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Merci à Théo de m´avoir autorisée à photographier et poster ses exploits acrobatiques.
Zweibrücken-Germany
"Stopped"
Beaumont sur Vingeanne (Côte d'Or - Bourgogne-Franche-Comté)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Exploitant : STIVO
Réseau : STIVO
Ligne : 29
Lieu : Croix Saint-Jacques (Jouy-le-Moutier, F-95)
Lien TC Infos : tc-infos.fr/id/8382
Exploitant : Transdev Montesson les Rabaux
Réseau : Entre Seine et Forêt
Ligne : 21
Lieu : Gare de Marly-le-Roi – Parvis (Marly-le-Roi, F-78)
Lien TC Infos : tc-infos.fr/vehicule/57866
Exploitant : Transdev TVO
Réseau : R'Bus (Argenteuil)
Ligne : 8
Lieu : Gare d'Argenteuil (Argenteuil, F-95)
Lien TC Infos : tc-infos.fr/id/27679
Hanoi (Vietnam)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Photo: Fritz Stäuble
Interdiction de reproduire cette photo à des fins commerciales
Prise vers 1940 ?
Motrice 5 avec remorque 51
Lieu inconnu
Le réseau des Trams de Winterthur était à voies métrique, sa longueur était de 11,14 Km, il a été en exploitation du 13 juillet 1898 au 3 novembre 1951.
MG TF 1954 - RETRO PASSION 2018 - Chevigny St Sauveur (COTE D'OR)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
"Completely exhausted"
Hué (Vietnam)
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
© 2012 cumaarte. © Copyright – Marcelo Moreno©. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
© 2012 cumaarte. © Copyright – Marcelo Moreno©. Estas fotos tienen derechos de autor. Todos los derechos reservados. Las imágenes no pueden ser utilizadas sin autorización expresa del autor.
© Copyright – Marcelo Moreno©.
The reproduction, publication, modification, transmission or exploitation of any work contained herein for any use outside FlickR, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Bus : Volvo 7900 A Electric
n°618047
Exploitant : De Voeght (Groupe Hansea)
Réseau : DeLijn
Lieu : Aéroport de Bruxelles-Zaventem
RIP Tomahawk Expressway... I regret not exploiting you as much as I could have.
I will forever remember the copious amount of $$$ you made me. Goodbye my good friend.
Le Château de Chokier
Chokier offrait depuis des temps immémoriaux le dernier gué avant Liège. On peinait à franchir la Meuse à Liège car l'Ourthe et ses affluents y formaient une multitude de bras. Un pont avait bien été dressé à Huy depuis l'époque romaine, mais les affleurements calcaires de Chokier se prolongeant sous la Meuse barraient les voies terrestre et fluviale.
La forteresse de Mont Iohy fut donc le verrou de la Meuse sur le chemin de Liège. Elle appartenait alors au comte de Hozemont qui possédait également la premier château de Liège: le château Saint Georges ceint de douves alimentées par la Légia.
Le village de Chokier se constituera progressivement sur les déchets de l'exploitation du calcaire par la Collégiale St Pierre et l'Abbaye de St Jacques.
Au XIIIe Siecle, le comte de Hozemont ayant vu son château rasé lors de la guerre des Awans et des Warous, s'installa à Rouveroy et vendit la forteresse de Mont Iohy à son neveu, Jean de Hozemont, Maréchal d'armes du pays de Liège, qui devint le premier seigneur authentiquement connu de Chokier.
Au XVIIIe siècle, suite à l'évolution des techniques de l'art de la guerre, la Forteresse de Mont Iohy fut transformée en château de plaisance et prit le nom de Château de Chokier.
Exploitant : SETRAM
Réseau : SETRAM
Ligne : 11
Lieu : Chêne Vert (Le Mans, F-72)
Lien TC Infos : tc-infos.fr/id/5655
Lenka's story at the Venice Biennale 2024.
Colonialism, exploitation of plant and animal resources, anthropocentrism and speciesism: a denunciation at the Venice Biennale.
La storia di Lenka alla Biennale di Venezia 2024.
