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The church of St Thomas Becket, Fairfield, is a rare example of a small medieval church which has managed to survive without an immediate village to sustain it. Remote on a man-made hillock above the Wallend Marsh, part of Romney Marsh, the church guidebook suggests there was never a village of Fairfield as such but rather a scattered rural community which was served by a small church initially built only of timber, lath and plaster.
www.flickr.com/photos/barryslemmings/sets/72157594384281432/ to view the whole set.
Probably built in the late 12th century, a 1293 AD visitation roll records that the church was lightly constructed and it appears to have remained as such for much of its life - implying the church authorities themselves may have regarded the Fairfield community as 'marginal' and the building's fabric as almost expendable. It is described in 1293 as being of wood and plaster, very damp and full of holes.
The same roll records many shortcomings - namely that the current chaplain had pastured sheep in the churchyard and had allowed a woman to serve at the altar. He agreed not to do this in future, except in harvest time. Simon, the former chaplain, was having an affair with Natakina, the daughter of Hugh at Walle. He was 'corrected' by church authorities. The font was found to have no lock meaning that laymen could help themselves to the Holy Water for illicit purposes.
The timber structural frame was eventually replaced in the 15th century [and is what we see today] and the lath and plaster walls were replaced in the 18th century with more durable brick. But the standard of the 18th century workmanship was poor and in 1912 the church was found to be in danger of collapse. Around 1913 the entire chancel, the north wall of the nave, the porch, the turret and the entire roof were carefully taken down and rebuilt but re-using all old materials and timbers under the direction of architect W. D. Caroe.
The interior is very 18th century with oval text boards on the inside of the sloping roof, white painted box pews and a three-decker pulpit. The communion table retains a three-sided 'Laudian' communion rail to prevent dogs from fouling the altar.
The church today is small and quite charming, being surrounded on all sides by water courses and only reached via a concrete footbridge. Until 1913, when an earth causeway was built, a boat was often needed to reach it. An 18th century mounting block at the west end implies horse riders could also reach the church, at least at some times of the year. As late as 1960 the fields around the church flooded and a photograph appeared in national newspapers of Fairfield church and it's little hill rising just a couple feet out of a vast expanse of water.
The church is still in regular use and cared-for by the Romney Marsh Historic Churches Trust. The huge [18th century?] key hangs on a special board behind a nearby house and visitors have to walk around to the back door to borrow it.
The Romney Marsh Historic Churches Trust was formed under the patronage of the then Archbishop of Canterbury Robert Runcie and the former Private Eye editor Richard Ingrams. Details about the trust are obtainable from Mrs Elizabeth Marshall, Lansdell House, Rolvenden, Kent, TN17 4LW.
© Patrick Williamson/ Oxfam
Heike Makatsch, Javier Cámara, Clémence Poésy, Andrew Lincoln and Bill Nighy star in Future News.
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merlinomayo.wordpress.com/2012/02/28/metamorphoses/
Metamorphoses by Merlino Mayo at LEA - Full Sim Project - 1st turn - 2011-2012 Show Open till 15 March 2012.
First of all I want to thank LEA (Linden Endowment for the Arts) and The LEA committee (Bryn Oh, Dancoyote Antonelli, Dekka Raymaker, JayJay Zifanwe, L1 Loire, Sasun Steinbeck, Solo Mornington, Werner Kurosawa, PatriciaAnne Daviau -advisor-) who trusted me and other artists (Artistide Despres, Charlotte Bartlett, comet Morigi, Freewee Ling, Glyph Graves, Harter Fall, Merlino Mayo, Mikati Slade, Misprint Thursday, Oberon Onmura, RAG Randt, Secret Rage, Selavy Oh, Sowa Mai, Ux Hax, Zachh Cale) for the first round LEA Land Grants to give me the opportunity to use a big space as a full sim to express my art.
Taking inspiration from the 1st book and a few of other episodes of the "Metamorphoses", word that from greek means "change of shape", written in latin by Publius Ovidius, this new project aims to build a path of multi levels within an allegorical vision related to the current age of crisis and transformation of human beings and our society.
The way to see the whole work would formally very different but conceptually similar to the fresco dedicated to the "Fall of the Giants" by Giulio Romano in the Palazzo Te in Mantua (Mantova), where the representation becomes a metaphor of the times lived and precarious power and human ambitions; So going on other examples are possible like the trasformations of Aracne, Daphne, Icarus, Heliades sisters, Medusa, ect. The outer and inner change of form and substance of living beings and their natural relationships into something different, new and unexpected, from the creative process naturally with technology through the lens of the symbolism of Myth and the squared glass of Science.
It is very intersting to see the origin of name Palazzo Te: "The famous villa, designed for parties, receptions and "idleness" of the Duke of Mantua, was built on an island in direct contiguity with the city center, known since the Middle Ages Tejeto, or Te. The hypothesis most likely derive from the term 'tilietum' (place of linden trees) or from the Celtic 'tezza' linked with Latin 'atteggia' in english 'attitude', both meaning 'hut'." *from
Obviously the project is not complete about the whole huge Ovid's work, and in start I've done just some main episodes, but my intention is to work on it in future, it will take time for sure. Stay tuned.
Merlino Mayo
Book I: Cosmogony, Ages of Man, Gigantes, Daphne;
0 Metamorphoses - Start point "Palazzo Te, Mantova"
1 Metamorphoses - I - Cosmogony - The Creation of Universe
2 Metamorphoses - II - Cosmogony The Elements - EL MENTUM (2010)
3 Metamorphoses - III - Cosmogony - The Creation of Sea and Sky
4 Metamorphoses - IV - Ages of Man - The Golden Age of Man
5 Metamorphoses - V - Raise of Giants
6 Metamorphoses - VI - Fall of Giants
7 Metamorphoses - VII - Daphne
Set beneath the Wonders of Life golden dome in Future World is a pavilion filled with life-and-health related attractions. Attractions include Body Wars, Cranium Command, The Making of Me, Coach's Corner, Goofy About Health and the Fitness Fairgrounds.
The Wonders of Life pavilion opened in October 1989 and is located between the Universe of Energy and Mission: Space.
Future World
Walt Disney World EPCOT Orlando Fl.
The Finale to the BARC Club Car Championships Weekender at Brands Hatch and after a Very Thrilling set of both Qualifying Sessions and Races which took place on the Saturday it was Time once again for each Driver to strap in and get ready for some high speed Racing Action thought the Sunday.
In Tribute to the Marshall who was Tragically Killed on the Saturday Some Car and Driver Pairings were Racing with Orange Hearts on their Cars as a Tribute to all of Motorsports Family of Marshalls for who without Racing would not be possible. Thank You!
So Lets get started and see what the days events Haver to Offer and who can Push their Machinery to the Limits and beyond for a Victory.
Britcar Endurance Championship - Trophy Category (Race 1 Results FINAL)
The Britcar Endurance Trophy was the First up and it was time to see who could claim that elusive Pole Position and to see if anyone else could challenge the Top Three Drivers Lets see how things turned out.
In First Place was the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) in their Ginetta G55A with a Best Lap Time of 52:193 and an Average Speed of 64.75mph. Congratulations Axel and Adriano a Really Fantastic Drive and A Super Victory.
In Second Place was (SVG's Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.086 and an Average Speed of 64.70mph. Amazing Drive Mark Keeping that Ginetta on the Track and Taking Second Place while Nearly Matching the Speed of Axel and Adriano. Well Done.
In Third Place was (Terry Stephens) in his Peugeot 308 with a Best Lap Time of 53.421 and an Average Speed of 64.50mph. Well Fought Terry a Fantastic Finish in Third Place and Staying Ahead by just over 11 seconds to the Pair of Jasver and Bryan in 4th. Amazing Job.
A Really Enjoyable and Exciting First Race of the Sunday with High Speed Action and Incredible Victories on Track. Congratulations Axel Adriano Mark and Terry. Lets see what Race 2 Brings in terms of the Action.
Britcar Endurance Championship - Trophy Category (Race 2 Results FINAL)
Race 2 For Britcar Next and after a Very Fast and Action Packed First Race Will we see a New Face on the Top Step of the Podium? Lets find out.
In First Place was the Pairing of (Woodrow Motorsport's Simon Baker and Kevin Clarke) in their BMW 1 Series with a Best Lap Time of 51.837 and an Average Speed of 78.22mph. Amazing work Simon and Kevin who have Beaten the Pairing Of (Datum Motorsport's Axel Van Nederveen and Adriano Medeiros) to Victory. An Incredible Drive by Both of them Well Done.
In Second Place was (SVG Mark Lee) in his Ginetta G56A with a Best Lap Time of 52.281 and an Average Speed of 76.89mph. Again a Huge Congratulations to Mark Lee for hanging onto that Second Place Despite Fierce Competition during The Race. Amazing Drive.
In Third Place was (Simon Green Motorsport's Pairing of Jasver Sapra and Brian Branson) in their BMW M3 E46 with a Best Lap Time of 52.718 and an Average Speed of 76.88mph. Congratulations Jasver and Brain Brilliant Drive and well Defended to keep that Third Place in Tact.
Two Incredible Races with Two Very Different Outcomes of Race Winners and Runners Up The Britcar Endurance Trophy is Proving to be Very Competitive this Year.
A Huge Congratulations to Simon Kevin Mark Jasver and Brain for some Amazing Racing and Victories and Good Luck to All Other Drivers. Keep working Hard and Pushing for that All Important Victory.
CTCRC Edmundson Electrical Classic / Historic Thunder Saloons (Race 1 Result FINAL)
Next Up was the CTCRC Electrical and Historic Thunder Saloons and After a Thrilling Qualifying Session Yesterday Lets see what Each Driver has got and who can Push to the Limits for that All Important Victory.
In First Place was (Jason West) in his BMW E46 M3 3200 with a Best Lap Time of 51.907 and an Average Speed of 59.84mph. Congratulations Jason for Another Incredible Drive for First Place and a well Deserved Victory Amongst some Stiff Competition.
In Second Place was (Andrew Wilson) in his Holden Monaro 7000 with a Best Lap Time of 52.418 and an Average Speed of 59.96mph. Well Done Andrew Fantastic Driving and a Super Defensive Drive for Second Place.
In Third Place was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.699 and an Average Speed of 59.50mph. Amazing Work Samuel and a Beautiful Example of the Aston Martin V8 Vantage on Display Showing its Raw Power and Racing Pedigree to Finish in Third Place.
A Fantastic Finish to The Historic and Electrical Thunder Saloons Racing at The Weekend. A Huge Congratulations to Our Top Three Finishers Jason Andrew and Samuel. Fantastic Racing from all Three of you and Good Luck to all other Drivers Keep Tuning and Working Hard and I'm sure Victory Will not be too Far Away from you.
CTCRC JEC Saloon & GT Championship & Burton Power BOSS (Race 2 Results FINAL)
Next Up CTCRC Saloon and GT Championships and with some Fierce Competition on Display during not only Qualifying but also Their First Race on the Saturday Which saw Malcom Harding Storm to an Insane Victory who Will be able to Take him on and Potentially Steal his Crown during the Next Race Today? Lets See.
