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Véhicule : MAN Lion's Coach C R10 €6
Identification : _ (EW-563-XT)
Exploitant : Les Cars du Bocage / Chaigneau Voyages
Dépôt : n.c.
Réseau : n.a.
Ligne : n.a.
Service : Occasionnel - Tourisme
Destination : n.a.
28/09/2019 10:21
Parking Autocars des Allées de Chartres
Allée de Bristol ; F-33 BORDEAUX
Exploitant : Transdev Montesson les Rabaux
Réseau : Résalys
Ligne : R2N
Ligne : Gaudines (Saint-Germain-en-Laye, F-78)
Lien TC Infos : tc-infos.fr/vehicule/27041
"Distant mission"
Iliouchine 76TD "Candid" de l'armée de l'air algérienne suivant la voiture des contrôleurs de piste de l'aéroport de Douchanbé (Tadjikistan 2008)
Aéroport de Douchanbé (Asie Centrale - Tadjikistan)
<Website : www.fluidr.com/photos/pat21
"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
Véhicule : IRISBUS IVECO Citelis 18 GNV
Identification : 2610 (BC-388-WN)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1809
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 15:55
Rue du Vergne ; F-33 BORDEAUX
America’s automotive history is rich with the exploits of Erwin George Baker, an early-20th-century swashbuckler who set scores of speed and distance records with machines as diverse as Indian motorcycles; cars from Stutz, Cadillac, and Wills Sainte Claire; and even a Buick truck. However, the most memorable drive by the man known as “Cannonball” Baker was his 1933 cross-country dash from New York City to Los Angeles in a Graham Blue Streak Eight, completed in an astonishing 53 1⁄2 hours. The record stood for nearly four decades.
History--
Joseph, Robert, and Ray Graham formed their company after selling their truck-building operation to Dodge in 1926 and, in 1927, taking control of the Paige-Detroit Motor Car Company. The brothers sold more than 73,000 cars in 1928, but four years later, at the height of the Great Depression, they needed a bold new model to turn around their sinking fortunes. The scholarly Amos Northup, a pioneer of streamline design who worked for Murray, a Detroit-based supplier of body stampings, came to their rescue for the 1932 Blue Streak Eight. In an era of styling conventions defined by upright grilles and cycle fenders, Northup’s sloped-back grille and skirted fenders were a breakthrough. Only about 13,000 of the new sedans, coupes, and convertibles sold, but competitors took note. By 1934, nearly every new car in America had skirted fenders in place of what previously had been little more than planks over the front and rear tires.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the link below:
The exploitation of mines began from the German company “SPEIDEL” in 1905 and it ceased in 1912 due to the First World War. The exploitation was continued by Vielle Montagne in 1925 until 1930 when they interrupted the operation owing to the financial crash. In 1957 another company poached on the mines in parallel with a Greek one. However, all the activities in the region stopped in 1963. (Taken from www.thassos-view.com/experiences/sightseeing/metalia)
Véhicule : HEULIEZ BUS GX 337 €6
Identification : 159113 (DT-846-TT)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Ambarès-et-Lagrave
Réseau : TBM (Bordeaux Métropole)
Ligne : Lianes 7
Voiture : 0706
Destination : Centre Commercial BORDEAUX LAC
09/01/2021 12:35
Arrêt TBM "AMBARÈS-ET-LAGRAVE Parabelle"
Avenue Léon Blum ; F-33 AMBARÈS-ET-LAGRAVE
Chemin de fer-musée Blonay-Chamby (BC): after the suppression of the railway service on May 22, 1966, a group of fans began the procedures for the exploitation of the meter gauge line between Blonay and Chamby, a three-kilometer route, as a tourist railway. After forming a cooperative society for the exploitation of the railway, and an association to support it, on July 20, 1968, the tourist operation was inaugurated. The line remains property of MVR (Transports Montreux-Vevey-Riviera, successor company of CEV, Chemins de fer électriques veveysans), except for the depot and museum, as well as the link track, which are property of the BC.
