View allAll Photos Tagged exploit
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Lieu : Centre Opérationnel Bus d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/34902
Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.
Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.
ETYMOLOGY AND OTHER NAMES
Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.
The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).
Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).
A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".
In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.
In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.
ICONOGRAPHY
Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.
Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.
The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.
COMMON ATTRIBUTES
Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.
Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.
VAHANAS
The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.
Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.
The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.
ASSOCIATIONS
OBSTACLES
Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."
Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.
BUDDHI (KNOWLEDGE)
Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".
AUM
Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:
(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).
Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.
FIRST CHAKRA
According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".
FAMILY AND CONSORTS
Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.
The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.
Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.
The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.
WOSHIP AND FESTIVALS
Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.
Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).
Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.
Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."
GANESH CHATURTI
An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.
TEMPLES
In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.
There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.
T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.
RISE TO PROMINENCE
FIRST APEARANCE
Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:
What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.
POSSIBLE INFLUENCES
Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:
In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.
Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."
One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.
A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.
First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).
VEDIC AND EPIC LITERATURE
The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .
Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".
Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.
PURANIC PERIOD
Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.
In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:
Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.
Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.
SCRIPTURES
Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.
The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.
R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.
BEYOND INDIA AND HINDUISM
Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.
Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.
Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.
Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.
Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.
The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.
WIKIPEDIA
Exploitant : Keolis Ouest Val-de-Marne
Réseau : IDF Mobilités – Seine Grand Orly
Ligne : 483
Lieu : Raoul Delattre (Villeneuve-le-Roi, F-94)
Lien TC Infos : tc-infos.fr/vehicule/36139
German postcard by WS-Druck, Wanne-Eickel, no. F 107. Photo: Metro-Goldwyn-Mayer / Filmpress Zürich.
Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'
Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.
Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.
Sources: Wikipedia and IMDb.
Koh Samed (Samet) - I wouldn't recommend a visit if you want to experience Thailand because it is a very exploited Island. But it is on a convenient distance from Bangkok (2-3 hours by car) if you are in the region.
The sunsets and sunrises can however be magical with chrome like pastel colors.
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2671 (BL-445-JA)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Véhicule parmis les premiers Citelis à passer en livrée TBM pour le changement d'identité du réseau.
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1812
Destination : Mise en Ligne
À l'occasion de l'UEFA EURO 2016 (coupe d'Europe de football), une ligne spéciale a été créée pour délester le Tram C de l'afflux de supporters, malgré les renforts mis en place. Cette "Navette Stade" porte le numéro 18, et fait la liaison entre le Parc des Expositions (et Nouveau Stade) et la station Tram B "La Cité du Vin" (anciennement "Bassins à Flot"), pour une correspondance depuis/vers le Centre-Ville. Cette Navette est mise en place avant et après le match, pour répartir les mouvements sur 2 axes. Pour l'occasion, un large périmètre avait été bloqué à la circulation autour du Stade Matmut Atlantique pour faciliter la circulation des supporters et des bus, et un arrêt spécial a été aménagé parallèlement à la station de Tram. Une zone de stationnement était mise en place pendant le match pour les bus assurant la Navette sur les "Rue du Vergne" et "Avenue de la Jallère". Cette Navette a été pérennisée au sein de l'offre TBM pour les événements au Stade Matmut Atlantique.
18/06/2016 16:03
Rue du Vergne ; F-33 BORDEAUX
Ces étais en bois au détour d'une galerie sont encore en relativement bon état. Ils servaient à soutenir le ciel de carrière de manière temporaire pendant l'exploitation. Malheureusement, avec un taux d'humidité très élevé, ils finissent inéluctablement par pourrir. Ceux-ci sont déjà bien attaqués par la mérule.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Police and partner agencies have been focusing on young people who run away or go missing from home and those that may exploit them during a week of action that began across Greater Manchester on Monday 14 March.
The focus of the campaign during this year’s week of action has been raising awareness around the strong link between child sexual exploitation and children who go missing.
Going missing can mean bunking off school, staying out overnight, or running away from home for a few days or longer. Whatever the context, the reality is that 95% children at risk from child sexual exploitation have gone missing at least once.
GMP Assistant Chief Constable Rob Potts said: “The statistics speak for themselves – there is a clear correlation between young people at risk of child sexual exploitation and their inclination to run away or go missing.
“More often than not, the young people who do run away do so regularly. This not only places a significant strain on policing but also increases the chances of that person coming to harm.
“Young people are often unaware of the dangers that are posed when they stay away from home without telling anyone and we urge them to keep in touch somehow, whether that’s through a friend, relative or anyone you trust.
“If you have concerns about your child’s whereabouts or don’t know where they are, please contact the police. With our partners in Project Phoenix we are doing all we can to work with these young people to get to the root of the problem, and keep them safe.
“Child sexual exploitation is a horrific crime and we will continue to work hard to both locate and protect those vulnerable to abuse, working with missing children on their return to break the cycle. Officers are patrolling around the clock, and will take robust action to tackle anyone who seeks to exploit these young people.”
Greater Manchester Mayor and Police and Crime Commissioner Tony Lloyd said: “Greater Manchester is leading the fight against child sexual exploitation. We’re engaging with local people to raise awareness of the abuse and how to spot the signs, and partner agencies are working together to tackle the issue, bring perpetrators to justice, and provide much-needed support to victims and those at risk, including children who run away or go missing.
“Child sexual exploitation is child sex abuse, plain and simple. We must come down heavily on those who exploit and manipulate vulnerable children for their own sexual pleasure, and arm our young people with the means to keep safe and recognise unhealthy, abusive relationships.”
Paul Maher, Greater Manchester Area Manager at The Children’s Society, which works with children and young people who go missing or are at risk of going missing, said: “Children and young people who go missing are among the most vulnerable children in our society.
“Some may be running from neglect and abuse, family breakdown or drug and alcohol misuse by their parents - while others go missing under the influence of predatory adults seeking to exploit them.
“Whatever the reason for them going missing, we know these children are at particular risk of being sexually exploited or falling victim to other types of harm. Our research has shown that around a quarter are either hurt or harmed in some way.
“That is why it is vital they receive more support at an early stage to help address the issues that cause them to go missing and protect them from the risks of sexual exploitation or becoming a victim of other crimes.”
The week of activity is the latest from Project Phoenix’s ‘It’s Not Okay’ campaign, and will be publicising resources and support related to child sexual exploitation.
‘It’s Not Okay’ was created as part of Project Phoenix, the Greater Manchester response to tackling child sexual exploitation - a collaboration of public and third sector partners throughout Greater Manchester working together to protect young people.
Since the campaign launched in September 2014, public awareness and understanding of child sexual exploitation in Greater Manchester has increased considerably amongst young people and parents and carers, as well as professionals.
In the 18 months since the launch of the ‘It’s Not Okay’ campaign, Project Phoenix has undertaken substantial work with schools, healthcare providers and support services to ensure that vulnerable young people are helped at every stage - from prevention through to support and rehabilitation.
Regular weeks of awareness-raising have included direct engagement with young people and those who care for them; police targeting and disruption, dedicated days of publicity focusing on key trends and close collaboration across Greater Manchester authorities means that hundreds more young people are being identified, educated and safeguarded than ever before. Visit www.itsnotokay.co.uk to find out more.
For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk
To report crime call police on 101 the national non-emergency number.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Exploitant : Transdev TVO
Réseau : Valmy
Ligne : 16
Lieu : Gare d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/14765
The legendary exploits of the huntsman are forever enshrined in his memory.
Entry to the CCCX contest for the Medieval Architectural Detail category.
Translation / Traduction 🇬🇧 UK
● 1st tram with the Ilévia color.
● 2nd day of exploitation to the Ilévia color.
● 3rd Delivered ( Color ).
Bye Bye Transpole, Hello Ilévia ( New brand since February 28th, 2019 )
Translation / Traduction 🇫🇷 Fr.
● 1er tramway avec la couleur Ilévia.
● 2ème jour d'exploitation Tram n° 01 au nouvelle couleur Ilévia.
● 3ème livrée ( couleur ).
Bye Bye Transpole, Hello Ilévia ( Nouvelle marque depuis le 28 février 2019 )
Tramway de Lille Roubaix Tourcoing.
Parc : 24 Tramways
Fiche technique :
- Longueur : 29.6 mètres
- Largeur : 2,4 mètres
- Hauteur : 3,425 mètres
- Masse à vide : 40 tonnes
- Capacité avant ◄ 2015 : 200 personnes
( 50 assises et 150 debout )
- Capacité évolué après rénovation ( voir ci-dessous )
- Capacité après ► 2016 : 245 personnes
( 40 assises et 205 debout )
- Vitesse maxi : 80 km/h
- Captage : pantographe unijambiste Faiveley
- Ecartement : voie métrique ( 1 mètre )
- Constructeur : Breda Costruzioni Ferroviaire
Source : Trans'Lille
www.translille.com/spip.php?article4
Exploitant ►Ilévia ( Site officiel )
www.ilevia.fr/fr/?gclid=EAIaIQobChMIsK7duc3k4AIViZ3VCh3HD...
Ilévia ( Wikipédia )
fr.wikipedia.org/wiki/Il%C3%A9via
Tramway de Lille - Roubaix - Tourcoing ( Wikipédia )
fr.wikipedia.org/wiki/Tramway_de_Lille_-_Roubaix_-_Tourcoing
Breda ( Wikipédia )
fr.wikipedia.org/wiki/Breda_VLC
fr.wikipedia.org/wiki/Breda_costruzioni_ferroviarie
Liste des tramways de France
Ligne 1 - Arrêt : Gare de Versailles Chantiers
Exploitant : Keolis Versailles
Réseau Phébus - Versailles
Title: More Exploits Of Spycatcher.
Author: Lt. Col. Oreste Pinto.
Publisher: Panther Books.