In First Place was (Malcom Harding) in his Ford Escort MK2 Zakspeed 2500 with a Best Lap Time of 53.888 and an Average Speed of 78.49mph. Another Incredible Victory for Malcom that Highly Modified Zakspeed Escort Really Shows off the Power and Performance of a True Champion and a Fantastic Driver. Congratulations Malcom.
In Second Place was (Steven Goldsmith) in his Ford Anglia 105e 260 with a Best Lap Time of 54.335 and an Average Speed of 78.21mph. Another Storming Drive to Achieve Second Place for Steven. Fantastic Driving and Amazing Car Control through Every Corner. Congratulations Steven.
In Third Place was (Tom Robinson) in his Jaguar XJ6 4000 with a Best Lap Time of 55.481 and an Average Speed of 55.481mph. Congratulations Tom Superb Display of Driving Ability behind the Jag and a Well Deserved Third Place for Him.
Another Incredible Weekend of Racing for the CTCRC Saloon and GT Championships with Some New and Some Old Drivers Stepping onto the Podium. Massive Congratulations to Malcolm Steven and Tom for their First Second And Third Place Finishes. Keep Up the Good Work and Never Stop Trying.
CTCRC Laser Tools Pre 93 & Simply Serviced Pre 03 Touring Cars (Race 1 Results FINAL)
Now Its Time for The Laser Tools Pre 93 and Simply Serviced Pre 03 Touring Cars to make their way back onto The Track for what Looked to be a Spectacular Race. A Whole Range of Different Cars to Race Against and Stiff Competition after Qualifying Proves that This Race will be One not to be Missed. Lets See what Unfolded.
In First Place was (Gary Prebble) in his Honda Civic EG 2000 with a Best Lap Time of 54.100mph and an Average Speed of 78.60mph. Well Done Gary a Really Well Deserved First Place Victory and an Amazing Drive to the Flag.
In Second Place was (David Griffith) in his BMW E36 M3 3058 with a Best Lap Time of 54.558 and an Average of 78.42mph. Incredible Drive their David Pushing that BMW For Everything that it Has got to Achieve Second Place.
In Third Place was (Kam Tunio) in his Honda Civic EK9 1595 with a Best Lap Time of 55.347 and an Average Speed of 77.05mph. Well Driven Kam Super Driving on Display and a Well Deserved Third Place Finish.
Another Amazing Race for The Pre 93 and Pre 03 Touring Cars and a Huge Congratulations to Gary David and Kam for their First Second and Third Place Victories. Keep up the Hard Work and Good Luck to everyone Else wherever your Next Races take you.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 1 Results)
Now it was Time for the Fan Favourite to Enter onto the Brands Hatch Circuit with the Pre 66 Touring Cars Championship. With Mini's Lotus Cortina's and Ford Falcons. This was One Race that No One Wanted to Miss. After a Very Fast Paced Qualifying Session on the Saturday Which saw (Alan Greenhalgh) take Pole Position who Will be able to Challenge Him During the Race and Snatch Victory Away from Him.
In First Place was (Alan Greenhalgh) in his Ford Falcon with A Best Lap Time of 58.707 and an Average Speed of 72.63mph. Congratulations Alan A Beautiful Example of the Ford Falcon and Certainly a Very Fast One too. Congratulations on Your Victory.
In Second Place was (Robyn Slater) in his Ford Anglia 1550 with a Best Lap Time of 58.992 and an Average Speed of 72.06mph. Very Good Drive their From Robyn to Secure Second Place in The First Race of the Day for the Pre 66 Touring Cars.
In Third Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 59.116 and an Average Speed of 71.95mph. Fantastic Work their Barry Keeping that Little Rocket on The Track looked to be Very Challenging but A Very Well Deserved Third Place.
What A First Race for The Historic Pre 66 Touring Cars showing The Power and Pride Each Driver takes in Both Racing and Preservation on Their Beloved Racing Machines. Congratulations to Alan Robyn and Barry on their First Second and Third Place Finishes. Lets See what New Challenges Await Them in Race 2 The Final Race of The Day for Them.
CTCRC Poultec Classic Race Engines Pre 66 Touring Cars (Race 2 Results FINAL)
The Epic FINALE To The Pre 66 Touring Cars Race was A Race in Wet Conditions Making it even more Challenging for The Top Three Drivers. Who would Win and be able to Retain if not Take on thease Three Giants of Touring Car Racing in thease Conditions. Lets See How Things Concluded.
In First Place was (Barry Sime) in his Morris Mini Cooper S 1293 with a Best Lap Time of 1:11.482 and an Average Speed of 58.62mph. Amazing Work Barry to take Home a Superb Victory and a Brilliant Bit of Wet Weather Driving in The Mini Well Done.
In Second Place was (John Davies) in his Austin Mini Cooper S 1293 with a Best Lap Time of 1:11.416 and an Average Speed of 58.38mph. Amazing Work John Racing A Mini in thease Conditions is Very Tricky and Yet both You and Barry made it look Easy.
In Third Place was (James Ibbotson) in his Hillman Imp Super 998 with a Best Lap Time of 1:11.518 and an Average Speed of 58.12mph. Well Done James Sliding that Imp around in the Wet for a Magnificent Third Place was Well Deserved.
What A Race to End the Day for the Pre 66 Touring Cars and with So many Old and New Winners Lets Hope we Get to see More Races like This One Thought the Rest of the 2021 Season. A Big Congratulations to Barry John and James on their Respective Victories and Keep Trying Everyone Else The Hard Work will Pay off.
CTCRC Shell Oils Pre 83 Touring Cars (Race 1 FINAL)
Up Next The Pre 83 Touring Cars took to the Track for Their Only Race of The Day and from what We Have Seen Already This Race also looks like its going to be a Very Strong Battle for First Second and Third Place. Lets See who Came First and Took that All Important Victory.
In First Place was (Mark Lucock) in his Ford Escort MK1 RS2000 2040 with a Best Lap Time of 57.687 and an Average Speed of 74.53mph. Amazing work there Mark Pushing All the Power the RS2000 Engine Has and Keeping it on Track to Score an Amazing Victory.
In Second Place was (Stephen Primett) in his Ford Escort MK1 2037 with a Best Lap Time of 57.503 and an Average Speed of 74.52mph. Another Brilliant Drive from the Likes of Stephen Keep the Pace with Mark and Making for some Fierce Competition Thought the Race.
In Third Place was (Mike Luck in his BMW E21 320 1998 with a Best Lap Time of 57.236 and an Average Speed of 74.46mph. Super Driving there Mike to take Third Place and a Very Classic Looking BMW Indeed.
What A Race from the Pre 83 Touring Cars showcasing Speed Power and What a Touring Car was Made to do around a Race Track. A Big Congratulations to Mark Stephen and Mike on their First Second and Third Place Finishes. Keep Racing and Keep Having Fun Out There.
Junior Saloon Car Championship (Race 1 Result FINAL)
The Junior Saloon Car Championship was Up Next and Even Though the Age Range of thease Next Drivers Taking to the Circuit Might Shock you at The Fact that Many of them are as Young as 15 Years of age don't be Fooled Because thease Guys Know how to Race Having been brought up from Carting since the age of 4. They are always a Fan Favourite and After Qualifying on the Saturday its Anyone's Game as to Who Wins and Who Losses in Thease Races.
In First Place was (Ruben Hage) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.967 and an Average Speed of 65.65mph. Congratulations Ruben What A Drive and an Incredible Run for First Place Fending off the Other On Coming Drivers. Truly a Championship Winning Drive.
In Second Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.629 and an Average Speed of 65.64mph. Very Well Driven there Harvey Staying very Close to Ruben in First Place and Keeping Him on His Toes Thought the Entire Race.
In Third Place was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Lap Time of 1:00.006 and an Average Speed of 65.57mph. Solid Third Place there Charlie Keep Up the Momentum and Never Give Up Chasing Your Dreams.
What a Fantastic Race from the Junior Saloon Car Championship with New Winners on the Podium and Some Close Wheel to Wheel Action Thought the Race Thease Guys will be Fantastic To see in Future Racing Series All Over The World. Congratulations to Ruben Harvey and Charlie for First Second and Third Place and Good Luck to All Other Aspiring Young Drivers Following in the Footsteps of Your Greatest Racing Heroes.
Kumho BMW Championship (Race 1 Results)
Finally it was Time for the Last Two Races of the Day the Kumo BMW Championship. Featuring The Makes and Models of Many BMW'S taking to the Circuit for Race 1. After a Busy Day Qualifying on Saturday Lets See what Each Driver Cando in The Frist of Two Races for their Championship.
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 50.920 and an Average Speed of 83.60mph. Brilliant Driving There Niall Pushing the Power of the BMW Engine to Max and Putting the Pedal to the Metal the Whole Race. A Superb Victory.
In Second Place was (Michael Vitulli) in his BMW E36 M3 3200 with a Best Lap Time of 51.158 and an Average Speed of 83.45mph. Another Incredible Driver Pushing Hard and Taking Second Place. Well Done Michael.
In Third Place was (James Card) in his BMW E46 M3 3200 with a Best Lap Time of 51.154 and an Average Speed of 83.42mph. Very Well Done their James Keep Pushing.
Three Fantastic Drivers in Niall Michael and James all Fighting for that Victory and Showing The Racer Inside each and Everyone of them. Lets see what Their Final Race of the Day Brings Them.
Kumho BMW Championship (Race 2 Results FINAL)
In First Place was (Niall Bradley) in his BMW E46 M3 with a Best Lap Time of 53.581 and an Average Speed of 77.79mph. Another Well Deserved First Place Finish to Round of The Days Racing. Congratulations Niall Go and Celebrate with The Team In Style.
In Second Place was (Darren Morgan Owen) in his BMW E46 M3 3200 with a Best Lap Time of 53.200 and an Average Speed of 77.43mph. Super Drive There Darren for Second Place and a New Winner onto The Podium.
In Third Place was (Brad Sheean) in his BMW E46 M3 3200 with a Best Lap Time of 53.227 and an Average Speed of 77.13mph. Fantastic Drive there Brad and Some Incredible Car Control thought the Entire Race to Finish Third.
And That Concludes Racing for the Kumho BMW Championship with 4 Different Winners Across two Races and A lot of Really Fast Action you could not Have Asked for a better Finish to The End of The Days Racing. Massive Congratulations to Niall Darren and Brad and Good Luck to all Other Competing Drivers who are still Looking for that almighty Victory.
That Concludes Racing for The BARC Club Car Championships Weekend A Big Congratulations to All of the Drivers of Every Team and a Huge Thank You to Marshalls Far and Wide as Without Your Support Events like This and Champion Drivers May Never Get to Achieve Their Dreams.
See You All At The Next One!
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.
This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM Road Race and Fun Run which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
A family heirloom in future generation’s maybe. These tatted delicate (delicate in name only) booties are ideal to present your new born to the world, at the christening, or just to show off. A favorite gift to the new parents or a present from mom or dad to the new child. All hand tatted with a pink accented bow on the sock brocaded and with a satin tie. I must note that sock is purchased and not made by me.
A wonderful accent to the new baby’s wardrobe and sure to be a family treasure for future generations.
This was my first visit to Alive & V-Dubbin and I loved it, will definately return in future years!