Colonialismo, sfruttamento delle risorse vegetali e animali, antropocentrismo e specismo: una denuncia alla Biennale di Venezia.
www.ilgiornaledellarte.com/Articolo/Diario-da-Venezia-qua...
"The war in Ukraine reminds us how unjust and painful the construction of a people's identity, the affirmation of national independence and the reclamation of one's roots can be. Repairing serious and profound wounds inflicted throughout history is a slow, complex and difficult process. A metaphor and monument of a similar condition is Lenka, in the Czech Pavilion. The famous giraffe captured in Kenya in 1954, transported to the Prague zoo, survived in captivity for only two years, then taxidermied and preserved in the museum, after having thrown its organs into the city sewers. Eva Kotakova's work, «The heart of a giraffe in captivity is twelve kilos lighter», is a walkable environmental installation that reproduces the inside of the long dissected neck of the animal arranged in a circle. In the center of the room there is a blackboard and a space for meeting and reflection to learn about its history, its meaning and its cultural implications. On the floor, Lenka's skeleton is reproduced and as a sound that pervades the Pavilion the hymns of the countries that the giraffe crossed on its long journey to Prague, many of which no longer exist today."
"La guerra in Ucraina ci ricorda quanto ingiuste e dolorose possano rivelarsi la costruzione di un’identità di un popolo, l’affermazione dell’indipendenza nazionale e la rivendicazione delle proprie radici. Risarcire gravi e profonde ferite inflitte nel corso della storia è un processo lento, complesso e difficile. Metafora e monumento di simile condizione è Lenka, nel Padiglione della Cecoslovacchia. La celebre giraffa catturata in Kenya nel 1954, trasportata allo zoo di Praga, sopravvissuta in cattività solo due anni, poi tassidermizzata e conservata nel museo, dopo aver gettato gli organi nelle fogne cittadine. L’opera di Eva Kotakova, «Il cuore di una giraffa in cattività è dodici chili più leggero», è un’installazione ambientale percorribile che riproduce l’interno del lungo collo sezionato dell’animale disposto a cerchio. Al centro della sala una lavagna e uno spazio di incontro e riflessione per conoscerne la storia, il suo significato e le sue implicazioni culturali. Sul pavimento lo scheletro di Lenka riprodotto e come suono che pervade il Padiglione gli inni dei Paesi che la giraffa attraversò nel suo lungo viaggio verso Praga, molti oggi non più esistenti."
labiennale.ngprague.cz/it-2024-eva-kotkov
milano.czechcentres.cz/it/blog/2023/08/eva-kotatkova-bude...
Bing Image Creator
Véhicule : IRISBUS IVECO Crossway (12,80m.) €5
Identification : 6712 (AB-071-LN)
Exploitant : Citram Aquitaine (Groupe Transdev)
Dépôt : Bassens
Réseau : Région Nouvelle-Aquitaine (Région Nouvelle-Aquitaine)
Ligne : 401
Service : n.c.
Destination : BRANNE Bourg - par Salleboeuf
13/11/2020 17:15
Route du Stade ; F-33 MOULON
Exploiting my own designs is something I planned to do during my retirement days. But hey! I am retired!
Modèle : IVECOBUS Urbanway 18 GNV
Numéro de parc : 2164
Immatriculation : GG-547-WD
Mise en service : juin 2022
Exploitant : Keolis Bordeaux Métropole
Réseau : TBM
Ligne : Lianes 10
Destination : BORDEAUX Jardin Botanique
Lieu : Rue Amédée St Germain
Infos complémentaires : VNE442CPX00313402
Connu pour son sous-sol calcaire rare en Bretagne, le site de Lormandière est exploité à partir de 1853 pour la chaux. En pleine période d’essor industriel (fin XIXe, début XXe), la « Société des fours à chaux de Lormandière et de la Chaussairie réunies » constitue la plus importante entreprise de fabrication de chaux en Bretagne. Fermé en 1938, le site industriel et ses ruines représente aujourd’hui un patrimoine industriel totalement intégré à l’environnement.
