in_future photos on Flickr

Wien, 1. Bezirk, Palais Erzherzog-Albrecht (Albertina), built 1745 - Architect: unknown, Barock/Klassizismus, during WWII gravely damaged and thereafter rebuilt on a reduced scale (Albertinaplatz/Hanuschgasse) by alfred lex

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In the background, the art of Gothic church buildings of Vienna, Augustinerkirche, la chiesa dell'Ordine di Sant'Agostino, la iglesia de la Orden de San Agustín, l'église des Augustins, Church of the Augustinians (Augustinerstraße)

The Albertina

The architectural history of the Palais

(Pictures you can see by clicking on the link at the end of page!)

Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869

"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".

This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.

Image: The Old Albertina after 1920

It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.

The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.

In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.

Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.

1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.

Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990

The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:

After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".

Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905

This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.

The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.

Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.

Image: The palace after the demolition of the entrance facade, 1948-52

Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.

Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei

This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.

Image: The restored suburb facade of the Palais Albertina suburb

The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.

Image: The new entrance area of the Albertina

64 meter long shed roof. Hans Hollein.

The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".

Christian Benedictine

Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.

Texture Series - Gateway Gifts (iPad) by EpcotLegacy

The 30th Desktop created for “The E82 Project”

One of the quainter shops in Future World, Gateway Gifts more than makes-up for its miniscule Square Footage with its location — in both architecture and proximity. If one can look past the merchandise, Gateway Gifts possesses intriguing design. From its multi-level future-industrial ceiling treatments to its impressive view of the geosphere it supports, the shop itself is a subtle but prime example EPCOT Center’s unique architectural achievements.

What is not subtle is Gateway Gifts custom carpet. Installed in the 1990’s (probably to focus the eye downward towards the purpose of the shop), even this element echoes the geodesic structure of Spaceship Earth in a uniquely subversive manner.

I know your probably thinking that I’ve spent a little too much time looking at walls and floors lately and I’ll be the first to agree with you. But, I always try to design things that fulfill more than one purpose at a time, and this Texture has a lot to do with the new section of E82 opening just after the beginning of next year.

In any case, I should transition from the mundane to the miraculous aspects of Epcot soon!

For More Information

Please visit “E82 – The Epcot Legacy”

www.epcotlegacy.com

IMG_8247 by Dan

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This fireplace was built by myself and other SnailLUG members for a month-long display at the America on Wheels museum's Holiday Train Exhibit. The idea came pretty quickly after seeing that I had purchased two of the official LEGO Christmas stockings this past May - the natural way to display stockings is on a fireplace. We built the large red bricks out of red 2x4s at the June SnailLUG meeting (in Mechanicsburg), BrickFair PA (in Exton), and the November SnailLUG meeting (at Little Brick Gallery). This display was installed at the museum on 11/19/2022 and will be dismantled on 1/14/2023. We're already looking at other display opportunities for it and at options for improving it in future years.

We split assembling the large red bricks (4X upsized 2x4s) across all of SnailLUG, and I did the final assembly, grate, mantelpiece, mortar, stocking holders, etc, as well as the design work. Since one of the goals of SnailLUG is inclusivity, I was immediately excited about the idea of a club collaboration where I could provide all of the brick and we could all build simple parts of the build - so it was accessible to SnailLUG members at all skill levels and with no need for anyone to buy or locate any parts to participate. As an unrecognized LUG, we did not have any access to LUG support, project support, LUGBULK, etc, for this build, and we worked exclusively with materials I purchased from Kevin Hinkle's former collection.

The full list of builders (to the best of my knowledge - we lost track of exactly who participated at each meeting and had to reconstruct the list later):

Daniel Pikora

Todd Michels

Heather Attardo

KC Ross

Dean Majorino

Sam Tauser

Vicki Tauser

Kevin Johns

Stephanie Johns

Kelly Hoffman

Rich Schamus

Amanda Rothrock

Bruce Shaw

Ryan Miller

Roy Forbes

Laura Bonebrake

Nicki Toizer

Rob Bender

Mike Tighe

NIKON D5_3-30-2018 11-41-12 AM - 0173 by Giovanni Portelli

"Now that is what I call a Re-enactment!

Bartimaeus the blind beggar

May the Peace of the Risen Christ be with you! Easter is here.

We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.

How do we measure "success" in regards to our re-enactment?

On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.

But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.

We saw many people following the play and praying along with us.