To celebrate the 125th anniversary of the opening of the first section of the Bex-Villars line, and the 80th anniversary of the merger of the Bex–Gryon–Villars–Chesières (BGVC) and Villars–Bretaye (VB) railways, on September 9, 10, 16 and 17, 2023, the BC held several commemorative events. The main one was the temporary transfer of the BCFe 4/4 1 “TransOrmonan” electric railcar and the C 35 trailer to the BC line. These two vehicles are part of the heritage train (together with the C 34 trailer) preserved by the company Transports publics du Chablais (TPC), with the collaboration of the ASD 1914 association.
Here we see the railcar in Chaulin-Musée. Original of the Chemin de fer Aigle-Sépey-Diablerets (ASD), the BCFe 4/4 1 railcar was built by SWS and AEG in 1913, and was rebuilt in 1941 after a fire. It served on the ASD line between 1913 and 1987.
To its left we see the consist formed by the CF 21 passenger car of the Aigle-Leysin railway (SIG Neuhausen, 1900) and the electric rack and pinion locomotive He 2/2 2 of the Bex-Gryon-Villars railway (SLM and IEG, 1900).
On the right, the BCFeh 4/4 6 mixed electric rack and pinion/adhesion railcar, built in 1909 by SIG, SLM and Alioth for the Monthey-Champéry-Morgins (MCM) railway. He was loaned to BC in 1975.
Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.
Utilisation commerciale soumise à autorisation spéciale préalable.
Les VBZ à la dérive!
Après la remise en service commercial des deux motrices historiques Mirage sans arriver à exploiter les lignes avec les convois prévus, une (nouvelle) rupture d'un cardan de transmission sur une motrice Cobra (Be 5/6 3001-3088) en date du 24 décembre 2018 (!) a nécessité trois mois plus tard (!) des mesures d'urgence en vigueur dès le 22 mars 2019 pour une durée indéterminée:
1) réduction de la vitesse maximale des Cobra à 42 km/h et 12 km/h sur les appareils de voie
2) pour limiter sectoriellement les retards attribution des Cobra aux lignes 2, 3, 4, 5, 6, 13 et 17.
Les autres lignes, y compris les lignes 10 et 12 du Glattalbahn, sont exploitées avec des convois Tram 2000 sans garantie d'accès surbaissé.
De plus, à partir du 1 janvier 2019 et avec une arrogance toute zürichoise, des mangers des VBZ ont imposé unilatéralement au TMZ l'immobilisation de pas moins de cinq motrices historiques sous le prétexte fallacieux de délai de révision. C'est faire bien peu de cas du sérieux du travail exécuté depuis plus de cinquante ans par les membres actifs du TMZ.
Si ces bureaucrates ne sont pas en mesure de comprendre la logique différence entre un simple contrôle technique et une inutile révision sur des véhicules en parfait état budgetée à un prix exorbitant ils n'ont certainement pas les compétences requises pour occuper leur poste et ils devraient être poussés vers la sortie par tous les moyens légaux disponibles!
Après avoir enjambé les voies CFF, le convoi Be 4/6 2052 + Be 2/4 2427 arrive à l'arrêt "Glatt (Tram)" situé sur un pont et desservant le grand centre commercial éponyme.
19910
Morpho bleu - Monteverde (COSTA RICA 2019)
Website : www.fluidr.com/photos/pat21
"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."
Well part of it anyway.... this image from near Seahouse's looking back towards Bamburgh Castle the Farne Islands are off towards the right as we look at this image well known to ornithologists and historians for Grace Darling and her Dad's exploits
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.
Bucker 131 Jungmann Black Wolf - F-AZVK N°27 - Basé sur l'aérodrome de Dijon-Darois - Meeting de France 2019 (Dijon-Longvic - Côte d'OR)
Website : www.fluidr.com/photos/pat21
"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."
Bus : HeuliezBus GX 327
n°221197 - ligne I
Exploitant : Keolis Val d'Yerres Val de Seine
Réseau : Ile de France Mobilités, VYVS
Lieu : Villecresnes
"Funny characters"
Prague (République Tchèque)
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."