© Copyright 2014 Dibaday Photography. All Rights Reserved. This image is the exclusive property of Dibaday Photography and is protected by the Copyright, Designs and Patents Act 1988. Images may not be copied, printed or otherwise disseminated without express written permission from Dibaday Photography. No form of reproduction of this image, including copying or saving of the digital image file, or the alteration or manipulation of said image files is authorised unless written permission is given. Use of any image as the basis for another photographic concept or illustration (digital, artist rendering or alike) is a violation of the Copyright, Designs and Patents Act 1988.
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
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.
I went to my cousin's bridal shower today and I got to experiment with indoor lighting... It was quite a challenge because I don't normally shoot indoors and getting use to my Big Bertha was a challenge... I shoot manual mode so trying to get the right settings was a challenge. I put down the S90 today so I could get use to using Bertha. I really learned a lot today and I hope that I will be able to apply what I've learned in future photos.
Cut the bottom off of the glass too much :(... always next time. (I was nervous taking pictures.... haha)
PizzaBuzz is, in a city so full of new restaurant openings, a very good idea indeed. The concept can be summed up (crudely) as âDIY Pizzaâ or "we have the toppings, you do the rest!" or "Subway, but with pizzas!". This doesnât really do it justice however and there is, obviously, much more to it than that - which Iâll now try to elaborate upon:
Essentially the idea is semi-self service pizza/food assembly. You take your place at the start of their "DIY pizza assembly lineâ and prepare yourself a pizza entirely of your own devising (though you donât have to do anything really asides from tell them what you want your pizza to be made of - it arrives pre sliced too, woo!).
You choose from 5 types of bases (gluten free options are available). These range from a âregularâ Margherita (cheese, tomato etc) to the Bianca (white sauce, mozzarella, parmesan) - plus a pretty fkn extensive range of toppings, divided into vegetables, proteins (i.e meats, fish) and cheese. Said toppings include such gastronomic curiosities such as bacon jam and wild rock shrimp. The recommended number of toppings for a pizza is about 4-5, though apparently one guy came in (drunk) on a Friday night once and ordered a £20+ pizza that contained EVERY SINGLE topping they offered. It ended up looking like a pyramid (hahahahaha!)
And, if you donât fancy coming up with your own pizza, their âsignature collectionâ of pre-designed pizzas come in around £10, and have names like Middle Earth and Etna. Once youâve picked your combo of ingredients, it takes them about 1-3 minutes to cook the whole thing in their wood fired ovens - so you might even be able to describe it as fast food. Takeaway is also an option. In the Southern Italian style, you can also get a burrata (and choose what ingredients to have it with, which is the recurring theme...)
As for the ambiance - PizzaBuzz lives inside the brand spanking new Alphabeta development on Worship street. On the inside it has a minimal vibe - almost the feel of an industrial space about it. Except theyâve made it more friendly with offcentre animal illustrations drawn onto the walls (pictured) plus their colourful logo and a recurring love of hexagonal things. Plus staff singing along to the music (not sure if this is an actual feature or if I just came in at the right time ^_^)
I must also tell you about the dough - which took a yearâs development and is quite something (theyâve got a video called âJane Doughâ in which the dough explains this all to you in a Yorkshire accent, lol). Anyway, it comes from a small mill in Oxfordshire and is, unusually, 50% spelt. I am told that this results in better texture, digestibility and mouthfeel than regular pizza. This is a big claim to make, and Iâm not sure I agree - the pizza I had, however, WAS very good and thatâs all I can say about that.
All in all, Pizzabuzz is taking a very good idea from another restaurant (*ahem*) and applying it to pizza very, very well. I wasnât surprised to hear that they have another site opening soon and can see them doing pretty well in future. Inherently, itâs fun, a bit silly, and provides you with a lot more choice than most of the (pizza based) competition. Definitely a place Iâd recommend to everybody (because who the hell doesnât like pizza, really?!)
A business man (?) leaving an office tower, busy on the phone.one of the few color photographs I have taken as of yet.I don't feel at ease with color.Sometimes I even feel it distracts attention of the real issues.Light is more easily distinguisable in black and white.In future shots though I'm going to try out some more color shots.
Rudolf von Alt (Wien 1812 - 1905 Wien)
View of Salzburg, 1869
Blick auf Salzburg
Aquarell/Watercolour
Albertina, Wien
The Art of the Viennese Watercolor
Till 13. May 2018
Transparent lightness, brilliant colours, and a generally atmospheric impression are the special qualities of 19th-century Viennese watercolor painting. Virtuosic city views and landscapes, detail-rich portraits, genre paintings, and floral works comprise the rich motivic repertoire featured in this glorious blossoming of Austrian art.
The Viennese watercolor’s heyday was the Biedermeier era: Jakob Alt, Matthäus Loder, Thomas Ender, and Peter Fendi number among its most important artistic figures.
Likewise outstanding are the exquisite works by Rudolf von Alt from his over 70-year career. His masterful watercolours run from the Biedermeier era all the way to the rise of the Secession movement around 1900.
This exhibition presents a veritable parade of exceptionally beautiful pictures, including the ALBERTINA’s own treasures as well as important loan works, all of which pay impressive tribute to the high standing of the Viennese watercolor in the context of 19th century art.
www.albertina.at/en/exhibitions/viennese_watercolour/
On view from 16 February until 13 May 2018.
The Albertina
The architectural history of the Palais
"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.
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.
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.
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".
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.
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.
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.
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.
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.
Hello once again Flickr friends! It has been a month since my last upload, but it feels good to be back. Being an Olympic nut, I got a little carried away with watching those, and then followed it up with a two week trip to Disney World. Definitely one fun month!
On this past trip, I had Sarah with me for the first week. It was only her second time at Disney World, so she would have probably been very content with just the parks. Fortunately for her though, I had some cast member discounts I wanted to take advantage of. One of which was for the Wild Africa Trek. I'll speak more about it in future photo posts, but overall, we both though it was a great time!
One of the neater and more "authentic" parts for me was the lunch overlooking the savanna. Great, unique food and an excellent view made for quite the dining experience. The only drawback is that we could have stayed up there for at least twice as long! Of course, it might have felt longer had I not kept clicking the camera.
Thanks for looking everyone. I'm looking forward to seeing all the great shots that I have missed lately.
The Seas with Nemo & Friends is a Pavilion in Future World in Epcot theme park that features a massive aquarium that holds one of the largest man-made ocean environments in the world. Plunge below the surface and join Characters from the Disney·Pixar film Finding Nemo as they share the secrets of their hidden undersea home.
The pavilion features:
The Sea Base and Caribbean Coral Reef Aquarium
The Seas with Nemo & Friends ride
The Turtle Talk with Crush show
Coral Reef Restaurant
Special Programs
An ocean-themed gift shop
The Sea Base and Caribbean Coral Reef Aquarium
Travel deep below the ocean waves to discover the magic and mysteries of underwater life. The pavilion's signature 5.7 million gallon salt-water tank, named Caribbean Coral Reef, is home to 6,000 inhabitants representing over 60 species—including sea turtles, angelfish, dolphins, rays, sharks and a very special manatee rehabilitation area.
The underwater environment is a wonder to behold—walk out onto a unique circular observation platform in the middle of the aquarium, and you'll find yourself almost completely surrounded by water. You could easily spend hours here and never get a chance to see all of the beautiful tropical creatures.
In addition to the central tank, there are a variety of informative smaller exhibits where Nemo and his friends share knowledge about their wondrous underwater world. Younger Guests should be sure to check out Bruce's SharkWorld—a fun activity area where you can learn about the fearsome silent predators of the deep.
The Seas with Nemo & Friends
Walt Disney World EPCOT Orlando Fl.
Rudolf Koppitz (1884 - 1936)
Bauernhaus in St. Veit - Farmhouse in St. Veit, vor/before 1936
Silbergelatinepapier - Gelatin silver print
Albertina
Heimat Photography
The range of subjects Austrian Heimat photography focused on encompassed idyllic view of beautiful landscapes, time-honored rural work, vernacular architectur, and people in traditional costume. Taken after World War I and promoted by the ideology of the Austrofascist Ständestaat, these pictures were to help establish a new national identity. Heimat photography was also a constituent of the official Austrian tourist program. It was popularized through exhibitions such as Rudolf Koppiitz's "Land und Leute" (The Country and its People) in 1936, photo books, and magazines. Heimat photographers originally followed in the tradition of Pictorialist art photography and, regardless of the conservative und retrogressive world view conveyed by their motifs, adopted stylistic elements of the New Vision movement. After Austria's "Anschluss" to Nazi Germany in 1938, Heimat photograhy did not stray from its track in term of both contents and aesthetic approach.
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.
(further pictures and information you can see by clicking on the link at the end of page!)
Austrian State Archives (ÖStA)
Austrian authority
Oesterreichisches Staatsarchiv.svg
State level Federation
Position of the authority subordinated agency
Supervisor(s)/organs to the Federal Chancellery
Founded in 1749 as the Secret House Archive (Empress Maria Theresia)
Headquarters Vienna Highway (Landstraße, 3rd district of Vienna)
Board of Directors Univ. Doz Dr. Wolfgang Maderthaner
www.oesta.gv.at site
Central Archives building of the Austrian State Archives in Nottendorfergasse 2 in Vienna 3
The Austrian State Archives (ÖStA) in Vienna is the central archive of the Republic of Austria. It keeps on the basis of the Federal Records Act the archives of the Federation. The tasks of the Austrian State Archives are therein described as follows: capturing, taking over, keeping, obtaining, placing, organizing, making accessible, exploiting and utilisation of archived documents of the Federation for the exploration of the history and present, for other research and science, for the legislation, jurisdiction, administration as well as for legitimate concerns of people.
As far as in the public records monuments are concerned, the Austrian State Archives according to Monument Protection Act in place of the Federal Monuments Office is also responsible for the preservation.
History
The origin of the Austrian State Archives goes back to the year 1749 when Empress Maria Theresa in the course of an administrative reform installed a secret Hausarchiv. The establishment was related to the new, centralized administration, which required a separate archive. For other centers of administration such as Prague, Graz and Innsbruck documents were taken to Vienna.
In the historical analysis is important to note that there have been earlier archives and collections of documents, whose contents were incorporated into the new archive.
In the 19th Century the name House, Court and State Archives became then usual.
1951 there was a scandal because Heinz Grill, archivist in the House, Court and State Archives, had stolen gold and silver bulls over the years and sold to metal dealers ("affair Grill").
The archive departments
The modern Austrian State Archives is divided into several sections:
Archives of the Republic
The in 1983 founded archive of the Republic is the youngest archive department. It is the center of contemporary research in Austria and archival responsible for the evaluation, discarding, taking over and custody, safeguarding, maintenance and overhaul, accessing, compilation and exploitation of those written or typed material supply, which in the Austrian central authorities (all ministries, central federal departments and subordinated offices) have been produced since 1918.
Since the introduction of the electronic file (ELAKimBUND) in the Austrian federal administration (nationwide for all federal agencies since 2004), the Archives of the Republic is also responsible for the implementation of the digital archiving of this written material. Since 2007 it has been actively worked on an appropriate solution for long-term preservation of the "born digital" act. The startup of the digital archive Austria took place in 2012.
