London

Print depicting the execution of Anne Boleyn, consort to Henry VIII and mother of Elizabeth I. Print made by Jan Luyken, c.1664-1712.

Inscription: ‘ANNA BULLEYN Gemalinne van HENDRIK DE VIII/Koning van Engeland, binnen London onthalst’.

The print is part of a series of plates depicting the deaths of various notable persons. They are held at the British Museum.

Height: 190mm (trimmed)

Width: 146mm

German postcard by Ross Verlag, no. 83/6. Photo: Ufa. Diana Karenne and Ivan Mozzhukhin in The Loves of Casanova or Casanova, a 1927 French historical drama film directed by Alexandre Volkoff (Aleksandr Volkov) and starring Ivan Mozzhukhin, Suzanne Bianchetti, Jenny Jugo, Rina De Liguoro and Diana Karenne as Maria Mari, the Duchess of Lardi..

Polish actress Diana Karenne (1888-1940) was one of the divas of Italian silent cinema. Russian actor Ivan Mozzhukhin (1889-1939) was a legendary star of the European silent film. He escaped from execution by the Soviet Red Army and made a stellar career in Europe, but he suffered in Hollywood.

For more postcards, a bio and clips check out our blog European Film Star Postcards Already over 3 million views! Or follow us at Tumblr or Pinterest.

Wikipedia

Ronda, Spain: Ronda

Ronda is a city in Spanish province of Málaga. It is located about 100 kilometres (62 mi) West from the city of Málaga, within the autonomous community of Andalusia. Its population is approximately 35,000 inhabitants.

Around the city are remains of prehistoric settlements dating to the Neolithic Age, including the rock paintings of Cueva de la Pileta. Ronda was however first settled by the early Celts, who, in the 6th century BC, called it Arunda. Later Phoenician settlers established themselves nearby to found Acinipo, known locally as Ronda la Vieja, Arunda or Old Ronda. The current Ronda is however of Roman origins having been founded as a fortified post in the Second Punic War, by Scipio Africanus. Ronda received the title of city at the time of Julius Caesar.

History

In the 5th century AD Ronda was conquered by the Suebi, led by Rechila, being reconquered in the following century by the Eastern Roman Empire, under whose rule Acinipo was abandoned. Later the Visigoth king Leovigild captured the city. Ronda was part of the Visigoth reign until 713, when it fell to the Arabs, who named it Izn-Rand Onda ("city of the castle") and made it the capital of the Takurunna province.

It was the hometown of the polymath Abbas Ibn Firnas (810–887), an an inventor, engineer, aviator, physician, Arabic poet, and Andalusian musician.

After the disintegration of the caliphate of Córdoba, Ronda became the capital of a small kingdom ruled by the Berber Banu Ifran, the taifa of Ronda. During this period Ronda received most of its Islamic architectural heritage. In 1065 Ronda was conquered by the taifa of Seville led by Abbad II al-Mu'tadid. Both the poet Salih ben Sharif al-Rundi (1204–1285) and the Sufi scholar Ibn Abbad al-Rundi (1333–1390) were born in Ronda.

The Islamic domination of Ronda ended in 1485, when it was conquered by the Marquis of Cádiz after a brief siege. Subsequently, mostly of the city's old edifices were renewed or adapted to Christian roles, while numerous others were built in newly-created quarters such as the Mercadillo and the San Francisco ones. The Real Maestranza de Caballería de Ronda was founded in the town in 1572, with military finalities.

The Spanish Inquisitions affected the Muslims living in Spain greatly. Shortly after 1492, when the last outpost of Muslim presence in the Iberian peninsula, Granada, was conquered, the Spanish decreed that all Muslims and Jews must either vacate the peninsula without their belongings or convert to Christianity. Many people overtly converted to keep their possessions, while secretly practiced their religion. Muslims who converted only overtly were called Moriscos. Moriscos were required to wear upon their caps and turbans a blue crescent, which brought upon them taunts and violence of a fanatical population. Traveling without a permit meant a death sentence. This systematic suppression forced the Muslims to seek refuge in mountainous regions of southern Andalucian cities such as Ronda.

In May 25, 1566 Philip II decreed that the use of the Arabic language (written or spoken) to be illegal, doors to home to remain open on Fridays to verify that no Muslim Friday prayers are conducted, and heavy taxation on Moriscos trades. This led to several rebellions, one being that of Ronda under the leadership of Al-Fihrey. After a ferocious battle, Al-Fihrey's insurgent army was able to defeat the Spanish army sent to suppress them under the leadership of Alfonso de Aguilar. So violent the retribution was, that no Spanish soldier captured was spared his life, including Alfonso himself. This prompted Phillip II to order the mass slaughter of all Moriscos in Ronda. Those few who survived were sold into slavery.

In the early 19th century, the Napoleonic invasion and the subsequent Peninsular War caused much suffering in Ronda, whose inhabitants reduced from 15,600 to 5,000 in three years. Ronda's area became the base first of guerrilla warriors, then of numerous bandits, whose deeds inspired artists such as Washington Irving, Prosper Mérimée and Gustave Doré. In the 19th century the economy of Ronda was mainly rural. In 1918 the city was the seat of the Assembly of Ronda, in which the Andalusian flag, coat of arms and anthem were designed.

Ronda's Romero family--from the grandfather, Francisco, who was born in 1698, through his son Juan, to Juan's famous son, Pedro, who died in 1839--played a principal role in the development of modern Spanish bullfighting. With the family responsible for such innovations as the use of the cape, or muleta, and a sword especially designed for the kill, Pedro in particular transformed bullfighting into "an art and a skill in its own right, and not simply ... a clownishly macho preamble to the bull's slaughter."

Ronda was heavily affected by the Spanish Civil War, after which much of the population emigrated elsewhere. The famous scene in Chapter 10 of Hemingway's "For Whom the Bell Tolls", describing the 1936 execution of Fascist sympathisers in a (fictional) village who are thrown off a cliff, is considered to be modeled on actual events at the time in Ronda.[3]

Geography

Ronda is situated in a very mountainous area about 750 m above mean sea level. The Guadalevín River runs through the city, dividing it in two and carving out the steep, 100 plus meters deep El Tajo canyon upon which the city perches. The Spanish Fir (Abies pinsapo) is endemic to the mountains surrounding Ronda.

Main sights

Three bridges, Puente Romano ("Roman Bridge", also known as the Puente San Miguel), Puente Viejo ("Old Bridge", also known as the Puente Árabe or "Arab Bridge") and Puente Nuevo ("New Bridge"), span the canyon. The term "nuevo" is a bit of a misnomer, as the building of this bridge commenced in 1751 and took until 1793 to complete. The Puente Nuevo is the tallest of the bridges, towering 120 metres (390 ft) above the canyon floor, and all three serve as some of the city's most impressive features.

The ‘Corrida Goyesca’ is a unique and historical bullfight that takes place once a year in Ronda in the Plaza de toros de Ronda, the oldest bullfighting ring in Spain.[4] It was built in 1784 in the Neoclassical styleby the architect José Martin de Aldehuela, who also designed the Puente Nuevo.

The partially intact Baños árabes ("Arab baths") are found below the city and date back to the 13th and 14th centuries.

The former town hall, which sits next to the Puente Nuevo, is the site of a parador, and has a view of the Tajo canyon.

Cultural influence

American artists Ernest Hemingway and Orson Welles spent many summers in Ronda as part-time residents of Ronda's old town quarter called La Ciudad. Both wrote about Ronda's beauty and famous bull-fighting traditions. Their collective accounts have contributed to Ronda's popularity over time.

In the first decades of the 20th century the famous German poet Rainer Maria Rilke spent extended periods in Ronda. There he kept a permanent room at the Hotel Reina Victoria (built in 1906) where his room remains to this day as he left it, a mini-museum of Rilkeana. According to the hotel's publicity, Rilke wrote (though probably not in Spanish) "He buscado por todas partes la ciudad soñada, y al fin la he encontrado en Ronda" and "No hay nada más inesperado en España que esta ciudad salvaje y montañera" ("I have sought everywhere the city of my dreams, and I have finally found it in Ronda" and "There is nothing that is more startling in Spain than this wild and mountainous city.")

Hemingway's novel For Whom the Bell Tolls describes the murder of Nationalist sympathizers early in the Spanish Civil War. The Republicans murder the Nationalists by throwing them from cliffs in an Andalusian village, and Hemingway allegedly based the account on killings that took place in Ronda at the cliffs of El Tajo. Ernest Hemingway wrote many of his novels here as well, such as Fiesta.

Orson Welles said he was inspired by his frequent trips to Spain and Ronda (e.g. Welles' unfinished film about Don Quixote). After Welles died in 1985, his ashes were buried in a well, located on the rural property of his friend, the retired bullfighter Antonio Ordoñez.

English writer George Eliot's book Daniel Deronda ("Daniel of Ronda") tells the story of Spanish Jew brought up as an Englishman. There have been some speculation that Eliot's ancestors may have lived in Ronda prior to the expulsion of the Jews from Spain in 1492.

In the fashion world Italian designer Giorgio Armani was pleased to announce that he specially designed the bullfighting costume, called ‘Goyesco’ for famed bullfighter and testimonial Cayetano Rivera Ordóñez, on the occasion of the ‘Corrida Goyesca’, that took place on September 6, 2009 in Ronda. Cayetano’s suit of lights was in the Goyaesque style, comprises a jacket, trousers and cloack in techno satin in a shade of Armani greige. The three pieces are embroidered with sequins, small glitter stones and thread, all matching the colour of the background fabric.

Transportation

Ronda is accessible via highways and by rail from Algeciras and from Córdoba.

The single track railway between Ronda and Algeciras was built between 1890 and 1892 by the Gibraltar Railway Company. It enabled the British military officers to escape the summer heat of Gibraltar. The railway was built by James Morrison, an engineer, in partnership with, Sir Alexander Henderson, a financier. The station at Ronda was opened in 1892.

The Ice Sickle at Guillotine Falls.

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Heads will roll... oh, yes... heads WILL roll.

The Exchange Coffee Santos began construction in 1903 and was officially established in 1914 by Decree 1416. But with the outbreak of World War I, was installed only in May 2, 1917. It was created to house the main Coffee Exchange and Commodities World - Santos was then the largest square coffee on the planet. For the construction of the building, is a tax of 20 reis per bag of coffee sold at term.

The building is considered one of the most beautiful of Santos. Resulted from a French design inspired by Italian Renaissance, who won the Hall of Architecture in Paris in the 1st decade of the twentieth century. The execution of the work started in 1920, and was inaugurated on September 7, 1922 as part of celebrations of the Centenary of Independence. The monumental building is in eclectic style, which may be noticeable influences of various architectural styles with three separate fronts: one in Rua Frei Gaspar, facing the square tower Azevedo Junior and portico at the main entrance XV de Novembro Street. The work is marked by diversity of source of construction materials: cement and iron from England, France and floor tiles, marble from Italy, Spain and Greece and tiles from Germany. The interior of the building is also luxurious and refined, with crystals Belgian and French bronzes - all well spread out around 6000 meters of constructed area, with more than 200 doors and windows.

The window "Anhanguera's vision" on the roof of the great hall of the New York Coffee

The great room of the sessions have the stained glass ceiling "The vision of Anhanguera" designed by painter Benedito Calixto. 3 huge panels of the same painter decorate the back wall: the most central, 153 figures, representing the elevation of Santa to the Village, so dreamlike, with the real part and the dream of clear progress in the future, smoky. The side panels, lower, shows the artist's conception of the landscape of Santos in 1822 and 1922. In the four corners of each book, Calixto painted coats of arms depicting the colonial Brazil, Brazil Brazil Empire and Republic, and the frames depicted the national fauna.

The Official Coffee Exchange Goods and peaked between 1917 and 1929, feeling quite the effect the global economic crisis began with the stock market crash in New York in 1929 that led to a gradual decrease in the activities of Santos stock. It was closed indefinitely in 1937, and sometime later reopened but the decline in the coffee trade continued to increase. With the closure of the trading sessions in the late 1970s, the building was partially occupied by state offices - its state of disrepair prevented full occupancy.

In the first floor of the building, worked for many years from the close of trading sessions until the end of the 1970s an elegant restaurant which were common in the regular meetings of various clubs like 21 brothers Friends and the Rotary Club of Santos.

On September 22, 1981, the building was listed by the Council for the Defense of the Historical, Archaeological, Artistic and Touristic (CONDEPHAAT) [1], officially ensuring its preservation. Until the building be turned off in 1986, worked to publicize the price of coffee in the international market.