Le substrat calcaire de cette région a favorisé l’installation d’une flore particulière. Pelouses et prairies basses alternent avec les prairies hautes, les boisements et les sous-bois où vivent 260 espèces végétales. La présence de plantes remarquables, dont des orchidées rares (l’ophrys abeille, l’orchis mâle, l’orchis pyramidal et l’orchis bouc) ont valu au site de Lormandière d’être classé Zone Naturelle d’Intérêts Ecologique, Floristique et Faunistique (ZNIEFF). La diversité faunistique du site est également importante avec près de 50 espèces d’oiseaux, 7 espèces protégées de batraciens et de reptiles (triton palmé, triton crêté, couleuvre à collier, vipère péliade…) et de nombreux mammifères. Les vieux bâtiments et les fours à chaux offrent des lieux d’hivernage à plusieurs espèces de chauves-souris, toute protégées, telles que le grand rhinolophe, le grand murin ou la barbastelle.
Le site de Lormandière a été racheté par le Département en 1988. Un sentier de découverte a été aménagé. -
www4.culture.fr/patrimoines/patrimoine_monumental_et_arch...
Exploitant : Transdev Boucle des Lys
Réseau : IDF Mobilités – Saint Germain Boucles de Seine
Ligne : 21
Lieu : Gare de Marly-le-Roi – Bèque (Marly-le-Roi, F-78)
Lien TC Infos : tc-infos.fr/vehicule/29312
IN ENGLISH BELOW THE LINE
Fotografia presa amb una cà mera Rolleiflex Automat (RF 111A), fabricada el 1938; Ilford HP5+ 400 revelat amb HC110. Aquesta cà mera és contemporanea amb Auschwitz-Birkenau.
En aquesta imatge es poden veure els tres tipus de barracons d'Auschwitz I: els originals de dos plantes, els originals d'una planta sobrepujats a dues, i els construits durant la guerra.
Auschwitz. Què més puc dir més enllà d’aquest toponim en alemany d’una vila polonesa. Tots ja sabeu què fou, de 1940 a 1945. Aquà es creà un camp de concentració per la explotació salvatge i mortal dels enemics del III Reich. Però sobretot a partir de 1943 i a la seva extensió (i futur camp independent) de Birkenau: l’extermini dels jueus europeus a nivell industrial.
En aquest cas, el camp original (Auschwitz I o Stammlager Auschwitz (camp principal)) fou creat el juny de 1940 en una antiga caserna del exèrcit polonès. Per això està format per edificis de maons de dues plantes, tant diferent de Birkenau. Els nazis hi afegiren més blocs, torres de vigilancia i filferrades. Entorn el camp proliferaren industries de guerra alemanes, aprofitant sense pietat la ma d'obra esclava. Tot i no ser el camp on es va produir la major part de l'extemini massiu (Birkenau), Auschwitz I fou un infern espantós per a tot aquell que hi va anar a parar. L'esperança de vida mitjana era d'uns 3 mesos i els morts foren centenars de milers.
ca.wikipedia.org/wiki/Auschwitz
www.auschwitz.org/en/history/kl-auschwitz-birkenau/
=====================================
Photograph taken with a Rolleiflex Automat camera (RF 111A), manufactured in 1938; Ilford HP5+ 400 film developed in HC110. This camera is of the same era than Auschwitz-Birkenau.
In this picture you can apreciate the three different block types in Auschwitz I: pre-war 2 floor blocks, pre-war 1 floor blocks (expanded to 2nd floor by the nazis) and "newer" 2 level blocks built by the nazis. By order these are background left, foreground left, and foreground right.
Auschwitz. What else can I say beyond this toponym in German of a Polish town. You all know what it was, from 1940 to 1945. Here a concentration camp was created for the savage and deadly exploitation of the enemies of the Third Reich. But especially from 1943 and in its extension (and future independent camp) of Auschwitz II - Birkenau. The extermination of European Jews at an industrial level.
