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Was video taping self but some got in the picture and got a bit of a shock when they saw me doing a forward split. during last years Halloween dance at the LGBT center in NY City.
Note deeply inscribed panel forward of the docking hatch on the secondary hull. I'm guessing that the mounting point is behind this panel. Also see how the panels with the warp engine supports attached, are SCREWED into the secondary hull.
Model : Huyen Namy - Pup
Costumes : Forward Shop
Photo : Mac Fotography
Assist : Huy Anh
Location : Vinh Tuy
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Flakpanzer Coelian comprised a family of self-propelled anti-aircraft gun tanks, designed by Rheinmetall during World War II for the German armed forces. In the first years of the war, the Wehrmacht had only little interest in developing self-propelled anti-aircraft guns, but as the Allies developed air superiority, the need for more mobile and better-armed self-propelled anti-aircraft guns increased.
As a stopgap solution the Wehrmacht had adapted a variety of wheeled, half-track and tracked vehicles to serve as mobile forward air defense positions to protect armor and infantry units in the field as well as for temporary forward area positions such as mobile headquarters and logistic points. As Allied fighter bombers and other ground attack aircraft moved from machine gun armament and bombing to air-to-ground rockets, the air defense positions were even more vulnerable. The answer was to adapt a tank chassis with a specialized turret that would protect the gun crews while they fired upon approaching Allied aircraft.
Initial AA-tank designs were the ‘Möbelwagen’ and the ‘Wirbelwind’, effectively both conversions of refurbished Panzer IV combat tank chassis’ with open platforms or open turrets with four 20mm cannon. Alternatively, a single 37mm AA gun was mounted, too, resulting in the more effective ‘Ostwind’ tank – but all these vehicles were just compromises and suffered from light armor and lack of crew protection.
Further developments led to the ‘Kugelblitz’, another Panzer IV variant, but this time the ball-shaped turret was effectively integrated into the hull, resulting in a low silhouette and a fully protected crew. Another new feature was the use of the Mauser MK 103 machine cannon – a lightweight, belt-fed aircraft gun with a gas-powered action mechanism, first employed on board of the Hs 129 attack aircraft against ground targets, including tanks. The Mk 103 had a weight of only 141 kg (311 lb) and a length of 235 cm (93 in) (with muzzle brake). Barrel length was 134 cm (53 in), resulting in Kaliber L/44.7 (44.7 calibres).
Anyway, the Kugelblitz could only mount two of these guns in its very cramped and complicated tilting turret. Venting and ammunition feed problems could also not be solved, so that the innovative vehicle never made it beyond the prototype and evaluation stage, even though the integration of the Kugelblitz turret into the hull of the Jagdpanzer ‘Hetzer’ was considered for some time.
In parallel, the promising MK 103 was also tested in the four-gun carriage of the Wirlbelwind’s 20 mm Flakvierling 38 mount, resulting in the ‘3 cm Flakvierling 103/38’ and the respective ‘Zerstörer 45’ tank prototype. But this was, effectively, only a juiced up version of the obsolete ‘Wirbelwind’, again with only a roofless and vulnerable turret and the obsolete Panzer IV as base. The ‘Zerstörer 45’ was consequently rejected, but the firepower of the four guns was immense: Rate of fire of a single MK 103 was 400 - 450 RPM, and the rounds carried three times as much explosive charge as a Soviet 37 mm round. Both HE/M and APCR rounds were available for the MK 103. Muzzle velocity was 860-940 m/sec, paired with a high degree of accuracy. The armor penetration for APCR was 42–52 mm (1.7–2.0 in) / 60° / 300 m (980 ft) or 75–95 mm (3.0–3.7 in) / 90° / 300 m (980 ft) – more than enough for aircraft, and even dangerous for many combat tanks when hitting more lightly armored areas. Anyway, it was not possible to combine four of these 30mm guns with a favorably shaped, completely enclosed turret for an effective front line anti-aircraft tank that could stand its own among the armored combat units.
The solution to this problem eventually materialized in 1943 with the decision to completely abandon the limiting Panzer IV chassis and build a new generation of anti-aircraft tanks on the basis of the larger (and heavier) Panzer V medium battle tank, the ‘Panther’. Its chassis had in the meantime become available in considerably numbers from damaged and/or recovered combat tanks, and updated details like new turrets or different wheels were gradually introduced into production and during refurbishments.