Date: 1961.
Artist: John Berry.
Scientific name: Passer domesticus
Bird family: Old World sparrows
UK conservation status: Red
Noisy and gregarious, these cheerful exploiters of man's rubbish and wastefulness have managed to colonise most of the world. The ultimate avian opportunist perhaps. Monitoring suggests a severe decline in the UK house sparrow population, recently estimated as dropping by 71 per cent between 1977 and 2008 with substantial declines in both rural and urban populations. While the decline in England continues, Breeding Bird Survey data indicate recent population increases in Scotland, Wales and Northern Ireland.
What they eat: Seeds and scraps.
Measurements:
Length: 14-15cm
Wingspan: 21-25.5cm
Weight: 24-38g
Read more at www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a...
Our Child Sexual Exploitation Unit were out in Oldham and Manchester earlier today executing warrants as part of an investigation into non-recent child sexual abuse dating back to the early 2000s.
This is part of our ongoing operation to tackle all forms of CSE in Greater Manchester.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Police and partner agencies have been focusing on young people who run away or go missing from home and those that may exploit them during a week of action that began across Greater Manchester on Monday 14 March.
The focus of the campaign during this year’s week of action has been raising awareness around the strong link between child sexual exploitation and children who go missing.
Going missing can mean bunking off school, staying out overnight, or running away from home for a few days or longer. Whatever the context, the reality is that 95% children at risk from child sexual exploitation have gone missing at least once.
GMP Assistant Chief Constable Rob Potts said: “The statistics speak for themselves – there is a clear correlation between young people at risk of child sexual exploitation and their inclination to run away or go missing.
“More often than not, the young people who do run away do so regularly. This not only places a significant strain on policing but also increases the chances of that person coming to harm.
“Young people are often unaware of the dangers that are posed when they stay away from home without telling anyone and we urge them to keep in touch somehow, whether that’s through a friend, relative or anyone you trust.
“If you have concerns about your child’s whereabouts or don’t know where they are, please contact the police. With our partners in Project Phoenix we are doing all we can to work with these young people to get to the root of the problem, and keep them safe.
“Child sexual exploitation is a horrific crime and we will continue to work hard to both locate and protect those vulnerable to abuse, working with missing children on their return to break the cycle. Officers are patrolling around the clock, and will take robust action to tackle anyone who seeks to exploit these young people.”
Greater Manchester Mayor and Police and Crime Commissioner Tony Lloyd said: “Greater Manchester is leading the fight against child sexual exploitation. We’re engaging with local people to raise awareness of the abuse and how to spot the signs, and partner agencies are working together to tackle the issue, bring perpetrators to justice, and provide much-needed support to victims and those at risk, including children who run away or go missing.
“Child sexual exploitation is child sex abuse, plain and simple. We must come down heavily on those who exploit and manipulate vulnerable children for their own sexual pleasure, and arm our young people with the means to keep safe and recognise unhealthy, abusive relationships.”
Paul Maher, Greater Manchester Area Manager at The Children’s Society, which works with children and young people who go missing or are at risk of going missing, said: “Children and young people who go missing are among the most vulnerable children in our society.
“Some may be running from neglect and abuse, family breakdown or drug and alcohol misuse by their parents - while others go missing under the influence of predatory adults seeking to exploit them.
“Whatever the reason for them going missing, we know these children are at particular risk of being sexually exploited or falling victim to other types of harm. Our research has shown that around a quarter are either hurt or harmed in some way.
“That is why it is vital they receive more support at an early stage to help address the issues that cause them to go missing and protect them from the risks of sexual exploitation or becoming a victim of other crimes.”
The week of activity is the latest from Project Phoenix’s ‘It’s Not Okay’ campaign, and will be publicising resources and support related to child sexual exploitation.
‘It’s Not Okay’ was created as part of Project Phoenix, the Greater Manchester response to tackling child sexual exploitation - a collaboration of public and third sector partners throughout Greater Manchester working together to protect young people.
Since the campaign launched in September 2014, public awareness and understanding of child sexual exploitation in Greater Manchester has increased considerably amongst young people and parents and carers, as well as professionals.
In the 18 months since the launch of the ‘It’s Not Okay’ campaign, Project Phoenix has undertaken substantial work with schools, healthcare providers and support services to ensure that vulnerable young people are helped at every stage - from prevention through to support and rehabilitation.
Regular weeks of awareness-raising have included direct engagement with young people and those who care for them; police targeting and disruption, dedicated days of publicity focusing on key trends and close collaboration across Greater Manchester authorities means that hundreds more young people are being identified, educated and safeguarded than ever before. Visit www.itsnotokay.co.uk to find out more.
For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk
To report crime call police on 101 the national non-emergency number.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
France, Région Auvergne-Rhône-Alpes, département de l'Ain, Massif du Jura, Région géographique du Bugey, Vallée du Valromey, Brénod
...
Le Valromey est à la fois une région historique et une vallée de France, qui au sein du Bugey, participe à la transition entre Haut-Bugey et Bas-Bugey ; elle est drainée par le Séran.
...
Toponymie
Une étymologie fausse prétend que Valromey signifie « vallée romaine » en ancien français, mais cette étymologie est sans doute victime des apparences. En effet, l'ancien français n'y était que peu parlé avant l'annexion en 1601, la langue vernaculaire était en effet le francoprovençal, langue dans laquelle cette vallée se nomme Verromey. Des attestations plus anciennes apparaissent dans les textes sous les noms de Verrumensi en 1110, Veromensi en 1142 et Verrometum en 1169. Ces évolutions de la dénomination dérivent sans doute de Venetonimagus ou plus anciennement de Vernemetonimagos.
...
Objectif entièrement manuel Laowa 12mm f/2.8 Zero-Distorsion
Exploitant : Cars Lacroix
Réseau : Navette Substitution SNCF Île-de-France
Ligne : Navette Transilien H
Lieu : Gare d'Ermont – Eaubonne (Ermont, F-95)
Lien TC Infos : tc-infos.fr/id/22549
Eventually the exploits of Adam Scott of Tushielaw, along with the excesses of the other border barons, sufficiently roused the wrath of King James V, that, in 1528/29, he “made proclamation to all lords, barons, gentlemen, landwardmen, and freeholders, that they should compeer at Edinburgh, with a month’s victuals, to pass with the king where he pleased, to danton the thieves of Tiviotdale, Annandale, Liddisdale, and other parts of that country". The king, like all kings of those times, being fond of deer hunting "also warned all gentlemen that had good dogs to bring them, that he might hunt in the said country as he pleased.”
Calling first at Henderland (where I am heading shortly), the king's party surprised Cockburn thereof (another well-known bandit) at dinner, and promptly strung 'im up! They then continued on, round St Mary's Loch, and on over the hills that separate Yarrow and Ettrick, via the track these days known as the Captain's Road - which reaches Ettrick Water within a mile of here. They must have ridden through at least part of the night, because Adam Scott is said to have been arrested before breakfast.
Police and partner agencies have been focusing on young people who run away or go missing from home and those that may exploit them during a week of action that began across Greater Manchester on Monday 14 March.
The focus of the campaign during this year’s week of action has been raising awareness around the strong link between child sexual exploitation and children who go missing.
Going missing can mean bunking off school, staying out overnight, or running away from home for a few days or longer. Whatever the context, the reality is that 95% children at risk from child sexual exploitation have gone missing at least once.
GMP Assistant Chief Constable Rob Potts said: “The statistics speak for themselves – there is a clear correlation between young people at risk of child sexual exploitation and their inclination to run away or go missing.
“More often than not, the young people who do run away do so regularly. This not only places a significant strain on policing but also increases the chances of that person coming to harm.
“Young people are often unaware of the dangers that are posed when they stay away from home without telling anyone and we urge them to keep in touch somehow, whether that’s through a friend, relative or anyone you trust.
“If you have concerns about your child’s whereabouts or don’t know where they are, please contact the police. With our partners in Project Phoenix we are doing all we can to work with these young people to get to the root of the problem, and keep them safe.
“Child sexual exploitation is a horrific crime and we will continue to work hard to both locate and protect those vulnerable to abuse, working with missing children on their return to break the cycle. Officers are patrolling around the clock, and will take robust action to tackle anyone who seeks to exploit these young people.”
Greater Manchester Mayor and Police and Crime Commissioner Tony Lloyd said: “Greater Manchester is leading the fight against child sexual exploitation. We’re engaging with local people to raise awareness of the abuse and how to spot the signs, and partner agencies are working together to tackle the issue, bring perpetrators to justice, and provide much-needed support to victims and those at risk, including children who run away or go missing.
“Child sexual exploitation is child sex abuse, plain and simple. We must come down heavily on those who exploit and manipulate vulnerable children for their own sexual pleasure, and arm our young people with the means to keep safe and recognise unhealthy, abusive relationships.”
Paul Maher, Greater Manchester Area Manager at The Children’s Society, which works with children and young people who go missing or are at risk of going missing, said: “Children and young people who go missing are among the most vulnerable children in our society.
“Some may be running from neglect and abuse, family breakdown or drug and alcohol misuse by their parents - while others go missing under the influence of predatory adults seeking to exploit them.
“Whatever the reason for them going missing, we know these children are at particular risk of being sexually exploited or falling victim to other types of harm. Our research has shown that around a quarter are either hurt or harmed in some way.
“That is why it is vital they receive more support at an early stage to help address the issues that cause them to go missing and protect them from the risks of sexual exploitation or becoming a victim of other crimes.”
The week of activity is the latest from Project Phoenix’s ‘It’s Not Okay’ campaign, and will be publicising resources and support related to child sexual exploitation.
‘It’s Not Okay’ was created as part of Project Phoenix, the Greater Manchester response to tackling child sexual exploitation - a collaboration of public and third sector partners throughout Greater Manchester working together to protect young people.