In this case, the original and main camp (Auschwitz I or Stammlager Auschwitz) was created in June 1940 in an old Polish army barracks. That is why it consists of two-story brick buildings, so different from Birkenau. The Nazis added more blocks, watchtowers and barbed wire. German war industries proliferated around the camp, exploiting slave labor mercilessly. Despite not being the camp where most of the mass extermination took place (Birkenau), Auschwitz I was a terrifying hell for everyone who ended up there. The average life expectancy was about 3 months and the dead were hundreds of thousands.
en.wikipedia.org/wiki/Auschwitz_concentration_camp
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.
Italian postcard by Bromostampa, Milano, no. 380.
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 films 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 theatre. 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. She 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.
The Imperial Hotel, a striking two storey brick hotel in the main Street of Ravenswood, is one of a handful of buildings which survive from this once important mining town. Constructed in 1901 for James Delaney and run by members of this family for most of the twentieth century, it is evidence of Ravenswood's prosperity during its boom period.
The discovery of several important goldfields in Queensland in the nineteenth century formed a major component in the development of the North.. The need to access and exploit gold finds determined the path of railways, the establishment of related industries and commerce and the location of settlements. Some of these were short lived 'rushes', where tent and shanty townships disappeared almost as quickly as they rose. Other settlements based on goldfields became established towns with government and civic buildings, shops and family homes and survived as such. A few became important centres, only to fade away as gold yields fell. Ravenswood was one of these.
The area was first settled by Europeans following the establishment of Bowen in 1861. Pastoral runs were soon set up in the hinterland, including the area on which the Ravenswood field was to develop. Gold had been found in north Queensland at Star River in 1865 and this triggered further exploration. Gold was found at Merri Merriwa, the run on which the town of Ravenswood stands, in 1867, although it was reported as being on the adjoining property of Ravenswood, the name by which the field was always known. The first claim made was the 'Perseverance', later to be known as the 'Donnybrook' mine. This has a connection with the Imperial since the success of the mine is said to have provided James Delaney with the capital with which to build the hotel.
Much of the gold initially found was in a triangle in and around three dry creeks which soon formed the focus for a tent and shanty settlement. Ravenswood gold was in reefs and a small battery was first set up in 1869, followed by the Lady Marian Mill in 1870. The settlement was also surveyed at this time, but by then the goldfield itself and the buildings and streets already established had shaped the town and the survey merely formalised what was already in place. This can still be seen clearly in the irregularity of the major streets. Ravenswood was gazetted as a town in 1871 and at this time it had 30 hotels and a population of about 1000.
It was also beginning to have problems as gold at deeper levels proved to be finely distributed in ore containing other minerals and was difficult to separate either by mechanical or chemical means. This required greater capital to fund various technologies for extraction. Many miners left for other fields, such as Charters Towers, discovered in 1871 and which quickly overtook Ravenswood as a gold producer and as the most important inland North Queensland town. Despite this, Ravenswood continued to prosper due to a steady, though reduced, production of gold, the discovery of silver at nearby Totley in 1878 and as a commercial centre. Shanties were replaced by sawn timber buildings and as single miners left, more families moved in. The stability of the town was assisted by linking of Ravenswood to the Townsville/Charters Towers railway line in 1884. In this year the Ravenswood Gold Company was formed and experimented with better means to process local ore. In 1899 the New Ravenswood Company was formed by A.L. Wilson who raised overseas capital, reopened old mines and used modern methods to rework tailings more efficiently. The shareholders recouped their investment in the first two years and this drew world-wide interest. It was the beginning of Ravenswood's most prosperous period.
In 1900 James Delaney applied for a licence for a new 18 bedroom hotel. He had been the licensee of the Commercial Hotel since 1896 when he married Anne Browne, possibly a connection of the owner of the town's most prominent hostelry, Browne's Ravenswood Hotel. The site purchased by Delaney was separated from Browne's by only 2 shops and he opened his splendid two storey Imperial Hotel in early 1901. On the night of the 18 April, 1901, the Imperial burned to the ground taking with it the whole block of buildings, with the exception of Browne's hotel, which had been protected by a brick wall. The damage was estimated at £20,000. The wall had possibly been erected as a firewall as both the Ravenswood Hotel and the shops Browne owned alongside it were timber, as were virtually all of the buildings in Ravenswood. Closely built timber structures and the lack of an adequate water supply for fire fighting made it possible for fires to race along a block until reaching a gap which acted as a fire break, a fact underlined by a similar fire on the opposite side of the street only three months later. The owners agreed to use the same architect, Eaton, Bates and Polin, to redesign the whole block and tenders were called in early May 1901. The shops between the Ravenswood and the Imperial were replaced by 'Browne's Buildings', Trehearn built a new shop for his former tenant, James Tait & Co. and the bakery and Commercial Hotel, both owned by the Estate of Michael Franzman, were replaced by 3 shops.