General Administration Archive
The General Administration Archives preserves the records of the central authorities responsible for internal administration of the Habsburg Monarchy from 16th Century, over 12,700 running meters, a significant collection of maps and plans, and about 5,000 documents. In its origins, the General Administration Archive goes back to the first-time centralisation of the old registries of the court chancelleries in founding the "Directorium in publicis et cameralibus" in 1749. The archive materials of the General Administrative archive were decimated by the Justice Palace fire in July 1927 considerably.
The public records which are kept in this division are divided into 10 thematic groups (= inventory groups), which for their part again contain files of various central services:
Inventory group Internal Affairs: Chancellery, Ministry of Interior, police authorities, Council of Ministers, rights of the Austrian State of Lower Austria, city expansion fund
Inventory group Justice: Supreme Justice office, Ministry of Justice, prosecutors, Linz Regional Court, Imperial Court, Administrative Court
Inventory group Instruction and Cultus: Studienhofkommission (Imperial Commission on Education), Ministry of Education, Old and New Cultus
Inventory group Commerce: Department of Commerce, Post Office, Ministry of Public Works, Navy Department, Patent Office
Inventory group Agriculture: Ministry of Agriculture, Agricultural Operations, Forestry and Dömänendirektion (Domain Directorate) Vienna, Forest Institute Mariabrunn, teacher Audit Commission, Agricultural Society
Inventory group Transport: United Court Chancellery, General Court Chamber, Ministry of Public Works, Ministry of Trade, Commerce and Public buildings, Ministry of Finance, Ministry of Trade and National Economy, Department of Commerce, the General Inspectorate of the Austrian Railways, Ministry of Railways, Railway Construction Department, State railway administrations, private railway companies
Inventory group Family archives and Estates
Inventory group Nobility: imperial nobility files, Hofadelsakten (Court nobility records), pedigrees
Inventory group Audiovisual Collection: Politics and Public life since 1945, Austrian landscapes and buildings, customs, history, science, technology, medicine, business, art, culture and sport
Inventory group Plan and Posters collection: collection of plans comprised of the following funds: Hofbauamt (Court building authorities), chancellery, General Construction Authority, Lower Austrian Civil Construction Authority, Bausektion (construction section) of the Ministry of the Interior, Bausektion of the Ministry of Commerce, Ministry of Public Works, State Baudirektionen (construction directorates), Waterway Construction Authority, Dikasterialgebäudeverwaltung (dicasterila building administration), Ministry of Agriculture, Ministry of Culture and Teaching, Studienhofkommission (Imperial Commission on Education), Stiftungshofbuchhaltung (Foundation Court Bookkeeping), Ministry of Justice, city expansion fund
War Archive
The beginning of a proper Military Archives in the Habsburg monarchy is to fix in the year 1711, when Emperor Joseph I. ordered the creation of an archivist office with the Hofkriegsrat, the highest central authority for the Habsburg warfare. Already in the first half of the 18th Century, this hofkriegsrätliche (Court's warfare council) archives of the chancelleries has gradually evolved into a kind of military central archives, especially since 1776 through the merger of the hofkriegsrätlichen plan collection with the combat engineer the archives of the chancelleries in reference to cartographic material became to a central contact point. In addition, however, the aim was put on experiences in the past, lessons from former campaigns for the present and future. In view of the above, Emperor Joseph II in 1779 ordered the documentary revision of the campaigns since 1740. This access to the history of war intended Archduke Karl to continue, too, by 1801 disposing the creation of the Imperial War archive. This had according to its founding mission to collect documents and maps, but also scientifically and journalistically to evaluate.
The Imperial and Royal (from 1889 kuk) Kriegsarchiv (war archive) initially consisted of a department of scriptures, a card archive, library and a department of military history works. By the end of the 19th Century the war archive had the bulk of the until then elsewhere stored military documentary material taken on. During the First World War, the war archive had with the assumption of mass documentary material from the front considerably more tasks to carry out, for which the number of staff of the archives substantially had to be increased. After the end of war in 1918 the war archive became a civilian institution, to which after the fall of the monarchy have been given masses of new documentary material from previously independent departments and liquidated offices. During the Second World War, the war archive as Army Archives Vienna was a part of the German Army archive organization under the supreme command of the Wehrmacht. After considerable losses as a result of the war, the War Archives in 1945 became a department of the newly created Austrian State Archives. In the years 1991-1993 moved the since 1905 in the Stiftskaserne (barracks) in the 7th District of Vienna housed war archive to the Central Archives building in Vienna III.
The war archive contains about 180,000 document cartons and 60,000 account books on 50 shelf kilometers and is by far the most important military archives in Central Europe. Its map collection with over 600,000 maps and plans is the largest in Austria. There is also a collection of about 400,000 images. The former library of the war archive is one of the most extensive collections of older military historical literature .
The in 22 inventory groups aggregated inventories of the Kriegsarchiv, in their structure these two fundamentally different archiving traditions are reflected to this day, can be broadly divided into five major blocks:
Personnel files of officers, petty officers, crews and officials of the armed forces of about 1740 to 1918; reward acts (1789-1958), so documents on military awards, which the archives of the Military Maria Theresa Order is attached.
Feldakten (combat files) with material on the operations of the imperial or kk Field armies from 16th Century to 1882 (Old Field records and Army files) as well as on 1914-1918 (Army High Command, New field files - Neue Feldakten).
Most High command, main, subordinate and territorial authorities. This group brings together the recordings of major institutions in the entourage of the emperor (especially of the Military Chancellery, the Generaladjutantur (general adjutancy) and the General Staff), the central military services (Hofkriegsrat (Court War Council) 1557-1848, War Office 1848-1918, Ministry of National Defence from 1868 to 1918) and a number of other authorities, institutions and territorial command posts such as the disability Office, the Apostolic field Vicariate, the supreme combat engineer and artillery authorities, the military educational institutions, the military invalids houses and single General and Military command posts in the countries.
Navy and Luftfahrtruppe (air force troup (19th - 20th century)
Collections, which include in particular the maps and plan collection, image collection, the manuscripts and a very important collection of military scripture estates.
The war archive is now a "historical archive". The here kept official written or printed material essentially ends with the collapse of the Austro-Hungarian Empire at the end of the First World War (1918). The collections of the Kriegsarchiv (war archive) on the other hand constantly increase.
Financial and Hofkammerarchiv [ Edit]
The financial and Hofkammerarchiv (Court Chamber archive) arose when in 1945 the previously separately kept inventories of the Hofkammerarchiv and financial archives were merged. The Court Chamber, founded in 1527 was the central financial authority of the Habsburg monarchy. 1848 took over the newly founded Treasury its duties. The archive contains financial records that are especially important for historians. In historical Archive building in the Johannesgasse the Directorate room of Franz Grillparzer is still preserved, working there from 1832 to 1856 as director. With 1st December 2006, the Department of Finance and Court Chamber archive was incorporated into the General Administration Archive. The bulk of the archival material was moved into the central archive building in the Nottendorfergasse.
House, Court and State Archives
The House, Court and State Archives in Minoritenplatz
Board on State Archives
The House, Court and State Archives, Minoritenplatz 1, 1749 by Maria Theresa (1740-1780) was established as a central archive of the Habsburg dynasty. By creating a well-ordered document repository unifiying the hitherto over several sites scattered important House and state documents in Vienna, it should be ensured that the legal titles and rulers' rights of the dynasty in the future were quickly available when required.
Of the today in 11 inventory groups organised inventories of the House, Court and State Archives the following topics have been given priority:
the history of the Habsburg dynasty
the activities of the supreme Court offices and the Imperial Cabinet
Diplomacy and foreign policy of the Danube monarchy
highest Administration and Jurisdiction in the Holy Roman Empire of the German Nation whose imperial dignity the Habsburgs held for centuries almost without interruption until the dissolution of the National Association in 1806.
Worthy of mention furthermore in the House, Court and State Archives deposited ruler and family archives, estates, a manuscript collection, a collection of seal and stamp imprints as well as a plan and map collection.
Showpiece under the "Collections" of the archive department is but unquestionably the document collection formed from different provenances.
Overall, stores the in a 1899-1902 built landmarked Archive functional building at Vienna's Minoritenplatz housed House, Court and State Archives on 16,000 running meters, 130,000 accounting records and document cartons, 75,000 documents, 15,000 maps and plans, and about 3000 manuscripts.
The oldest piece is a document that Emperor Louis the Pious issued in the year 816. The chronological endpoint sets the year 1918. The House, Court and State Archives is among the "historical" departments of the Austrian State Archives, who do no longer grow by receiving documentary material deliveries from the Austrian federal ministries.
The great importance of the House, Court and State Archives for international research is based on the wide geographical catchment area and the variety of its collection. Due to the territorial expansion of the Habsburg rule from the 15th Century and the literally global relations of the dynasty, the here stored archival material encompasses practically all continents.
In addition to the "classical" access of diplomatic and political history, the archive also offers a social and cultural history oriented research rich material.
Restoration workshop
The restoration workshop of the ÖStA belongs alongside those of the National Library and the Federal Monuments Office to the most important restoration facilities for paper, parchment, sealing and bookbindery in Austria.
Significant archivists
Ludwig Bittner (1877-1945), archivist 1904-45
Anna Coreth (1915-2008), Director of the House, Court and State Archives
Walter Goldinger (1910-1990), Director-General in 1973
Lothar Gross (1887-1944), director of the House, Court and State Archives
Joseph Knechtl (1771-1838), archivist 1806-1834, 1834-1838 Director
Hanns Leo Mikoletzky (1907-1978), Director-General 1968-72
Lorenz Mikoletzky (* 1945), Director-General from 1994 to 2011
Rudolf Neck
Kurt Peball (1928-2009), Director-General 1983-89
Gebhard Rath (1902-1979), Director-General 1956-68
Leo Santifaller (1890-1974), Director-General 1945-54
Erika Weinzierl (* 1925), archivist at the House, Court and State Archives 1948-64
Publications
The Austrian State Archives publishes the periodical Communications of the Austrian State Archives (Mösta) appearing in annual volumes since 1948. In addition, archive inventories, supplementary volumes to the communications and exhibition catalogs are published.
Yours truly aboard my hybrid trike. To my delight the parts I'd concentrated on this past year worked very well. That's another way of saying the part I ignored gave me the problem: the pedal chain broke! Still and all I putted all over the fairgrounds with the electric motor. Note the new sun shade which worked a treat. Also note the wireframe dragon head on the front. This was made by my pal Mark Jackson and in future it'll get a fiberglas 'skin' and some CO2-snorting nostrils.
Sri Andal, one of the twelve Alwars and the only female saintess, lived in the first half of 8th century A.D. Some scholars fix the possible date of Andal as far back as 3000 years B.C.
Andal was born at Srivilliputhur near Madurai, in the Tamil month Adi, with the birth-star Pooram, on a Tuesday, on the fourth day of the bright fortnight.
Andal was a treasure-trove infant, obtained in the Tulasi garden, in the premises of the temple of Sri Vatapatra Sai. Perialwar, her father, found her while tending the garden and brought her up as an adopted child.