Véhicule : IRISBUS IVECO Evadys HD (12,80m.) €4
Identification : 078011 (BP-800-DF)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Bastide - Quai de la Souys
Véhicule : MERCEDES-BENZ O345-L Conecto ME €3
Identification : 051100 (BD-601-NN)
Exploitant : Keolis Cars de Bordeaux
Dépôt : Bastide - Quai de la Souys
Véhicules réformés le 11 Mars 2021, pour vente.
Cette série de véhicules réformés comprend :
- 023091 : IRISBUS Axer (12m.) €3
- 031035 : IRISBUS Récréo C955 (12m.) €3
- 051100 : MERCEDES-BENZ O345-L Conecto ME €3
- 053015 : IRISBUS Axer (12,80m.) €3
- 078011 : IRISBUS IVECO Evadys HD (12,80m.) €4
- 078030 : IRISBUS IVECO Evadys HD (12,80m.) €4
Réseau : n.a.
Ligne : n.a.
Service : Véhicules réformés
Destination : n.a.
16/03/2021 16:52
Dépôt Cars de Bordeaux Bastide
Rue d'Artagnan ; F-33 BORDEAUX
My last photo from Japan.
I hesitated showing this photo because it's unlike me to photograph female strangers to exploit their beauty. But, what I like about this is that it really does show off the fashion in Tokyo. Her hair is very well groomed. Mini skirt, over the knee socks, matching heels, designer purse, and fashionable coat.
This was in the popular spot in Harajuku, but more remarkable was that she is just a stranger on her way to somewhere. This is how they dress. They have MUCH better style and fashion sense than in the US, yet they look up to us for so many different things. Americans have just become so lazy in our appearance and attire it's almost gross. We have little respect for ourselves in the work place, or just out in the town. I really enjoyed my trip to Tokyo and seeing how a society which prides itself on being respectful in all aspects of their life operates. I think we could really learn something from them.
This is coming from a guy who's been wearing a baby blue bathrobe most of the week while recovering.
Happy 2008!
Exploit del 2003
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Do not use any of my images on websites, blogs or other media without my explicit written permission.
All rights reserved - Copyright © fotomie2009 - Nora Caracci
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Morane-Saulnier 760 Paris (Base aérienne 105 Evreux,juin 1991 (Eure)
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."
Parque Natural del Señorío de Bértiz, Navarra, España.
El Parque Natural del Señorío de Bértiz, de 2.040 ha, está localizado al noroeste de la Comunidad Foral de Navarra, España. En el municipio de Bértiz-Arana, accediéndose desde la localidad de Oyeregui y Oronoz-Mugaire.
El territorio del parque natural perteneció a la familia Bértiz desde el siglo XIV. El titular del predio, Pedro Miguel Bértiz, fue nombrado Merino de las Montañas (o sea, juez de amplia jurisdicción), en el año 1392, por el rey Carlos III el Noble.2
La casa solariega fue levantada en 1847 por la antigua familia Bértiz, que continuó con la propiedad hasta el siglo XIX y ampliada en 1905 por sus últimos propietarios Don Pedro Ciga y su esposa Dª Dorotea Fernandez.
A la muerte sin descendencia de Francisco de Bértiz, en el año 1657 tomo posesión del Senorío Antonio Barragán. La Real Corte de Navarra, mediante sentencia de 1672, declaró la propiedad del palacio y mayorazgo de Bértiz a favor de Juan Francisco de Alduncin. El matrimonio de María Josefa de Alduncin, heredera del Senorío, con Francisco Javier de Elío, hizo que la propiedad pasara a esa familia (1741). Los Elío vendieron el Senorío a Pedro Andrés Oteiza, maderista y vecino de Narvarte (1881). El 20 de octubre de 1900 Oteiza vendió la finca a Pedro Ciga por la cantidad de seiscientas cincuenta mil pesetas. Los Ciga lo remodelaron a su estado actual y en el año 1949 lo donaron a la Comunidad Foral de Navarra, con la condición de que se conservara tal cual y de que fuera utilizado exclusivamente para fines recreativos, educativos y científicos.
Al sur, en la zona más baja a orillas del río Bidasoa en la localidad de Oyeregui, se encuentran el palacio y los jardines, en 3,4 ha que acogen una abundante colección botánica, con especies traídas de todos los lugares del mundo.