A Bolsa do Café de Santos começou a ser construída em 1903, e foi instituída oficialmente em 1914 pelo decreto 1.416. Mas com a eclosão da Primeira Guerra Mundial, só foi instalada em 2 de maio de 1917. Foi criada para abrigar a principal Bolsa de Café e Mercadorias do mundo – Santos era então a maior praça cafeeira do planeta. Para a construção do prédio, foi estabelecida uma taxa de 20 réis por saca de café vendida a termo.

O edifício é considerado um dos mais belos de Santos. Resultou de um projeto francês inspirado no Renascimento italiano, que venceu o Salão de Arquitetura de Paris na 1ª década do século XX. A execução das obras começou em 1920, e a inauguração ocorreu em 7 de setembro de 1922 como parte das comemorações do Centenário da Independência. A construção monumental é em estilo eclético, podendo ser notadas influências de vários estilos arquitetônicos com 3 fachadas independentes: uma na rua Frei Gaspar, torre voltada para a praça Azevedo Júnior e pórtico da entrada principal na rua XV de Novembro. A obra é marcada pela diversidade de origem do material de construção: cimento e ferros da Inglaterra, telhas e pisos da França, mármores da Itália, Espanha e Grécia e ladrilhos da Alemanha. O próprio interior do edifício também é luxuoso e requintado, com cristais belgas e bronzes franceses – tudo devidamente espalhado em cerca de 6000 metros de área construída, com mais de 200 portas e janelas.

O vitral "A visão de Anhanguera" no teto do grande salão da Bolsa do Café

A grandiosa sala dos pregões tem no teto o vitral "A visão de Anhanguera", desenhado pelo pintor Benedito Calixto. 3 enormes painéis do mesmo pintor enfeitam a parede do fundo: o maior e central tem 153 figuras, representando a Elevação de Santos à Vila, de forma onírica, com a parte real nítida e o sonho do progresso no futuro, esfumado. Os painéis laterais, menores, mostram a concepção do artista sobre a paisagem de Santos em 1822 e 1922. Nos 4 cantos de cada obra, Calixto pintou brasões alusivos ao Brasil Colônia, Brasil Império e Brasil República, e nas molduras retratou a fauna nacional.

A Bolsa Oficial de Café e Mercadorias teve seu auge entre 1917 e 1929, sentindo bastante os efeitos da crise econômica mundial iniciada com a quebra da bolsa de Nova Iorque em 1929, que levou à queda gradual nas atividades da bolsa santista. Foi fechada por tempo indeterminado em 1937, e algum tempo depois foi reaberta mas a decadência no comércio do café continuou se acentuando. Com o encerramento dos pregões em fins da década de 1970, o edifício foi ocupado parcialmente por repartições estaduais – o seu estado de abandono impedia a ocupação plena.

No 1° andar do edifício, funcionou ainda por muitos anos desde o encerramento dos pregões até o fim da década de 1970 um requintado restaurante no qual eram comuns as reuniões periódicas de diversos clubes como o 21 Irmãos Amigos e o Rotary Club de Santos.

Em 22 de setembro de 1981, o edifício foi tombado pelo Conselho de Defesa do Patrimônio Histórico, Arqueológico, Artístico e Turístico (CONDEPHAAT)[1], garantindo oficialmente a sua preservação. Até o edifício ser desativado em 1986, funcionou para a divulgação da cotação do café no mercado internacional.

See more here: Virginia Execution

ift.tt/2gupwdO #Medal podium from the 1984 Sarajevo Olympics that was used as execution platform for prisoners during the Siege of Sarajevo by troops from the Army of the Republika Srpska, 1996 [2000x1000] . #history #retro #vintage #dh #HistoryPorn ift.tt/2h6Q5FI via Histolines

The Tuol Sleng Genocide Museum is a museum chronicling the Cambodian genocide. Located in Phnom Penh, the site is a former secondary school which was used as Security Prison 21 (S-21; Khmer: មន្ទីរស-២១) by the Khmer Rouge regime from 1975 until its fall in 1979. From 1976 to 1979, an estimated 20,000 people were imprisoned at Tuol Sleng and it was one of between 150 and 196 torture and execution centers established by the Khmer Rouge. On 26 July 2010, the Extraordinary Chambers in the Courts of Cambodia convicted the prison's chief, Kang Kek Iew, for crimes against humanity and grave breaches of the 1949 Geneva Conventions. He died on 2 September 2020 while serving a life sentence.

To accommodate the victims of purges that were important enough for the attention of the Khmer Rouge, a new detention center was planned in the building that was formerly known as Tuol Svay Prey High School, named after a royal ancestor of King Norodom Sihanouk, the five buildings of the complex were converted in March or April 1976 into a prison and an interrogation center. Before, other buildings in town were used already as prison S-21. The Khmer Rouge renamed the complex "Security Prison 21" (S-21) and construction began to adapt the prison for the inmates: the buildings were enclosed in electrified barbed wire, the classrooms converted into tiny prison and torture chambers, and all windows were covered with iron bars and barbed wire to prevent escapes and suicides.

From 1976 to 1979, an estimated 20,000 people were imprisoned at Tuol Sleng (the real number is unknown). At any one time, the prison held between 1,000 and 1,500 prisoners. They were repeatedly tortured and coerced into naming family members and close associates, who were in turn arrested, tortured and killed. In the early months of S-21's existence, most of the victims were from the previous Lon Nol regime and included soldiers, government officials, as well as academics, doctors, teachers, students, factory workers, monks, engineers, etc. Later, the party leadership's paranoia turned on its own ranks and purges throughout the country saw thousands of party activists and their families brought to Tuol Sleng and murdered. Those arrested included some of the highest ranking politicians such as Khoy Thoun, Vorn Vet and Hu Nim. Although the official reason for their arrest was "espionage", these men may have been viewed by Khmer Rouge leader Pol Pot as potential leaders of a coup against him. Prisoners' families were sometimes brought en masse to be interrogated and later executed at the Choeung Ek extermination center.

In 1979, the prison was uncovered by the invading Vietnamese army. At some point between 1979 and 1980 the prison was reopened by the government of the People's Republic of Kampuchea as a historical museum memorializing the actions of the Khmer Rouge regime.

Upon arrival at the prison, prisoners were photographed and required to give detailed autobiographies, beginning with their childhood and ending with their arrest. After that, they were forced to strip to their underwear, and their possessions were confiscated. The prisoners were then taken to their cells. Those taken to the smaller cells were shackled to the walls or the concrete floor. Those who were held in the large mass cells were collectively shackled to long pieces of iron bar. The shackles were fixed to alternating bars; the prisoners slept with their heads in opposite directions. They slept on the floor without mats, mosquito nets, or blankets. They were forbidden to talk to each other.

The day began in the prison at 4:30 a.m. when prisoners were ordered to strip for inspection. The guards checked to see if the shackles were loose or if the prisoners had hidden objects they could use to commit suicide. Over the years, several prisoners managed to kill themselves, so the guards were very careful in checking the shackles and cells. The prisoners received four small spoonfuls of rice porridge and a watery soup of leaves twice a day. Drinking water without asking the guards for permission resulted in serious beatings. The inmates were hosed down every four days.

The prison had very strict regulations, and severe beatings were inflicted upon any prisoner who disobeyed. Almost every action had to be approved by one of the prison's guards. The prisoners were sometimes forced to eat human feces and drink human urine. The unhygienic living conditions in the prison caused skin diseases, lice, rashes, ringworm and other ailments. The prison's medical staff were untrained and offered treatment only to sustain prisoners' lives after they had been injured during interrogation. When prisoners were taken from one place to another for interrogation, they were blindfolded. Guards and prisoners were not allowed to converse. Moreover, within the prison, people who were in different groups were not allowed to have contact with one another.[5]

Most prisoners at S-21 were held there for two to three months. However, several high-ranking Khmer Rouge cadres were held longer. Within two or three days after they were brought to S-21, all prisoners were taken for interrogation. The torture system at Tuol Sleng was designed to make prisoners confess to whatever crimes they were charged with by their captors. Prisoners were routinely beaten and tortured with electric shocks, searing hot metal instruments and hanging, as well as through the use of various other devices. Some prisoners were cut with knives or suffocated with plastic bags. Other methods for generating confessions included pulling out fingernails while pouring alcohol on the wounds, holding prisoners' heads under water, and the use of the waterboarding technique. Women were sometimes raped by the interrogators, even though sexual abuse was against Democratic Kampuchea (DK) policy. The perpetrators who were found out were executed. Although many prisoners died from this kind of abuse, killing them outright was discouraged, since the Khmer Rouge needed their confessions. The "Medical Unit" at Tuol Sleng, however, did kill at least 100 prisoners by bleeding them to death. It is proven that medical experiments were performed on certain prisoners. There is clear evidence that patients in Cambodia were sliced open and had organs removed with no anesthetic. The camp's director, Kang Kek Iew, has acknowledged that "live prisoners were used for surgical study and training. Draining blood was also done."

In their confessions, the prisoners were asked to describe their personal background. If they were party members, they had to say when they joined the revolution and describe their work assignments in DK. Then the prisoners would relate their supposed treasonous activities in chronological order. The third section of the confession text described prisoners' thwarted conspiracies and supposed treasonous conversations. At the end, the confessions would list a string of traitors who were the prisoners' friends, colleagues, or acquaintances. Some lists contained over a hundred names. People whose names were in the confession list were often called in for interrogation.

Typical confessions ran into thousands of words in which the prisoner would interweave true events in their lives with imaginary accounts of their espionage activities for the CIA, the KGB, or Vietnam. Physical torture was combined with sleep deprivation and deliberate neglect of the prisoners. The torture implements are on display in the museum. It is believed that the vast majority of prisoners were innocent of the charges against them and that the torture produced false confessions.

For the first year of S-21's existence, corpses were buried near the prison. However, by the end of 1976, cadres ran out of burial spaces, the prisoner and family members were taken to the Boeung Choeung Ek ("Crow's Feet Pond") extermination centre, fifteen kilometers from Phnom Penh. There, they were killed by a group of teenagers led by a Comrade Teng, being battered to death with iron bars, pickaxes, machetes and many other makeshift weapons owing to the scarcity and cost of ammunition. After the prisoners were executed, the soldiers who had accompanied them from S-21 buried them in graves that held as few as 6 and as many as 100 bodies.

Almost all non-Cambodians had left the country by early May 1975, following an overland evacuation of the French Embassy in trucks. The few who remained were seen as a security risk. Though most of the foreign victims were either Vietnamese or Thai, a number of Western prisoners, many picked up at sea by Khmer Rouge patrol boats, also passed through S-21 between April 1976 and December 1978. No foreign prisoners survived captivity in S-21.

Even though the vast majority of the victims were Cambodian, some were foreigners, including 488 Vietnamese, 31 Thai, four French, two Americans, two Australians, one Laotian, one Arab, one Briton, one Canadian, one New Zealander, and one Indonesian. Khmers of Indian and Pakistani descent were also victims.

Two Franco-Vietnamese brothers named Rovin and Harad Bernard were detained in April 1976 after they were transferred from Siem Reap, where they had worked tending cattle. Another Frenchman named Andre Gaston Courtigne, a 30-year-old clerk and typist at the French embassy, was arrested the same month along with his Khmer wife in Siem Reap.

It is possible that a handful of French nationals who went missing after the 1975 evacuation of Phnom Penh also passed through S-21. Two Americans were captured under similar circumstances. James Clark and Lance McNamara in April 1978 were sailing when their boat drifted off course and sailed into Cambodian waters. They were arrested by Khmer patrol boats, taken ashore, where they were blindfolded, placed on trucks, and taken to the then-deserted Phnom Penh.

Twenty-six-year-old John D. Dewhirst, a British tourist, was one of the youngest foreigners to die in the prison. He was sailing with his New Zealand companion, Kerry Hamill, and their Canadian friend Stuart Glass when their boat drifted into Cambodian territory and was intercepted by Khmer patrol boats on August 13, 1978. Glass was killed during the arrest, while Dewhirst and Hamill were captured, blindfolded, and taken to shore. Both were executed after having been tortured for several months at Tuol Sleng. Witnesses reported that a foreigner was burned alive; initially, it was suggested that this might have been John Dewhirst, but a survivor would later identify Kerry Hamill as the victim of this particular act of brutality. Robert Hamill, his brother and a champion Atlantic rower, would years later make a documentary, Brother Number One, about his brother's incarceration.