Since the campaign launched in September 2014, public awareness and understanding of child sexual exploitation in Greater Manchester has increased considerably amongst young people and parents and carers, as well as professionals.
In the 18 months since the launch of the ‘It’s Not Okay’ campaign, Project Phoenix has undertaken substantial work with schools, healthcare providers and support services to ensure that vulnerable young people are helped at every stage - from prevention through to support and rehabilitation.
Regular weeks of awareness-raising have included direct engagement with young people and those who care for them; police targeting and disruption, dedicated days of publicity focusing on key trends and close collaboration across Greater Manchester authorities means that hundreds more young people are being identified, educated and safeguarded than ever before. Visit www.itsnotokay.co.uk to find out more.
For more information about Policing in Greater Manchester please visit our website. www.gmp.police.uk
To report crime call police on 101 the national non-emergency number.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111.
Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Γαλλική εταιρεία για την αποξήρανση και εκμετάλλευση της λίμνης Κωπαΐδας (Compagnie française pour le desséchement et l’exploitation du lac Copaïs), περίπου 1880.
Gallica
gallica.bnf.fr/ark:/12148/btv1b53020965z/f1.item.r=copais
ZOOM
drive.google.com/file/d/1cYJl8pVfb9NTSVIJr2WbOxaajOGhSBy5...
COMPAGNIE FRANÇAISE POUR LE DESSÉCHEMENT ET L’EXPLOITATION DU LAC COPAÏS
Grèce
par Corinne Krouck et Alain Léger
www.entreprises-coloniales.fr/proche-orient/Cie_frse_du_l...
Les entreprises coloniales françaiseS
PROCHE ORIENT
www.entreprises-coloniales.fr/proche-orient.html
Δήμος Ορχομενού
www.orchomenos.gr/shmeia-endiaferontos/copais/
ΣΥΝΟΠΤΙΚΗ ΕΚΘΕΣΙΣ. ΤΗΣ ΙΣΤΟΡΙΑΣ ΚΑΙ ΤΟΥ ΕΡΓΟΥ. ΤΗΣ ΑΝΩΝΥΜΟΥ ΕΤΑΙΡΕΙΑΣ. ΤΗΣ ΛΙΜΝΗΣ ΚΩΠΑΪΔΟΣ. ΑΘΗΝΑ! 1951. Συλλογή ΔΗΜΟΣΙΑΣ ΚΕΝΤΡΙΚΗΣ ΒΙΒΛΙΟΘΗΚΗΣ ΛΙΒΑΔΕΙΑΣ
livadia.publiclibrary.gr/cgi-bin/koha/opac-detail.pl?bibl...
ΣΥΝΟΠΤΙΚΗ ΕΚΘΕΣΙΣ. ΤΗΣ ΙΣΤΟΡΙΑΣ ΚΑΙ ΤΟΥ ΕΡΓΟΥ. ΤΗΣ ΑΝΩΝΥΜΟΥ ΕΤΑΙΡΕΙΑΣ. ΤΗΣ ΛΙΜΝΗΣ ΚΩΠΑΪΔΟΣ. ΑΘΗΝΑ! 1951
drive.google.com/file/d/1bnhR8Yp3g2cHdrJC_QlEOc-0CKEnhpPE...
Société d’Exploitation de Lignes Touristiques 09 EL-295-PA, a Volvo B10M-60 built 1999 with an East Lancashire Lolyne O55/41D body on Rue Auber in Paris, France by the Rue Scribe junction with a Red Line Tour. Sunday 17th June 2018
Note, EL-295-PA was originally operated by Guide Friday Limited as number 09 with the registration 201 MSH 75. It was transferred to Société d’Exploitation de Lignes Touristiques as number 09 in May 2002, being re-registered EL-295-PA in April 2017
Ref no Nikon D7200 2nd series - DSC_4900
The North of England Lead Mining Museum, better known as Killhope, is an industrial museum near the village of Cowshill, County Durham, England. The museum stands on the site of the former Park Level Mine, which is being restored to show the workings of a 19th-century lead mine.
The museum is located alongside the Killhope Burn, about 4 km upstream from Cowshill, and is accessible via the A689 road between Stanhope, County Durham and Alston, Cumbria.
It is situated in the heart of the North Pennines, Area of Outstanding Natural Beauty, an area that, in 2003, was designated the first Geopark in Great Britain.
The museum is open every day between 1 April and 31 October, but is closed (except to pre-booked groups) during the winter months, when weather conditions in the area can be severe. A bus service operates through Weardale; services usually terminate at Cowshill, but some summer services will continue to Killhope on request.
Lead ore in the North Pennines occurs in mineralised veins within the Carboniferous rocks of the area. Until the mid-19th century, exploitation of these ore bodies was mostly confined to surface excavations and vertical shafts. From 1818, mining in the area was controlled by W B Lead Co, a mining company established by the Blacketts, a prominent Newcastle family which had leased mining rights in Weardale from the Bishop of Durham.
In 1853, W B Lead began driving the Park Level Mine, which eventually intersected 11 mineral veins. As the mine developed, so did the surface workings. In 1858, a "mineshop" was built to accommodate the miners; the population density in such a remote area was very low and, until then, miners had been faced with a long daily walk to and from the mine. In 1862, storage bays ("bouse teams") were constructed, to store the raw lead ore (the "bouse"), and washing rakes were installed, in which water was used to separate the lead ore in the bouse from the waste material. In 1878, soon after the mine struck the richest of the veins, the Park Level Mill was brought into operation, to speed up the process of washing the ore. The main feature of the mill was a large waterwheel, the "Killhope Wheel".
Not long after the Park Level Mill came into use, the price of lead plummeted, rendering lead-mining in Weardale uneconomic and, in 1883, W B Lead closed all of its operations in the district. The Park Level Mine was taken over by another company, Weardale Lead, which continued to operate it until 1910, when production ceased. The mine was re-opened briefly in 1916, during the First World War, after which it lay derelict for over 60 years, during which time the buildings crumbled and any equipment that could be removed was salvaged for scrap.
Between 1818 and 1883, records show that W B Lead extracted over 31,200 tonnes of lead concentrates from the Killhope operations; between 1884 and 1916, Weardale Lead extracted a further 9,000 tonnes. Taking in the period before 1818, for which there are no records, it is thought that total output from Killhope may have exceeded 60,000 tonnes. In addition, 180 tonnes of zinc concentrates were recovered in the 1950s by treatment of some of the waste material.
By 1980, the Killhope Wheel was facing demolition, the washing floor had become a marshy field, and the rest of the site was decaying. In that year, the Durham County Council took over the site and began a programme of restoration. First to be restored was the "mineshop", which was opened to the public in May 1984. The Killhope Wheel was restored to working order in 1991 and the mine itself was opened in 1996.
It had been hoped that the existing mine could be restored to allow access by the public, but though the Park Level was found to be generally in sound condition, and the first 100 metres has been used as an access route, the area in the vicinity of the first vein workings was badly collapsed and unsafe. Reconstruction therefore consisted of constructing a new 'artificial' mine within a chamber that was excavated from the surface. Within this artificial mine, the rock surfaces are actually fibreglass casts, taken not just from Killhope but also from mines in the Nenthead district in nearby Cumbria. Despite their artificial nature, the casts faithfully represent the appearance and texture of the real rock.
One of the main features of the reconstructed mine is the Killhope Wheel, a 10-metre-diameter metal waterwheel. This was constructed by the Tyneside firm of William Armstrong. Although other waterwheels were used in and around the mine, this was the largest, and the only one to survive the decades of neglect. It has now been restored to full working order.
The museum has won several awards: it was the North East's Small Visitor Attraction of the Year in 2008, and was the inaugural winner of the Guardian's Family-Friendly Museum award in 2004.
Other lead mining remains in the area
Other interpretive sites in the area are the Heritage Centre at Allenheads, in Northumberland, and the Nenthead Mines Heritage Centre, a short distance away in Cumbria.
Numerous traces of Weardale's lead mining industry can still be seen and the Durham Dales Centre in Stanhope produces guides to a Lead Mining Trail that covers many of the more accessible sites.
Other disused lead mines in County Durham are:
Low Slitt Mine, Westgate
Middlehope Shield, Westgate
Brandon Walls Mine, Rookhope
Rookhope Old Smelt Mill
Feldon Smelt Mill
Coldberry Mine, Middleton-in-Teesdale
Middle Greenlaws, Daddry Shield
Derwent Lead Mines
Lady Rake Mine, Harwood
Greenhurth Mine, Harwood
Pike Law Mines, Newbiggin, Teesdale
County Durham, officially simply Durham is a ceremonial county in North East England. The county borders Northumberland and Tyne and Wear to the north, the North Sea to the east, North Yorkshire to the south, and Cumbria to the west. The largest settlement is Darlington, and the county town is the city of Durham.
The county has an area of 2,721 km2 (1,051 sq mi) and a population of 866,846. The latter is concentrated in the east; the south-east is part of the Teesside built-up area, which extends into North Yorkshire. After Darlington (92,363), the largest settlements are Hartlepool (88,855), Stockton-on-Tees (82,729), and Durham (48,069). For local government purposes the county comprises three unitary authority areas—County Durham, Darlington, and Hartlepool—and part of a fourth, Stockton-on-Tees. The county historically included the part of Tyne and Wear south of the River Tyne, and excluded the part of County Durham south of the River Tees.
The west of the county contains part of the North Pennines uplands, a national landscape. The hills are the source of the rivers Tees and Wear, which flow east and form the valleys of Teesdale and Weardale respectively. The east of the county is flatter, and contains by rolling hills through which the two rivers meander; the Tees forms the boundary with North Yorkshire in its lower reaches, and the Wear exits the county near Chester-le-Street in the north-east. The county's coast is a site of special scientific interest characterised by tall limestone and dolomite cliffs.