Andal grew up in holy surroundings, worshipping the Deity and listening to holy discourses, Vedas, Epics, Bhajans, Keerthans, etc.. From childhood onwards she listened to the Leelas (pranks) of Krishna with rapt attention and developed a deep love to the Lord.
A DIVINE CHILD
Andal helped her father in weaving flower garlands to offer to the temple Deity every day. One morning, Perialwar observed her wearing and adorning herself with the flower-garland intended for the Deity and herself looking into a mirror and enjoying . He considered this as an act of sacrilege and, with great anguish, failed to offer the garland to the Deity on that day. The Lord appeared in his dream and informed him that He relished only the garland worn by Godai and that in future flower garlands worn by Godai alone be offered to Him.
Perialwar relaised the divinity in Godai, and from thence she was reputed as “Andal” (one who ruled Bhagwan) and “Choodi Kodutha Nachiar” (patroness who would offer flowers after adorning herself). It became a routine for Andal to wear the flower garland prior to offering to the Deity.
LOVE FOR KRISHNA
As Andal grew up, day by day, her love for Krishna also increased and she resolved to marry Him.
When Andal attained adolescence, Vishnuchittar was amazed at her conviction to marry Krishna. She was advised to observe Margali Bath rituals, which was a custom of yore for marriageable girls to have choice husbands.
Andal imagined herself as a cow-girl at the time of Sri Krishna, collecting all girls at Ayarpadi at dawn during the Margali month, day after day performing the ritual on the banks of the river Yamuna and bathing the Deity. This procedure, expressed lucidly in thirty Hymns, awakening her mates and proceeding to the river-bed, with Bhajan and Keerthan and to bath the Deity, is the topic of Tiruppavai.
Apart form Tiruppavai , Andal also sung 143 Hymns in Nachiar Tirumozhi in which her expression of intense love to Krishna, in varying moods of bridal love--tender hope, utter dejection, joyful triumph, woeful sorrow and total surrender--are depicted.
Andal concluded that Lord Krishna was none else than the Deity of Sri Rangam--Lord Ranganatha-- and chose Him as her Consort.
DIVINE WEDDING
Lord Ranganatha bade Perialwar in a dream to bring Andal to Sri Rangam in bridal decoration. A palanquin, duly decorated, was sent from the Sri Rangam temple, as instructed by the Lord in a dream to the temple chief.
King Vallaba Deva made elaborate arrangements, decorated the procession route and greeted Andal with music and other paraphernalia of a Divine wedding. People cheered; King Vallaba also joined the bridal party.
Andal proceeded inside the sanctum sanctorum of the temple and became one with the Lord, as she worshipped the Lotus Feet of Him. To the astonishment and wonder of the people assembled, Andal's physical body merged with the Deity, Lord Ranganatha.
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Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.
The database on `S&T Awards in India’ is an attempt to build and manage the information about science and technology awards that have been instituted since 1928 in India. It provides data on various aspects such as discipline, periodicity, categories, awards level, chronology and state wise distribution of awards and their sponsors. It will be useful for planners, policy makers, funding agencies and other stakeholders to chalk out their programmes as per the priorities of R&D activities.
The database on `Indian Origin Academicians’, in turn, has information on 23,472 Indian academicians and research scholars working in various countries. It is of immense relevance/importance in the present-day scenario where international collaborations with knowledge experts are the key factor for S&T led growth and competitiveness. The project team explored around 2,700 academic university websites to gather this information from selected countries (US, UK, Australia and Canada).
The Minister released the databases at a function to mark the National Science Day, which is celebrated every year since 1987 in remembrance of Nobel Laureate Sir C.V.Raman’s path breaking discovery of Raman Effect in 1930.
He also presented the National S&T Communication Awards, AWSAR (Augmenting Writing Skills for Articulating Research) Awards, and SERB (Science and Engineering Research Board)’s Women Excellence Awards on the occasion.
Under the National S&T Communication Awards, Dr. S. Anil Kumar (Anilkumar Vadavathoor), a well known popular science writer in Malayalam has won the Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines; Indian Resource and Development Association and Mr. Mihir Kumar Panda the Award for Outstanding Efforts in Science & Technology Popularization among Children; Dr Sheffali Gulati, Delhi and Mr.Rakesh Khatri the Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods; and Dr. Krishna Kumari Challa the Award for Outstanding Efforts in Science & Technology Communication in Electronic Media.
National Science Communication Award Winner - Dr. S. Anil Kumar, Mihir Kumar Panda, Dr. Sheffali Gulati, Rakesh Khatri, Dr. Krishna Kumari Challa (top to bottom)
Union Minister for Science and Technology, Earth Sciences and Health and Family Welfare, Dr. Harsh Vardhan, today dedicated to the nation two databases brought out by the Department of Science and Technology on `S&T Awards in India’ and `Indian origin academicians and scholars abroad’.
In the case of AWSAR awards, Dr. Sangeeta Dutta of Jawaharlal Nehru Centre for Advanced Scientific Research (JNCASR) has won the AWSAR Award for Outstanding Story under the Post-doctoral fellow category; Ms. Pooja Maurya of CSIR- Central Drug Research Institute, Lucknow, the AWSAR Award: First Prize (PhD category); Ms. Indu Joshi of Indian Institute of Technology Delhi, the AWSAR Award: Second prize (PhD category); and Ms. Shruti Soni of Indian Institute of Science, Bangalore the AWSAR Award: Third prize (PhD category).
Photo-1: Winners of 'AWSAR' contest- Dr. Sangeeta Dutta (top left), Pooja Maurya (top right), Indu Joshi (bottom left), Shruti Soni (bottom right)
The winners of SERB Women Excellence Award are Dr. Shobhna Kapoor of Indian Institute of Technology Bombay, Dr. Antara Banerjee of National Institute for Research In Reproductive Health, Dr. Sonu Gandhi of National Institute of Animal Biotechnology, and Dr. Ritu Gupta, Indian Institute of Technology Jodhpur, Rajasthan
SERB Women-Excellence Award Winners- Dr. Shobhna Kapoor (top left), Antara Banerjee (top right), Dr. Ritu Gupta (bottom left), Dr. Sonu Gandhi (bottom right)
Speaking on the occasion, the Minister noted that India's global position both in innovations and scientific publications has seen a rising trend over the last six years, with its Global Innovation Index (GII) ranking improving rapidly to 48 (2020) from 81 (2015) and Scientific Publication ranking to 3rd position (2018) from 6th (2014)
Further, he pointed out that India ranked 8th in patents filed by resident scientists/innovators from respective countries as per WIPO Statistics and ranked 3rd in number of PhD degrees awarded (24,474) in Science and Engineering. Besides, women’s participation in R&D has increased to 16.6% (2018) from 13.9% (2016). India has reached 3rd position in the world in terms of number of startups.
He pointed out that compared to last year there has been a 30 per cent increase in the budget of the Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 and said that the Country’s upcoming Science, Technology and Innovation (STI) Policy aspired to position India much higher among globally competitive and innovative economies and the coming policy on Scientific Social Responsibility will seek to provide a big impetus to create the mindset and value systems to recognize, respect, and reward performances which create wealth from S&T derived knowledge.
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Ministry of Science & Technology
Dr Harsh Vardhan gives away awards to science communicators and women scientists on National Science Day
The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country: Dr Harsh Vardhan
“Fundamental and Translational Research have to be people centric. So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”: Dr Harsh Vardhan
Dr. Harsh Vardhan also releases the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad
Also confers an appreciation shield to National S&T database developers
Posted On: 28 FEB 2021 7:10PM by PIB Delhi
Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &
Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year's challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.
“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.
“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.
He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.
Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.
The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.
Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.
Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.
Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.
Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.
National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.
National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.
List of Awardees:
Science and Technology Communication Awardees
National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala
National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha
National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi
National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana
Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala
Appreciation Shield for National S&T Databases
S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi
Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh
AWSAR Awardees
Outstanding Story (PDF category)
Dr. Sangeeta Dutta, Bengaluru, Karnataka
AWSAR Award: First Prize (Ph.D. category)
Ms. Pooja Maurya, Lucknow, Uttar Pradesh
AWSAR Award: Second prize (Ph.D. category)
Ms. Indu Joshi, New Delhi, Delhi
AWSAR Award: Third prize (Ph.D. category)
Ms. Shruti Soni, Bangalore, Karnataka
SERB Women Excellence Awardees
Dr. Shobhna Kapoor
Assistant Professor
Indian Institute of Technology Bombay
Mumbai, Maharashtra
Dr. Antara Banerjee
Scientist B
National Institute for Research in Reproductive Health
Mumbai, Maharashtra
Dr. Sonu Gandhi
Scientist D
National Institute of Animal Biotechnology
Hyderabad, Telangana
Dr. Ritu Gupta
Assistant Professor
Indian Institute of Technology Jodhpur
Jodhpur, Rajasthan
(PLEASE CLICK HERE FOR DETAILS OF AWARDEES):
1… AWASAR
2….NCSTC
Click here to see Brochure NSD
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Dr Harsh Vardhan Gives Away Awards To Science Communicators And Women Scientists On National Science Day
By India Education Diary Bureau Admin On Feb 28, 2021
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New Delhi: Union Minister for Science & Technology, Earth Sciences and Health & Family Welfare, Dr. Harsh Vardhan today highlighted how science technology and innovation (STI) would impact our future in education, skills and functioning in the post-pandemic world. He was addressing the National Science Day (NSD) funFction through video-conferencing from Imphal, Manipur. Awards to science communicators and women scientists were also conferred by the Science & Technology Minister on the occasion of National Science Day which is celebrated to commemorate the discovery of Raman Effect on this day every year. The NSD celebrations were organized by the National Council for Science Technology Communication (NCSTC), Department of Science &
Dr. Harsh Vardhan said, “The 30 percent increase in the budget of Ministry of Science & Technology and Earth Sciences put together for the year 2021-22 would provide stimulus to S&T infrastructure resources in the country”. The Union Minister said that in view of last year’s challenges thrown by the COVID-19 pandemic, the theme of the National Science Day 2021, ‘Future of STI: Impacts on Education, Skills, and Work,’ becomes all the more important.
“World has witnessed how Indian S&T systems rose to this recent unprecedented crisis caused by the pandemic. Scientific awareness and health preparedness shall become even more important in post-COVID 19 times. A comprehensive National programme has already been launched on health and risk communication with a focus on COVID-19, namely, Year of Awareness on Science & Health (YASH). We have brought out an online interactive multimedia bilingual resource for mass awareness on COVID- 19, COVID Katha,” Dr. Harsh Vardhan disclosed.
“The data portals launched today will be game changers. We feel that scientists with legacy from India should be on one platform and contribute to India’s growth story”, the Minister explained. He further said that the Prime Minister has been talking about Scientific Social Responsibility for which the Fundamental and Translational Research have to be people centric. “So on this National Science Day, let each scientist dream of something new to make perceptible difference to the life of people in India”, Dr Harsh Vardhan urged.
He also underlined the importance of sustained efforts of inculcating, nurturing, and unleashing the scientific temper and innovative mindset of projected population of 1.5 billion (+) people in 2050 for sustainable and inclusive growth.