One of the last foreign prisoners to die was twenty-nine-year-old American Michael S. Deeds, who was captured with his friend Christopher E. DeLance on November 24, 1978, while sailing from Singapore to Hawaii. His confession was signed a week before the Vietnamese army invaded Cambodia and ousted the Khmer Rouge. In 1989, Deeds' brother, Karl Deeds, traveled to Cambodia in attempts to find his brother's remains, but was unsuccessful. On September 3, 2012, DeLance's photograph was identified among the caches of inmate portraits.

As of 1999, there were a total of 79 foreign victims on record, but former Tuol Sleng Khmer Rouge photographer Nim Im claims that the records are not complete. On top of that, there is also an eyewitness account of a Filipino, a Cuban and a Swiss who passed through the prison, though no official records of either are shown.

Out of an estimated 20,000 people imprisoned at Tuol Sleng, there were only twelve known survivors: seven adults and five children. One child died shortly after the liberation.[5] As of mid-September 2011, only three of the adults and four children are thought to still be alive: Chum Mey, Bou Meng, and Chim Meth. All three said they were kept alive because they had skills their captors judged to be useful. Bou Meng, whose wife was killed in the prison, is an artist. Chum Mey was kept alive because of his skills in repairing machinery. Chim Meth was held in S-21 for 2 weeks and transferred to the nearby Prey Sar prison. She may have been spared because she was from Stoeung district in Kampong Thom where Comrade Duch was born. She intentionally distinguished herself by emphasising her provincial accent during her interrogations. Vann Nath, who was spared because of his ability to paint, died on September 5, 2011. Norng Chan Phal, one of the surviving children, published his story in 2018.

The Documentation Center of Cambodia has recently estimated that, in fact, at least 179 prisoners were freed from S-21 between 1975 and 1979 and approximately 23 prisoners (including 5 children, two of them siblings Norng Chanphal and Norng Chanly) survived when the prison was liberated in January 1979. One child died shortly thereafter. Of the 179 prisoners who were released, most disappeared and only a few are known to have survived after 1979. It was found that at least 60 persons (out of the DC Cam list) who are listed as having survived were first released but later rearrested and executed.

The prison had a staff of 1,720 people throughout the whole period. Of those, approximately 300 were office staff, internal workforce and interrogators. The other 1,400 were general workers, including people who grew food for the prison. Several of these workers were children taken from the prisoner families. The chief of the prison was Khang Khek Ieu (also known as Comrade Duch), a former mathematics teacher who worked closely with Khmer Rouge leader Pol Pot. Other leading figures of S-21 were Kim Vat aka Ho (deputy chief of S-21), Peng (chief of guards), Mam Nai aka Chan (chief of the Interrogation Unit), and Tang Sin Hean aka Pon (interrogator). Pon was the person who interrogated important people such as Keo Meas, Nay Sarann, Ho Nim, Tiv Ol, and Phok Chhay.

The documentation unit was responsible for transcribing tape recorded confessions, typing the handwritten notes from prisoners' confessions, preparing summaries of confessions, and maintaining files. In the photography sub-unit, workers took mug shots of prisoners when they arrived, pictures of prisoners who had died while in detention, and pictures of important prisoners after they were executed. Thousands of photographs have survived, but thousands are still missing.

The defense unit was the largest unit in S-21. The guards in this unit were mostly teenagers. Many guards found the unit's strict rules hard to obey. Guards were not allowed to talk to prisoners, to learn their names, or to beat them. They were also forbidden to observe or eavesdrop on interrogations, and they were expected to obey 30 regulations, which barred them from such things as taking naps, sitting down or leaning against a wall while on duty. They had to walk, guard, and examine everything carefully. Guards who made serious mistakes were arrested, interrogated, jailed and put to death. Most of the people employed at S-21 were terrified of making mistakes and feared being tortured and killed.

The interrogation unit was split into three separate groups: Krom Noyobai or the political unit, Krom Kdao or the hot unit and Krom Angkiem, or the chewing unit. The hot unit (sometimes called the cruel unit) was allowed to use torture. In contrast, the cold unit (sometimes called the gentle unit) was prohibited from using torture to obtain confessions. If they could not make prisoners confess, they would transfer them to the hot unit. The chewing unit dealt with tough and important cases. Those who worked as interrogators were literate and usually in their 20s.

Some of the staff who worked in Tuol Sleng also ended up as prisoners. They confessed to being lazy in preparing documents, to having damaged machines and various equipment, and to having beaten prisoners to death without permission when assisting with interrogations.

When prisoners were first brought to Tuol Sleng, they were made aware of ten rules that they were to follow during their incarceration. What follows is what is posted today at the Tuol Sleng Museum; the imperfect grammar is a result of faulty translation from the original Khmer:

You must answer accordingly to my question. Don't turn them away.

Don't try to hide the facts by making pretexts this and that, you are strictly prohibited to contest me.

Don't be a fool for you are a chap who dare to thwart the revolution.

You must immediately answer my questions without wasting time to reflect.

Don't tell me either about your immoralities or the essence of the revolution.

While getting lashes or electrification you must not cry at all.

Do nothing, sit still and wait for my orders. If there is no order, keep quiet. When I ask you to do something, you must do it right away without protesting.

Don't make pretext about Kampuchea Krom in order to hide your secret or traitor.

If you don't follow all the above rules, you shall get many lashes of electric wire.

If you disobey any point of my regulations you shall get either ten lashes or five shocks of electric discharge.

During testimony at the Khmer Rouge Tribunal on April 27, 2009, Duch claimed the 10 security regulations were a fabrication of the Vietnamese officials that first set up the Tuol Sleng Genocide Museum.

In 1979, Hồ Văn Tây, a Vietnamese combat photographer, was the first journalist to document Tuol Sleng to the world. Hồ and his colleagues followed the stench of rotting corpses to the gates of Tuol Sleng. The photos of Hồ documenting what he saw when he entered the site are exhibited in Tuol Sleng today.

The Khmer Rouge required that the prison staff make a detailed dossier for each prisoner. Included in the documentation was a photograph. Since the original negatives and photographs were separated from the dossiers in the 1979–1980 period, most of the photographs remain anonymous to this day.

The buildings at Tuol Sleng are preserved, with some rooms still appearing just as they were when the Khmer Rouge were driven out in 1979. The regime kept extensive records, including thousands of photographs. Several rooms of the museum are now lined, floor to ceiling, with black and white photographs of some of the estimated 20,000 prisoners who passed through the prison.

The site has four main buildings, known as Building A, B, C, and D. Building A holds the large cells in which the bodies of the last victims were discovered. Building B holds galleries of photographs. Building C holds the rooms subdivided into small cells for prisoners. Building D holds other memorabilia including instruments of torture.

Other rooms contain only a rusting iron bedframe, beneath a black and white photograph showing the room as it was found by the Vietnamese. In each photograph, the mutilated body of a prisoner is chained to the bed, killed by his fleeing captors only hours before the prison was captured. Other rooms preserve leg-irons and instruments of torture. They are accompanied by paintings by former inmate Vann Nath showing people being tortured, which were added by the post-Khmer Rouge regime installed by the Vietnamese in 1979.

The museum is open to the public from 8:00 a.m. to 5:00 p.m. On weekdays, visitors have the opportunity of viewing a 'survivor testimony' from 2:30 p.m. to 3:00 p.m. Along with the Choeung Ek Memorial (the Killing Fields), the Tuol Sleng Genocide Museum is included as a point of interest for those visiting Cambodia. Tuol Sleng also remains an important educational site as well as memorial for Cambodians. Since 2010, the ECCC brings Cambodians on a 'study tour' consisting of the Tuol Sleng, followed by the Choeung Ek, and finishing at the ECCC complex. The tour drew approximately 27,000 visitors in 2010.

S-21: The Khmer Rouge Killing Machine is a 2003 film by Rithy Panh, a Cambodian-born, French-trained filmmaker who lost his family when he was 11. The film features two Tuol Sleng survivors, Vann Nath and Chum Mey, confronting their former Khmer Rouge captors, including guards, interrogators, a doctor and a photographer. The focus of the film is the difference between the feelings of the survivors, who want to understand what happened at Tuol Sleng to warn future generations, and the former jailers, who cannot escape the horror of the genocide they helped create.

A number of images from Tuol Sleng are featured in the 1992 Ron Fricke film Baraka.

The Killing Fields are a number of sites in Cambodia where collectively more than 1,000,000 people were killed and buried by the Communist Party of Kampuchea during Khmer Rouge rule of the country from 1975 to 1979, immediately after the end of the Cambodian Civil War (1970–1975). The mass killings were part of the broad, state-sponsored Cambodian genocide.

Analysis of 20,000 mass grave sites by the DC-Cam Mapping Program and Yale University indicates at least 1,386,734 victims of execution. Estimates of the total deaths resulting from Khmer Rouge policies, including death from disease and starvation, range from 1.7 to 2.5 million out of a 1975 population of roughly 8 million. In 1979, Vietnam invaded Democratic Kampuchea and toppled the Khmer Rouge regime, ending the genocide.

The Cambodian journalist Dith Pran coined the term "killing fields" after his escape from the regime.

The Khmer Rouge regime arrested and eventually executed almost everyone suspected of connections with the former government or with foreign governments, as well as professionals and intellectuals. Ethnic Vietnamese, ethnic Thai, ethnic Chinese, ethnic Cham, Cambodian Christians, and Buddhist monks were the demographic targets of persecution. As a result, Pol Pot has been described as "a genocidal tyrant". Martin Shaw described the Cambodian genocide as "the purest genocide of the Cold War era".

Ben Kiernan estimates that about 1.7 million people were killed. Researcher Craig Etcheson of the Documentation Center of Cambodia suggests that the death toll was between 2 and 2.5 million, with a "most likely" figure of 2.2 million. After five years of researching some 20,000 grave sites, he concludes that "these mass graves contain the remains of 1,386,734 victims of execution". A United Nations investigation reported 2–3 million dead, while UNICEF estimated 3 million had been killed. Demographic analysis by Patrick Heuveline suggests that between 1.17 and 3.42 million Cambodians were killed, while Marek Sliwinski suggests that 1.8 million is a conservative figure. Even the Khmer Rouge acknowledged that 2 million had been killed—though they attributed those deaths to a subsequent Vietnamese invasion. By late 1979, UN and Red Cross officials were warning that another 2.25 million Cambodians faced death by starvation due to "the near destruction of Cambodian society under the regime of ousted Prime Minister Pol Pot", who were saved by international aid after the Vietnamese invasion.

Process

The judicial process of the Khmer Rouge regime, for minor or political crimes, began with a warning from the Angkar, the government of Cambodia under the regime. People receiving more than two warnings were sent for "re-education," which meant near-certain death. People were often encouraged to confess to Angkar their "pre-revolutionary lifestyles and crimes" (which usually included some kind of free-market activity; having had contact with a foreign source, such as a U.S. missionary, international relief or government agency; or contact with any foreigner or with the outside world at all), being told that Angkar would forgive them and "wipe the slate clean." They were then taken away to a place such as Tuol Sleng or Choeung Ek for torture and/or execution.[citation needed]

The executed were buried in mass graves. In order to save ammunition, the executions were often carried out using poison or improvised weapons such as sharpened bamboo sticks, hammers, machetes and axes. Inside the Buddhist Memorial Stupa at Choeung Ek, there is evidence of bayonets, knives, wooden clubs, hoes for farming and curved scythes being used to kill victims, with images of skulls, damaged by these implements, as evidence. In some cases the children and infants of adult victims were killed by having their heads bashed against the trunks of Chankiri trees, and then were thrown into the pits alongside their parents. The rationale was "to stop them growing up and taking revenge for their parents' deaths."[citation needed]

Prosecution for crimes against humanity

In 1997 the Cambodian government asked for the UN's assistance in setting up a genocide tribunal. It took nine years to agree to the shape and structure of the court—a hybrid of Cambodian and international laws—before the judges were sworn in, in 2006. The investigating judges were presented with the names of five possible suspects by the prosecution on 18 July 2007. On 19 September 2007 Nuon Chea, second in command of the Khmer Rouge and its most senior surviving member, was charged with war crimes and crimes against humanity. He faced Cambodian and foreign judges at the special genocide tribunal and was convicted on 7 August 2014 and received a life sentence. On 26 July 2010 Kang Kek Iew (aka Comrade Duch), director of the S-21 prison camp, was convicted of crimes against humanity and sentenced to 35 years' imprisonment. His sentence was reduced to 19 years, as he had already spent 11 years in prison. On 2 February 2012, his sentence was extended to life imprisonment by the Extraordinary Chambers in the Courts of Cambodia. He died on 2 September 2020.