What is now County Durham was on the border of Roman Britain, and contains survivals of this era at sites such as Binchester Roman Fort. In the Anglo-Saxon period the region was part of the Kingdom of Northumbria. In 995 the city of Durham was founded by monks seeking a place safe from Viking raids to house the relics of St Cuthbert. Durham Cathedral was rebuilt after the Norman Conquest, and together with Durham Castle is now a World Heritage Site. By the late Middle Ages the county was governed semi-independently by the bishops of Durham and was also a buffer zone between England and Scotland. County Durham became heavily industrialised in the nineteenth century, when many collieries opened on the Durham coalfield. The Stockton and Darlington Railway, the world's first public railway to use steam locomotives, opened in 1825. Most collieries closed during the last quarter of the twentieth century, but the county's coal mining heritage is remembered in the annual Durham Miners' Gala.
Remains of Prehistoric Durham include a number of Neolithic earthworks.
The Crawley Edge Cairns and Heathery Burn Cave are Bronze Age sites. Maiden Castle, Durham is an Iron Age site.
Brigantia, the land of the Brigantes, is said to have included what is now County Durham.
There are archaeological remains of Roman Durham. Dere Street and Cade's Road run through what is now County Durham. There were Roman forts at Concangis (Chester-le-Street), Lavatrae (Bowes), Longovicium (Lanchester), Piercebridge (Morbium), Vindomora (Ebchester) and Vinovium (Binchester). (The Roman fort at Arbeia (South Shields) is within the former boundaries of County Durham.) A Romanised farmstead has been excavated at Old Durham.
Remains of the Anglo-Saxon period include a number of sculpted stones and sundials, the Legs Cross, the Rey Cross and St Cuthbert's coffin.
Around AD 547, an Angle named Ida founded the kingdom of Bernicia after spotting the defensive potential of a large rock at Bamburgh, upon which many a fortification was thenceforth built. Ida was able to forge, hold and consolidate the kingdom; although the native British tried to take back their land, the Angles triumphed and the kingdom endured.
In AD 604, Ida's grandson Æthelfrith forcibly merged Bernicia (ruled from Bamburgh) and Deira (ruled from York, which was known as Eforwic at the time) to create the Kingdom of Northumbria. In time, the realm was expanded, primarily through warfare and conquest; at its height, the kingdom stretched from the River Humber (from which the kingdom drew its name) to the Forth. Eventually, factional fighting and the rejuvenated strength of neighbouring kingdoms, most notably Mercia, led to Northumbria's decline. The arrival of the Vikings hastened this decline, and the Scandinavian raiders eventually claimed the Deiran part of the kingdom in AD 867 (which became Jórvík). The land that would become County Durham now sat on the border with the Great Heathen Army, a border which today still (albeit with some adjustments over the years) forms the boundaries between Yorkshire and County Durham.
Despite their success south of the river Tees, the Vikings never fully conquered the Bernician part of Northumbria, despite the many raids they had carried out on the kingdom. However, Viking control over the Danelaw, the central belt of Anglo-Saxon territory, resulted in Northumbria becoming isolated from the rest of Anglo-Saxon Britain. Scots invasions in the north pushed the kingdom's northern boundary back to the River Tweed, and the kingdom found itself reduced to a dependent earldom, its boundaries very close to those of modern-day Northumberland and County Durham. The kingdom was annexed into England in AD 954.
In AD 995, St Cuthbert's community, who had been transporting Cuthbert's remains around, partly in an attempt to avoid them falling into the hands of Viking raiders, settled at Dunholm (Durham) on a site that was defensively favourable due to the horseshoe-like path of the River Wear. St Cuthbert's remains were placed in a shrine in the White Church, which was originally a wooden structure but was eventually fortified into a stone building.
Once the City of Durham had been founded, the Bishops of Durham gradually acquired the lands that would become County Durham. Bishop Aldhun began this process by procuring land in the Tees and Wear valleys, including Norton, Stockton, Escomb and Aucklandshire in 1018. In 1031, King Canute gave Staindrop to the Bishops. This territory continued to expand, and was eventually given the status of a liberty. Under the control of the Bishops of Durham, the land had various names: the "Liberty of Durham", "Liberty of St Cuthbert's Land" "the lands of St Cuthbert between Tyne and Tees" or "the Liberty of Haliwerfolc" (holy Wear folk).
The bishops' special jurisdiction rested on claims that King Ecgfrith of Northumbria had granted a substantial territory to St Cuthbert on his election to the see of Lindisfarne in 684. In about 883 a cathedral housing the saint's remains was established at Chester-le-Street and Guthfrith, King of York granted the community of St Cuthbert the area between the Tyne and the Wear, before the community reached its final destination in 995, in Durham.
Following the Norman invasion, the administrative machinery of government extended only slowly into northern England. Northumberland's first recorded Sheriff was Gilebert from 1076 until 1080 and a 12th-century record records Durham regarded as within the shire. However the bishops disputed the authority of the sheriff of Northumberland and his officials, despite the second sheriff for example being the reputed slayer of Malcolm Canmore, King of Scots. The crown regarded Durham as falling within Northumberland until the late thirteenth century.
Following the Battle of Hastings, William the Conqueror appointed Copsig as Earl of Northumbria, thereby bringing what would become County Durham under Copsig's control. Copsig was, just a few weeks later, killed in Newburn. Having already being previously offended by the appointment of a non-Northumbrian as Bishop of Durham in 1042, the people of the region became increasingly rebellious. In response, in January 1069, William despatched a large Norman army, under the command of Robert de Comines, to Durham City. The army, believed to consist of 700 cavalry (about one-third of the number of Norman knights who had participated in the Battle of Hastings), entered the city, whereupon they were attacked, and defeated, by a Northumbrian assault force. The Northumbrians wiped out the entire Norman army, including Comines, all except for one survivor, who was allowed to take the news of this defeat back.
Following the Norman slaughter at the hands of the Northumbrians, resistance to Norman rule spread throughout Northern England, including a similar uprising in York. William The Conqueror subsequently (and successfully) attempted to halt the northern rebellions by unleashing the notorious Harrying of the North (1069–1070). Because William's main focus during the harrying was on Yorkshire, County Durham was largely spared the Harrying.
Anglo-Norman Durham refers to the Anglo-Norman period, during which Durham Cathedral was built.
Matters regarding the bishopric of Durham came to a head in 1293 when the bishop and his steward failed to attend proceedings of quo warranto held by the justices of Northumberland. The bishop's case went before parliament, where he stated that Durham lay outside the bounds of any English shire and that "from time immemorial it had been widely known that the sheriff of Northumberland was not sheriff of Durham nor entered within that liberty as sheriff. . . nor made there proclamations or attachments". The arguments appear to have prevailed, as by the fourteenth century Durham was accepted as a liberty which received royal mandates direct. In effect it was a private shire, with the bishop appointing his own sheriff. The area eventually became known as the "County Palatine of Durham".
Sadberge was a liberty, sometimes referred to as a county, within Northumberland. In 1189 it was purchased for the see but continued with a separate sheriff, coroner and court of pleas. In the 14th century Sadberge was included in Stockton ward and was itself divided into two wards. The division into the four wards of Chester-le-Street, Darlington, Easington and Stockton existed in the 13th century, each ward having its own coroner and a three-weekly court corresponding to the hundred court. The diocese was divided into the archdeaconries of Durham and Northumberland. The former is mentioned in 1072, and in 1291 included the deaneries of Chester-le-Street, Auckland, Lanchester and Darlington.
The term palatinus is applied to the bishop in 1293, and from the 13th century onwards the bishops frequently claimed the same rights in their lands as the king enjoyed in his kingdom.
The historic boundaries of County Durham included a main body covering the catchment of the Pennines in the west, the River Tees in the south, the North Sea in the east and the Rivers Tyne and Derwent in the north. The county palatinate also had a number of liberties: the Bedlingtonshire, Islandshire and Norhamshire exclaves within Northumberland, and the Craikshire exclave within the North Riding of Yorkshire. In 1831 the county covered an area of 679,530 acres (2,750.0 km2) and had a population of 253,910. These exclaves were included as part of the county for parliamentary electoral purposes until 1832, and for judicial and local-government purposes until the coming into force of the Counties (Detached Parts) Act 1844, which merged most remaining exclaves with their surrounding county. The boundaries of the county proper remained in use for administrative and ceremonial purposes until the Local Government Act 1972.
Boldon Book (1183 or 1184) is a polyptichum for the Bishopric of Durham.
Until the 15th century, the most important administrative officer in the Palatinate was the steward. Other officers included the sheriff, the coroners, the Chamberlain and the chancellor. The palatine exchequer originated in the 12th century. The palatine assembly represented the whole county, and dealt chiefly with fiscal questions. The bishop's council, consisting of the clergy, the sheriff and the barons, regulated judicial affairs, and later produced the Chancery and the courts of Admiralty and Marshalsea.
The prior of Durham ranked first among the bishop's barons. He had his own court, and almost exclusive jurisdiction over his men. A UNESCO site describes the role of the Prince-Bishops in Durham, the "buffer state between England and Scotland":
From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.
A report states that the Bishops also had the authority to appoint judges and barons and to offer pardons.
There were ten palatinate barons in the 12th century, most importantly the Hyltons of Hylton Castle, the Bulmers of Brancepeth, the Conyers of Sockburne, the Hansards of Evenwood, and the Lumleys of Lumley Castle. The Nevilles owned large estates in the county. John Neville, 3rd Baron Neville de Raby rebuilt Raby Castle, their principal seat, in 1377.