Ravenswood had produced bricks since its early years and a team of bricklayers is thought to have already been on the field, brought in by A.L. Wilson to rebuild mining structures such as chimneys. It is said that bricks were brought in from Townsville, but these may have been the cream face bricks applied in bands as a feature of the new buildings and seen to striking effect on the Imperial, which became the centrepiece of two rows of handsome shops.
Delaney died in July 1902 but had already made the hotel over the his wife in 1901. The Delaney's had four daughters, Mary Ellen (1896), Kathleen (1898), Teresa (1899) and Johanna (1901) who at the time of his death were aged between six years and eleven months. In the early years Mrs Delaney appears to have employed a manager, but in 1906 took over the management herself, pending a proposed transfer of the license. In the event, she continued to run the hotel, assisted by her daughters as they grew up.
The population of Ravenswood peaked in 1903 at 4700 but after 1908 the town began to decline. As time went by the cost of extraction grew as returns lessened and Wilson lost money searching for 'mother' lodes at deep levels and began to lay off miners. A strike in 1912 dragged out for eight months causing hardship and although judgement eventually favoured the miners, Wilson could no longer afford to employ many of them. The decline of the Ravenswood mines continued with the outbreak of war in 1914 increasing costs and disruptions to the labour supply. Buildings began to be sold for removal and in 1916 rail services were cut. In 1917 the New Ravenswood Company closed.
In the 1920s most of the buildings in Ravenswood were moved away, but the Imperial, being a brick building, could not be moved and continued to trade. Ravenswood Shire ceased to exist in 1929 and was absorbed into Dalrymple Shire. In 1930 Ravenswood became the first Queensland town to lose its railway connection. A small revival occurred during the 1930s and a shaft was sunk next to the hotel, but most gold was gained by applying more modern extraction processes to known sites. This did not make much difference to the life of the town and by the 1960s it had reached its lowest ebb with a population of about 70. At this point, tourists began to take an interest in the town, studies were made of the buildings and work began to conserve them. In the 1980s the whole town was listed by the Australian Heritage Commission and the National Trust of Queensland. In 1987 Carpentaria Gold Ltd opened a new open cut mine using modern heap leaching processes.
Throughout the difficult times in Ravenswood, the hotel continued to trade. Anne Delaney died in 1968 and the hotel was then run by Teresa (Tessa) who died in 1980 and Jo who died in 1989. The hotel then passed to Mary (Maisie), the only married daughter, and her three daughters, Kathleen having died early. In 1994 it was sold to local owners and still operates as a hotel. Ravenswood's two hotels have helped to maintain an economic life in the town and continue to offer accommodation and recreational facilities.
The buildings which flanked the hotel have been demolished, the last bay of Browne's Buildings within recent years, so the hotel now stands alone. The new owners have redecorated some of the bedrooms on the first floor and have removed some of the dining room furniture into storage to create a pool room at the front of the hotel.
Source: Queensland Heritage Register.
Exploitant : SPL TransUrbain
Réseau : TransUrbain
Ligne : T6
Lieu : Pôle d'Échanges SNCF (Évreux, F-27)
Lien TC Infos : tc-infos.fr/vehicule/17739
Exploitant : SETRAM
Réseau : SETRAM
Ligne : 5
Lieu : Saint-Martin (Le Mans, F-72)
Lien TC Infos : tc-infos.fr/id/5895
Exploitation familiale transmise de père en filles, le Domaine d’Ardhuy est situé à la frontière entre la Côte de Beaune et la Côte de Nuits, autour de son vignoble emblématique « Le Clos des Langres ».