Legacy

The best known monument of the Killing Fields is at the village of Choeung Ek. Today, it is the site of a Buddhist memorial to the victims, and Tuol Sleng has a museum commemorating the genocide. The memorial park at Choeung Ek has been built around the mass graves of many thousands of victims, most of whom were executed after interrogation at the S-21 Prison in Phnom Penh. The majority of those buried at Choeung Ek were Khmer Rouge killed during the purges within the regime. Many dozens of mass graves are visible above ground, many which have not been excavated yet. Commonly, bones and clothing surface after heavy rainfalls due to the large number of bodies still buried in shallow mass graves. It is not uncommon to run across the bones or teeth of the victims scattered on the surface as one tours the memorial park. If these are found, visitors are asked to notify a memorial park officer or guide.

A survivor of the genocide, Dara Duong, founded The Killing Fields Museum in Seattle, US.

The Khmer Rouge is the name that was popularly given to members of the Communist Party of Kampuchea (CPK) and by extension to the regime through which the CPK ruled Cambodia between 1975 and 1979. The name was coined in the 1960s by then Chief of State Norodom Sihanouk to describe his country's heterogeneous, communist-led dissidents, with whom he allied after his 1970 overthrow.

The Khmer Rouge army was slowly built up in the jungles of eastern Cambodia during the late 1960s, supported by the North Vietnamese army, the Viet Cong, the Pathet Lao, and the Chinese Communist Party (CCP). Although it originally fought against Sihanouk, the Khmer Rouge changed its position and supported Sihanouk following the CCP's advice after he was overthrown in a 1970 coup by Lon Nol who established the pro-American Khmer Republic. Despite a massive American bombing campaign (Operation Freedom Deal) against them, the Khmer Rouge won the Cambodian Civil War when they captured the Cambodian capital and overthrew the Khmer Republic in 1975. Following their victory, the Khmer Rouge, who were led by Pol Pot, Nuon Chea, Ieng Sary, Son Sen, and Khieu Samphan, immediately set about forcibly evacuating the country's major cities. In 1976, they renamed the country Democratic Kampuchea.

The Khmer Rouge regime was highly autocratic, totalitarian, and repressive. Many deaths resulted from the regime's social engineering policies and the "Moha Lout Plaoh", an imitation of China's Great Leap Forward which had caused the Great Chinese Famine. The Khmer Rouge's attempts at agricultural reform through collectivization similarly led to widespread famine, while its insistence on absolute self-sufficiency, including the supply of medicine, led to the death of many thousands from treatable diseases such as malaria.

The Khmer Rouge regime murdered hundreds of thousands of their perceived political opponents, and its racist emphasis on national purity resulted in the genocide of Cambodian minorities. Summary executions and torture were carried out by its cadres against perceived subversive elements, or during genocidal purges of its own ranks between 1975 and 1978. Ultimately, the Cambodian genocide which took place under the Khmer Rouge regime led to the deaths of 1.5 to 2 million people, around 25% of Cambodia's population.

In the 1970s, the Khmer Rouge were largely supported and funded by the Chinese Communist Party, receiving approval from Mao Zedong; it is estimated that at least 90% of the foreign aid which was provided to the Khmer Rouge came from China. The regime was removed from power in 1979 when Vietnam invaded Cambodia and quickly destroyed most of its forces. The Khmer Rouge then fled to Thailand, whose government saw them as a buffer force against the Communist Vietnamese. The Khmer Rouge continued to fight against the Vietnamese and the government of the new People's Republic of Kampuchea until the end of the war in 1989. The Cambodian governments-in-exile (including the Khmer Rouge) held onto Cambodia's United Nations seat (with considerable international support) until 1993, when the monarchy was restored and the name of the Cambodian state was changed to the Kingdom of Cambodia. A year later, thousands of Khmer Rouge guerrillas surrendered themselves in a government amnesty.

In 1996, a new political party called the Democratic National Union Movement was formed by Ieng Sary, who was granted amnesty for his role as the deputy leader of the Khmer Rouge. The organisation was largely dissolved by the mid-1990s and finally surrendered completely in 1999. In 2014, two Khmer Rouge leaders, Nuon Chea and Khieu Samphan, were jailed for life by a United Nations-backed court which found them guilty of crimes against humanity for their roles in the Khmer Rouge's genocidal campaign.

The Cambodian genocide was the systematic persecution and killing of Cambodian citizens by the Khmer Rouge under the leadership of Communist Party of Kampuchea general secretary Pol Pot. It resulted in the deaths of 1.5 to 2 million people from 1975 to 1979, nearly a quarter of Cambodia's population in 1975 (c. 7.8 million).

Pol Pot and the Khmer Rouge had long been supported by the Chinese Communist Party (CCP) and its chairman, Mao Zedong; it is estimated that at least 90% of the foreign aid which the Khmer Rouge received came from China, including at least US$1 billion in interest-free economic and military aid in 1975 alone. After it seized power in April 1975, the Khmer Rouge wanted to turn the country into an agrarian socialist republic, founded on the policies of ultra-Maoism and influenced by the Cultural Revolution. Pol Pot and other Khmer Rouge officials met with Mao in Beijing in June 1975, receiving approval and advice, while high-ranking CCP officials such as Politburo Standing Committee member Zhang Chunqiao later visited Cambodia to offer help. To fulfill its goals, the Khmer Rouge emptied the cities and forced Cambodians to relocate to labor camps in the countryside, where mass executions, forced labor, physical abuse, malnutrition, and disease were rampant. In 1976, the Khmer Rouge renamed the country Democratic Kampuchea.

The massacres ended when the Vietnamese military invaded in 1978 and toppled the Khmer Rouge regime. By January 1979, 1.5 to 2 million people had died due to the Khmer Rouge's policies, including 200,000–300,000 Chinese Cambodians, 90,000–500,000 Cambodian Cham (who are mostly Muslim), and 20,000 Vietnamese Cambodians. 20,000 people passed through the Security Prison 21, one of the 196 prisons the Khmer Rouge operated, and only seven adults survived. The prisoners were taken to the Killing Fields, where they were executed (often with pickaxes, to save bullets) and buried in mass graves. Abduction and indoctrination of children was widespread, and many were persuaded or forced to commit atrocities. As of 2009, the Documentation Center of Cambodia has mapped 23,745 mass graves containing approximately 1.3 million suspected victims of execution. Direct execution is believed to account for up to 60% of the genocide's death toll, with other victims succumbing to starvation, exhaustion, or disease.

The genocide triggered a second outflow of refugees, many of whom escaped to neighboring Thailand and, to a lesser extent, Vietnam. In 2003, by agreement between the Cambodian government and the United Nations, the Extraordinary Chambers in the Court of Cambodia (Khmer Rouge Tribunal) were established to try the members of the Khmer Rouge leadership responsible for the Cambodian genocide. Trials began in 2009. On 26 July 2010, the Trial Chamber convicted Kaing Guek Eav (alias Duch) for crimes against humanity and grave breaches of the 1949 Geneva Conventions. The Supreme Court Chamber increased his sentence to life imprisonment. Nuon Chea and Khieu Samphan were tried and convicted in 2014 of crimes against humanity and grave breaches of the Geneva Conventions. On 28 March 2019, the Trial Chamber found Nuon Chea and Khieu Samphan guilty of crimes against humanity, grave breaches of the Geneva Conventions, and genocide of the Vietnamese ethnic, national and racial group. The Chamber additionally convicted Nuon Chea of genocide of the Cham ethnic and religious group under the doctrine of superior responsibility. Both Nuon Chea and Khieu Samphan were sentenced to terms of life imprisonment.

Lamborghini Veneno

In the year of its 50th anniversary Automobili Lamborghini is presenting an extremely exclusive model at the 2013 Geneva Motor Show. Only three unique units of the Lamborghini Veneno will be built and sold. Its design is consistently focused on optimum aerodynamics and cornering stability, giving the Veneno the real dynamic experience of a racing prototype, yet it is fully homologated for the road. With a maximum output of 552 kW / 750 hp, the Lamborghini Veneno accelerates from 0-100 km/h in just 2.8 seconds and the top speed for this street-legal racing car stands at 355 km/h. It is priced at three million Euros plus tax - and all three units have already been sold to customers.

The Lamborghini Veneno features a twelve-cylinder power unit with a displacement of 6.5 liters, an extremely fast-shifting 7-speed ISR transmission with 5 driving modes and permanent all-wheel drive, as well as a racing chassis with pushrod suspension and horizontal spring/damper units. Above all, however, the Veneno benefits from the very special expertise that Automobili Lamborghini possesses in the development and execution of carbon-fiber materials - the complete chassis is produced as a CFRP monocoque, as is the outer skin of this extreme sports car. The inside, too, features innovative, Lamborghini-patented materials such as Forged Composite and CarbonSkin.

Fully in keeping with the tradition of the brand, the name of the Veneno originates from a legendary fighting bull. Veneno is the name of one of the strongest and most aggressive fighting bulls ever. He is also famous for being one of the fastest bulls in the history of bullfighting. His name became popular in 1914, when he fatally wounded the famous torero José Sánchez Rodríguez during the bullfight in the arena Sanlúcar de Barrameda's, Andalusia, Spain.

Lamborghini Veneno (2013)

2013 Lamborghini Veneno

The Design

The Lamborghini Veneno brings the aerodynamic efficiency of a racing prototype to the road. Every detail of its form pursues a clear function - exceptional dynamics, optimum downforce with minimal drag and perfect cooling of the high-performance engine. Yet the Veneno is unmistakably a Lamborghini; it sticks firmly to the consistent design philosophy of all the super sports cars from Sant'Agata Bolognese. That includes the extreme proportions, as well as the powerfully arrow-shaped front end and the interplay between razor-sharp lines and precise surfaces.

The entire front end of the Lamborghini Veneno has been laid out for perfect airflow and downforce. The front end works as a large aerodynamic wing. Large channels guide the air to the outlets in the front hood and in front of the windshield, as well as to the front wheels. Characteristic for Lamborghini is the Y shape of the angular headlamps that reach well into the fenders as well as the scissor doors.

The division of the fenders from the car body is a reference to the world of sport prototypes and optimizes at the same time the aerodynamic flow. The side line of the Veneno is therefore dominated by enormous sills and the mighty wheel arches front and rear. Here, too, sophisticated aerodynamics ensure perfect airflow to the large openings for engine cooling and intake air.

Just like the front end, the rear of the Lamborghini Veneno has also been optimized for underbody aerodynamics and high speed cornering stability. The smooth underbody transitions into a substantial diffuser framing the four sizable exhaust pipes divided by a splitter to increase the level of downforce peak. Large openings serve to ventilate the engine bay and manage the airflow to the rear wing, with the only sealed area at the rear being reserved for the license plate. The rear lights, including brake lights, indicator lights and fog lights, pick up the Y theme as well. The engine cover sports six wedge-shaped openings, with the focus here, too, on optimum dissipation of heat from the engine. The engine cover extends into a large central "shark" fin, which improves efficiency during braking and rear-end stability, by delivering additional downforce at high yaw angles and thus increasing the high-speed cornering performance.

The adjustable rear wing's design is the product of Motorsport experience and extensive aerodynamic simulation to ensure the best performance of rear wing interaction with rear diffuser air flow.

The exclusive alloy wheels measure 20 inches at the front and 21 inches at the rear and are equipped with center mountings. Their design is also determined by aerodynamic functionality - a carbon-fiber ring around the wheel rim works like a turbine to deliver additional cooling air to the carbon-ceramic brake discs.

The Lamborghini Veneno is painted in an all-new, grey metallic-look color with individual parts gleaming in the black of the visible carbon-fiber structure. The only car to display all three colors of the Italian flag as an accent is the car shown at Geneva, the unit which will remain property of Lamborghini. The three cars sold to customers each feature a single color of the Italian national flag, together a triology in green, white and red accents and thus representing each a unique piece.

The Technology

The Veneno is further proof of Automobili Lamborghini's unique competence in CFRP-based lightweight design. A monocoque made from carbon-fiber reinforced polymer forms the basis of the Veneno. It is largely similar to the Aventador monocoque - as are the aluminum sub-frames front and rear - although its form has been adapted to the new design. All exterior parts are made from CFRP. The Lamborghini Veneno meets all safety and registration requirements worldwide, and naturally also incorporates a full complement of safety systems from airbags through to the adapted ESP handling system.