The Panther could mount a considerably larger and heavier turret than the previous standard tank chassis like the Panzer III and IV, and this potential was full exploited – as well as the possibility to increase the weapon system’s weight, thanks to the sturdier chassis. Rheinmetall’s new, fully enclosed, 360° rotating turret could carry a wide array of weapons and ammunition (all were belt-fed), a crew of three and also offered a good protection through a sloped, frontal armor of 70mm thickness. Traverse and elevation of the turret was hydraulic, allowing a full elevation in just over four seconds, and a 360° traverse in 15.5 seconds. The initial version was armed with two 3.7 cm FlaK 43 guns, as a compromise between range, firepower and rate of fire. Beyond this initial variant, Rheinmetall developed the ‘Coelian’ turret in various versions, too, including fully enclosed turrets with a single 55 mm gun and with four 20mm MG 151/20 guns.
Eventually, in May 1944, a complete family of turrets with different armament options was cleared for production: the standard Coelian I, with a revised mount for the twin 3.7 cm FlaK 43 guns, a heavier variant with twin 55 mm guns against larger, high-flying targets (Coelian II; the guns were based on another aircraft weapon, the MK 214), and finally the Coelian III with four Mk 103 cannon against low-flying attack aircraft and soft/lightly armored ground targets. The variant with four 20 mm guns had been dropped, since it did not offer and added value compared to the Coelian III. All these vehicles ran under the SdKfz. 171/3 designation, with suffixes (A-C) to distinguish their armament in a more or less standardized turret.
Even though ground-based, mobile radar systems were under development at that time, all these turrets had to rely only on optical sensors, even though very effective optical rangefinders were introduced. All the turrets of the Coelian family were to be mounted on revamped Panzer V chassis, simply replacing the former combat tank turrets (either the original production turret from the A, D and G variant or the newly introduced Schmalturm from the F version). Theoretically, they could have also been mounted onto the Panzer VI ‘Tiger’ chassis, but due to this type’s weight and complexity, this was not carried out.
However, the SdKfz. 171/3 Panther/Coelian family designation had in the meantime also just become an interim solution: Plans had been made to start the production of a completely new, simplified tank vehicle family, the so-called ‘Einheitspanzer’. The resulting standard combat tanks (called E-50 and E-75, based on their weight class in tonnes) and their respective hulls would be based on the large Königstiger battle tank, and potentially accept even bigger turrets and weapons. Consequentially, while production of the Coelian turrets and the conversion of 2nd hand and by the time also new Panther hulls of all variants was just gaining momentum in late 1944, work for the new Einheitspanzer tanks and their weaponry had already started.
Roundabout 300 Coelian tanks reached frontline units, two third of them were factory-built, and in the course of early 1945 the Coelian family had gradually replaced most of the outdated Panzer IV AA variants and SPAAGs with open turrets. The Coelian tanks were soon joined by the newly produced, dedicated Flakpanzer variants of the Einheitspanzer family, including a twin 55 mm gun on the E-50 chassis and also a monstrous 140 ton anti-aircraft variant of the heavy E-100 chassis, equipped with an automatic twin 8.8cm Flak in a fully enclosed and heavily armored turret.
Specifications:
Crew: Five (commander, gunner, loader/2nd gunner, driver, radio-operator/hull machine gunner)
Weight: 44.8 tonnes (44.1 long tons; 49.4 short tons)
Length: 6.87 m (22 ft 6 in)
Width: 3.42 m (11 ft 3 in) with side skirts
Height: 3.13 m (10 ft 3 in)
Suspension: Double torsion bar, interleaved road wheels
Fuel capacity: 720 litres (160 imp gal; 190 US gal)
Armor:
15–80 mm (0.6 – 3.15 in)
Performance:
Maximum road speed: 46 km/h (29 mph)
Operational range: 250 km (160 mi)
Power/weight: 15.39 PS (11.5 kW)/tonne (13.77 hp/ton)
Engine:
Maybach HL230 P30 V-12 petrol engine with 700 PS (690 hp, 515 kW)
ZF AK 7-200 gear; 7 forward 1 reverse
Armament:
4× 30 mm (1.18 in) MK 103 machine cannon with 3.600 rounds
1× 7.92 mm MG 34 machine gun in the front glacis plate with 2.500 rounds
The kit and its assembly:
This was a spontaneous build, in the wake of other recent whif tanks and using some leftover parts from the kit pile(s). Things started with a KORA 1:72 resin conversion kit with a 2x 37mm FlaK Coelian turret for a Panther chassis – but with broken and bent gun barrels. I had actually stashed the parts away for a potential mecha build/conversion, long ago, but while doing legwork for late German WWII tanks I recently came again across the various anti-aircraft tank designs. And I wondered if mounting the Coelian turret on a Panzer IV chassis would be possible and lead to a compact (and whiffy) new vehicle?