Le Domaine d’Ardhuy est guidé par une ligne directrice forte : produire de beaux raisins et de beaux vins, représentatifs de leur terroir. Cette finalité n’est atteinte que grâce à l’addition de plusieurs savoir-faire : le travail méticuleux et exigeant de la vigne, rythmé par les saisons, le respect de nos terroirs, l’attention portée lors de la vendange, la précision et la diversité des vinifications, la délicatesse des élevages en fûts, la maîtrise de la mise en bouteille. Le tout afin de garantir des vins de qualité et la promesse d’un authentique voyage gustatif.
Le Domaine d’Ardhuy a obtenu la certification en Agriculture Biologique et Biodynamique à partir du millésime 2012 pour l’ensemble de son vignoble. En février 2018, suite à des millésimes difficiles, il a été décidé de faire une pause de la certification afin d’engager un travail de fond sur nos pratiques culturales, toujours dans le respect du terroir et de l’environnement. L’objectif du domaine est celui d’un retour progressif à la certification AB dans un premier temps, à partir de 2024. Ils se sont engagés dans la certification environnementale à partir du millésime 2019, pour lequel ils sont certifiés Haute Valeur Environnementale Niveau 3.
Exploitant : SPL TransUrbain
Réseau : TransUrbain
Ligne : T3
Lieu : Jean Bouin (Évreux, F-27)
Lien TC Infos : tc-infos.fr/vehicule/17739
Aujourd'hui majoritaires sur le réseau de transport de la métropole Toulousaine, il y'a 127 Mercedes-Benz Citaro G C2 NGT en circulation à Toulouse. Ces véhicules au gaz, ont été mis en service en plusieurs séries entre 2017 et 2022.
Voici le Mercedes-Benz Citaro G C2 NGT n°1958 traversant les Allées Jean Jaurès la Linéo 8.
Modèle : Mercedes-Benz Citaro G C2 NGT
Numéro de parc : 1958
Immatriculation : FE-326-LV
Mise en service : mars 2019
Exploitant : SMTC-Tisséo
Lieu : Allées Jean Jaurès, Toulouse
Infos complémentaires : WEB62822413137570
PART 3. (Please do start with Part 1, just 2 images back in my photostream)
The media, always eager to exploit the next blockbuster "breaking news" event, hyped the Laquan McDonald video and provided the movement with a stage for Act II, allowing a small group of activists to bring this city to a halt.
Chicago Mayor Rahm Emmanuel was cowed into submission, and allowed demonstrators to run amok along the Magnificent Mile throughout the Christmas shopping season, costing retailers millions in lost revenue, and the City millions more in police overtime.
Since then, the movement's trump card, its contention that the McDonald video is a "template" that can be applied to all police-involved shootings, has taken a big hit. The next video to be released, that of Ronald Johnson, clearly shows that he was armed with a gun when he was shot and killed.
What's more, the in-depth presentation by Cook County State's Attorney Anita Alvarez revealed that Ronald Johnson had been a passenger in a car that was shot at by rival gangbangers. Ronald Johnson then pulled his own gun and told the driver to let him out so he could hunt down that shooter himself.
Instead, Mr. Johnson faced the officers who were responding to the original "shots-fired" call by citizens in the area. If he had acted like a responsible citizen and assisted the officers, instead of taking the law into his own hands, those officers would have focused their attention on the original shooter and not on him. By putting himself - gun in hand - in the area where shots had been fired by a different gangbanger, he became the individual the responding officer focused on. Refusing to drop his weapon, he was eventually shot and killed.
The ultimate irony is that the Ronald Johnson video could be put forward as a "template" for the situation Chicago Police Officers usually face: armed predators who stubbornly refuse to surrender, either because doing so would violate their gang's code of conduct, or because they're so coked out of their mind that they truly believe themselves to be invincible.
The most recently released video, consists of surveillance footage that captured the killing of Cedrick Chapman back in 2013. This video fotage is inconclusive at best, and clearly does not live up to its billing as yet another example of racist White police officers executing yet another unarmed African American young man.
