region. Under the Company rule and later under the British Raj, Kolkata served as the capital of British-held territories in India until 1911, when its perceived geographical disadvantages, combined with growing nationalism in Bengal, led to a shift of the capital to New Delhi. The city was a centre of the Indian independence movement; it remains a hotbed of contemporary state politics. Following Indian independence in 1947, Kolkata - which was once the centre of modern Indian education, science, culture, and politics -witnessed several decades of economic stagnation.
As a nucleus of the 19th- and early 20th-century Bengal Renaissance and a religiously and ethnically diverse centre of culture in Bengal and India, Kolkata has local traditions in drama, art, film, theatre, and literature. Many people from Kolkata - among them several Nobel laureates - have contributed to the arts, the sciences, and other areas. Kolkata culture features idiosyncrasies that include distinctively close-knit neighbourhoods (paras) and freestyle intellectual exchanges (adda). West Bengal's share of the Bengali film industry is based in the city, which also hosts venerable cultural institutions of national importance, such as the Academy of Fine Arts, the Victoria Memorial, the Asiatic Society, the Indian Museum and the National Library of India. Among professional scientific institutions, Kolkata hosts the Agri Horticultural Society of India, the Geological Survey of India, the Botanical Survey of India, the Calcutta Mathematical Society, the Indian Science Congress Association, the Zoological Survey of India, the Institution of Engineers, the Anthropological Survey of India and the Indian Public Health Association. Though home to major cricketing venues and franchises, Kolkata differs from other Indian cities by giving importance to association football and other sports.
ETYMOLOGY
The word Kolkata derives from the Bengali term Kôlikata (Bengali: কলিকাতা) [ˈkɔlikat̪a], the name of one of three villages that predated the arrival of the British, in the area where the city eventually was to be established; the other two villages were Sutanuti and Govindapur.
There are several explanations about the etymology of this name:
The term Kolikata is thought to be a variation of Kalikkhetrô [ˈkalikʰːet̪rɔ] (Bengali: কালীক্ষেত্র), meaning "Field of [the goddess] Kali". Similarly, it can be a variation of 'Kalikshetra' (Sanskrit: कालीक्षेत्र, lit. area of Goddess Kali").
Alternatively, the name may have been derived from the Bengali term kilkila (Bengali: কিলকিলা), or "flat area".
The name may have its origin in the words khal [ˈkʰal] (Bengali: খাল) meaning "canal", followed by kaṭa [ˈkata] (Bengali: কাটা), which may mean "dug".
According to another theory, the area specialised in the production of quicklime or koli chun [ˈkɔlitɕun] (Bengali: কলি চুন) and coir or kata [ˈkat̪a] (Bengali: কাতা); hence, it was called Kolikata [ˈkɔlikat̪a] (Bengali: কলিকাতা).
Although the city's name has always been pronounced Kolkata [ˈkolkat̪a] (Bengali: কলকাতা) or Kôlikata [ˈkɔlikat̪a] (Bengali: কলিকাতা) in Bengali, the anglicised form Calcutta was the official name until 2001, when it was changed to Kolkata in order to match Bengali pronunciation.
HISTORY
The discovery and archaeological study of Chandraketugarh, 35 kilometres north of Kolkata, provide evidence that the region in which the city stands has been inhabited for over two millennia. Kolkata's recorded history began in 1690 with the arrival of the English East India Company, which was consolidating its trade business in Bengal. Job Charnock, an administrator who worked for the Company, was formerly credited as the founder of the city; In response to a public petition, the Calcutta High Court ruled in 2003 that the city does not have a founder. The area occupied by the present-day city encompassed three villages: Kalikata, Gobindapur, and Sutanuti. Kalikata was a fishing village; Sutanuti was a riverside weavers' village. They were part of an estate belonging to the Mughal emperor; the jagirdari (a land grant bestowed by a king on his noblemen) taxation rights to the villages were held by the Sabarna Roy Choudhury family of landowners, or zamindars. These rights were transferred to the East India Company in 1698.In 1712, the British completed the construction of Fort William, located on the east bank of the Hooghly River to protect their trading factory. Facing frequent skirmishes with French forces, the British began to upgrade their fortifications in 1756. The Nawab of Bengal, Siraj ud-Daulah, condemned the militarisation and tax evasion by the company. His warning went unheeded, and the Nawab attacked; he captured Fort William which led to the killings of several East India company officials in the Black Hole of Calcutta. A force of Company soldiers (sepoys) and British troops led by Robert Clive recaptured the city the following year. Per the 1765 Treaty of Allahabad following the battle of Buxar, East India company was appointed imperial tax collector of the Mughal emperor in the province of Bengal, Bihar and Orissa, while Mughal-appointed Nawabs continued to rule the province. Declared a presidency city, Calcutta became the headquarters of the East India Company by 1772. In 1793, ruling power of the Nawabs were abolished and East India company took complete control of the city and the province. In the early 19th century, the marshes surrounding the city were drained; the government area was laid out along the banks of the Hooghly River. Richard Wellesley, Governor-General of the Presidency of Fort William between 1797 and 1805, was largely responsible for the development of the city and its public architecture. Throughout the late 18th and 19th century, the city was a centre of the East India Company's opium trade.By the 1850s, Calcutta had two areas: White Town, which was primarily British and centred on Chowringhee and Dalhousie Square; and Black Town, mainly Indian and centred on North Calcutta. The city underwent rapid industrial growth starting in the early 1850s, especially in the textile and jute industries; this encouraged British companies to massively invest in infrastructure projects, which included telegraph connections and Howrah railway station. The coalescence of British and Indian culture resulted in the emergence of a new babu class of urbane Indians, whose members were often bureaucrats, professionals, newspaper readers, and Anglophiles; they usually belonged to upper-caste Hindu communities. In the 19th century, the Bengal Renaissance brought about an increased sociocultural sophistication among city denizens. In 1883, Calcutta was host to the first national conference of the Indian National Association, the first avowed nationalist organisation in India.
The British moved the capital to New Delhi in 1911. Calcutta continued to be a centre for revolutionary organisations associated with the Indian independence movement. The city and its port were bombed several times by the Japanese between 1942 and 1944, during World War II. Coinciding with the war, millions starved to death during the Bengal famine of 1943 due to a combination of military, administrative, and natural factors. Demands for the creation of a Muslim state led in 1946 to an episode of communal violence that killed over 4,000. The partition of India led to further clashes and a demographic shift - many Muslims left for East Pakistan (present day Bangladesh), while hundreds of thousands of Hindus fled into the city.
During the 1960s and 1970s, severe power shortages, strikes, and a violent Marxist–Maoist movement by groups known as the Naxalites damaged much of the city's infrastructure, resulting in economic stagnation. The Bangladesh Liberation War of 1971 led to a massive influx of thousands of refugees, many of them penniless, that strained Kolkata's infrastructure. During the mid-1980s, Mumbai (then called Bombay) overtook Kolkata as India's most populous city. In 1985, prime minister Rajiv Gandhi dubbed Kolkata a "dying city" in light of its socio-political woes. In the period 1977–2011, West Bengal was governed from Kolkata by the Left Front, which was dominated by the Communist Party of India (CPM). It was the world's longest-serving democratically elected communist government, during which Kolkata was a key base for Indian communism. In the West Bengal Legislative Assembly election, 2011, Left Front was defeated by the Trinamool Congress. The city's economic recovery gathered momentum after the 1990s, when India began to institute pro-market reforms. Since 2000, the information technology (IT) services sector has revitalised Kolkata's stagnant economy. The city is also experiencing marked growth in its manufacturing base.