Well, it would not work, because the Coelian turret needs a considerably bigger turret bearing diameter than anything the Panzer IV hull could realistically handle (even the Panther’s Schmalturm is actually a little too wide…), and so I folded the idea up again and put it onto the “vague ideas” pile.
…until I stumbled upon the leftover hull from a Hasegawa Panther Ausf. F in the donor kits pile, which had originally given both of its OOB turrets (a Schmalturm and a standard model) to other conversions. While mating the Coelian turret with its originally intended hull was not a sexy project, I eventually did so, because I could effectively use two leftovers for something sound and well-balanced.
Concerning the assembly phase, there’s not much to tell about the Hasegawa Panther Ausf. F. Fit is good, a simple kit, and it comes, as a benefit, with optional all-steel wheels which I used for my conversion, changing the overall look to a true late war model. Only the opening for the turret had to be widened in order to accept the new resin turret.
The latter only consists of two parts: the massive core section and a separate weapon mount. The latter was in so far modified that I added a simple metal peg which can be switched between two holes in the turret hull, for two gun positions.
Since the original gun barrels had to be replaced, anyway, I did a thorough (and fictional) modification: I used four 1:48 20 mm brass barrels for a Flak 38 Flakvierling (from RB Models) and mounted them in two staggered pairs onto the original cannon fairing. The resulting gun array looks impressive and even realistic, and, thanks to the scale-o-rama effect, the 1:48 parts have the perfect size for 30 mm cannon barrels in 1:72!
Painting and markings:
Something “German”, but nothing spectacular, so I ended up with another variant of the Hinterhalt scheme, found on a Jagdpanther from the Ardennenoffensive period. In this case, the prominent colors are Dunkelgelb and Olivgrün in broad stripes, separated by blurred, thin lines made of Rotbraun.
As a little twist I wanted to modify the scheme in so far that this vehicle was to show its conversion heritage in a workshop, so hull and turret received different basic tones as an initial step.
The hull and all wheels were painted with matt RAL 7028 (a modern equivalent to the WWII Dunkelgelb), while the turret received a red primer coat with Oxidrot (RAL 3009). On top of these, wide green bands (RAL 6003 from Modelmaster) and separating russet (Humbrol 113) stripes were painted with brushes. In order to brighten up the relatively dark turret, some yellow mottles were added on the Oxidrot areas (using Revell 16).
Once dry, the whole surface received a sand paper treatment, so that the RAL 7028 would shine through here and there, as if worn out. After a dark brown wash, details were emphasized with dry-brushing in light grey and beige. Decals were puzzled together from various German tank sheets, and the kit finally sealed with matt acrylic varnish.
The black vinyl tracks were also painted/weathered, with a wet-in-wet mix of black, iron and red brown (all acrylics). Once they were mounted into place, mud and dust around the running gear and the lower hull was simulated with a greyish-brown mix of artist mineral pigments.
A bit of recycling and less exotic than originally hoped for – but it’s still a whiffy tank model, and its proximity to the real but unrealized Coelian project makes this one even more subtle. Pile reduction, one by one…
|| DUB-OSL-TXL-STR-DUB || Our Observations incl. our flights, our hotels, plus architecture, culture, beauty, urban nature, food and drinks, plus more. || April 2015 || As We Look Forward To Many More Beautiful Explorations In Our Future || Safe Travels || Cheers & Enjoy. ||
Standing in a queue, a woman looking forward to the people waiting in line ahead of her to get into the Royal Ontario Museum in Toronto. Some parts of the people waiting in queue are reflected on the glass wall (i.e., “the Crystal”) of the museum.