Carbon fiber dominates the interior of the Lamborghini Veneno, too. The carbon fiber monocoque becomes visible inside the car in the area of the central tunnel and the sills. The two lightweight bucket seats are made from Lamborghini's patented Forged Composite. The woven carbon-fiber CarbonSkin® is used to clad the entire cockpit, part of the seats and the headliner. This unique material is soaked in a very special kind of resin that stabilizes the fiber structure, while allowing the material to remain supple. Like a hi-tech fabric, this extremely fine-looking carbon-fiber matting fits perfectly to any form, and it reduces weight.

The racing personality has been transferred also to the instrument panel. It has been completely redesigned and now, thanks to an aggressive graphics and to the introduction of some additional features like the G-meter, provides all necessary information to the driver for control of the car.

The systematic, carbon-fiber, lightweight design of the Lamborghini Veneno is not only visible, it is also evident on the scales: With a dry weight of just 1,450 kilograms (3,190 pounds), the Veneno is even 125 kilos (275 pounds) lighter than the already extremely lean Aventador. The highly beneficial power-to-weight ratio of 1.93 kg/hp (4,25 lbs/hp) guarantees a performance that is nothing short of mind-blowing. Even the stunning acceleration figure of 2,8 seconds cannot adequately describe it. Despite an aerodynamic setup configured for extreme downforce, the Veneno possesses exceptionally low wind resistance which allows it to reach a top speed of 355 km/h (221 mph).

The twelve-cylinder with a displacement of 6.5 liters is a thrilling combination of absolute high-revving frenzy and phenomenal pulling power. Its output has been raised to 552 kW / 750 hp, facilitated through enlarged intake paths, optimized thermodynamics, a slightly higher rated rpm and an exhaust system with even lower back pressure. The ISR manual gearbox, permanent all-wheel drive and pushrod suspension have all been specifically adjusted to meet the demands of the Lamborghini Veneno.

The Lamborghini Veneno celebrates its first public appearance at the 2013 Geneva Motor Show. The vehicle on show is the number 0, the Lamborghini test vehicle. Its future has not been determined yet, but it will allow Lamborghini to continue its activity of testing and innovation, both on the road and on the race track. The trilogy made of three unique vehicles will be produced in the course of the year 2013 and handed over to their future owners.

westbound on the upper deck of the bay bridge / highway 80 - san francisco, california

The parish church

Design and construction

Machegg is documented have been founded in 1268 by Bohemian King Ottokar. Only ten years later, he fell in the battle against Rudolf of Habsburg in Dürnkrut. The city was therefore never fully developed. The Gothic parish church, dedicated to the Holy Margaretha, was not completed. To execution came just the choir - and as georradar measurments in 1998 resulted - the foundations of the long house. It was also determined by this deep investigations, that the portapoint (line between the portal) of the planned nave is over 7 meters outside the entrance of today's church (tower). The choir meets in the floor plan to that of the Dome of Wiener Neustadt, a mighty cathedral was Ottokar's plan!

This portalpoint (after DI . Dr. E. Reidinger) is als urban planning point of reference. The church is in the axle geometry of the city involved, and therefore the key to the entire system concept and founding date .

At that time, living and belief are a unit, such as state and church. The planning of the city is closely linked with that of the church. Eastern to Marchegg is the holy day, by which the town was entrusted to the divine protection and blessings.

In 1268 fell the green thursday, standding at the beginning of the passion, death and finally the resurrection of jesus christ on the 5th april. On that day, so reveals the bent axis of our parish, the long house was oriented in the direction of sunrise. 8 april 1268 (Easter Sunday ) was then the orientation of the choir as part of a sacred act.

Reidinger: "The reconstructed construction plan of the city and the orientation of the church with the bent axis give the answer to the date of the founding of the city.

What great importance does this mean to the churchbuilding! in the resurrection liturgy (long time on Easter Sunday early in the morning hours celebrated) shines the rising sun through the middle window into the dark church interior! Christ is risen!

As Rudolf I in the year 1278 achieved the mighty victory over King Ottokar, he gave in grateful remembrance of the fact that God, "not far from the church to marche field (Marchfeld)e", him rescued from the deadly danger, including the space along with bridge in front of the mill. In the donation letter issued by him he takes the church with their possessions under his special protection.

Later, the exact date and reason on which legal situation is unknown, Marchegg figures as vicariate of the parish parish of melk Weikendorf and the abbey of melk was holding the patronage.

From the year 1410 is a legal decision is available that the parish priest of Marchegg, the then called Wernherus, as mother gift to the church of Weikendorf every year for pennies pound as sign of filial dependence has to pay.

In the year 1429 was Johann Ströbein from Grossenzersdorf rector of the filial church santa Margaret of Marchegg.

In the same year figures Marchegg in a directory of the parishes and benefices of the diocese of Passau.

On 23 July 1465 asked the owner of dominion of Marchegg, earl Rüdiger von Starhemberg, the abbot of melk to give the vacant parish church of Marchegg to the Mert Putner (Martinus Pertner).

In the year 1506 came the former parish priest of Stillfried, Johannes Syndel as pastor to Marchegg.

In the Protestant Reformation protestant estate owner salm and landau monopolized the patronage and put in preacher.

The transfer of the reign earl Paul Pálffy took place on 26 May 1621 and in the course of the Counter-Reformation the condition take care of the parish and abolish the preachers in said place. Pallfy vowed further only to allow the Catholic religion in Marchegg.

Probably the parish from the end of the fifteenth century has been administrated by the former P. Paulinern of Mariathal (marianka - Order of Saint Paul the First Hermit) in Slovakia. From there came a priest all months for pastoral work to Marchegg. Because due to the floods often no priest appeared, Pálffy 1632 war looking for a world-priest. However, because of the poor pay and the many damage to the church and the parsonage, he could not get one for some time until Pater Sebastian Kempf finally in the year 1634 here was delegated by by the order of Saint Paul.

Before 1663 the erection of John Chapel next to the church.

1689 the parish was robbed during the kuruc fightings.

On 10 March 1697 received in the local parish church a turkish woman the holy sacrament of baptism. Probably she was left behind from the entourage of the turkish war.

1748 Maria-Lauretta chapel was built next to the parish church on an old tomb.

1776 In the church was erected to the holy Leonhard and Wendelin a new constructed side altar.

1784 The branch site Breiteseen was separtend from the parish of Marchegg and raised to an independent "Lokalkaplay".

1784 The parish of Marchegg was incorporated into the archdiocese of Vienna.

1786 26the march was abandoned cemetery location around the church.

Because of the danger of collapsing bell tower (roof rider) was demolished in 1787 and the roof is covered the same.

1786 - 1789 church annex

1790 worship was once again celebrated in the church and the church bells newly transferred to the new tower.

1850, as the bell tower threatened to collapse, it was removed, the main entrance of the church locked and the ship supported.

1853 Prince Pálffy let begin the construction of the church tower. The tower rests on 170 oak trunks.

In 1855 the cross was placed on the newly constructed tower. The cross made of of iron has been galvanically gildened, was picked up in a solemn procession from the castle and consecrated by Dechant Simon Schwarz.

Renovation of the church interior: a woman from Vienna, Magdalena Schineder, a marcheggerin (born to Marchegg), gave 350 fl, mister notary dionys Klemer 40 fl, for acquisition of new altarpiece for the high altar, which dates from the school of the famous painter Kupelwieser. The remaining contributions came from the community, from Vienna, Prague, Brno, Malacka and Baumgarten.

Termination of the church renovation in 1856.

1878 600 year anniversary of the church.

1890 New stained glass windows. Donors. Prince Palffy, Earl Apponyi, Vicar Rohrwasser (born Marchegger):

1895 Prince Liechtenstein donated two stained glass windows

1897 Flood. Parsonage and church were under water. In the church, the water reached up to the kneeling benches.

1899 17th september round 5:15 early in the morning reached the high water church and main square. Church services took place till 23nd september in the castle chapel.

1899 Princess Palffy donated a white alb, which she had embroidered herself.

1910 12th november inserting of the figural windows was completed. In the night were broken parts and robbed the offertory. The pastor prompted to remove all offertories.

1911 King Ferdinand of Bulgaria visited the parish on the journey through.

1917 The copper and the skirts of the windows of the church tower were removed and replaced by zinc sheet.

In january 1918 the organ pipes were requisitioned for war purposes.

1930 18.9. Laying of the foundation stone of a makeshift church at the railway station.

1931 7.10. Construction of the temporary church and nursery was completed. Financing by pastor Kowanda and the club "Catholic action in Marchegg".

1938 On 15th march came SA-men from Marchegg and took money, cash book and passbook of Catholic young folk. Amount of 45 shillings. Catholic young folk was dissolved.

Since 7th april on the steeple blew the swastika flag.

In 1940 cardinal Innitzer came for visitation to Marchegg. Teenagers rampaged and scolded the cardinal.

1945 Shelling of Marchegg - city church received 7 strikes. Above the presbyterium in the stone window frames, front under the base of the church. 4 shots hit the tower and the roof of the new part of the church. Between church and kindergarten 2 strikes, 5 strikes in the parish garden.

In 1953, the statue of Holy Elisabeth was erected.

In 1954, the statue of Saints Michael, Barbara and Katharina that were destroyed in the bomb hit came back restored. 9th may blessing of the bells.

1958 Completion of the extention of the church Christ the King at Marchegg station.

1960 At the renovation of the ceiling several frescoes were found, two of which were saved.

Consecration the statue of St. Elizabeth, gift of the Federal Monuments Office.

1967 Lightning struck during a funeral in the church tower. Thanks to the lightning protection system, no damage has been produced.

In 1970 the albhon organ was blessed by archbishop Dr. Josef Schoiswohl. Donation of Kommerzialrat Josef Durry.

1989 Consecration of altar and organ of the church of Christ the King by auxiliary bishop DDr. Helmut Krätzl.

1992 Consecration ot the new altar of the city church by Bishop Florian Kuntner.

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Execution on the Old Town Square 21. 6. 1621

23-06-2001 | Olaf Barth, Katrin Bock

Olaf Barth and Katrin Bock now take a look at the events that took place on the Old Town Square 380 years ago.

Execution on the Old Town Square 21. 6. 1621

If you have ever been to Prague, you may have noticed the 27 crosses which have been embedded into the pavement at the foot of the Old Town Town Hall. Perhaps you have wondered about their origin. Well, in the following minutes you will learn more about the context of these crosses. First of all, listen to the Czech writer Alois Jirasek portraying the events at the end of the 19th century in one of his stories:

"In the night of 20 to 21 June 1621, fear and grief prevailed everywhere in Prague, and the roads had become like deserted, for on Prague restrictions had been imposed. Only the clash of the weapons and the heavy steps of foreign soldiers broke through the oppressive silence. On the Old Town Square there was a lot of activity, and boards and beams were unloaded from wagons and carried to the middle of the place, where a scaffold grew by the flickering light of numerous torches. By daybreak a gallows covered with red cloth was towering. At sunrise fulminated a cannon cracker showing that the execution had to begin. On the scaffold dark hooded people were visible, the assistents of the executioner and the gravedigger. Finally, the executioner, Jan Mydláø, also appeared. Immediately the imperial judges took their seats, and the names of the twenty-seven death-condemned noblemen were exclaimed. While foreign soldiers were drumming in the streets of Prague, in the houses people of Prague prayed for their faithful, the 27 men who were either beheaded or hanged at the same time. It is reported that once a year, always in the night from the 20th to the 21st of June, the noblemen and citizens appear on the Old Town Square. Silently they walk over the square to the church, where, kneeling before the altar, they receive the Last Supper in both forms. And as silently as they have come they disappear again."

The Hradschin 1618, in the year of the window-lintel (contemporary engraving)

So far the Czech writer Alois Jirasek about the events of that night 380 years ago, when the leaders of the insurrection of the Estates against the Catholic Habsburgs were judged. 27 nobles, gentlemen and citizens, Czechs and Germans, Protestants and a Catholic then left their lives. They were punished for having joined an uprising against the legal Habsburg emperor which had a religious background, for the Emperor had previously tried to restrict the freedom of religion which had been in force in the Bohemian lands since the middle of the fifteenth century. The revolt had begun on May 23, 1618, with the famous Prague defenestration, and ended with the battle Battle of White Mountain in November 1620, for the Czechs still today a national trauma. In that battle before the gates of Prague the army of the Catholic Habsburgs the Protestant Estates had utterly vanquished. What followed was a relentless persecution of all insurgents, regardless of their social position or nationality. Emperor Ferdinand II used his military victory to strengthen his position in the rebellious Bohemian lands, to suppress the Protestant faith and to break the power of the Estates once and for all.