Crowning with Thorns

Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.

One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"

I touched Jesus' Robes!

Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.

Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.

When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.

One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.

At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.

When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.

Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."

We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.

The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.

So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.

Thank you.

~David Bruggeman"

Copied from goodfridaypassionplay.blogspot.com.au/

For more information please visit www.paulinefathers.org.au

No need to meditate or imagine, this event will take you to Calvary!

CONSTANT - CONSTRUCTION IN ORANGE, 1958 by Ed Jansen

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Constant – New Babylon

Gemeentemuseum Den Haag, 2016

Een wereld zonder grenzen. Mensen die niet hoeven te werken, maar vrij zijn om te spelen en te reizen. Constant Nieuwenhuys (1920 – 2005) verbeeldde zijn ideeën over een nieuwe wereld in een van de meest visionaire en omvangrijke beeldende kunst projecten uit de naoorlogse kunstgeschiedenis: New Babylon. Tot op de dag van vandaag, en misschien juist wel in de huidige maatschappij, een inspiratiebron voor velen. Het Gemeentemuseum Den Haag beheert het overgrote deel van dit project en deed er uitgebreid onderzoek naar. Naar aanleiding hiervan presenteert het museum deze zomer een van de grootste tentoonstellingen ooit over dit intrigerende project dat centraal staat binnen Constants oeuvre.

Constant Nieuwenhuys, kortweg Constant, was niet alleen een vooraanstaand lid van de CoBrA-groep, maar is minstens even befaamd om New Babylon, een tot de verbeelding sprekend project waar hij bijna twintig jaar aan werkte. Na de Tweede Wereldoorlog ziet hij hoe alles opnieuw moet worden opgebouwd en hoe de samenleving in de jaren 50 verandert door de toenemende automatisering. Hij ontpopt zich tot een waar visionair en toont de buitenwereld aan de hand van maquettes, constructies, geografische kaarten, schilderijen, tekeningen, aquarellen, grafiek, films, teksten, lezingen en tijdelijke ‘omgevingen’ hoe de nieuwe wereld eruit zal zien. De tentoonstelling brengt zowel het project zelf als de ontwikkeling naar New Babylon in beeld.

A world without borders or constraints. People freed from work and able to play and travel at will. Constant Nieuwenhuys (1920 – 2005) expressed his ideas for a new world in one of the largest and most visionary art projects in post-war history. New Babylon remains even now – and perhaps more than ever in the society of today – a source of inspiration for many people. The vast majority of the works associated with the project are in the hands of the Gemeentemuseum Den Haag and, working in close cooperation with Fondation Constant, the museum has carried out extensive research on them. The result is this summer’s show at the museum: one of the largest exhibitions ever held about this intriguing project, which forms a key part of Constant’s oeuvre.

Constant Nieuwenhuys (or Constant for short) was a leading member of the Cobra group but is equally famous for his intriguing New Babylon project, on which he laboured for almost twenty years. He witnessed the reconstruction of Europe in the aftermath of the Second World War and he saw how, by the 1950s, increasing automation was changing society. He revealed himself as a true visionary, producing architectural models, constructions, maps, paintings, drawings, watercolours, prints, films, texts, lectures and temporary ‘environments’ to suggest to the public what their world might in future become. The exhibition will look not only at New Babylon itself, but also at the aspects of Constant’s oeuvre that foreshadow it.

BBC Top Gear - Rotunda Square, Bullring by Elliott Brown

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Seen at Rotunda Square in the Bullring, Birmingham was a BBC Top Gear simulator with an image of The Stig on it.

During 2015 it was when Clarkson, Hammond and May version of Top Gear ended (due to a Clarkson punch - him being fired etc. They will now be on Amazon Prime in future).

Chris Evans (of TFI Friday) will be the new host of the show.

in future i will post stuff like this more public. as it happens to often. to many retards out there. today roland from dots and daggers tattoo in wien. thank you for your disrespekt. original sesign by basti and look at the copy. no efort. no respekt. f by little-swastika

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Wien, 1. Bezirk (the art of very renowned palace and museum buildings in the core of downtown Vienna), Palais Erzherzog-Albrecht (Albertina), Albertinaplatz/Hanuschgasse by Alfred Lex

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Selbstbildnis mit ausgebreiteten Armen/Self-Portrait with Outstretched Arms, 1911

Bleistift, Aquarell und Deckfarben/Pencil, watercolor and gouache

Albertina