Edward I's quo warranto proceedings of 1293 showed twelve lords enjoying more or less extensive franchises under the bishop. The repeated efforts of the Crown to check the powers of the palatinate bishops culminated in 1536 in the Act of Resumption, which deprived the bishop of the power to pardon offences against the law or to appoint judicial officers. Moreover, indictments and legal processes were in future to run in the name of the king, and offences to be described as against the peace of the king, rather than that of the bishop. In 1596 restrictions were imposed on the powers of the chancery, and in 1646 the palatinate was formally abolished. It was revived, however, after the Restoration, and continued with much the same power until 5 July 1836, when the Durham (County Palatine) Act 1836 provided that the palatine jurisdiction should in future be vested in the Crown.
During the 15th-century Wars of the Roses, Henry VI passed through Durham. On the outbreak of the Great Rebellion in 1642 Durham inclined to support the cause of Parliament, and in 1640 the high sheriff of the palatinate guaranteed to supply the Scottish army with provisions during their stay in the county. In 1642 the Earl of Newcastle formed the western counties into an association for the King's service, but in 1644 the palatinate was again overrun by a Scottish army, and after the Battle of Marston Moor (2 July 1644) fell entirely into the hands of Parliament.
In 1614, a Bill was introduced in Parliament for securing representation to the county and city of Durham and the borough of Barnard Castle. The bishop strongly opposed the proposal as an infringement of his palatinate rights, and the county was first summoned to return members to Parliament in 1654. After the Restoration of 1660 the county and city returned two members each. In the wake of the Reform Act of 1832 the county returned two members for two divisions, and the boroughs of Gateshead, South Shields and Sunderland acquired representation. The bishops lost their secular powers in 1836. The boroughs of Darlington, Stockton and Hartlepool returned one member each from 1868 until the Redistribution of Seats Act 1885.
The Municipal Corporations Act 1835 reformed the municipal boroughs of Durham, Stockton on Tees and Sunderland. In 1875, Jarrow was incorporated as a municipal borough, as was West Hartlepool in 1887. At a county level, the Local Government Act 1888 reorganised local government throughout England and Wales. Most of the county came under control of the newly formed Durham County Council in an area known as an administrative county. Not included were the county boroughs of Gateshead, South Shields and Sunderland. However, for purposes other than local government, the administrative county of Durham and the county boroughs continued to form a single county to which the Crown appointed a Lord Lieutenant of Durham.
Over its existence, the administrative county lost territory, both to the existing county boroughs, and because two municipal boroughs became county boroughs: West Hartlepool in 1902 and Darlington in 1915. The county boundary with the North Riding of Yorkshire was adjusted in 1967: that part of the town of Barnard Castle historically in Yorkshire was added to County Durham, while the administrative county ceded the portion of the Borough of Stockton-on-Tees in Durham to the North Riding. In 1968, following the recommendation of the Local Government Commission, Billingham was transferred to the County Borough of Teesside, in the North Riding. In 1971, the population of the county—including all associated county boroughs (an area of 2,570 km2 (990 sq mi))—was 1,409,633, with a population outside the county boroughs of 814,396.
In 1974, the Local Government Act 1972 abolished the administrative county and the county boroughs, reconstituting County Durham as a non-metropolitan county. The reconstituted County Durham lost territory to the north-east (around Gateshead, South Shields and Sunderland) to Tyne and Wear and to the south-east (around Hartlepool) to Cleveland. At the same time it gained the former area of Startforth Rural District from the North Riding of Yorkshire. The area of the Lord Lieutenancy of Durham was also adjusted by the Act to coincide with the non-metropolitan county (which occupied 3,019 km2 (1,166 sq mi) in 1981).
In 1996, as part of 1990s UK local government reform by Lieutenancies Act 1997, Cleveland was abolished. Its districts were reconstituted as unitary authorities. Hartlepool and Stockton-on-Tees (north Tees) were returned to the county for the purposes of Lord Lieutenancy. Darlington also became a third unitary authority of the county. The Royal Mail abandoned the use of postal counties altogether, permitted but not mandatory being at a writer wishes.
As part of the 2009 structural changes to local government in England initiated by the Department for Communities and Local Government, the seven district councils within the County Council area were abolished. The County Council assumed their functions and became the fourth unitary authority. Changes came into effect on 1 April 2009.
On 15 April 2014, North East Combined Authority was established under the Local Democracy, Economic Development and Construction Act 2009 with powers over economic development and regeneration. In November 2018, Newcastle City Council, North Tyneside Borough Council, and Northumberland County Council left the authority. These later formed the North of Tyne Combined Authority.
In May 2021, four parish councils of the villages of Elwick, Hart, Dalton Piercy and Greatham all issued individual votes of no confidence in Hartlepool Borough Council, and expressed their desire to join the County Durham district.
In October 2021, County Durham was shortlisted for the UK City of Culture 2025. In May 2022, it lost to Bradford.
Eighteenth century Durham saw the appearance of dissent in the county and the Durham Ox. The county did not assist the Jacobite Rebellion of 1715. The Statue of Neptune in the City of Durham was erected in 1729.
A number of disasters happened in Nineteenth century Durham. The Felling mine disasters happened in 1812, 1813, 1821 and 1847. The Philadelphia train accident happened in 1815. In 1854, there was a great fire in Gateshead. One of the West Stanley Pit disasters happened in 1882. The Victoria Hall disaster happened in 1883.
One of the West Stanley Pit disasters happened in 1909. The Darlington rail crash happened in 1928. The Battle of Stockton happened in 1933. The Browney rail crash happened in 1946.
The First Treaty of Durham was made at Durham in 1136. The Second Treaty of Durham was made at Durham in 1139.
The county regiment was the Durham Light Infantry, which replaced, in particular, the 68th (Durham) Regiment of Foot (Light Infantry) and the Militia and Volunteers of County Durham.
RAF Greatham, RAF Middleton St George and RAF Usworth were located in County Durham.
David I, the King of Scotland, invaded the county in 1136, and ravaged much of the county 1138. In 17 October 1346, the Battle of Neville's Cross was fought at Neville's Cross, near the city of Durham. On 16 December 1914, during the First World War, there was a raid on Hartlepool by the Imperial German Navy.
Chroniclers connected with Durham include the Bede, Symeon of Durham, Geoffrey of Coldingham and Robert de Graystanes.
County Durham has long been associated with coal mining, from medieval times up to the late 20th century. The Durham Coalfield covered a large area of the county, from Bishop Auckland, to Consett, to the River Tyne and below the North Sea, thereby providing a significant expanse of territory from which this rich mineral resource could be extracted.
King Stephen possessed a mine in Durham, which he granted to Bishop Pudsey, and in the same century colliers are mentioned at Coundon, Bishopwearmouth and Sedgefield. Cockfield Fell was one of the earliest Landsale collieries in Durham. Edward III issued an order allowing coal dug at Newcastle to be taken across the Tyne, and Richard II granted to the inhabitants of Durham licence to export the produce of the mines, without paying dues to the corporation of Newcastle. The majority was transported from the Port of Sunderland complex, which was constructed in the 1850s.
Among other early industries, lead-mining was carried on in the western part of the county, and mustard was extensively cultivated. Gateshead had a considerable tanning trade and shipbuilding was undertaken at Jarrow, and at Sunderland, which became the largest shipbuilding town in the world – constructing a third of Britain's tonnage.[citation needed]
The county's modern-era economic history was facilitated significantly by the growth of the mining industry during the nineteenth century. At the industry's height, in the early 20th century, over 170,000 coal miners were employed, and they mined 58,700,000 tons of coal in 1913 alone. As a result, a large number of colliery villages were built throughout the county as the industrial revolution gathered pace.
The railway industry was also a major employer during the industrial revolution, with railways being built throughout the county, such as The Tanfield Railway, The Clarence Railway and The Stockton and Darlington Railway. The growth of this industry occurred alongside the coal industry, as the railways provided a fast, efficient means to move coal from the mines to the ports and provided the fuel for the locomotives. The great railway pioneers Timothy Hackworth, Edward Pease, George Stephenson and Robert Stephenson were all actively involved with developing the railways in tandem with County Durham's coal mining industry. Shildon and Darlington became thriving 'railway towns' and experienced significant growths in population and prosperity; before the railways, just over 100 people lived in Shildon but, by the 1890s, the town was home to around 8,000 people, with Shildon Shops employing almost 3000 people at its height.
However, by the 1930s, the coal mining industry began to diminish and, by the mid-twentieth century, the pits were closing at an increasing rate. In 1951, the Durham County Development Plan highlighted a number of colliery villages, such as Blackhouse, as 'Category D' settlements, in which future development would be prohibited, property would be acquired and demolished, and the population moved to new housing, such as that being built in Newton Aycliffe. Likewise, the railway industry also began to decline, and was significantly brought to a fraction of its former self by the Beeching cuts in the 1960s. Darlington Works closed in 1966 and Shildon Shops followed suit in 1984. The county's last deep mines, at Easington, Vane Tempest, Wearmouth and Westoe, closed in 1993.
Postal Rates from 1801 were charged depending on the distance from London. Durham was allocated the code 263 the approximate mileage from London. From about 1811, a datestamp appeared on letters showing the date the letter was posted. In 1844 a new system was introduced and Durham was allocated the code 267. This system was replaced in 1840 when the first postage stamps were introduced.
According to the Encyclopædia Britannica Eleventh Edition (1911): "To the Anglo-Saxon period are to be referred portions of the churches of Monk Wearmouth (Sunderland), Jarrow, Escomb near Bishop Auckland, and numerous sculptured crosses, two of which are in situ at Aycliffe. . . . The Decorated and Perpendicular periods are very scantily represented, on account, as is supposed, of the incessant wars between England and Scotland in the 14th and 15th centuries. The principal monastic remains, besides those surrounding Durham cathedral, are those of its subordinate house or "cell," Finchale Priory, beautifully situated by the Wear. The most interesting castles are those of Durham, Raby, Brancepeth and Barnard. There are ruins of castelets or peel-towers at Dalden, Ludworth and Langley Dale. The hospitals of Sherburn, Greatham and Kepyer, founded by early bishops of Durham, retain but few ancient features."