Procession on the White Mountains (Josef Berka and A. Gustav, around 1800)

All persons who had somehow participated in the uprising of the Estates were punished. The worst punishment experienced three lords, seven knights and 17 citizens, who were executed in the early morning hours of June 21, 1621 on the Old Town Square. The execution took place conforming to the etiquette: first came the lords, then the knights, and finally the citizens. It is said the bloodthirsty torture to have lasted for four hours, while the executioner Jan Mydlar in the proces was to have beaten blunt four swords.

Joachim Andreas Graf Schlick was the first to be beheaded, whose family had grown rich thanks to the silver mines in the west Bohemian Jáchymov valley. Count Schlick had worked for many years at the Saxon court as an educator of the future ruler Johann Georg. During the Bohemian uprising of the Estates, Schlick had been quite active. Among other things, he was one of the participants of the famous 1618 defenestration. Next came Vaclav Budova from Budovec. Since the beginning of the 17th century, he had been strongly committed to the observance of the freedom of belief in the Bohemian lands and had been one of the spokesmen of the insurgents. As the third nobleman, Krystof Harant of Polzice and Bezdruzice lost his head. He had been court musician and companion of Rudolf at the court of Emperor Rudolf II. He was not very interested in politics, but he had been one of the military leaders of the insurgents, which now cost him his head. All three of them, without any doubt, belonged to the intellectual elite of the country, all three of them had been to many places, were well-educated, spoke several languages, and were Protestants.

Among the 7 knights was also the Catholic Divis Cernin of Chudenice. This one had made the fatal mistake of opening the gates of the castle to the representatives of the Estates on the 23rd of May, 1618, who then threw the three representatives of the Habsburg power out of a window in protest against the restriction of the rights of the Protestants.

Jan Jesensky

Jan Jessenius, the rector of the Charles University of Prague, was one of those who got the severest judgement. He was not only beheaded, his tongue had been cut off before, additionally he was also quartered after the execution. Emperor Ferdinand had expressed himself personally for this harsh judgment. The internationally respected scholar, who had carried out the first public autopsy in Prague in 1600, had aroused the wrath of the ruler as he had himself pronounced against the election of Ferdinand for the King of Bohemia as well as published a series of harsh writings against the Habsburgs.

The heads of twelve executed were hanged in iron baskets for deterrence and warning at the Old Town Bridge Tower. From there they were removed only 10 years later, when the Saxons 1631 occupied Prague for a short time.

Ferdinand II.

Emperor Ferdinand II took advantage of the victory over the rebellious Protestant estates, which had dethroned him, the legitimate heir, and elected another one, the "Winter King", Frederick of the Palatinate. 166 nobles Ferdinand had completely dispossessed, another 500 lost a large part of their estates. On the other hand, his faithful were rewarded. Those were given great lands in the Bohemian lands. In addition, monasteries were returned lands that they had lost during the Hussite wars in the 15th century.

The greatest winners were probably Albrecht von Waldstein, Karl von Liechtenstein, and Johann Ulrich von Eggenberg, who were now able to call great domains their own. But also other noble families then settled in the Bohemian lands, like the Trauttmansdorff, Thun, Metternich and Clary families.

Even ordinary citizens and peasants were affected: those who did not convert to the Catholic faith had to leave the country. In 1624 the Catholic faith became the only one recognized in the Bohemian lands - more and more subjects saw themselves forced to emigrate. Some 150,000 people are said to have left the Bohemian lands for religious reasons in the years after the defeat of the Protestant Estates. The probably most famous emigrant of that time is Jan Amos Komensky - Comenius. The pedagogue and bishop of the Unity of the Brotherhood settled down after a few journeys in Holland, where he died in 1670 at the age of 78.

Even in the eyes of most of today's Czechs, the "time of darkness" began with the defeat of the Protestant estates in the Battle of Weissenberg. As such, the almost 300 years of the unrestricted rule of the Habsburgs over the Bohemian countries were designated, which ended only with the independence of Czechoslovakia in 1918. The formerly proud kingdom of Bohemia had been degrated to a Habsburg province according to the new regional order of 1627, and had lost most of its rights, including the freedom of faith for which its inhabitants had fought since the death for heresy of Jan Hus in 1415. Today, not only the 27 crosses embedded on the Old Town Square, but also all the magnificent Baroque buildings in the country, are reminiscent of this historic epoch. With these the Catholic Habsburgs showed their Bohemian and Moravian subjects who is the boss in the country.

And so we are already at the end of our trip into the 17th century.

Hinrichtung auf dem Altstädter Ring 21. 6. 1621

23-06-2001 | Olaf Barth, Katrin Bock

Olaf Barth und Katrin Bock werfen heute einen Blick auf die Geschehnisse, die sich vor 380 Jahren auf dem Altstädter Ring ereigneten.

Hinrichtung auf dem Altstädter Ring 21. 6. 1621

Wer von Ihnen schon mal in Prag war, dem sind sie vielleicht aufgefallen, die 27 in das Pflaster eingelassenen Kreuze zu Füssen des Altstädter Rathausturmes. Vielleicht haben Sie sich über deren Ursprung gewundert. Nun in den folgenden Minuten erfahren Sie mehr über die Bewandtnis dieser Kreuze. Hören Sie zunächst einmal, wie der tschechische Schriftsteller Alois Jirasek die entsprechenden Ereignisse Ende des 19. Jahrhunderts in einer seiner Geschichten schilderte:

"In der Nacht vom 20. auf den 21. Juni 1621 herrschte überall in Prag Angst und Trauer. Die Strassen waren wie ausgestorben, denn über Prag war Ausgangsverbot verhängt worden. Nur das Klirren der Waffen und schwere Schritte fremder Soldaten durchbrachen die bedrückende Stille. Auf dem Altstädter Ring herrschte reger Betrieb. Bretter und Balken wurden von Wagen abgeladen und zur Platzmitte getragen, wo beim flackernden Licht zahlreicher Fackeln ein Gerüst wuchs. Als es zu dämmern begann, ragte da ein mit rotem Stoff überzogener Galgen empor. Beim Sonnenaufgang donnerte von der Prager Burg ein Kanonenschlag. Ein Zeichen dafür, dass die Exekution beginne. Auf dem Galgengerüst waren dunkle vermummte Gestalten zu sehen - die Henkershelfer und der Totengräber. Schliesslich erschien auch der Henker Jan Mydláø. Alsbald nahmen die kaiserlichen Richter ihre Sitze ein, und die Namen der 27 zum Tode verurteilten Standesherren wurden ausgerufen. Während in den Strassen Prags fremde Soldaten trommelten, beteten in den Häusern die Prager für ihre Getreuen, die 27 Herren, die zur selben Zeit geköpft oder gehängt wurden. Es wird berichtet, dass die hingerichteten Adeligen und Bürger einmal im Jahr, immer in der Nacht vom 20. auf den 21. Juni, auf dem Altstädter Ring erscheinen. Schweigend gehen sie über den Platz zur Kirche, wo sie, vor dem Altar knieend, das Abendmahl in beiderlei Gestalt empfangen. Und so lautlos wie sie gekommen verschwinden sie wieder."

Der Hradschin 1618, im Jahre des Fenstersturzes (Zeitgenössiger Stich)

Soweit der tschechische Schriftsteller Alois Jirasek über die Ereignisse jener Nacht vor 380 Jahren, als die Anführer des Ständeaufstandes gegen die katholischen Habsburger gerichtet wurden. 27 Adelige, Herren und Bürger, Tschechen und Deutsche, Protestanten und ein Katholik liessen damals ihr Leben. Bestraft wurden sie dafür, dass sie sich einem Aufstand gegen den rechtmässigen Habsburger Kaiser angeschlossen hatten, der einen religiösen Hintergrund hatte, denn der Kaiser hatte zuvor versucht, die seit Mitte des 15. Jahrhunderts in den Böhmischen Ländern geltende Religionsfreiheit einzuschränken. Der Aufstand hatte am 23. Mai 1618 mit dem berühmten Prager Fenstersturz begonnen und mit der für Tschechen noch heute ein nationales Trauma darstellenden Schlacht am Weissen Berg im November 1620 geendet. In jener Schlacht vor den Toren Prags hatte das Heer der katholischen Habsburger die protestantischen Stände vernichtend geschlagen. Was folgte war eine unbarmherzige Verfolgung aller Aufständischen, ungeachtet ihrer gesellschaftlichen Stellung oder Nationalität. Kaiser Ferdinand II. nutzte seinen militärischen Sieg, um seine Stellung in den aufständischen Böhmischen Ländern zu stärken, den protestantischen Glauben zurückzudrängen und die Macht der Stände ein für alle mal zu brechen.

Prozession am Weißen Berge (Josef Berka und A. Gustav, um 1800)

Alle Personen, die irgendwie an dem Ständeaufstand beteiligt gewesen waren, wurden bestraft. Am schlimmsten traf es dabei drei Herren, sieben Ritter und 17 Bürger, die in den frühen Morgenstunden des 21. Junis 1621 auf dem Altstädter Ring hingerichtet wurden. Bei der Hinrichtung wurde die Etike gewahrt: zuerst waren die Herren dran, dann die Ritter und schliesslich die Bürger. Vier Stunden lang soll die blutige Tortur gedauert haben, vier Schwerter soll der Henker Jan Mydlar dabei stumpf geschlagen haben.

Als erster wurde Joachim Andreas Graf Schlick geköpft, dessen Familie dank der Silberminen im westböhmischen Joachimsthal reich geworden war. Graf Schlick hatte jahrelang am sächsischen Hof als Erzieher des zukünftigen Herrschers Johann Georg gewirkt. Während des böhmischen Ständeaufstands war Schlick recht aktiv gewesen, unter anderem gehörte er zu den Teilnehmern des berühmten Fenstersturzes von 1618. Als nächstes kam Vaclav Budova von Budovec an die Reihe. Dieser hatte sich seit dem Beginn des 17. Jahrhunderts stark für die Einhaltung der Glaubensfreiheit in den Böhmischen Ländern eingesetzt und war einer der Wortführer der Aufständischen gewesen. Als dritter hochgestellter Adeliger verlor Krystof Harant von Polzice und Bezdruzice seinen Kopf. Dieser war am Hofe Kaiser Rudolfs II. Hofmusikant und Gesellschafter Rudolfs gewesen. Für Politik interessierte er sich nicht sehr, doch war er einer der Heerführer der Aufständischen gewesen, das kostete ihn nun seinen Kopf. Alle drei Herren gehörten ohne Zweifel zur geistigen Elite des Landes, alle drei waren weitgereist, hervorragend gebildet, sprachen mehrere Sprachen - und waren Protestanten.

Unter den 7 Rittern war auch der Katholik Divis Cernin von Chudenice. Dieser hatte den verhängnisvollen Fehler gemacht, am 23. Mai 1618 den Repräsentanten der Stände die Burgtore geöffnet zu haben, die dann die drei Vertreter der Habsburger Macht aus Protest gegen die Einschränkung der Rechte der Protestanten aus einem Fenster warfen.

Jan Jesensky

Eines der härtesten Urteile traf Jan Jessenius, den Rektor der Prager Karlsuniversität, der als 16. an die Reihe kam: er wurde nicht nur geköpft, zuvor wurde ihm die Zunge abgeschnitten, ausserdem wurde er nach der Hinrichtung noch geviertelt. Für dieses harte Urteil hatte sich Kaiser Ferdinand persönlich ausgesprochen. Der international angesehene Gelehrte, der 1600 in Prag die erste öffentliche Obduktion durchgeführt hatte, hatte den Zorn des Herrschers erregt, da er sich auf verschiedenen Landtagen gegen die Wahl Ferdinands zum böhmischen König ausgesprochen sowie eine Reihe von scharfen Schriften gegen die Habsburger veröffentlicht hatte.

Die Köpfe von zwölf Hingerichteten wurden in Eisenkörben zur Abschreckung und Warnung an den Altstädter Brückenturm gehängt. Von dort wurden sie erst 10 Jahre später entfernt, als die Sachsen 1631 Prag für kurze Zeit besetzten.

Ferdinand II.