In fact, this particular African American young man had just car-jacked a fellow citizen. The officers in this case - armed with the information that this offender was armed and dangerous - spotted the vehicle in question with Cedrick Chapman behind the wheel, and gave chase.
When the offender bailed out, he first threw the vehicle's transmission into reverse. That's a favorite trick used by experienced auto-thieves, forcing police officers to jump into a moving vehicle and bring it to a halt before it can injure innocent bystanders or cause more property damage.
As soon as the first officer had brought the stolen vehicle to a halt, he joined his partner in the foot-pursuit of the fleeing felon. Too far back to assist his partner, who was about to pounce on the fleeing car-jacker, the first officer noticed that the offender was holding a black object in his right hand, The first officer - "fearing for his partner's life - then fired his own weapon, striking and killing the offender.
Does that sound just a little contrived? Yes, it does, but, in the absence of reliable information that proves otherwise, the anti-police movement has little to offer but the now familiar accusations. Left with nothing but hot air, the movement simply pivots back to its ace in the hole: the Lawuan McDonald video.
TO BE CONTINUED
* * * * * * *
This mural at 57th & Lake Park is but one panel of a large mural devoted to peace vs. militarism, free speech and civil disobedience. This particular panel references the peace movement after the slaughter of the Great War (1914-1918). It shows a woman trying to get both sides to "put the guns down..."
Unfortunately, 40 years after this mural was painted, we can not get gangbangers on the South and West Side to put their guns down, and Chicago is on track to reap 600 homicides in 2016.
Parc Gérard CAPIFALI, Maire 2001-2005, Solliès-Pont (Var)
Website : www.fluidr.com/photos/pat21
www.flickriver.com/photos/pat21/sets/
"Copyright © – Patrick Bouchenard
The reproduction, publication, modification, transmission or exploitation of any work contained here in for any use, personal or commercial, without my prior written permission is strictly prohibited. All rights reserved."
Here's another look at the poppies that I'm currently exploiting.
I particularly wanted backlighting with these flowers, so I put a bare YN560-II behind and to the right at about 1 o'clock, a Strobie 130 in a softbox camera left and behind at 11 o'clock and for fill lighting I used a YN560 in a softbox camera right, in front, at 4 o'clock. Strobes were in manual mode and were triggered by a Yongnuo RF-603N.
Other plants, flowers, fruit or thingys that I've photographed using strobes, can be seen in my Strobe Lit Plant set. In the description for that set, I list resources that I've used to learn how to light with off camera flash. www.flickr.com/photos/9422
A Saint Guilhem-le-Désert, poussent des oliviers qui sont toujours cultivés, entretenus et exploités pour leurs fruits ; les petites "picholines".
Exploits. Escapades. Experiences.
All of them amazing and they all await just around the corner . . .
. . . on the road to The City by the Bay!
— in San Francisco, California.
#sanfrancisco
...L'exploitation de ces carrières dites de "Maubert" constituait une "directione" indépendante des commandantures, elle était un lieu d'asile où les gendarmes même n'avaient pas accès, les déserteurs, condamnés ou évadés qui pouvaient
y parvenir y jouissaient d'une immunité inviolable.
Le chef suprême de cette "directione", fut depuis son installation le lieutenant Bertrand de souche française.
Quatorze bancs de rochers furent repérés et mis en exploitation sur la ligne de chemin de fer de Charleville à Hirson.
Lorsque le concasseur mécanique fut établi, il broyait chaque jour 75 mètres cubes de pierre en fonctionnant pendant
4 heures, après quoi les mâchoires de la géante macine devenant brûlantes, il fallait interrompre le travail jusqu'au lendemain.
Les baraques des prisonniers, en tôles ondulées, étaient circonscrites par des clôtures en fil de fer barbelés
infranchissables et d'ailleurs sévèrement gardées.
On compta en 1917, 400 prisonniers anglais et pendant l'hiver 1918, 420 italiens dont plusieurs moururent de froid et de misère.
Il y avait en outre 200 civils ou évacués.
Mais à partir du 6 août 1918, il n'y eut plus que des prisonniers français, plus les ouvriers de la région...