El resto del territorio al norte es una sucesión de valles y montes cubiertos de bosque atlántico autóctono, muy bien conservados dada la escasa explotación que de ellos se ha venido haciendo, abundando las hayas, los robles y las alisedas. En estos bosques hay numerosos ciervos, corzos y jabalíes, así como las típicas aves del bosque atlántico de pequeño y mediano tamaño.
En la cima del monte Aizkolegi se encuentra un chalet modernista, hoy abandonado, desde el que se disfrutan unas magníficas vistas del Parque y al que se llega mediante una pista forestal.
The Señorío de Bértiz Natural Park, covering 2,040 ha, is located in the northwest of the Comunidad Foral de Navarra, Spain. In the municipality of Bértiz-Arana, accessed from the town of Oyeregui and Oronoz-Mugaire.
The territory of the natural park belonged to the Bértiz family since the 14th century. The owner of the property, Pedro Miguel Bértiz, was named Merino de las Montañas (that is, judge of wide jurisdiction), in the year 1392, by King Carlos III the Noble.2
The manor house was built in 1847 by the old Bértiz family, who continued to own the property until the 19th century and enlarged it in 1905 by its last owners, Mr. Pedro Ciga and his wife, Ms. Dorotea Fernandez.
On the death without issue of Francisco de Bértiz, in 1657 he took possession of the Senorío Antonio Barragán. The Royal Court of Navarra, through a ruling of 1672, declared the ownership of the palace and mayorazgo of Bértiz in favor of Juan Francisco de Alduncin. The marriage of María Josefa de Alduncin, heir to the Senorío, with Francisco Javier de Elío, made the property pass to that family (1741). The Elíos sold the Senorío to Pedro Andrés Oteiza, a Maderista and resident of Narvarte (1881). On October 20, 1900, Oteiza sold the farm to Pedro Ciga for six hundred and fifty thousand pesetas. The Ciga family remodeled it to its current state and in 1949 they donated it to the Comunidad Foral de Navarra, with the condition that it be kept as is and that it be used exclusively for recreational, educational and scientific purposes.
To the south, in the lower area on the banks of the Bidasoa River in the town of Oyeregui, are the palace and gardens, covering 3.4 ha that house an abundant botanical collection, with species brought from all over the world.
The rest of the territory to the north is a succession of valleys and mountains covered with native Atlantic forest, very well preserved given the little exploitation that has been done of them, abounding with beeches, oaks and alder groves. In these forests there are numerous deer, roe deer and wild boar, as well as the typical small and medium-sized birds of the Atlantic forest.
At the top of Mount Aizkolegi there is a modernist chalet, now abandoned, from which magnificent views of the Park can be enjoyed and which is reached via a forest track.
Véhicule : MAN Lion's City G A23 CNG
Identification : 1422 (DR-679-AQ)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1809
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.
14/06/2016 18:42
Rue du Vergne ; F-33 BORDEAUX
Véhicule : MAN Lion's City G A23 CNG
Identification : 1413 (DQ-235-RD)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Centre d'Exploitation du Lac (CEL)
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1829
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 16:04
Rue du Vergne ; F-33 BORDEAUX
"Fashion"
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."
===Plaza Athénée, Paris===
"Champagne, monsieur?"
Bruce looked to the waiter, and smiled. "No thank you," he replied. It'd been a couple of hours now, and aside from the odd drunken outburst from a guest or two, the evening had gone smoothly. No sign of the Monk so far.
"Bruce Wayne?" a voice called out from behind him.
He turned around. In front of him, was a beautiful, dark haired woman, dressed in a long black dress. Her skin was pale, almost alarmingly so, and she spoke with a slight Russian accent. "Natalia Knight," she said, as she offered him her hand. "Would you like to dance?" she asks, as Bruce takes her hand in his.
"I'm sorry-" Bruce began, as they glided along the dancefloor. "How do you-?"
"Mr Wayne, please. There's not a single tabloid here that doesn't have your name on it. You know, I always enjoy reading about your, uh, exploits," she smiles flirtily.
"Glad to hear it. I think," Bruce adds hastily, blushing slightly. "Have you been in Paris long, Ms Knight?" he asks.