Kaiser Ferdinand II. nutzte seinen Sieg über die aufständischen protestantischen Stände, die ihn, den rechtmässigen Erben, entthront hatten und einen anderen, den "Winterkönig" Friedrich von der Pfalz, gewählt hatten. 166 Adelige liess Ferdinand vollkommen enteignen, weitere 500 verloren einen Grossteil ihrer Güter. Belohnt wurden dagegen seine Getreuen. Diese erhielten grosse Ländereien in den Böhmischen Ländern. Ausserdem bekamen Klöster Ländereien zurück, die sie zur Zeit der Hussitenkriege im 15. Jahrhundert verloren hatten.

Die grössten Gewinner waren wohl Albrecht von Waldstein, Karl von Liechtenstein sowie Johann Ulrich von Eggenberg, die nun grosse Herrschaften ihr Eigen nennen konnten. Aber auch andere Adelsdfamilien setzten damals in den Böhmischen Ländern ihren Fuss, wie die Familien Trauttmansdorff, Thun, Metternich und Clary.

Auch einfache Bürger und Bauern waren betroffen: wer nicht zum katholischen Glauben übertrat, musste das Land verlassen. 1624 wurde der katholische Glaube der einzig anerkannte in den Böhmischen Ländern - immer mehr Untertanen sahen sich gezwungen, zu emigrieren. Rund 150.000 Menschen sollen in den Jahren nach der Niederlage der protestantischen Stände die Böhmischen Länder aus religiösen Gründen verlassen haben. Der wohl bekannteste Emigrant jener Zeit ist Jan Amos Komensky - Comenius. Der Pädagoge und Bischof der Brüderunität liess sich nach einigen Reisen in Holland nieder, wo er 1670 im Alter von 78 Jahren verstarb.

Auch in den Augen der meisten heutigen Tschechen begann damals mit der Niederlage der protestantischen Stände in der Schlacht am Weissen Berg die "Zeit der Finsternis". Als solche werden die knapp 300 Jahre der uneingeschränkten Herrschaft der Habsburger über die Böhmischen Länder bezeichnet, die erst mit der Unabhängigkeit der Tschechoslowakei 1918 endeten. Das einstmals stolze Königreich Böhmen war nach der neuen Landesordnung von 1627 zu einer Habsburger Provinz degradiert worden und hatte die meisten seiner Rechte verloren - auch das der Glaubensfreiheit, für das seine Bewohner seit dem Ketzertod des Jan Hus 1415 gekämpft hatten. Heute erinnern an diese Geschichtsepoche nicht nur die 27 in das Strassenpflaster eingelassenen Kreuze auf dem Altstädter Ring, sondern auch all die prächtigen Barockbauten im Lande. Mit diesen zeigten die katholischen Habsburger ihren böhmischen und mährischen Untertanen, wer der Herr im Lande ist.

Und damit sind wir bereits am Ende unseres Ausfluges in das 17. Jahrhundert.

www.radio.cz/de/rubrik/geschichte/hinrichtung-auf-dem-alt...

Mr. Ghassemi-Shall faces imminent execution in Iran. Canadian Foreign Affairs Minister John Baird and Minister of State for Foreign Affairs Diane Ablonczy issued a joint statement asking Iran to release and halt the execution of Hamid Ghassemi-Shall.

Hamid Ghassemi-Shall was arrested in late May 2008 while visiting his mother in Iran. This arrest took place approximately two weeks after the arrest of his brother, Alborz Ghassemi-Shall.

In November 2009 Hamid’s wife in Canada received reports that both Hamid and Alborz were convicted of espionage and sentenced to death. The legal proceedings were deeply unfair and neither Hamid or Alborz had a meaningful opportunity to defend themselves. His conviction appears to be based on a document of an alleged email exchange between Hamid and Alborz. Hamid has unequivocally stated that the document is a complete fabrication and that he never sent any such message. Testing and analysis by his lawyer reportedly confirm that to be the case.

Hamid and Alborz were in solitary confinement for 18 months until the end of November 2009 when they were transferred to a general population section in Tehran's Evin prison. On 20 January 2010 Alborz died in prison, reportedly of stomach cancer. Mr. Hamid Ghassemi-Shall reported that both he and Alborz were subject to “extreme pressure” during their detention.

Hamid Ghassemi-Shall was sentenced to death. His case has undergone a number of reviews, but the family confirmed in March 2012 that the death sentance has not been lifted.

Take Action

Write the Iranian authorities. Request that they:

Guarantee that Mr. Hamid Ghassemi-Shall will not be executed.

Release Mr. Hamid Ghassemi-Shall immediately unless he is promptly brought to trial on recognizably criminal charges in legal proceedings that fully conform to international fair trial standards.

Ayatollah Sayed ‘Ali Khamenei

The Office of the Supreme Leader

Islamic Republic Street – End of Shahid

Keshvar Doust Street

Tehran, Islamic Republic of Iran

Salutation: Your Excellency

Email: info_leader@leader.ir AND tweet @khamenei_ir

Copies to:

Ayatollah Sadegh Larijani

Office of the Head of the Judiciary

Pasteur Street, Vali Asr Avenue, south of

Serah-e Jomhouri

Tehran, 1316814737

Islamic Republic of Iran

Email: bia.judi@yahoo.com or info@dadiran.ir (In the subject line, write FAO Ayatollah Sadegh Larijani)

Salutation: Your Excellency

Copies to:

Mr Kambiz Sheikh Hassani

Chargé d’Affaires, Embassy for the Islamic Republic of Iran

245 Metcalfe Street

Ottawa, Ontario K2P 2K2

Fax: (613) 232-5712

Email: executive@iranembassy.ca

More Background

The Canadian government has sponsored a resolution censuring Iran at the United Nations General Assembly human rights committee, every year since the 2003 torture and death while in custody, of Iranian-Canadian journalist Zahra Kazemi in Iran. The resolution has expressed deep concern at serious ongoing human rights violations in the Islamic Republic of Iran. The violations include torture, flogging, amputations, stoning, and "pervasive gender inequality and violence against women." Canada has also "particular concern" with the Iranian government's failure to launch a thorough investigation of alleged human rights violations in the wake of Iranian President Mahmoud Ahmadinejad's contested re-election in 2009.

In a new year’s statement on January 1, 2011 the Honourable Lawrence Cannon, Minister of Foreign Affairs, expressed deep concern for the “deteriorating human rights situation in Iran.” He expressed particular concern for the uncertain fate of two Canadians of dual nationality who remain in prison in Iran. (Hamid Ghassemi- Shall and Hossein Derakhshan). He further referred to reports that Saeed Malekpour, a Canadian permanent resident, has been condemned to death and that his sentence could be carried out at any time. Minister Cannon encouraged the Iranian authorities to show mercy and compassion to those who are in Iran’s prisons without just cause, and called on Iran to respect its international human rights obligations in law and in practice and to foster a more open dialogue with the international community.

خواهر حمید قاسمی: شما را به خدا نگذارید برادرم را اعدام کنند، حمید حتی فعال سیاسی هم نیست

soundcloud.com/frl-journalist/hamidghasemi

■■■■■ www.persianicons.org/human-right/iranian-canadian-facing-... ■■■■■

Execution Dock and the Town of Ramgate Pub

If only there were a head

Two clone troopers are held captive by a roaming mandelorian patrol.

"Any last words, clone trooper scum?"

Henry van de Velde (1863-1957)

Writing Desk Presented at the XIVth Secession Exhibition, 1900

Brussels, 1898

Execution: unknown

Solid ash; brass

Henry van de Velde (1863-1957)

Schreibtisch, präsentiert auf der XIV. Secessionsausstellung 1900

Brüssel, 1898

Ausführung: unbekannt

Eschenholz: massiv; Messing

H 2039/1954, Widmung zum Andenken an den Präsidenten des Vereines der Museumsfreunde

dedication in memory of the president of the Association of Friends of the Museum, Dr. Felix Freiherr von Oppenheimer

The history of the Austrian Museum of Applied Art/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.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna 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 k.u.k. 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.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection 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 at 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 street 11-13/Schwarzspanier street 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 at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts 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 from 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 Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts 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 School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft 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, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al 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 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 Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates 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.u.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 thereby receives 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 arts 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 for 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 delimited. 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 of 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 (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is 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 arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

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 Arts and Crafts in Vienna" is renamed into "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 of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as 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 around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made 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 brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at 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 spatial art 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 director and starts with the building up of the collection 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 the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the 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 newly put up, 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 Weiskirchner street 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 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 biography 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 of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course 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 bridge 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 is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's 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 Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a 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 annually special exhibitions. / / 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 with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, 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 from 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 Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

The Canal Cutting

The Shropshire Union Canal passes through Chester in a deep sandstone cutting and follows the course of the old Chester Canal built in 1772 which connected Chester and Nantwich.

The photo is taken below the Northgate Street bridge, beyond which is the narrow bridge known as The “Bridge of Sighs”. This was a crossing built around 1793 to allow condemned prisoners to traverse the canal from the Northgate Gaol to a chapel in the Bluecoat School where they could receive their last rights before execution.

The Locomotive Services Limited Chairman's Train - as immaculate in its conception as its execution - heads past Moore Lane running as 5Z10 08:50 Crewe Holding Sidings to Berwick-Upon-Tweed.

The full consist can be seen here. In this shot (from the front) are:

6706* Mk2f RLO "Mount (M)Gahinga" - the second ex-sleeper Mk2 that has been modified and fully refitted to a very high standard for specific use in Mr. Hosking's Chairman's Train. It is understood to be a lounge/sitting room.

99993 (ex TSO Mk1 5067) Dining Car.

310 Pullman Car "Pegasus" housing "The Trianon Bar".

3100 Mk1 FO.

10520* Mk3a SLEP - Sleeping Car.

17159 Mk2d BFK - the brake coach for the consist.

6311 Mk1 Generator car - providing Three Phase ETS to the coaches, which have been modified accordingly.

*Former Caledonian Sleeper stock until replacement by Mk5s in mid/late 2019.

execution

Inspired by the horribly talented Aaron Nace. My execution was not as on point as his but I had nonetheless doing it.

LARGER ON BLACK

Strobist:

ABR800 shot through 56" moon unit center. A Calumet Genesis 400 on each side for rim. D80 + 24-70.

Josef von Storck (cover design)

(Festschrift for the 25-Year Anniversary of the Imperial Royal Austrian Museum of Art and Industry: The Vienna School of Arts and Crafts)

Vienna, 1889

Print: Rudolf von Waldheim

Execution: P. Pollack, enamel: K. Karger, figural part: S. Schwartz

Silver plates, enamel, semi-precious stones, velvet

Josef von Storck (Einbandentwurf)

Festschrift zum 25-jährigen Jubiläum des k.k. Österreichischen Museums. Die Kunstgewerbeschule

Wien, 1889

Druck: Rudolf von Waldheim

Ausführung: P. Pollack, Emailarbeiten: K. Karger

figuraler Teil: S. Schwartz

Silberplatten, Email, Halbedelsteine, Samt

BI 21482/1937, Tausch von trade with Major Anton Widitz-Ward

The history of the Austrian Museum of Applied Art/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.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna 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 k.u.k. 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.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection 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 at 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 street 11-13/Schwarzspanier street 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 at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts 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 from 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 Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts 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 School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft 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, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al 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 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 Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates 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.u.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 thereby receives 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 arts 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 for 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 delimited. 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 of 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 (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is 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 arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

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 Arts and Crafts in Vienna" is renamed into "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 of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as 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 around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made 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 brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at 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 spatial art 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 director and starts with the building up of the collection 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 the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the 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 newly put up, 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 Weiskirchner street 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 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 biography 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 of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course 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 bridge 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 is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's 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 Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a 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 annually special exhibitions. / / 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 with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, 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 from 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 Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Published on The Presidential Museum and Library website.

execution

hello every one , my new photo ( Execution ) i edit this photo with : adobe light room + adobe photo shop , i hope u like it .

Den of Imagination - Your Miniature Painting Service

We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!

We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.

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WEBSITE: denofimagination.com/

YOUTUBE: www.youtube.com/user/denofimagination

SHOP: shop.denofimagination.com/

TWITTER: Twitter.com/doiStudio

FLICKER: www.flickr.com/photos/97996892@N07/

PINTEREST: www.pinterest.com/denstudio/

INSTAGRAM: instagram.com/doiphoto/

Den of Imagination - Your Miniature Painting Service

We are a registered studio in Torun, Poland. We have been in line of work since 2008. Our still growing staff of painters and sculptors is ready to work on any project you can imagine!