The best remains of the Norman period include Durham Cathedral and Durham Castle, and several parish churches, such as St Laurence Church in Pittington. The Early English period has left the eastern portion of the cathedral, the churches of Darlington, Hartlepool, and St Andrew, Auckland, Sedgefield, and portions of a few other churches.
'Durham Castle and Cathedral' is a designated UNESCO World Heritage Site. Elsewhere in the County there is Auckland Castle.
Exploitant : Transdev Marne et Morin
Réseau : Pays de Meaux
Lieu : Gare de Meaux (Meaux, F-77)
Lien TC Infos : tc-infos.fr/id/35318
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
E52
In recent times many motor manufacturers, particularly those with a significant sporting heritage, have felt the need to reference iconic models from the past when launching their latest. BMW has proved adept at exploiting this 'retro' trend, commencing in 1996 with the Z3 coupé and convertible, the styling of which brilliantly recalled its fabulous '328' sports car of pre-war days. Its next effort along similar lines - the 'Z07' concept car of 1997 - took its inspiration from the post-war Albrecht von Goetz-designed '507', a luxurious limited-edition roadster.
The sensation of the 1997 Tokyo Auto Show, the Z07 was received so enthusiastically that BMW took the decision to press ahead with a production version: the Z8. For the most part the Z8 remained remarkably faithful to the original concept, retaining the 507-like twin-nostril front grille and distinctive front-wing vents. A period-style interior had been one of the Z07's most remarked upon features, and that too made it into the Z8.
The Z8's body panelling and spaceframe chassis were fabricated in lightweight and corrosion resistant aluminium, while the 32-valve 4.941 cc V8 engine, shared with the M5 saloon, was built by BMW's Motorsport division. With 400 bhp on tap, the Z8 raced to 100 km/h (62 mph) in 4.7 seconds and only the built-in rev limiter stopped it from exceeding 250km/h (155mph). Power reached the run-flat tyres via a Getrag six-speed manual gearbox. Needless to say, the Z8 also came with all the modern appurtenances one would expect of a flagship model: traction control, stability control, front and side air bags, GPS navigation, climate control and power operation of the seats, steering wheel and convertible hood all being included in the package.
The fact that the Z8 was a low-volume model assembled, for the most part, by hand, enabled BMW to offer customers considerable freedom in personalising their cars. Further enhancing its appeal to collectors, the factory announced that a 50-year stockpile of Z8 parts would be maintained. Despite a (US) launch price of over $ 128.000, initial demand was so high that a bidding war broke out, with many Z8s selling for well in excess of that figure. By the time production ceased at the end of 2002, 5.703 of these fabulous cars had been built.
But that was not quite the end of the Z8 story, for BMW tuning specialist Alpina then introduced its own, even more exclusive version: the Alpina V8 Roadster. Alpina's product was less hard-edged and considerably more refined than the original, being equipped with a 4,8-litre engine from the 5-Series Alpina B10 V8 S and an Alpina-specified ZF five-speed 'Switchtronic' automatic transmission with paddle-shift operation. With a maximum of 375bhp on tap, the Roadster's slightly smaller engine was re-tuned for greater torque at lower revs, which better suited the automatic transmission. Top speed was limited to 161 mph, with 60 mph coming up in 5,0 seconds, only a couple of tenths slower than the original Z8.
The suspension was revised to provide a more supple ride, and the original 18" wheels and run-flat tyres replaced with 20" rims and tyres with taller sidewalls. Re-trimmed in softer Nappa leather, the interior boasted many Alpina-specific touches including the steering wheel, gauges, and gear selection display. As its specification suggests, the Alpina V8 was targeted at the North American market, which took 450 units out of the 555 scheduled for production.
Car & Driver reckoned the car was well suited to its newly acquired persona: 'In fact, some of us, who regard the Z8 more as a design icon than a serious sports car, reckon the Alpina Roadster V8, with its easygoing power delivery and automatic transmission, is what this car should have been all along.'
First registered on 1st September 2004, the limited edition Alpina V8 offered here has had only three owners – all collectors – from new. The first owner, David Michael of Florida, USA kept the car until March 2010 when it passed to a Mr Scholdra Germany. The current vendor purchased the BMW for his private collection in July 2014, by which time it had covered only 17.948 kilometres from new. The current odometer reading is circa 20.000 kilometres.
Superior to those of the original Z8, this car's special features include heated seats; climate control; AM/FM stereo; CD changer; centre-mounted Alpina gauges in blue; xenon headlights with Dynamic Auto-Levelling; hand-stitched Alpina steering wheel with shift buttons and Alpina centre cap; 20" Alpina Dynamic alloy wheels; and a battery charger for when the car is in storage. It has also had over mats fitted since new.
Finished in black with two-tone cream/black leather interior, the car comes complete with hardtop, hardtop cover, hardtop stand, and hardtop stand cover; wind deflector and cover; original tools; front cup holder; phone pack (new in box); original wallet; and the Alpina key pouch containing both numbered keys, chauffeurs key, and plastic key. Accompanying documentation consists of the original US Certificate of Title; original German registration document; German Klassische document (dated 2012) and a current UK V5C registration document and MoT certificate.
Recently serviced by Sytners BMW in the UK, this Z8 Alpina Roadster is in immaculate condition throughout.
Les Grandes Marques du Monde au Grand Palais
Bonhams
Estimated : € 320.000 - 380.000
Parijs - Paris
Frankrijk - France
February 2017
Three men and a woman have been sentenced after being rumbled by our detectives in Tameside investigating a drugs line that profited around £80k from the criminal exploitation of teenage boys.
Manchester Minshull Street Crown Court heard today (18 November 2021) how Ryan Wall, 24, Claire Daniels, 36, Christopher Thornton, 20, and Leigh Sleddon, 38, were involved in an organised crime group that trafficked class A drugs as well as vulnerable young people from Tameside to Blackpool.
Wall, of Lakenheath Road, Liverpool and Thornton, of Barlow Road, Dukinfield, were sentenced to a total of 17 years after admitting arranging or facilitating the travel of another person with a view to exploitation under the Modern Slavery Act - becoming GMP's first county lines offenders guilty of this offence.
Despite not being charged with the same offence, the court also accepted that Daniels - herself a mother - of Fitzroy Street, Ashton-under-Lyne, was aware and complicit in the movement of the teenagers in order for them to deal drugs and she was given a one year and two month suspended sentence.
Sleddon, of Claremont Court, Blackpool, admitted that the children had stayed at his address in return for him being supplied with drugs. He was given a two year suspended sentence.
The verdicts conclude an eighteen-month investigation into the transportation of drugs and children - aged between 13 and 16 - led by detectives in GMP Tameside's Complex Safeguarding Team.
Investigators began the operation - codenamed 'Fairview' - following the report of a boy missing from the Hyde area. After close work with Lancashire Police, it was identified that he had been moved to Blackpool and that he was being used by the gang to supply class 'A' drugs on the streets.
Enquiries confirmed that two other teenage boys who had been missing from the nearby Ashton area had been in contact with a number associated with Ryan Wall - who was jailed for nine years today.
Already a picture was starting to develop of a group conspiring to supply class A drugs - namely heroin and crack cocaine - and also transporting the young boys to Blackpool to deal these drugs on the streets, often leaving them to fend for themselves for days.
While it is not thought the two boys - and a third boy also found to be exploited - were ever injured, detectives believe by leaving the boys alone to be involved in illicit enterprises in towns miles away from home was exposing them to a real and significant danger.
Officers ensured the boys were immediately referred to relevant specialist agencies and safeguarded away from further harm, and have pursued with a victimless prosecution to ensure that the gang are still held to account for their crimes.
A strike day was executed at the start of October 2020 where eight people - aged 16 to 67 - were arrested, before Wall, Thornton and Daniels were charged and eventually admitted two counts of conspiracy to supply a controlled drug. The detectives were also able to prove to the court that Thornton, who was jailed for eight years today, was also controlling a 'drug line' local to the Tameside area supplying heroin, cocaine and cannabis. He had also entered guilty pleas for these matters.
Wall and Thornton pleaded guilty of four modern slavery offences between them while Sleddon pleaded guilty to participating in the activities of an organised crime group.
While similar charges have been secured in other complex safeguarding teams in Greater Manchester for offences relating to Child Sexual Exploitation, the unit in Tameside is the first to land a conviction under the Modern Slavery Act in relation to Child Criminal Exploitation 'county lines' gangs - with support from the Crown Prosecution Service.
Comprising of specially-trained detectives, safeguarding officers, and partners from Tameside Council; the Complex Safeguarding Team currently has nine ongoing investigations and a number of suspects have been arrested. Children who have been identified as needing to be safeguarded have in some cases been re-homed.
Detective Constable Matthew Elliot, from Operation Fairview, said: "Today, this group has been jailed for their roles in a county line gang - wrecking lives along the way through the dissemination of illegal drugs.
"But what we've been able to prove to the court during this investigation, is that Wall and Thornton - in particular - were not just trafficking drugs but also trafficking people.
"They were running their drugs line to Blackpool by deliberately targeting teenage boys, and exploiting them for their own illicit gains.
"These were boys who were identified by the group as vulnerable, and groomed into travelling between counties - left to fend for themselves and exposed to danger - to do the dirty work on the ground that these offenders didn’t wish to do themselves.
"The act of exploiting children and peddling them for such selfish and criminal ways is an abhorrent crime - but one that is complex and wide-ranging which makes today's outcome all the more of a success.