Dr. Harsh Vardhan presented the National S&T Communication Awards, Augmenting Writing Skills for Articulating Research (AWSAR) awards, and SERB Women Excellence Awards and conferred Rajendra Prabhu Memorial Appreciation Shield for outstanding work in science media and journalism.
The Minister also released the first-ever National S&T Databases on S&T Awards in India and Indian origin Academicians abroad. The database on S&T Awards in India is an excellent source of information about S&T awards presented to R&D professionals in India. The database of Indian Origin Academicians is a unique database developed in the country and has a huge information base of about 23,472 Indian academicians and research scholars working in various countries. Dr. Harsh Vardhan also conferred an appreciation shield to National S&T database developers.
Speaking on the efforts of the Department of Science and Technology (DST) in driving STI as a tool for the growth and development of the country, Secretary DST Prof. Ashutosh Sharma said that science and technology has a critical role in creating ‘Atmanirbhar Bharat’, which is ready for the future. “Future of STI is going to impact us in every aspect of life. Recalling our glorious past will show us the light to take us to future. There are huge challenges, like sustainable development, climate change, clean energy, rise of intelligent machines, and so on. The future is multi-disciplinary, and in order to solve problems, one has to approach them in an interdisciplinary manner. The job of scientists is to help reach science to every corner of the country”, he pointed out.
Dr Shekhar C Mande, Secretary, DSIR and DG, CSIR, highlighted the contributions of the Indian scientific community during COVID-19 pandemic. “The pandemic has shown that the Indian S&T community is ready for facing all the challenges like the recent pandemic and those that may come in the future,” he said.
Dr. Gargi B Dasgupta, Director, IBM Research India, and CTO, IBM India and South Asia, Bangalore, India, delivered the special lecture on the theme and said that fourth industrial revolution is creating demand for new skill sets displacing existing jobs as well as giving rise to new ones. She spoke about the future of jobs and the urgency of science, highlighting the recent study by World Economic Forum (WEF) on the new emerging job clusters and the skills required for the economy of tomorrow.
Secretary, SERB Prof Sandeep Verma and Head, NCSTC Dr. Praveen Arora were also present on occasion.
National Science Day is celebrated every year on 28th February to commemorate the announcement of the discovery of the ‘Raman Effect’ by Sir C.V. Raman, for which he was awarded the Nobel Prize in 1930. The government of India designated 28 February as National Science Day (NSD) in 1986. Since then, theme-based science communication activities are carried out all over the country on this occasion.
National Council for Science & Technology Communication (NCSTC), DST acts as a nodal agency to support, catalyze and coordinate the celebration of the National Science Day throughout the country in scientific institutions, research laboratories, and autonomous scientific institutions associated with the Ministry of Science and Technology. NCSTC has supported various programmes countrywide through State S&T Councils & Departments for organization of a range of activities, such as lectures, quizzes, open houses, etc. DST also instituted National Awards for Science Popularization in 1987 to stimulate, encourage and recognize outstanding efforts in the area of science and technology communication and popularization as well as inculcating scientific temper among masses. These awards are presented every year on National Science Day. The awards consist of a memento, citation, and award money.
List of Awardees:
Science and Technology Communication Awardees
National Award for Outstanding Efforts in Science & Technology Communication through Print Media including Books and Magazines. : Dr. S. Anil Kumar, Kerala
National Award for Outstanding Efforts in Science & Technology Popularization among Children: (1) Indian Resource and Development Association, Haryana (2) Dr. Mihir Kumar Panda, Odisha
National Award for Outstanding Efforts in Science & Technology Communication through Innovative and Traditional Methods: (1) Dr. Sheffali Gulati, Delhi (2) Shri Rakesh Khatri, Delhi
National Award for Outstanding Efforts in Science & Technology Communication in the Electronic Medium: Dr. Krishna Kumari Challa, Telangana
Rajendra Prabhu Memorial Appreciation Shield for Outstanding Work in Science Media and Journalism: Dr. S. Anil Kumar, Kerala
Appreciation Shield for National S&T Databases
S&T Awards in India: Dr Lalit Mohan, Society for Environment & Development (SED), Delhi
Indian origin Academicians Abroad: Dr. Rajesh Bhatia & Team, Punjab Engineering College (PEC), Chandigarh
hindi.webdunia.com/national-hindi-news/raman-effect-awsar...
राष्ट्रीय विज्ञान दिवस पर पुरस्कृत किए गए विज्ञान संचारक
National Science Day
Last Updated: सोमवार, 1 मार्च 2021 (12:07 IST)नई दिल्ली, समाज में वैज्ञानिक चेतना के प्रचार-प्रसार में जुटे विज्ञान संचारकों को राष्ट्रीय विज्ञान दिवस (28 फरवरी) के अवसर पर राष्ट्रीय पुरस्कार प्रदान किए गए हैं।
राष्ट्रीय विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) की ओर से हर वर्ष विज्ञान एवं प्रौद्योगिकी संचार में उल्लेखनीय योगदान देने वाले संचारकों को ये पुरस्कार प्रदान किए जाते हैं। विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार के साथ-साथ इस मौके पर साइंस ऐंड इंजीनियरिंग रिसर्च बोर्ड (एसईआरबी) वुमन-एक्सिलेंस अवार्ड, और ‘अवसर’ (ऑग्मेंटिंग राइटिंग स्किल्स फॉर आर्टिकुलेटिंग रिसर्च) प्रतियोगिता के विजेताओं को भी पुरस्कृत किया गया है।
विज्ञान एवं प्रौद्योगिकी संचार परिषद (एनसीएसटीसी) द्वारा विज्ञान को लोकप्रिय बनाने और संचार के क्षेत्र में उत्कृष्ट प्रयासों के प्रोत्साहन और वैज्ञानिक अभिरुचि बढ़ाने में योगदान देने वाले लोगों एवं संस्थाओं को छह श्रेणियों में विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार दिया जाता है। वहीं, ‘अवसर’ एक अखिल भारतीय प्रतियोगिता है, जिसमें विज्ञान एवं प्रौद्योगिकी से जुड़े विभिन्न विषयों में डॉक्टोरल या पोस्ट डॉक्टोरल शोधार्थियों से उनके शोध विषय पर आधारित सरल भाषा में आलेख आमंत्रित किए जाते हैं, और चयनित सर्वश्रेष्ठ आलेखों को पुरस्कृत किया जाता है। इसी तरह, विज्ञान एवं इंजीनियरिंग में उत्कृष्ट शोध को प्रोत्साहित करने के लिए युवा महिला वैज्ञानिकों (40 वर्ष से कम आयु) को एसईआरबी वुमन-एक्सिलेंस अवार्ड प्रदान किया जाता है।
केंद्रीय विज्ञान एवं प्रौद्योगिकी, पृथ्वी विज्ञान, स्वास्थ्य तथा परिवार कल्याण मंत्री डॉ हर्षवर्धन ने पुरस्कृत लोगों को बधाई देते हुए कहा है कि “वर्ष 2021 के राष्ट्रीय विज्ञान दिवस की विषयवस्तु “विज्ञान, प्रौद्योगिकी एवं नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” है, जो वर्तमान परिदृश्य के अनुकूल है।
National Science Day
पिछले एक साल में, कोविड-19 की चुनौतियों के बावजूद विज्ञान से संबंधित मंत्रालयों के लिए वर्ष 2021 उपलब्धि भरा रहा है। दुनिया ने देखा कि महामारी से उपजे अप्रत्याशित संकट से उबरने में भारतीय विज्ञान एवं प्रौद्योगिकी तंत्र ने कैसे भूमिका निभायी है।” उन्होंने कहा कि हम तब तक एक स्थायी और समावेशी विकास का सपना नहीं देख सकते, जब तक कि वर्ष 2050 तक 150 करोड़ से अधिक लोगों की अनुमानित आबादी में वैज्ञानिक दृष्टिकोण और नवोन्मेषी मानसिकता के विकास के लिए निरंतर प्रयास न करें।”
इस मौके पर मौजूद विज्ञान एवं प्रौद्योगिकी विभाग के सचिव प्रोफेसर आशुतोष शर्मा ने कहा कि “राष्ट्रीय विज्ञान दिवस एक ऐसा दिन है, जब हम न केवल ‘रामन प्रभाव’ को याद करते हैं, और इसका उत्सव मनाते हैं, बल्कि यह एक ऐसा अवसर है, जब हम आचार्य रामन के वैज्ञानिक कार्यों में निहित दृष्टिकोण से नये सबक भी सीख सकते हैं। उनको आचार्य कहना अधिक उपयुक्त है, क्योंकि इस शब्द का संबंध एक गौरवशाली परंपरा से है। आचार्य का अर्थ, ‘सर’ से बिल्कुल अलग है। ‘सर’ एक टाइटल है, जबकि आचार्य का अर्थ मूल रूप से स्कॉलर से जोड़कर देखा जाता है।”
National Science Day
नयी विज्ञान, प्रौद्योगिकी एवं नवाचार नीति का जिक्र करते हुए प्रोफेसर आशुतोष शर्मा ने कहा कि “इस नीति में कई ऐसे अध्याय शामिल हैं, जो भविष्य की जरूरतों पर आधारित हैं, और विज्ञान को समाज से जोड़ने पर ध्यान केंद्रित करते हैं। भविष्य में हमें दो महत्वपूर्ण तथ्यों पर ध्यान केंद्रित करने की जरूरत होगी। सबसे पहले तो शोध कार्यों की प्रासंगिकता एवं उनकी सही दिशा का निर्धारण जरूरी है। वहीं, दूसरा आयाम शोध कार्यों की गुणवत्ता और गंभीरता से संबंधित है। दूसरों की नकल करके शोध विषयों का चयन करने का औचित्य नहीं है। हमें अपने आइडिया के आधार पर कार्य करना होगा, जो विज्ञान के क्षेत्र में भारत को लीडर के रूप में उभरने में मदद कर सकते हैं। इस तरह हम आचार्य रामन को याद कर सकते हैं।”
इस अवसर पर वैज्ञानिक तथा औद्योगिक अनुसंधान परिषद के महानिदेशक डॉ शेखर सी. मांडे ने ‘रामन प्रभाव’ की खोज से जुड़े महत्वपूर्ण पड़ावों और इससे संबंधित शोध कार्य में एक अन्य प्रमुख वैज्ञानिक के.एस. कृष्णन की भूमिका के बारे में जिक्र किया।