We are credible, solid and reliable. We work best with large commissions and we guarantee fast service.

------------------------------------------------------------------------------------------

WEBSITE: denofimagination.com/

YOUTUBE: www.youtube.com/user/denofimagination

SHOP: shop.denofimagination.com/

TWITTER: Twitter.com/doiStudio

FLICKER: www.flickr.com/photos/97996892@N07/

PINTEREST: www.pinterest.com/denstudio/

INSTAGRAM: instagram.com/doiphoto/

Simon was dragged out to the front entrance of the Black Scar Gang's base. Many other gang members stood out there waiting.

Please also visit my Photoblog at brohardphotography.blogspot.com

Follow me and become Fan at Facebook Loïc Brohard Photography

Consider to join the group Photography Websites & Photoblogs Group on Facebook to promote your work !

The Registan was the heart of the ancient Samarkand, Uzbekistan. The name Registan (ریگستان) means "Sandy place" in Persian.

The Registan was a place of public executions, where also people gathered to hear royal proclamations, heralded by blasts on enormous copper pipes called dzharchis.

The three madrasahs of the Registan are: Ulugh Beg Madrasah (1417–1420), the Sher-Dor Madrasah (1619–1636) and the Tilya-Kori Madrasah (1646–1660). Madrasah is an Arabic term meaning a Muslim clergy academy.

The Ulugh Beg Madrasah has its imposing portal with lancet arch facing the square. The corners are flanked by the high well-proportioned minarets. Mosaic panel over the entrance arch is decorated by geometrical stylized ornaments. The square-shaped courtyard includes a mosque, lecture rooms and is fringed by the dormitory cells in which students lived. There are deep galleries along the axes. Originally the Ulugh Beg Madrasah was a two-storied building with four domed darskhonas (lecture room) at the corners. The madrasah was one of the best clergy universities of the whole Moslem Orient of the 15th century. Abdurakhman Djami, a prominent poet, scientist and philosopher studied there. Ulugh Beg himself gave lectures there. During Ulugbek's government the Madrasah was a centre of secular science. In the 17th century the ruler of Samarkand Yalangtush Bakhodur ordered the construction of the Sher-Dor and Tillya-Kori madrasahs. The Sher-Dor (Having Tigers) Madrasah was designed by architect Abdujabor. The decoration of the madrasah is not as refined as that on the 15th century - "golden age" of Samarkand architecture. Anyway, the harmony of large and small rooms, exquisite mosaic decor, monumentality and efficient symmetry - all these put the structure among the best architectural monuments of Samarkand.

Ten years later the Tilya-Kori Madrasah was built, the name means "Gilded". It was not only the place of training students, but also it played the role of grand mosque. It has two-storied main facade, vast courtyard fringed by dormitory cells with four galleries along axes. Mosque building (see picture 6) is situated in the western section of the courtyard. The main hall of the mosque is abundantly gilded.

To the east of Tilya-Kori Madrasah the mausoleum of Shaybanids (16 century) is located (see picture). The real founder of Shaybanid power was Muhammad Shaybani - grandson of Abu'l Khair. In 1500, with the backing of the Chaghataite Khanate, then based in Tashkent (Uzbekistan), Muhammad Shaybani has conquered Samarkand and Bukhara from their last Timurid rulers. The founder of the dynasty then turned on his benefactors and in 1503 took Tashkent. He captured Khiva in 1506 and in 1507 he swooped down on Merv (Turkmenistan), eastern Persia, and western Afghanistan. The Shaybanids stopped the advance of the Safavids, who in 1502 had defeated the Akkoyunlu (Iran). Muhammad Shaybani was a leader of nomadic Uzbeks. During the ensuing years they substantially settled down in oases of Central Asia. The Uzbek invasion of 15 c. was the last component of the today's Uzbek nation ethnogeny.

The ancient trading dome Chorsu is situated right behind the Sher-Dor. Now it is well restored. The existence of the trading dome at this place confirms the information that Registan was medieval Samarkand's commercial center and the plaza was probably a wall to wall market. During the Soviet era, the site was restored, which included digging down 3 meters to its original level to expose the buildings' full height.

Oświęcim, Poland |

Execution wall: from 1941 to 1943, Germans shot several thousand people at the wall in this courtyard between blocks 10 and 11. Most of those executed here were Polish political prisoners, above all, the leaders and members of clandestine organizations and people who helped escapees or facilitated contacts with the outside world.

panorama.auschwitz.org

Collaboration avec Géant Vert.

execution

Another 5 young Iranians executed last day in the city of Ahvaz . this is a clear message of the ruling rejim (which late grand ayatollah montazeri told about : " this rejim is not islamic nor a republic." although he died very soon after these words but his braveness told enough.)

The message that rejim is trying to send is not only prove its knowledge of the death of the rejim but it is direct message that they are battling with the god.

We will wait and see what they have got as respond from the almighty god.

Following the modest success of the post-WWII Ralston Tigre MkII, the Ralston company looked to a more ambitious and glamorous execution with the Tigre MkIII, released in 1961.

The basis for the new car, again came from the General Motors' premium division - Cadillac - for the architectural hardware.

The Frame & Underbody was developed from the 1959/60 GM 'C' Bodies - a short-lived production run for GM, hence the availability to the Ralston Company. Wheelbase was set at 130 in (3,302 mm) for the standard sedan, and all the specialty 2-door cars. The long-wheelbase Limousine, Town Car and Specialty models sharing the GM 'D' Body 150 in (3,805 mm) with the Cadillac Series 75 / Fleetwood.

Powertrain was also Cadillac derived, incluing the 390 CID (6.4 Litre) V8 engine. Power was rated the same 345 bhp (257 kW). Cadillac was to retire this engine, with the development of a new engine of the same capacity for 1961.

One notable characteristic of all Ralston Tigre MkIII models are the reverse-opening doors. On all two-door cars, the doors operated on special hinges to move backwards along the body, offering easier ingress and egress for all passengers. For the four-door models, the front doors were conventionally hinged, per the originating GM 'C' and 'D' body vehicles, whilst the rear doors adopted the special hinged mechanism to allow rear passengers easier access. The adoption of GM's body-on-frame chassis permitted the omission of a conventional B-pillar on the four-door cars. A rarity at the time, but shared with the contemporary Lincoln saloons.

The real party trick appeared in 1964, with the introduction of the MkIII B. This model, though visually little changed from the MkIII of 1961, incorporated the first (and only) reintroduction of the V12 engine to the US-based motor industry.

Once more, the engine was based on that of a Cadillac.

www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...

The prototype engines were produced in 7.4 and 8.2 litre forms, originally to support the fitment of the V12 to the upcoming Cadillac Eldorado - Cadillac's first front-wheel-drive vehicle. Ultimately the V12 installation in the Eldorado was cancelled, as the engineering team considered the engine to be transversely installed, until late in the development, where the V12 length would have been a significant disadvantage in terms of installing a matching transmission. Cadillac instead, continued with V8 development at the same swept capacities, even when the Eldorado was ultimately launched with the longitudinal engine installation with the gearbox alongside. As the Eldorado was to be the most premium of premium Cadillacs, the large capacity V8s filtered across to the RWD BOF models, but the V12 was not fitted to any of the division's cars.

This opened the possibility of offering the V12 to another luxury vehicle manufacturer who did not have the funding to develop such an engine on their own.

Ralston, wishing to also continue the production of the V8 models launched in 1961, renamed the V8 as the , and offered the V12 engined as a premium model above this. In truth, the engine was the only key difference, as there were very few restriction on the use of either engine in combination with the low-volume bodystyles on offer.

Ralston remained (relatively) conservative on the engine specification, choosing not to lift the power from the original Cadillac specification, nonetheless choosing the larger 8.2 litre capacity engine at a rated 394 hp (296 kW) and 506 lb.ft (686 Nm).

Externally there was noting to differentiate between the fitment of the V8 and V12 engines to the cars, other than the subtle text spelling out or on the side engine vent ahead of the doors. The 1964 introduction coincided with a minor external facelift, key change being the fitment of a third 'X' feature in the front grille, replacing the '5th' headlamp feature fitted on 1961-early 1964 vehicles. Additionally, the modest tailfins were trimmed smaller again, and a more conservative rear licence plate treatment used in place of the 3rd rocket pod in the rear facia.

The model shown here is the common Four-Door Hardtop model. The rear doors, open with pantograph hinges, providing a much larger and clearer exit path from the rear seat. Four-door hardtops had been popular in the late 1950s, and were still an optional body configuration on many large US automobiles.

This Lego miniland-scale Ralston Tigre MkIII B Four-Door Hardtop (1964) has been created for Flickr LUGNuts' 120th Build Challenge - "Happy 10th Anniversary, LUGNuts", where all the previous challenges are available for build themes. In this case, the 95th Build Challenge, - "Designing the Ralston Legacy", - for the design of vehicles under the fictional 'Ralston' company. The models must include a 'X' design feature on the car or bike. A number of Ralston challenge vehicle concepts are possible in this challenge.

[Cadillac V12 engine information taken from 'thetruthaboutcars.com']

www.thetruthaboutcars.com/2010/04/the-ohc-v12-that-cadill...

29.10.10

Amp, Münster

www.diegoldenehor.de

Albert Black wished witnesses a merry Christmas and prosperous new year as he stood on the scaffold on 5 December 1955.

The 20 year old Irish immigrant had stabbed to death an acquaintance Alan Jacques. Jacques had severely beaten Black not long before and witnesses would say Black was frightened of him.

Jacques was selecting a song for the jukebox in 'Ye Old Barn Café' in Queens St in Auckland when Black stabbed him in the neck. In a climate of moral outrage over supposed youth delinquents the “jukebox murder”, as it was widely known, became a touchstone of all that all that was wrong with society. Albert Black, unskilled, poor and recently arrived from Belfast was the example the hard line moralists had been looking for and he was shown no mercy. Pro death penalty Prime Minister Jack Marshall blocked the attempts of Black’s mother Kathleen to travel from Ireland to visit her son before he was executed. She raised a petition of 12,000 signatures begging for clemency for Albert but it achieved nothing.

Black was led to the gallows where it was reported that he “died game” after delivering his message to those attending his execution. The story has gained new momentum with the publication of Fiona Kidman’s 'This Mortal Boy', a novel which draws heavily on her extensive research into the life and crime of Albert Black. Kidman is convinced he should have been convicted of manslaughter not murder and is campaigning for his sentence to be downgraded.

While this will be too late for Black it will be of comfort to his surviving family, including a daughter who was born several months after his death.

Shown here is the statement of Mount Eden Prison Superintendent Horace Haywood one of the witnesses to Albert Black’s execution.

Archives Reference: J46 1454 COR1955/1253

collections.archives.govt.nz/web/arena/search#/?q=R23847484

More information can be found here:

www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objecti...

For updates on our On This Day series and news from Archives New Zealand, follow us on Twitter www.twitter.com/ArchivesNZ

Material supplied by Archives New Zealand.

28 gun crimes are committed every day in the UK

Children as young as 11 carry guns

Being in the wrong gang, not selling enough drugs, just being in the wrong place

can lead to an execution

this photo was stage by two giggling 15 year olds with a toy gun in my back yard

although very tempting to whack them both for not being serious no teenager was harmed

Again this is for a photo course i am doing think i may need to retake this one

Martijn Elserman, Erik de Bruijn, Siert Wijnia

3D-Drucker "Ultimaker DIY-Kit" (Serienprodukt)

Geldermalsen (NL), 2009

Ausführung: Ultimaking Ltd.

Holz, elektronische Bestandteile

3D Printer "Ultimaker DIY-Kit" (Serial Production)

Geldermalsen (NL), 2009

Execution: Ultimaking Ltd.

Wood, electronic components

The history of the Austrian Museum of Applied Art/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.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna 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 k.u.k. 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.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection 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 at 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 street 11-13/Schwarzspanier street 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 at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts 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 from 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 Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts 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 School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft 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, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al 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 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 Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates 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.u.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 thereby receives 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 arts 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 for 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 delimited. 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 of 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 (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is 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 arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

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 Arts and Crafts in Vienna" is renamed into "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 of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as 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 around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made 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 brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at 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 spatial art 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 director and starts with the building up of the collection 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 the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the 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 newly put up, 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 Weiskirchner street 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 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 biography 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 of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course 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 bridge 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 is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's 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 Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a 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 annually special exhibitions. / / 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 with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, 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 from 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 Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte