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Koenigsegg Certified Legend
Chassis n° YT9XC21A16A007032
The CCX features Koenigsegg’s 4.7 litre twin-supercharged V8, producing 806hp and driven by a 6-speed manual gearbox, a specification that would not be out of place in today’s hypercar market, and one clearly masking the CCX’s 12-year age. The exterior has been freshly painted in its original Koenigsegg Royal Blue. The original interior was removed and replaced with a Swedish, naturally colored, aniline vegetable tanned leather with a basket-weave pattern used for the rear wall and seats.
4,7 Liter
V8 Twin Turbo
806 hp @ 7.000 rpm
920 Nm @ 5.500 rpm
Vmax : + 395 km/h
0-100 km/h : 3,2 sec
0-300 km/h : 29,2 sec
1.280 kg (dry weight)
88th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2018
We've been shooting this car in pieces for a car magazine. Yesterday we went in to shoot underneath the hood and got some shots of the trunk too.
This has got to be one of the most beautiful and incredibly detailed cars I've seen and have been able to appreciate in person. And dude doesn't keep it in his shop just for show, he actually drives it and enjoys his work!
I have no clue about the ins and outs of cars, but I know good work when I see it, and can completely appreciate when someone puts their effort and heart in to something they're passionate about.
Not happy about the reflections I caught here. I kept trying to avoid it, but totally didn't realize it on this one until I started working on it.
Happy {Sliders} Sunday, everyone!!
We're off to see more cars and enjoy the day at the Hard Rock Casino.
An adaptation of an old matchbook cover from the Robert E. Lee Hotel in downtown Jackson. The building is now in use as a state office building, though there has been some discussion of its possible return to use as a hotel. Whatever they do, the name should probably change in accordance with the times. The building is in good shape and conversion back into a hotel, while expensive, might be a valuable addition to downtown once again. For those not at all familiar with the place, the hotel was featured prominently in the book (and movie) the Help. The interior scenes, however, weren't filmed here, but instead at Fairview Inn in Belhaven.
Gene William Mauch (b: November 18, 1925 – d: August 8, 2005 at age 79) was a professional baseball player and manager. He played in MLB as a second baseman for the Brooklyn Dodgers (1944, 1948), Pittsburgh Pirates (1947), Chicago Cubs (1948–49), Boston Braves (1950–51), St. Louis Cardinals (1952) and the Boston Red Sox (1956–57).
Mauch was best known for managing four teams from 1960 to 1987. He is by far the winningest manager to have never won a league pennant (breaking the record formerly held by Jimmy Dykes), three times coming within a single victory. He managed the Philadelphia Phillies (1960-68), Montreal Expos (1969–75, Mauch was their inaugural manager), Minnesota Twins (1976–80), and California Angels (1981–82, 1985–87). His 1,902 career victories ranked 8th in major league history when he retired, and his 3,942 total games ranked 4th. He gained a reputation for playing a distinctive "small ball" style, which emphasized defense, speed and base-to-base tactics on offense rather than power hitting.
Career statistics:
Batting average - .239
Home runs - 5
RBI - 62
Games managed - 3,942
Win–loss record - 1,902–2,037
Winning % - .483
Link to all of his issued baseball cards - www.tradingcarddb.com/Person.cfm/pid/3744/col/1/yea/0/Gen...
A paper-made forest by Japenese Artist - Kuribayashi Takashi
The white trees that appear to float in space were moulded by Takashi Kuribayashi after real larch trees that can be found in Yamagata, Japan. These papier-mâché trees are made of Awa washi, a kind of traditional Japanese paper made by hand from natural materials such as kozo (hybrid mulberry tree) and mitsumata (paper bush) and a symbol of the natural ecology. The forest that lies above the ground would be peered at by the viewer as though from an insect’s perspective.
He wondered, as he had many times wondered before, whether he himself was a lunatic. Perhaps a lunatic was simply a minority of one.
George Orwell -- 1984
52 Weeks of Self Portraits - 25/52
Brain Damage : Dark Side Of The Moon : Pink Floyd
A fine performance can be found here.
My Dad drove this for Certified in the late 60's into 1973. It's a 1960's Autocar DC 10364S-OMC Mixer
It's an illness for sure... you will see. :-)
*not pictured are the black with gold stripes pair*
*sold that pair because I thought I had too many*
*regrets*
Pictured several pairs of the Adidas Mali shoe. It is a totally open-air design. The soles have a metal mesh and the insoles have holes through them. On a windy day you can actually feel a cooling breeze that flows around your toes. This is shoe has been called a shoe sandal. Socks are really not meant to be worn with these. They are also not meant to be worn as a casual shoe on rainy days unless that is what you want. The Adidas drainage system lets water flow totally through the shoe so that if you are out on an adventure walk in the woods or park your feet wont stay soggy should you find yourself walking through a puddle or decide to cross that occasional stream or creek.
El Grito, 1895, litografÃa
Das Geschrei, Lithografie
The Scream, lithograph
Edvard Munch es uno de los grandes protagonistas de la modernidad - su pintura y las artes gráficas son algunos de los momentos más memorables del arte de la vuelta del siglo. Con aproximadamente 120 de las obras más importantes del artista noruego, muestra la Albertina unos iconos de su arte, entre ellos El grito, Madonna, el Beso y la MelancolÃa. Del mismo modo, la exposición dar un idea del enfoque gráfica experimental de Munch. La vida y obra del artista, acompañado de las crisis existenciales y fracturas, y al mismo tiempo determinado por la mayor consecuencia, ilustran su intenso compromiso con la soledad, el amor y la muerte. Como precursor y pionero del expresionismo, el describe enérgicamente y implacablemente la fugacidad y la desaparición de la persona en la era de la industrialización.
La exposición presenta el proyecto central de su extensa obra: el friso de la vida. Esto incluye representaciones de etapas versátiles de la vida: desde la fertilidad y la fecundación, el embrión, el árbol de la vida, desde la infancia y la adolescencia a través de la atracción, el beso, la asociación hasta el destacamento, la desesperación, al grito, a la vejez y la muerte surgieron numerosos temas. Munch en su argumento desarrolló ilustraciones altamente simbólicas del amor, la tristeza, la melancolÃa y la muerte; crea en temas como la fertilidad diversas variaciones llenas de máxima intensidad. Hoy, obras del friso de la vida como El grito, Madonna o El beso están consideradas iconos de la modernidad.
Los objetos expuestos en la exposición proceden de la más importante colección privada internacional de grabados de Edvard Munch. Esta extraordinaria colección incluye numerosas series de obras y variaciones de litografÃas, aguafuertes y xilografÃas, ilustrando el genio gráfico de Munch. Dos tercios de esta colección - alrededor de 120 piezas únicas de alta calidad - se proporcionan a la Albertina generosamente para esta presentación única.
Edvard Munch is one of the greatest protagonists of modernity - his painting and graphic arts are among the absolute highlights of the art of the turn of the century. With approximately 120 of the most important works of the Norwegian artist, shows the Albertina icons of his art, including The Scream, Madonna, The Kiss and Melancholy. Similarly, the exhibition gives insight into Munch's experimental printmaking approaches. Life and work of the artist, accompanied by existential crises and fractures, and at the same time determined by the highest consequence, illustrate his intense engagement with the loneliness, love and death. As a forerunner and pioneer of Expressionism, he incisively and relentlessly describes the transience and the disappearance of the individual in the age of industrialization.
The exhibition presents the central project of his extensive work: the Frieze of Life. This includes representations of versatile stages of life: from the fertility and fertilization, the embryo, the tree of life, from childhood and adolescence through the attraction, the kiss, the association up to the detachment, despair, on the cry, old age and death numerous themes have emerged. Munch in his argument develops symbol-charged illustrations of love, sorrow, melancholy and death; creates on topics such as fertility diverse variations full of utmost intensity. Today, works from the Frieze of Life, like The Scream, Madonna or The Kiss are considered icons of modernity.