"And it isn’t just putting offenders behind bars that makes this operation a great result. The fact we have been able to work with partners and ensure victims have been safeguarded and away from harm is just as - if not more - significant.
"I would like to thank our partners at Tameside Council, Lancashire Police, and the Crown Prosecution Service, for the extensive support they have offered to this investigation and helping us ensure these historic convictions for GMP.
"This has been a tireless eighteen-month investigation by our Complex Safeguarding Team in Tameside, and hopefully the first good result of many.
"We have demonstrated how by working with local police forces, local authority, and other relevant supporting agencies, that we are able to target and dismantle those involved in this truly despicable criminal activity - while identifying and protecting victims in the process.
"If you feel you are being criminally exploited, or know someone who is, then please come forward to the police or Crimestoppers, knowing information will be treat with the strictest confidence."
Tameside Council Executive Member for Children and Families, Councillor Bill Fairfoull, said: “Superb partnership working has resulted in this first conviction of Modern Day Slavery in Greater Manchester. We have removed these drug dealers from our streets and stopped them from exploiting our children. Our Children’s Services staff have worked tirelessly with the police to secure this result and I’d like to thank everyone involved for their hard work.
“All of the children involved are being supported by our Tameside Complex Safeguarding Team and Tameside Youth Justice Service. I’m also pleased that the learning from this successful operation with be shared across Greater Manchester Complex Safeguarding Teams as a model of best practice.”
Année : 2017
Immatriculation : LX-HSL
Pays : Luxembourg 🇱🇺
Serial Number n° : 20169
Exploitant : Luxembourg Air Rescue
The de Havilland DH.103 Hornet was a twin-piston engined fighter aircraft developed by de Havilland. It further exploited the wooden construction techniques that had been pioneered by the de Havilland Mosquito. Development of the Hornet had started during the Second World War as a private venture. The aircraft was to conduct long range fighter operations in the Pacific Theatre against the Empire of Japan but the war ended before the Hornet reached operational squadron status.
The Hornet entered service with RAF Fighter Command where it equipped several day fighter units and was commonly stationed in the British mainland. It saw combat in the Far East, being used as a strike fighter as part of the British military action taken during the Malayan Emergency. A naval carrier-capable version, the Sea Hornet, had been envisioned early on and was procured by the Fleet Air Arm of the Royal Navy.
Origins;
In the autumn of 1941, de Havilland found that it had the spare design capacity to work on a new project. At this point, the Mosquito had entered full-rate production and preliminary work on a jet-propelled fighter aircraft, which became the Vampire, was waiting for the production of prototype engines. The company promptly recognised a need for a high-speed, unarmed, night bomber powered by a pair of large Napier Sabre piston engines and a design for such an aircraft was first proposed under the designation D.H. 101 in October 1941. A design team led by R. E. Bishop with C. T. Wilkins assisting, was assembled with the aim of developing the D.H. 101, which was initially pursued as a private venture.
The Sabre engine was suffering from availability problems at that point and the DH. 101 was soon replaced by a lower-powered design, with the internal designation D.H. 102. This proposal was intended to be powered by a pair of Rolls-Royce Griffon or Rolls-Royce Merlin engines but either engine would have meant that the aircraft would be somewhat slower and less attractive than the Mosquito.
By November 1942, de Havilland had elected to shelve the night bomber project and concentrate on producing a long-range fighter, the D.H. 103, that would make the maximum possible use of the Merlin engine. The D.H. 103 resembled a small Mosquito, with a single seat; it was intended to take on other single-seat fighter aircraft, particularly those operated by Japan, while still being capable of conducting very long range missions to be of use in the Pacific Theatre. The long range requirement led to the fuselage being highly streamlined. An independently-developed version of the Merlin engine which possessed a low frontal area was selected for use on the D.H. 103.
By the end of 1942, a mock-up of the D.H. 103 had been completed at de Havilland's Hatfield facility and was soon afterwards demonstrated to officials of the Ministry of Aircraft Production. Due to the war, the ministry did not immediately issue permission to construct the D.H. 103. In June 1943, the project stopped being a private venture when the Ministry released Specification F.12/43, which had been written around the D.H. 103 proposal; soon after, the D.H. 103 project received the name Hornet.
It was envisaged that the Hornet could be adapted for naval use and operated from the flight decks of aircraft carriers. Priority was given early on to ensuring that such adaptation could be readily done: measures for ease of control, especially when flown at low speeds, were incorporated and attention paid to providing the pilot with a high level of visibility. The two propellers were driven in opposite directions to improve take-off and landing characteristics and high-drag flaps were integrated to provide for greater power during approaches.
Prototypes and refinement;
By January 1944, the fuselage shell for the first prototype D.H. 103, RR915, was under construction on production jigs at Hatfield; RR915 was rolled out for engine runs on 20 July 1944. On 28 July 1944, only thirteen months after the official sanction to proceed with development, RR915 conducted its maiden flight, piloted by Geoffrey de Havilland, Jr., the company's chief test pilot. Flight tests of RR915 led to it achieving a recorded speed of 485 mph (780 km/h) in level flight. Within two months, over fifty flight hours were accumulated by RR915. The second prototype, RR919, was more representative of production aircraft, having provision for a pair of 200-gallon drop tanks and a pair of 1,000 lbs bombs on hard points underneath the wings.
Towards the end of 1944, the assembly line for the Hornet F.1, the initial production model, was being established at Hatfield and orders had already been received for the Royal Air Force (RAF). On 28 February 1945, PX210, the first of 60 production F.1 aircraft was delivered to the Aeroplane and Armament Experimental Establishment (A&AEE) at RAF Boscombe Down. On 29 October 1945, a production Hornet F.1, PX237, was used for the type's first public appearance at an open day at RAE Farnborough.
Additional prototypes were used for the development of improved variants of the Hornet. PX312, participated in the development of an improved fighter model to succeed the F.1, the Hornet F.3. PX212, PX214, and PX219, were converted by the Heston Aircraft Company from Hornet F.1 standard aircraft to represent and test aspects of the initial naval version, later named Sea Hornet F.20. PX212 and PX214 were only partially naval, being outfitted with arrestor hooks but lacking the wing-folding mechanisms of subsequent production aircraft; PX219 was the full naval version and later conducted carrier deck trials on board the aircraft carrier HMS Ocean.
PX230 and PX239, were completed for an all-weather night fighter, the Hornet NF.21. PX239, originally built as a Hornet F.20, was outfitted with power-operated folding wings and a large dorsal fillet, which was later fitted to all production aircraft to comply with a new requirement to provide "feet off" directional stability with one engine stopped. On 25 October 1948, the first deck trials commenced on board HMS Illustrious; these were so successful that testing rapidly proceeded to the night trials phase. On 16 May 1947, PX230 was lost during service trials when the aircraft disintegrated in mid flight; the pilot bailed out following the breakup of the aircraft.
Sea Hornet F.20, NF.21 and PR.22;
The Hornet was designed with the possibility of naval service on carriers firmly in mind. To this end good low-speed handling was required, along with good all-round visibility for the pilot. The basic Hornet design excelled at meeting these requirements. Shortly after the first Hornet prototype flew, Specification N.5/44 was issued to de Havilland, covering the modification of the Hornet for naval service. The Heston Aircraft Company was contracted to carry out the conversion work on three early production F.1s. The work entailed altering the wings to incorporate folding mechanisms so that each outer wing panel, from the aileron/flap line outboard could be folded upwards and inwards at an angle. The hinges were part of the upper wing skin structure while the lower wing skins incorporated securing latches, and Lockheed hydraulic jacks were used to move the wing panels. Slotted flaps were introduced to improve low speed "flaps down" control.
The lower rear fuselage was reinforced with two additional spruce longerons designed to take the stresses imposed by the external "vee" framed arrestor hook, which was flush-mounted below the fuselage. The frame was made up of steel tubing with a forged-steel hook and was held against the fuselage by a "snap gear". Because the Hornet used the American "3-point" system of catapult-assisted takeoff, two forged steel catapult bridle hooks were fitted, one below each wing, close to the fuselage. The de Havilland rubber-in-compression undercarriage legs could not absorb the rebound energies imposed by carrier landings. They were replaced by more conventional hydraulic oleos which embodied torque links.
Merlin 133/134s (derated from 2,070 hp/1,543 kW to 2,030 hp/1,535 kW) were fitted to all Sea Hornets. Other specialised naval equipment (mainly different radio gear) was fitted and provision was made for three camera ports, one on each side of the rear fuselage and one pointing down. Sea Hornet F.20s also incorporated the modifications of the Hornet F.3, although the internal fuel capacity was 347 Imp gal (1,557 l), slightly reduced from that of the F.1. The modifications added some 550 lb (249 kg) to the weight of the aircraft. Maximum speed was decreased by 11 mph (18 km/h).
The Hornet NF.21 was designed to fill a need for a naval night fighter. Special flame-dampening exhausts were installed, and a second basic cockpit was added to the rear fuselage, just above the wing trailing edges. ASH radar equipment was placed in the rear of this cockpit, with the radar operator/navigator seated facing aft. To gain access, a small trapdoor was provided in the lower fuselage; a fixed, teardrop-shaped bubble canopy, which could be jettisoned in an emergency, provided a good field of view. At the front of the aircraft, the nose underwent a transformation with the small rotating ASH radar dish being housed under an elongated "thimble" radome. The horizontal tail units were increased in span. The effect of these modifications on performance was minimal; about 4 mph (6 km/h).
The Sea Hornet PR.22 was a dedicated photo reconnaissance aircraft version of the F.20. The cannon were removed and the apertures faired over. Three cameras were installed in the rear fuselage: two F.52s for night use and one K.19B for day. A total of 23 PR.22s were built, interspersed with F.20s being built at Hatfield.