I saw this second-generation (1978-'79) Ford Bronco on my way to the drug store after deboarding my CTA Red Line train back to my neighborhood after work today.
When I see this particular generation Bronco, I think not of something sordid from the 1990's. Instead, I'm transported to a childhood trip from Flint in the family Plymouth Volare to a Ford dealership in Detroit.
I had to have been about four years old.
Our family had planned to move to my father's country, Liberia, in 1980. We had made all kinds of preparations - listing our house for sale, getting our affairs in order, and then there was the matter of purchasing a tough, reliable vehicle that would be able to withstand the mountainous terrain of upcountry Liberia.
I remember the Bronco we looked at being beige or tan, with the white, painted roof toward the back. It seemed like a very nicely-appointed truck - in my mind's eye, I think I remember seing an AM/FM radio in the dash.
We didn't buy the Bronco, much to the chagrin of the salesman (Mom had later informed me, when recounting this story to me as an adult).
Liberia went into one of the worst, longest-lasting civil wars in its history in 1980, and our family stayed in the United States while Monrovia, Liberia's then-modern capitol city, was reduced to ruin.
My father has since passed on, but the sight of this two-year-only style of Ford Bronco SUV still reminds me of a road trip to the Motor City to test drive a truck our family ultimately didn't buy, for a move we never made.
en.wikipedia.org/wiki/Ford_Bronco#1978.E2.80.931979
Edgewater, Chicago, Illinois.
On Granville, east of Broadway.
Monday, November 5, 2012.
Looking forward on the port side of the tank deck on a sunny day in the Atlantic.
Another one that jumped in and out of Explore #294 best position August 26 2010
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The P-74 "Charger" was a fighter aircraft built by Lockheed for the United States Army Air Forces (USAAF). Its configuration was unusual as it was designed as a twin boom pusher configuration, where the propeller is mounted in the rear of the fuselage, pushing the aircraft forward.
The P-74 entered service with the USAAF in late 1944, its conception dated back to 1939 when the U.S. Army Air Corps requested with the Circular Proposal R40C domestic manufacturers to develop high performance fighter types, allowing (even demanding) unusual configurations. Lockheed did not respond immediately and missed the chance to sign a development contract in mid-1940 until early 1941. Twenty-three proposals were submitted to R40C, and after a fist selection of ideas three companies, Vultee with the large XP-54 Swoose Goose, Curtiss with its XP-55 Ascender and Northrop's XP-56 Black Bullet were able to secure prototype contracts.
Vultee eventually won the competition, but all these innovative new aircraft suffered from various flaws or development delays, missing various performance goals, so that none ever entered service.
In the meantime, Lockheed had been working on the 1939 request in the background on a private venture basis, as it was clear that by 1944 a successor to the company's own P-38 Lightning had to be offered to the USAAC.
The new North American P-51 Mustang was also a sharp competitor, esp. for the Pacific conflict theatre where long range was needed. This role was filled out very well by the P-38, but it was a relatively large and complicated aircraft, so an alternative with a single engine was strived for. Even though jet engines already showed their potential, it was clear that the requested range for the new type could only be achieved through a piston engine.
This aircraft became the XP-74, originally christened “Laelaps”, following Lockheed’s tradition, after a female Greek mythological dog who never failed to catch what she was hunting. It was presented as a mock-up to USAAC officials on August 8th 1942 and immediately found sponsorship: with the disappointing results from the XP-54,55 and 56 was immediately ushered into the prototype stage. Its name, though, was rejected, and the more common name “Charger” was adopted.
Just like Lockheed’s successful P-38 the XP-74 Charger was designed as a twin-boom aircraft, but it was driven by only a single Packard (License-built Rolls Royce Merlin) V-1650 pusher engine in the aft part of the fuselage. The tail was mounted rearward between two mid-wing booms, with a four-bladed 12-ft propeller between them. The design also included a "ducted wing section" developed by the NACA that enabled installation of cooling radiators and intercoolers in the wing root section.