उन्होंने कहा कि “हम भले ही कोविड-19 महामारी से मजबूती से लड़ने में सफल हुए हैं, लेकिन आगे भी इस तरह की चुनौतियां बनी रहेंगी। महामारियों के अलावा, जलवायु परिवर्तन एक अन्य प्रमुख चुनौती है, जिससे निपटने के लिए प्रभावी वैज्ञानिक समाधान खोजने होंगे।”
पुस्तकों एवं पत्रिकाओं सहित प्रिंट मीडिया के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार में योगदान के लिए इस बार कोट्टायम, केरल के डॉ अनिल कुमार को राष्ट्रीय पुरस्कार से सम्मानित किया गया है। इस पुरस्कार के तहत दो लाख रुपये की नकद राशि, स्मृति चिह्न और प्रशस्ति पत्र प्रदान किया गया है। विज्ञान एवं प्रौद्योगिकी संचार में उत्कृष्ट प्रयास के लिए पांच लाख रुपये का राष्ट्रीय पुरस्कार हरियाणा की संस्था इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन और बालासोर, ओडिशा के वैज्ञानिक एवं नवप्रवर्तनकर्ता मिहिर कुमार पांडा को प्रदान किया गया है।
नवप्रवर्तक एवं पारंपरिक प्रणालियों के माध्यम से विज्ञान एवं प्रौद्योगिकी संचार के लिए दो लाख रुपये का राष्ट्रीय पुरस्कार दिल्ली की डॉ शेफाली गुलाटी और राकेश खत्री को प्रदान किया गया है। इलेक्ट्रॉनिक माध्यम में दो लाख रुपये का विज्ञान एवं प्रौद्योगिकी राष्ट्रीय संचार पुरस्कार तेलंगाना की डॉ कृष्ण कुमारी चल्ला को दिया गया है।
डॉ एस. अनिल कुमार मलयालम के एक प्रसिद्ध लेखक हैं। उन्होंने करीब 1500 नवोदित पत्रकारों को प्रशिक्षण प्रदान किया, कार्यशालाएं आयोजित कीं, और विज्ञान संचार के क्षेत्र में संचारकों के लिए आधा दर्जन पाठ्यपुस्तकें लिखी हैं। डॉ अनिल कुमार के 1500 से अधिक लेख/फीचर प्रकाशित हुए हैं एवं पॉपुलर साइंस पर आधारित 40 पुस्तकें भी उन्होंने लिखी हैं।
इंडियन रिसोर्स ऐंड डेवलपमेंट एसोसिएशन एवं मिहिर कुमार पांडा को अनूठे तरीकों से विज्ञान एवं प्रौद्योगिकी के प्रचार-प्रसार के लिए पुरस्कृत किया गया है। इन तरीकों में कठपुतली शो, फिल्म एवं स्लाइड शो, विज्ञान मेलों का आयोजन, प्रदर्शनी एवं वैज्ञानिक प्रयोगों पर आधारित कार्यशालाएं शामिल हैं। डॉ शेफाली गुलाटी ने व्याख्यान एवं प्रिंट तथा ऑडियो-विजुअल मीडिया द्वारा विज्ञान को लोकप्रिय बनाने में योगदान दिया है। वहीं, डॉ राकेश खत्री करीब तीन दशक से रंगमंच, कार्यशालाओं, मॉडल्स, नेचर टूर जैसे प्रयासों के माध्यम से विज्ञान के प्रति आकर्षण पैदा करने का कार्य करने में जुटे रहे हैं।
डॉ कृष्णा कुमारी चल्ला भी करीब डेढ़ दशक से दृश्य कला, साहित्य, वीडयो, टीवी और इंटरनेट के उपयोग से आम लोगों के लिए विज्ञान संचार कर रही हैं।
एसईआरबी वुमन-एक्सिलेंस अवार्ड इस बार चार महिला वैज्ञानिकों को प्रदान किया गया है। इनमें आईआईटी, बॉम्बे में असिस्टेंट प्रोफेसर शोभना कपूर, मुंबई स्थित नेशनल इंस्टीट्यूट फॉर रिसर्च इन रिप्रोडक्टिव हेल्थ की वैज्ञानिक डॉ अंतरा बैनर्जी, हैदराबाद स्थित नेशनल इंस्टीट्यूट ऑफ बायोटेक्नोलॉजी की वैज्ञानिक डॉ सोनू गांधी, और आईआईटी, जोधपुर में असिस्टेंट प्रोफेसर डॉ रितु गुप्ता शामिल हैं।
‘अवसर’ प्रतियोगिता के अंतर्गत पोस्ट डॉक्टोरल श्रेणी में उत्कृष्ट आलेख के लिए बेंगलुरु स्थित जवाहरलाल नेहरु सेंटर फॉर एडवांस्ड साइंटिफिक रिसर्च की शोधार्थी डॉ संगीता दत्ता को पुरस्कृत किया गया है। इन्मास, डीआरडीओ से पीएचडी डिग्री प्राप्त डॉ संगीता जैव प्रौद्योगिकी विभाग में अपने पोस्ट डॉक्टोरल प्रोजेक्ट के लिए रिसर्च एसोसिएट के तौर पर कार्य कर चुकी हैं। उनके पांच शोध पत्र प्रकाशित हुए हैं, और एक पेटेंट भी उनके नाम दर्ज है। ‘अवसर’ प्रतियोगिता की पीएचडी श्रेणी में प्रथम पुरस्कार सीएसआईआर-सीडीआरआई, लखनऊ की शोधार्थी पूजा मौर्या को मिला है। द्वितीय पुरस्कार आईआईटी, दिल्ली में कंप्यूटर साइंस की शोधार्थी इंदु जोशी, और तृतीय पुरस्कार भारतीय विज्ञान संस्थान, बेंगलुरु की शोधार्थी श्रुति सोनी को दिया गया है।
सभी पुरस्कार विजेताओं को बधाई देते हुए डॉ हर्ष वर्धन ने कहा है कि "विज्ञान संचार एवं लोकप्रियकरण से जुड़े उत्कृष्ट प्रयास, वैज्ञानिक शोध में युवा महिलाओं का योगदान और विज्ञान संचार में अभिनव प्रयोग सराहनीय हैं।"
डॉ हर्ष वर्धन ने इस मौके पर वर्चुअल रूप से विज्ञान एवं प्रौद्योगिकी पुरस्कारों पर आधारित सूचनाओं से लैस एक ऑनलाइन डेटाबेस लॉन्च किया है। साइंस ऐंड टेक्नोलॉजी अवार्ड इन्फॉर्मेशन रिट्रीवल सिस्टम (STAIRS) नामक यह डेटाबेस स्वतंत्रा से पहले से लेकर अब तक विज्ञान एवं प्रौद्योगिकी के क्षेत्र में पुरस्कृत भारतीय पेशेवरों के बारे में जानकारी उपलब्ध कराएगा।
इसी के साथ, विदेशों में कार्यरत भारतीय मूल के शिक्षाविदों एवं शोधकर्ताओं से संबंधित एक अन्य डेटाबेस भी लॉन्च किया गया है। यह डेटाबेस मौजूदा दौर में बढ़ते अंतरराष्ट्रीय सहयोग के संदर्भ में महत्वपूर्ण माना जा रहा है। इस डेटाबेस में, भारतीय मूल के 23,472 शिक्षाविद एवं शोधकर्ता शामिल किए गए हैं। अमेरिका, कनाडा, ब्रिटेन और ऑस्ट्रेलिया जैसे देशों के 2700 से अधिक विश्वविद्यालयों एवंअन्य शैक्षणिक संस्थानों की वेबसाइट्स को खंगालने के बाद यह डेटाबेस तैयार किया गया है।
आईबीएम रिसर्च इंडिया की निदेशक डॉ गार्गी बी. दासगुप्ता का विशेष व्याख्यान इस बार राष्ट्रीय विज्ञान दिवस पर एक अन्य प्रमुख आकर्षण रहा। डॉ गार्गी बी. दासगुप्ता ने “विज्ञान, प्रौद्योगिकी, नवाचार का भविष्यः शिक्षा, कौशल एवं कार्य पर प्रभाव” विषय को केंद्र में रखते हुए अपना व्याख्यान दिया। उन्होंने अपने व्याख्यान में, मुख्य रूप से इस बात को रेखांकित किया कि चौथी औद्योगिक क्रांति किस तरह नये कौशल की माँग करती है। उल्लेखनीय है कि साइबर भौतिक प्रणाली, आर्टिफशियल इंटेलिजेंस, इंटरनेट ऑफ थिंग्स तथा इंटरनेट ऑफ सर्विसेज इत्यादि चौथी औद्योगिक क्रांति के प्रमुख उपकरण बनकर उभरे हैं।
सर सी.वी. रामन को याद करते हुए हर वर्ष 28 फरवरी को राष्ट्रीय विज्ञान दिवस मनाया जाता है। विज्ञान में नोबेल पुरस्कार प्राप्त करने वाले सी.वी. रामन पहले एशियाई थे। उन्हें यह पुरस्कार, वर्ष 1930 में की गई उनकी खोज ‘रामन प्रभाव’ के लिए मिला था।
My new favorite thing to do, I've decided, with monorails is stretch them. The curves you find in Future World, as well, are perfect ways to play with interesting lines and really stretch out and capture an entire monorail in one frame. I love being so close, but also how this image does capture the entire length of Monorail Teal. Having a beautiful blue sky behind it doesn't hurt much either! And I also really enjoy the reflections in the water. Really nice, still water makes for a more interesting shot.
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On Tuesday, December 16th 2014, Monckton Coke Works at Royston near Barnsley, the last remaining independent coke works in the UK, closed after 130 years continuous production.
Unable to compete with cheap Chinese imports, the owner of the plant, Hargreaves Services reluctantly decided that the facility was no longer financially viable and another significant part of Britain's industrial heritage vanished for ever.
I was privileged to be on site at 2pm on December 16th to witness 'the last push' as the plant's day shift emptied coke oven number 17, the last ever load of coke to be produced at this historic plant.
Standing in the yard alongside the plant's workers and ex-workers, there was a genuine sense of sadness, mingled with the usual co-worker banter, as they watched an industrial facility that had provided employment for them and their families for generations, consigned to the scrap heap.
Although Hargreaves Services have tried to find alternative employment for the plant's workforce, many of them face an uncertain future, in an area of already high employment and low wage jobs.
The 200,000 tonnes of high grade coke that the plant produced annually for the glass, detergent and steel making industries, will in future, have to be imported, adding to the country's balance of payments deficit.
Gas from the coke ovens was used in a combined heat and power plant that could generate 11 megawatts of electricity. Not only did this supply all the electricity needed on-site but also provided enough electricity to provide power for more than 1000 homes
Non-motorized boating pilot program comes to an end
LOS ANGELES — When the U.S. Army Corps of Engineers, Los Angeles District, granted a license in July for a seven week non-motorized boating pilot program on the Los Angeles River, the Los Angeles Conservation Corps quickly booked the allotted tours.
“It took about 10 minutes for the 280 tickets to sell, once we posted the announcement on line,” said Yasmin Mero-Corona, program coordinator, Los Angeles Conservation Corps. “We had another 300 on a waiting list to fill any no-shows. One gentleman stood by with his check every weekend until we had a cancellation for him to fill,” Mero-Corona added.
The test program allowed for no more than two trips per day on Friday, Saturday and Sunday beginning August 12 and ending September 25. The program was as much about education as it was access, with many of the tours featuring guest speakers, including Corps personnel, talking about the history of the river and plans for its revitalization.
The Mountains Recreation and Conservation Authority supervised the two-hour canoe and kayak trips covering a 1.5-mile stretch of the river. While most of the trip is a leisurely ride the 'Cattail Shoot' provides a bit of excitement as the staff helps participants and their vessels through a narrow, shallow shoot and one portage point, 'Rocky Rapids,' that requires boaters to exit their crafts and navigate the rocks on foot.