"Since I was a little girl," she replies, as she strokes her hand across his palm. "You know, the Knights have been donating to Haley's Circus for a number of years now, it's one of the few in the country that treats their staff and animals humanely. I was thinking, maybe if you-"
"Actually, Natalia, I was just about to ask-" Bruce interjects.
She looks up at him, her skin turning a shade darker. "Yes, Bruce?"
"Have you ever heard of The Monk?"
Natalia frowns, embarrassed, as she lets go of Bruce's arm. "Oh, I-"
"Sorry, did you think-?" Bruce inquires, sensing he's made a mistake.
"I, uh, no, it's not that. It's just-" she adds nervously, as she straps her handbag onto her shoulder
"Natalia! We should be going," a man interjects. He's dressed in a blue suit, a silver pocket watch hanging from his jacket. His black hair goes down to his shoulders, and is matched by a sharp goatee.
"... Yes, of course," she sighed, as she raised a hand out. "Bruce, my brother, Anton."
"Adopted," the man adds. "I'll see you in the car," he says sternly, placing a hand on Bruce's shoulder. "How do you know that name?" he murmurs angrily.
"The Monk?"
Knight applies pressure to Bruce's shoulder, and mutters in his ear, taking a look to ensure their conversation had gone unnoticed. "Not. So. Loud."
Bruce lowers his tone. "There's been a string of kidnappings in Gotham. I had... a source that says that the perpetrators were supplying them to this... Monk character."
"A source..." Knight scoffs, taking a suspicious glance at Bruce. "Isn't this a little below your paygrade, billionaire?"
Bruce glowered. "Missing children, Mr Knight? You must not know me that well."
"On the contrary- like my sister says, your exploits are well documented," he grumbles. As he brushes past him, Bruce grabs his shoulder, lowering his tone. "The Monk. Who is he?"
"Relax. Your. Grip." Anton sighs. "If he has your children... they're already dead. The lucky ones, that is."
"What the hell do you mean?" Bruce glares.
"You believe my sister's condition to be a simple pigmentation? The Monk sought out our family, and when we refused his... protection, he... he stuck his jaws around my baby sister's throat, and bit hard. He is not a man, Wayne. But a parasite, an undead monster. A wurdulac, what you would call-"
"A vampire," Bruce murmurs. "I don't believe in myths, Mr Knight."
"And yet..." Knight begins. "Men fly in your country, do they not?"
~
A few hours later, Bruce returned to the hotel room, a calm breeze filling the air. The window was open... 'Who?'
"I don't think much of your security-" a gruff voice begins. As Bruce raised his arm out, the figure, silhouetted by the moonlight, grabbed his fist, and slung him against the wall. "And your technique is sloppy."
He was over six foot, and built like a boar. A thick beard coated his chin, while a variety of scars marked the rest of his face. The stench of whisky followed him wherever he went, and his voice was utterly devoid of compassion, or of sympathy. "Hello, Wayne," he scoffed.
"Ducard..." Bruce groaned. "Here to start another war?"
"Please, Santa Prisca was a fail state long before I set foot on it," Ducard smirked, as he helped himself to some of Alfred's leftovers.
"But you didn't do it any favours, did you?" Bruce growled, as he folded his arms.
"I didn't come here to squabble, boy. I came because *this* time, our needs align. This Monk of yours goes by the name Niccolai Tepes. You want to find him, I suggest you start with his distribution system."
"And what exactly do *you* want with him?" Bruce grimaced. "Are you going to burn down another city?"
"What, you'd call that Biayalian slum a city?" Ducard laughed. "I have a client. That, is all you need to know."
"And if that client is going to hurt innocent people?" Bruce stood up.
"Unlikely. They're a brain-dead paraplegic."
As Alfred's key turns in the lock, Bruce turns around to find Ducard gone. 'One good trick...' he thought to himself.
"Master Bruce? Are you alright?" he asks, Bruce still looking out the window.
"Fine, Alfred," he murmured, as he absent mindedly put his hand into his coat pocket. "Just had a catch-up with Henri Ducard."
"What did that brute want with you?" Alfred said, a note of disgust in his voice.