The advantages of a pusher design are that the view forward is unobstructed and armament can be concentrated in the nose, while a major drawback is difficulty in escaping from the aircraft in an emergency, as the pilot could get drawn into the propeller blades. Lockheed deliberated between systems that would eject the pilot, or jettison the propeller or the engine, via a system of explosive bolts. Lockheed eventually installed an early ejector seat which was driven by pressurized air, combined with a mechanism that would blow the canopy off. The system was successfully tested in summer 1943, even though skepticism remained among pilots.
Initial armament comprised one 20mm Hispano cannon and four 12.7mm Browning machine guns, the same as in the P-38, but two machine guns were relocated from the nose into the front ends of the tail booms because of the new aircraft’s smaller overall dimensions.
The first prototype was ready in October 1943, with a different engine and heavier armor fitted. The second prototype was built to this specification from the start, which would become the serial production standard, the P-74A.
The P-74A used the new V-1650-9 engine, a version of the Merlin that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW). Another change concerned the armament: a longer weapon range was deemed necessary, so the gun armament was changed into four 20mm Hispano cannons, two of the placed in the fuselage nose and one in each tail boom front end. Each gun was supplied with 250 RPG.
Alternatively, a nose installment with a single 37mm cannon and two 12.7mm Browning MGs was tested on the first prototype, but this arrangement was found to be less effective than the four 20mm cannons. Another factor that turned this option down was the more complicated logistics demands for three different calibers in one aircraft.
The P-74A was ready for service in summer 1944, but its deployment into the Pacific region took until December – the 5th Air Force first units replaced most of its P-38 and also early P-47Ds with the P-74A.These new aircraft had their first clashes with Japanese forces in January 1945.
The P-74 was used in a variety of roles. It was designed as an intreceptor against bombers, but its good range and handling at all altitudes made it suitable for tasks like fighter sweeps against enemy airfields, support for U.S. ground forces and protection of sea convoys and transport routes.
While the P-74 could not out-turn the A6M Zero and most other Japanese fighters when flying below 200 mph (320 km/h), its superior speed coupled with a good rate of climb meant that it could utilize energy tactics, making multiple high-speed passes at its target. Also, its focused firepower was deadly to lightly armored Japanese warplanes.
Because of its late service introduction, only 305 P-74s were ever produced until the end of hostilities, and they were exclusively used in the Pacific theatre. The P-74's service record shows mixed results, but usually because of misinformation. P-74s have been described as being harder to fly than traditional, single-engined aircraft, but this was because of inadequate training in the first few months of service.
Another drawback was the ejection seat system – it worked basically well, but the tank for the pressurized air turned out to be very vulnerable to enemy fire. Several P-74s literally exploded in midair after cannon fire hits, and this poeblem could only be cured when the tank section behind the cockpit received a more rigid structure and additional armor. Anyway, the P-74 was quickly retired after WWII, as the USAAF focussed on P-47 and P-51.
General characteristics
Crew: 1
Length: 10.45 m (34 ft 3 in)
Wingspan: 11.6 m (38 ft 0 in)
Height: 3.97 (13 ft 0 in)
Wing area: 22.2 m² (238.87 ft²)
Empty weight: 3,250 kg (7,165 lb)
Loaded weight: 4,150 kg (9,149 lb)
Max. take-off weight: 4,413 kg (9,730 lb)
Powerplant:
1× Packard (License-built Rolls Royce Merlin) V-1650-9 ,
rated at 1,380 hp (1,030 kW) and 2,218 hp (1,500 kW) w. water injection
Performance
Maximum speed: 640 km/h (343 knots, 398 mph)
Cruise speed: 495 km/h (265 knots, 308 mph)
Range: 1,105 mi (1,778 km)
Ferry range: 1,330 nmi (1,530 mi, 2,460 km)
Service ceiling: 11,000 m (36,090 ft)
Rate of climb: 15 m/s (2,950 ft/min)
Armament
4× 20 mm (0.79 in) Hispano-Suiza HS.404 cannons with 250 RPG
2× hardpoints for up to 2,000 lb (907 kg) of bombs, 6 or 10× T64 5.0 in (127 mm) H.V.A.R rockets
The kit and its assembly:
This whif was inspired by a CG rendition of a Saab J21 in a natural metal finish and with (spurious) USAAF markings, probably a skin for a flight simulator. Anyway, I was more or less enchanted by the NMF on the Saab – I had to build one, and it would become the P-74, the only USAF fighter code that had never been used.