DEMOGRAPHICS
A resident of Kolkata is referred to via the demonym Calcuttan or Kolkatan. According to provisional results of the 2011 national census, Kolkata district, which occupies an area of 185 km2, had a population of 4,486,679; its population density was 24,252/km2. This represents a decline of 1.88% during the decade 2001–11. The sex ratio is 899 females per 1000 males - lower than the national average. The ratio is depressed by the influx of working males from surrounding rural areas, from the rest of West Bengal, and from neighbouring states, mainly Bihar, Uttar Pradesh, and Orissa; these men commonly leave their families behind. Kolkata's literacy rate of 87.14% exceeds the all-India average of 74%. The urban agglomeration had a population of 14,112,536 in 2011.
Bengali Hindus form the majority of Kolkata's population; Marwaris, Biharis and Muslims compose large minorities. Among Kolkata's smaller communities are Chinese, Tamils, Nepalis, Odias, Telugus, Assamese, Gujaratis, Anglo-Indians, Armenians, Greeks, Tibetans, Maharashtrians, Konkanis, Malayalees, Punjabis, and Parsis.:3 The number of Armenians, Greeks, Jews, and other foreign-origin groups declined during the 20th century. The Jewish population of Kolkata was 5,000 during World War II, but declined after Indian independence and the establishment of Israel; by 2013, there were 25 Jews in the city. India's sole Chinatown is in eastern Kolkata; once home to 20,000 ethnic Chinese, its population dropped to around 2,000 as of 2009 as a result of multiple factors including repatriation and denial of Indian citizenship following the 1962 Sino-Indian War, and immigration to foreign countries for better economic opportunities. The Chinese community traditionally worked in the local tanning industry and ran Chinese restaurants.
Bengali, the official state language, is the dominant language in Kolkata. English is also used, particularly by the white-collar workforce. Hindi and Urdu are spoken by a sizeable minority. According to the 2011 census, 76.51% of the population is Hindu, 20.60% Muslim, 0.88% Christian, and 0.47% Jain. The remainder of the population includes Sikhs, Buddhists, and other religions which accounts for 0.45% of the population; 1.09% did not state a religion in the census. Kolkata reported 67.6% of Special and Local Laws crimes registered in 35 large Indian cities during 2004. The Kolkata police district registered 15,510 Indian Penal Code cases in 2010, the 8th-highest total in the country. In 2010, the crime rate was 117.3 per 100,000, below the national rate of 187.6; it was the lowest rate among India's largest cities.
As of 2003, about one-third of the population, or 1.5 million people, lived in 3,500 unregistered squatter-occupied and 2,011 registered slums: 92 The authorised slums (with access to basic services like water, latrines, trash removal by the Kolkata Municipal Corporation) can be broadly divided into two groups - bustees, in which slum dwellers have some long term tenancy agreement with the landowners; and udbastu colonies, settlements which had been leased to refugees from present-day Bangladesh by the Government.:5 The unauthorised slums (devoid of basic services provided by the municipality) are occupied by squatters who started living on encroached lands - mainly along canals, railway lines and roads.:92:5 According to the 2005 National Family Health Survey, around 14% of the households in Kolkata were poor, while 33% lived in slums, indicating a substantial proportion of households in slum areas were better off economically than the bottom quarter of urban households in terms of wealth status.:23 Mother Teresa was awarded the Nobel Peace Prize for founding and working with the Missionaries of Charity in Kolkata - an organisation "whose primary task was to love and care for those persons nobody was prepared to look after".
WIKIPEDIA
Tried Topaz Adjust on this photo... click on this link to see how it looks: www.flickr.com/photos/scaturchio/2950703672/
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We were told that this was Al Capone’s house… not sure how true it is… it’s now a restaurant.
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Varadero beach—some call it the world’s greatest beach—has long been the pride of Cuba, and a magnet for the rich and famous. Today, a broad range of hotels and resorts on this wide, sandy beach offer affordable vacations to please any pocketbook.
Considered by many as the world's most beautiful beach, Varadero is part of a peninsula that stretches far out into the calm waters of the Atlantic. Its 21-kilometre strip of fine white sand is an ideal vacation spot for sun-lovers, water babies and golfers. Its location on a narrow peninsula ensures that it is constantly cooled by tropical breezes.
[http://www.flickr.com/photos/scaturchio/2950703672/]