Flying the Sea Hornet;
Captain Eric "Winkle" Brown, former fighter pilot and officer of the Fleet Air Arm, was one of the world's most accomplished test pilots and he held the record for flying the greatest number of aircraft types.
Just after VE Day the first semi-naval Sea Hornet PX 212 arrived at the RAE, Farnborough. Eric Brown initiated "work-up to deck-landing" trials. 37 years later, he was still impressed:
"...the next two months of handling and deck landing assessment trials were to be an absolute joy; from the outset the Sea Hornet was a winner!"
"The view from the cockpit, positioned right forward in the nose beneath a one-piece aft-sliding canopy was truly magnificent. The Sea Hornet was easy to taxi, with powerful brakes... the takeoff using 25 lb (2,053 mm Hg, 51" Hg) boost and flaps at one-third extension was remarkable! The 2,070 hp (1,540 kW) Merlin 130/131 engines fitted to the prototypes were to be derated to 18 lb (1,691 Hg, 37" Hg) boost and 2,030 hp (1,510 kW) as Merlin 133/134s in production Sea Hornets, but takeoff performance was to remain fantastic. Climb with 18 lb boost exceeded 4,000 ft/min (1,200 m/min)"...
"In level flight the Sea Hornet's stability about all axes was just satisfactory, characteristic, of course, of a good day interceptor fighter. Its stalling characteristics were innocuous, with a fair amount of elevator buffeting and aileron twitching preceding the actual stall"...
"For aerobatics the Sea Hornet was absolute bliss. The excess of power was such that manoeuvres in the vertical plane can only be described as rocket-like. Even with one propeller feathered the Hornet could loop with the best single-engine fighter, and its aerodynamic cleanliness was such that I delighted in its demonstration by diving with both engines at full bore and feathering both propellers before pulling up into a loop!"
During this series of tests Captain Brown found that the ailerons were too heavy and ineffectual for deck landing and there were some problems with throttle movement, brakes and the rubber-in-compression undercarriage legs were still fitted. De Havilland were quick to modify the aircraft. Eric Brown:
"Landings aboard Ocean had been made without any crash barrier... Yet, in the case of the Sea Hornet, I had felt such absolute confidence that I was mentally relaxed... Indeed, there was something about the Sea Hornet that made me feel that I had total mastery of it; I revelled in its sleek form and the immense surge of power always to hand..."
"Circumstances had conspired against the Sea Hornet in obtaining the recognition that it justly deserved as a truly outstanding warplane...in my book the Sea Hornet ranks second to none for harmony of control, performance characteristics and, perhaps most important, in inspiring confidence in its pilot. For sheer exhilarating flying enjoyment, no aircraft has ever made a deeper impression on me than did this outstanding filly from the de Havilland stable."
Design;
The de Havilland Hornet bore a family resemblance to the larger Mosquito, but it was an entirely fresh design albeit one that drew extensively upon experiences from, and the design of, the Mosquito. It was powered by a pair of highly developed Rolls-Royce Merlin engines, producing 2,070 hp each, which drove four-bladed propellers (manufactured by de Havilland Propellers). According to aviation author P.J. Birtles, the efficiency and power of this configuration gave the Hornet "a higher performance than any other propeller driven aircraft". The Hornet's principal armament was four short-barrelled 20 mm (.79 in) Hispano V cannons, other munitions typically used included various rockets and bombs.
Fuselage construction was identical to the earlier Mosquito: a balsa wood "pith" sandwiched between plywood sheets which were laid in diagonal panels. Aerolite formaldehyde cement was the bonding agent. The fuselage halves were built on large concrete or wood patterns and equipment was fitted in each half; they were then joined along the top and bottom centre lines using wooden reinforcing strips. The entire fuselage was then tightly wrapped in fine aviation fabric which was doped in place. The tailfin which had the trademark gracefully-curved de Havilland shape, was an integral part of the rear fuselage. On late F.1s and further models of production aircraft, a fin fillet was added to the base of the unit. The horizontal tail unit was an all-metal structure, again featuring the distinctive de Havilland shape, which was later repeated on the Chipmunk and Beaver.
Construction was of mixed balsa/plywood similar to the Mosquito but the Hornet differed in incorporating stressed Alclad lower-wing skins bonded to the wooden upper wing structure using the new adhesive Redux. The two wing spars were redesigned to withstand a higher load factor of 10 versus 8. Apart from the revised structure, the Hornet's wings were a synthesis of aerodynamic knowledge that had been gathered since the design of the Mosquito, being much thinner in cross-section, and with a laminar flow profile similar to the P-51 Mustang and Hawker Tempest. The control surfaces consisted of hydraulically-operated split flaps extending from the wing root to outboard of the engine nacelles; as on the Mosquito, the rear of the nacelle was part of the flap structure. Outboard, the Alclad-covered ailerons extended close to the clipped wing tips and gave excellent roll control.
The Hornet used "slimline" Merlin engines of types 130 and 131, which had engine ancillaries repositioned to minimise frontal area and drag. It was unusual for a British design in having propellers that rotated in opposite directions; the two engine crankshafts rotated in the same direction but the Merlin 131 added an idler gear to reverse its propeller's rotation (to clockwise, viewed from the front). This cancelled the torque effect of two propellers turning in the same direction that had affected earlier designs (such as the Mosquito). It also reduced adverse yaw caused by aileron trim corrections and generally provided more stable and predictable behaviour in flight. De Havilland tried propellers that rotated outward at the tops of their arcs (as in the P-38 Lightning), but this configuration blanketed the fin and reduced rudder effectiveness at low speeds, compromising ground handling. On production Hornets the conventionally rotating Merlin 130 was on the port wing with the Merlin 131 on the starboard.
Because of the revised induction arrangements of the Merlin 130 series, the supercharger and carburettor air intakes could be placed in the leading edges of the wings, outboard of the nacelles. (Other versions of the Merlin, which used "updraft" induction arrangements, required that the intakes be placed in a duct below the main engine cowling). The main radiators were also mounted in the inboard leading edges of the wings. Internal fuel, to a maximum capacity of 432 Imp gal (1,964 l) (F.3) was stored in four self-sealing wing tanks, which were reached through detachable panels forming part of the lower wing surfaces. To assist airflow over the wing, the engine nacelles were mounted low, which meant that the undercarriage legs were reasonably short and the pilot's field of view was improved. The single-legged undercarriage units were simpler and cleaner than those of the Mosquito, using the same de Havilland-developed, rubber-in-compression energy absorption system. The main wheels were also smaller and lighter.
To further aid the pilot's field of view, the unpressurised cockpit was mounted well forward in the fuselage and was housed under an aft-sliding perspex blister canopy. The three-panel windscreen was designed so that refraction through the panels meant that there were no obvious blind spots caused by the corner tie-rods; all three panels were bullet-proof laminated glass. An armour-plated bulkhead (hinged near the top to provide access to the back of the instrument panel and the rudder pedals), was part of the nose structure, with the pilot's back and head being protected by another armoured bulkhead built into the cockpit. Below and behind the cockpit floor was a bay housing the aircraft's principal armament of four 20 mm cannon, which had a maximum of 190 rounds per cannon which fired through short blast tubes. The Sea Hornet had a similar armament to its land-based counterparts. (wiki)
Photo Credit's: Unknown to me (reprint scan)
Exploitant : Cars Hourtoule
Réseau : SQY Terre d'Innovations
Lieu : Gare de Plaisir – Grignon (Plaisir, F-78)
Lien TC Infos : tc-infos.fr/id/35055
Exploitant : Keolis Aude
Réseau : Citibus
Ligne : Navette Côte Indigo
Lieu : Acacias (Saint-Pierre-la-Mer, F-11)
Lien TC Infos : tc-infos.fr/vehicule/70838
Exploitant : CAB Solution
Réseau : Navette Substitution SNCF Île-de-France
Ligne : Navette Transilien J
Lieu : Gare d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/43818
Le métro de Paris est un des systèmes de transport en commun desservant la ville de Paris et son agglomération. Exploité par la Régie autonome des transports parisiens (RATP), il comporte seize lignes en site propre, essentiellement souterraines, totalisant près de 220 kilomètres. Devenu un des symboles de Paris, il se caractérise par la densité de son réseau au cœur de Paris et par son style architectural homogène influencé par l’Art nouveau. En 2012, le métro a transporté 5,23 millions de voyageurs par jour en moyenne.
La première ligne du métro de Paris a été construite à l'approche de l’Exposition universelle de 1900. Elle est inaugurée quelques mois après le début de l'exposition. Le réseau s’est ensuite rapidement densifié dans Paris intra-muros jusqu’à la Seconde Guerre mondiale. Après une pause durant les « décennies-voiture » (1950-1970), plusieurs lignes existantes ont été prolongées en proche banlieue. Les choix effectués à sa conception (faibles distances entre les stations, capacité réduite des rames) limitent aujourd’hui les possibilités d’extension du réseau. Le métro de Paris a cependant inauguré à la fin du siècle dernier une nouvelle ligne entièrement automatisée, la ligne 14, destinée notamment à soulager la ligne A du RER.
La desserte de Paris et de son agglomération est également assurée par d’autres moyens de transport en commun : le Réseau express régional d'Île-de-France (RER) (451 millions de voyageurs en 2006 sur le réseau RER RATP), le Transilien (réseau de trains de banlieue, 655 millions de voyageurs incluant le réseau RER SNCF), sept lignes de tramway en site propre (85 millions de voyageurs dans sa configuration de 2006), le réseau de bus (997 millions de voyageurs en 2006) ainsi que trois lignes qui assurent une desserte locale des aéroports en utilisant un véhicule automatique léger (VAL).
Source: Wikipédia