The exhibits in the exhibition stem from the most important international private collection of prints of Edvard Munch. This extraordinary collection includes numerous outstanding series of works and variations of lithographs, etchings and woodcuts, illustrating the printmaking genius of Munch. Two thirds of this collection - around 120 high quality unique items - have been generously provided to the Albertina for this unique presentation.
Edvard Munch ist einer der großen Protagonisten der Moderne – seine Malerei und Grafik zählen zu den absoluten Höhepunkten der Kunst der Jahrhundertwende. Mit rund 120 der bedeutendsten Werke des norwegischen Künstlers zeigt die Albertina Ikonen seiner Kunst, darunter Der Schrei, Madonna, Der Kuss und Melancholie. Gleichsam gibt die Ausstellung Einblick in Munchs experimentelle druckgrafische Ansätze. Leben und Werk des Künstlers, von existentiellen Krisen und Brüchen begleitet und zugleich von höchster Konsequenz bestimmt, illustrieren seine intensive Auseinandersetzung mit der Einsamkeit, der Liebe und dem Tod. Als Vorläufer und Wegbereiter des Expressionismus beschreibt er eindringlich und schonungslos die Vergänglichkeit und das Verschwinden des Individuums im Zeitalter der Industrialisierung.
Die Ausstellung präsentiert das zentrale Projekt seines umfangreichen Werks: den Lebensfries. Dieser umfasst Darstellungen vielseitiger Lebensabschnitte: Von der Fruchtbarkeit und der Befruchtung, dem Embryo, dem Lebensbaum, von der Kindheit und Jugend über die Anziehung, den Kuss, die Vereinigung bis hin zur Loslösung, Verzweiflung, zum Schrei, zum Alter und zum Tod sind zahlreiche Motive entstanden. Munch entwickelt in seiner Auseinandersetzung symbolgeladene Illustrationen von Liebe, Leid, Melancholie und Tod; schafft zu Themen wie der Fruchtbarkeit vielfältige Variationen voll größter Intensität. Heute gelten Werke aus dem Lebensfries wie Der Schrei, Madonna oder Der Kuss als Ikonen der Moderne.
Die Exponate der Ausstellung stammen aus der bedeutendsten internationalen Privatsammlung von Druckgrafiken Edvard Munchs. Diese außerordentliche Kollektion beinhaltet zahlreiche hervorragende Werkreihen und Varianten von Lithografien, Radierungen und Holzschnitten, die das druckgrafische Genie Munchs veranschaulichen. Zwei Drittel dieser Sammlung - rund 120 hochqualitative Unikate - werden der Albertina großzügigerweise für diese einzigartige Präsentation zur Verfügung gestellt.
www.norwegen.or.at/News_and_events/Veranstaltungen/2015--...
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
The transient Orca family the T49a's
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She knows I'm there but isn't looking, whilst the boy on the bicycle takes a quick look to see if the coast is clear. Snack stall Bacolod City, Philippines.
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A look at the Certified Angus Beef Burger from the Cafe Pacifica Restaurant in the Pan Pacific Vancouver.
For more information visit www.roomwithaviewblog.com
Crewmen in their quarters, April 1919. From the looks of the crew, they just got their pay. Dates to the early 1900's
food: foliage, nectar, pollen, berries, fruit, seeds, nuts
water: bird baths, butterfly puddling areas
cover: vegetation, shrubs, thickets, brush piles, dead trees
place to raise young: birdhouses, bathouses, ladybug houses, butterfly houses, wildflower meadows, bushes
green garden: organic fertilizer, composting, mulching, no grass
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food: foliage, nectar, pollen, berries, fruit, seeds, nuts
water: bird baths, butterfly puddling areas
cover: vegetation, shrubs, thickets, brush piles, dead trees
place to raise young: birdhouses, bathouses, ladybug houses, butterfly houses, wildflower meadows, bushes
green garden: organic fertilizer, composting, mulching, no grass
food: foliage, nectar, pollen, berries, fruit, seeds, nuts
water: bird baths, butterfly puddling areas
cover: vegetation, shrubs, thickets, brush piles, dead trees
place to raise young: birdhouses, bathouses, ladybug houses, butterfly houses, wildflower meadows, bushes
green garden: organic fertilizer, composting, mulching, no grass