"I don't know for sure, but he's also given me the only solid lead on the Monk I have-" Bruce begins, as he takes a small piece of card from out of his pocket.
"What is it?" Alfred asks.
Bruce smiled to himself. "Looks like a phone number, and a... Circus ticket. Heh, Natalia must've slipped it in when-" He paused.
"Master Bruce?"
"Alfred, when would Haley's Circus have last performed in Gotham?" Bruce asks, as he reaches into his suitcase.
"Last month, I'd have thought, why-?"
"Because," he begins, as he grabs his Batsuit. "That's how he's transporting those children."
=====Haley's Circus====
"God, you never told me they were children-" Haley begins, as he talks into the phone.
"Come now, ignorance, is not an excuse Mr Haley. We've got another shipment lined up for April," a voice rings out, a calm, almost charming one, yet, it was off. As though there were an undertone of malice dripping from each word.
"But you said that this Scarecrow-" Haley began, using one of his pamphlets to mop his brow.
"Scarecrow may be out of the picture, but, as our client gets... particularly hungry, we've had to make do. 30 kids, to make up for Crane's oversight."
Haley paused. He didn't want to, god, of course he didn't... But he knew what the alternative was.
"Thank you for understanding."
"I-" Haley started, as though he had a backbone for one brief second, and then- the illusion was shattered.
"Careful, Mr Haley. If you won't do it, we'll find someone who will, and then, you know who we'll have to send to, ah, clean house, as it were."
"I... I understand."
"Marvelous!" the voice finished. "I'll have one of my people contact you tomorrow with the details. Tah tah."
Outside, resting on a telegraph pole, a small boy watched Haley rest the phone on the table, and pour himself another scotch.
Tracteur : RENAULT TRUCKS T520 €6
Identification : _ (FG-058-AQ)
Exploitant : Transports Toussaint
Semi-remorque : ROJO GP Line
Identification : _ (BD-112-HG)
Exploitant : Transports Toussaint
Véhicule : YUTONG ICe 12
Identification : 17 (EY-926-BD)
Exploitant : B.E.green
Réseau : n.a.
Dépôt : Bastide - Quai de la Souys
Ligne : n.a.
Service : Autocar électrique en essai
Destination : n.c.
27/06/2019 11:55
Dépôt Cars de Bordeaux Bastide, Rue d'Artagnan ; Bordeaux
Patrouille aérienne BREITLING (APACHE Aviation). Cette formation équipée de L-39C Albatros est basée sur l'aéroport de Dijon-Longvic - Meeting de France 2019 (Dijon-Longvic - Côte d'OR)
Website : www.fluidr.com/photos/pat21
"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."
German postcard by Kolibri-Verlag G.m.b.H., Minden-Westf., no. 2330. Photo: Keystone.
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.
Véhicule : IVECO BUS Crossway LE City €6
Identification : 6845 (EA-835-BF)
Exploitant : Citram Aquitaine (Groupe Transdev)
Dépôt : Bassens
Réseau : TBM (Bordeaux Métropole)
Ligne : 130C NAVETTE SPÉCIALE TOP14
Voiture : n.c.
Destination : Victoire
À l'occasion d'un match de rugby pour le TOP14 au Stade Matmut Atlantique, TBM a mis en place une Navette Spéciale pour renforcer l'offre entre la Gare Saint-Jean et la Place de la Victoire.
09/06/2019 19:04
Rue Saint-Vincent-de-Paul ; Bordeaux
Véhicule : HEULIEZ BUS GX 427 EEV
Identification : 1062 (BK-656-PT)
Exploitant : Keolis Bordeaux Métropole
Dépôt : Dépôt de Lescure
Réseau : TBM (Bordeaux Métropole)
Ligne : 18 NAVETTE STADE EURO 2016
Voiture : 1834
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 16:05
Rue du Vergne ; F-33 BORDEAUX
Se recomienda ver en la caja oscura ( Pulsa "L" )
See recommended in black box ( push "l" )
Copyright © – Fernando Romero Santos ©.
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."
If interested, please contact with author by private mail in flickr.
Navette Bas de Station - Arrêt : Déviation (bis)
Exploitant : Faure Auvergne
Réseau Navettes Station Super-Besse
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.