The kit is the venerable Heller Saab J21A, an “old style” design with raised panel lines. But it is still around and affordable. No big mods were made to the kit during its transition into a USAAF fighter, even though I changed some minor things:
● Main landing gear was completely exchanged through struts from an Airfix A-1 Skyraider and the wheels from a Hasegawa P-51D; thin wire was added as hydraulic tubes
● New propeller blades: instead of the three-bladed original I added four much broader blades with square tips (from a Heller P-51D) to the original spinner
● Different exhaust stubs, which actually belong to a Spitfire Merlin (Special Hobby kit)
● Underfuselage flap was slightly opened
● A pilot figure was added to the nice cockpit
● The gun barrels were replaced with hollow styrene tubes
Painting and markings:
NMF was certain, but the rest…? I wanted to have a colorful aircraft, and eventually settled for a machine in the Pacific theatre of operations. When I browsed for options I eventually decided to apply broad black stripes on wings and fuselage, typical 5th Air Force markings that were used e. g. on P-47Ds and P-51Ds.
Overall design benchmark for my aircraft is a P-47D-28 of 310th FS/58th FG. The tail would be all white, and the rudder sported red and white stripes, early war insignia. The red nose trim and the deep yellow spinner were taken over from this aircraft, too. The blue individual code number is a personal addition, as well as the nose art, which was puzzled together from a Czech 'Perdubice' Meeting MiG-21 and leftover bits from a Pacific use P-51.
The aircraft was basically painted with Aluminum Metallizer (Humbrol 27002) and Polished Steel Metallizer (Modelmaster), and some panels were contrasted with Aluminum (Humbrol 56).
The anti-glare panel in front of the cockpit was painted in Olive Drab (Humbrol 66), the red nose trim with Humbrol 19. The tail was painted with a mix of Humbrol 34 & 196, for a very light grey, and later dry-painted with pure white.
The black ID stripes as well as the red and blue rudder trim were not painted, but rather created through decal sheet material (from TL Modellbau), cut to size and shape to fit into their respective places. The tail was a PITA, but for the black stripes this turned out to be very effective and convenient - an experiment that willcertainly see more future use.
Cockpit interior was painted in Humbrol 226 (Cockpit Green) and Zinc Chromate Green from Model Master, the landing gear wells received a chrome yellow primer (Humbrol 225) finish.
The landing gear struts were kept in bare Aluminum.
For weathering the kit received a rubbing treatment with grinded graphite, which adds a dark, metallic shine and emphasizes the kit’s raised panel lines. Some dry painting with Aluminum was added, too, simulating chipped paint on the leading edges, and on the black ID stripes some dark grey shading was added.
A relatively simple whif, but I love how the Saab 21 looks in the unusual, shiny NMF finish - and the USAAF markings with the prominent ID stripes suit it well, even though it looks a bit like a circus attraction now?
It's always the same, a window I can't see through, don't think I'll ever do. It's covered in rain like me as I'm waiting for you. I'm not sure I wanted to. Like horses on a carousel never win but always keep racing. Standing here got time to kill, watching them a little oh, they don't know. All that I want is always to push forward, nut since you've been gone I just wanna push rewind. If yesterday could only be tomorrow, whatever I do I always run behind. -Lena
Yesterday everything's gone bad! I said the wrong words, I laughed at the wrong time. The first mistake was to get up in the morning, i think... but today everything was great. :) i've won my first print giveaway!! thank you so much, AJ Clark Photography :)))
“Life is full of beauty. Notice it. Notice the bumble bee, the small child, and the smiling faces. Smell the rain, and feel the wind. Live your life to the fullest potential, and fight for your dreams.” -Ashley Smith
Scarves are not really required in a Queensland winter, but I have a holiday planned later in the year to New Zealand where it is colder and it will probably take me that long to finish this given progress so far. IPhone shot.
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.
Spring is most definitely on the way: the daisies are sprouting, the frogs are spawning and the evenings are getting lighter and lighter.
Hope you all had a lovely weekend
Tonight my wife & I are looking forward to another great evening of entertainment at the Long Center. I shot this view earlier in the year when I was photographing the 'Stevie' statue and the Austin Skyline across the street.
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