“A mentor of mine when I was a biologist at New York District was fond of saying, touch the resource. That's what accessing the river is to so many urban dwellers in Los Angeles,” said Josephine Axt, Chief, Planning Division, Los Angeles District, during her tour September 16.
“Even though there are nearby mountains where people can enjoy the outdoors, their day to day experience doesn't usually encourage or encompass much of a non-urban environment. Accessing the river is symbolic of a shared vision many LA residents have of the city embracing a more sustainable future,” added Axt.
For many boaters these trips represented their first access to the river and their enthusiasm was not tied to their skill level.
“The participants were nervous at first because for many adults, this was the first time on a canoe or kayak,” said Supervising Ranger III, Fernando Gomez. “However, at the end of the trip, they wanted more and some even said they were going to go out and buy a kayak to continue their experience, not on the LA River of course. For the skilled kayakers, they walked away with the surprise of how beautiful and calming the trip was,” Gomez added.
The Corps is an active partner in revitalizing and preserving the Los Angeles River, however, an important primary mission remains.
“I must be clear, nothing we do can jeopardize human safety or reduce the flood carrying capacity of this river,” said Col. Mark Toy, Los Angeles District Commander, during his opening remarks for the inaugural tour Aug. 8.
Now that the non-motorized boating pilot program has ended, no boating is authorized on the Los Angeles River. The river can, very quickly, become extremely dangerous, especially during the general winter storm season.
The Corps will review trip reports and lessons learned from staff and participants. Working with the stakeholders the Corps will carefully consider all options for boating on the Los Angeles River in future years.
Strobist Info: Long 10 second exposure on camera tripod with Metz-48AF handheld at 9 O'clock position.
Flash triggered manually and at same time as a coin dropped from above the wine glass. Rustic synchronization, but in future would love to try it out with microphone equipped Arduino based flash trigger for more dramatic splash effects.
This is a photograph from the finish of the 4th Annual Multyfarnham (Multy) 5KM which was held in the village of Multyfarnham about 15KM west of Mullingar, Co. Westmeath, Ireland on Wednesday 3rd June 2015 at 20:00. An incredible and unprecedented crowd of almost 300 participants took to the route including runners, joggers and walkers which was on an out-and-back course on beautiful country roads. The weather was perfect for racing and running. The fast course combined with the good weather conditions provided personal and seasonal bests for many of the participants. The GAA Club and Community Centre provided car-parking and the race headquarters. Overall this was a very well organised race event which on the evidence of tonight's race can grow even further in future years. As this and other photographs in this set shows there is nothing like an evening race in summer time in rural Ireland. Multyfarnham's setting amongst the rolling hills of north county Westmeath and not far from the shores of Lough Derravaragh provides a wonderful race setting. The village of Multy is easily accessible and is just two miles off the N4 Dublin Sligo road.
We have an extensive set of photographs from tonight in the following Flickr Album: www.flickr.com/photos/peterm7/sets/72157653957377992
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2718 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
USING OUR PHOTOGRAPHS - A QUICK GUIDE AND ANSWERS TO YOUR QUESTIONS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Caption: ARCH veterinarians handle a pig during a visit to the neighborhood of Lilavois 35 in the outskirts of Port au Prince. A team of the Animal Relief Colation for Haiti (ARCH) was in the Lilavois areas of the capital and treated about 200 animals, including dogs, pigs, chickens, cats, turkeys, horses and cattle. Photo Tomas Stargardter
Excerpted from the 3/9/10 Kinship Circle alert Hope Has Wheels! $1.1M For Lasting Animal Aid In Haiti:
---------- Forwarded message ----------
From: Kinship Circle - info [at] kinshipcircle.org
Date: Tue, Mar 9, 2010 at 10:26 PM
Subject: Hope Has Wheels! $1.1M For Lasting Animal Aid In Haiti
3/9/10 - KINSHIP CIRCLE ANIMAL DISASTER AID
Hope Has Wheels! $1.1M Pledged For Lasting Animal Aid In Haiti
WHY AM I HERE? We highly recommend you view Tom McPhee's extraordinary short, "Why Am I Here?" Tom, Executive Director of World Animal Awareness Society -- and creator of the Katrina animal rescue film, American Opera -- explains why he traveled to Haiti to film animal aid operations with SODOPRECA. The film's rich texture and breathtaking scenes will make you feel as if you went with him: www.youtube.com/watch?v=Gg6Ng9jeGTk
Port-au-Prince, Haiti: Hope arrived on four wheels...
...Underneath a fully equipped veterinary mobile clinic! As of March 4, 2010, ARCH has treated over 4000 animals, including many dogs, goats, sheep, cats, pigs, cows, horses, donkeys and domestic fowl. In the photo above, Kenny, 10, said his dog Vito had "been sick for a long time, but I don't know any vets and don't have money." ARCH gave Vito antibiotics and vitamins and will check the dog's progress... Photos: IFAW/WSPA for ARCH
Animal groups pledge $1.1M dollars for long-term animal aid in Haiti 3/4/10 -- Animal Relief Coalition Of Haiti (ARCH) announced a $1.1 million agreement with the Haitian government to improve and repair animal welfare conditions in the aftermath of January's ruinous earthquake. Over 20 animal protection groups worldwide, including Kinship Circle, formed ARCH under joint leadership of World Society For Protection of Animals and International Fund For Animal Welfare. The ambitious long-term plan covers:
* DISEASE PREVENTION NETWORK: To protect people and animals from disease outbreaks, a laboratory and staff will carry out targeted vaccination campaigns for Rabies, Anthrax and other diseases.
* VETERINARY TRAINING: Our goal is to train at least 200 Haitian veterinarians and vet technicians for current/future animal welfare issues.
* VACCINATION COLD STORAGE: A "cold chain" is crucial to keep vaccinations fresh and stable through delivery.
* ANIMAL POPULATION STUDIES: Haiti's animal demographics have changed dramatically due to recent disasters. Updated data is vital to reach animals.
ARCH's mobile vet clinic makes rounds to underserved areas such as Pelerin where Haitians line-up to have animals vaccinated. According to the Haitian Ministry of Agriculture, there are some 5 million farmed animals in Haiti (not including domestic fowl), and about 500,000 dogs in Port-au-Prince.
Why Haiti's animals, when animals everywhere need help? Kinship Circle Animal Disaster Aid made a promise to help Haiti's animals after one of the most devastating earthquakes in modern times. ARCH's enduring plan to coordinate veterinarians, clinics, vaccines...gives these animals a chance in future disasters and daily survival.
All Haiti photos: T. Stargardter (c) WSPA/IFAW for ARCH
PLEASE GIVE TO HAITI ANIMAL RELIEF:
***************
ACTION CAMPAIGNS * EDUCATION * ANIMAL DISASTER AID
www.KinshipCircle.org * www.kinshipcircle.org/disasters
FOR BREAKING NEWS & ACTION: subscribe [at] kinshipcircle.org
* Action campaigns on animal cruelty issues worldwide
* Animal rescue coordination/news in disasters
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Supermarine Spitfire Mk Vb 1:72 scale. Part one of a magazine series '100 Years of the RAF' at the reduced price of £2.99 – in future the price of issues will be £9.99.
Published by Idealistic Ltd, this first issue has Spitfire spelled "Spitfier" at the top of the cover! Not a great indicator of their proof-reading ... and in addition, the publicity material enclosed has a photo of the Avro Vulcan (to be issue three) with the year 2008 on the base of the stand. Perhaps this indicates what that particular plane looked like in 2008, but the Vulcan was built between 1956 and 1965 ... I thinks that's giving them too much benefit of doubt :)
As to why I have added this to the 'North Staffordshire' album, you need to come from Stoke to get it, perhaps. The Titanic (if I had a model of it) would be in the same album for different reasons!
My new apocalyptic city, hard to get a good picture with little lighting, place will be redone in future. Based on zombie apocafest and Crimson Wolf's Outskirts.
"Finding me, finding truth
Finding love in a changing world
Finding peace, in simplicity
Finding out where I come from
Finding curage, finding faith
Finding acceptance in a narrow space
Finding time, when time has gone
Finding out what's going on
I need a house, I need a room
I need a bed to sleep in
I need a coffee and a kitchen sink
I need a friend, I need a love, I need someone
Who'll miss me
When I get home
Don't wanna be all alone
Finding the gate, finding the door
finding the streets I used to walk before
When I was free, when I could see
When I was crazy
I wish somebody told me
I wonder, what about reality
I wonder who'll be starting at me
When I look into my mirror"
I love Architecture, I wanted to be an Architect when I were child even though there had one person said It don't accord with me...
The indispensable first step to getting the things I want out of life is this: Decide what I want cause the future belongs to those who believe in their dreams.
Có một suy nghỉ thoáng qua trong đầu mà cả đời mới thực hiện được nó... Và mình biết rằng 1 đời của mình không thể thực hiện được hết vô vàn suy nghĩ thoáng qua đó trong đầu.... Nhưng dám mơ ước và dám làm....Con người mà mất đi ước mơ...thì cuộc đời chắc chắn sẽ nhàm chán và lạc lối [ Điều đó cũng đồng nghĩa với việc giết chết 1 phần trong người mình ]
So, I need do step by step from smallest works like talking about, imagining , feeling, writing, drawing and repeating everyday until dreams come true...
18 June 2023, Tallinn, Estonia: His All Holiness Patriarch Bartholomew of the Ecumenical Patriarchate delivers a keynote speech on the topic of 'What are our Ecumenical tasks in future Europe?' at the 2023 CEC General Assembly, which takes place in Tallinn, Estonia on 14-20 June under the theme of: 'Under God's blessing – shaping the future'. Photo: Albin Hillert/CEC
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.
Augusto Giacometti (1877-1947), Paz/Friede/Peace, 1915 (Albertina - Sammlung Batliner)
Im Zentrum von Giacomettis Werk steht die menschliche Figur. Ausgehend vom ägyptischen Formenkanon gelangt er mit seinen stilisierten, zumeist langgezogenen, zerklüfteten Gestalten zu seinen ureigensten Schöpfungen. 1950 schreibt er an Matisse, dass ihn vier Frauen in der Pariser Bar Le Sphinx, einem von ihm frequentierten Nachtclub, zu diesen Figuren inspiriert hätten. Er habe sie als attraktiv und abstoßend zugleich empfunden.
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.
Collection: Serjeant Family Letters, 1769-1840
Item: Letter to Elizabeth Browne Rogers Roche from Mary Browne Serjeant (30 April 1789)
Transcription:
herself. they have made her promise to spend a few
Months with them this Spring, as Mr. Jarvis is to come
& meet her therefore I cannot refuse. -— — — — —
tho’ I have lived in this place near ten Years yet
have made very few acquaintances as the people of
England are so different in every respect that you would
hardly suppose they were of the same species as the
Americans, Stiff, Starch, imperious, haughty, suspicious. -
uncharitable, Wretches, who ridicule & slander their
best friends as soon as their back is turned & hardly
know, much more speak of their Door Neighbor
for my part when I am in company I which is very
seldom I am affraid to look or Speak it is very
hard at my time of Life to put such constraint
upon [hole in page] so different from what I have been
accustom’d too, & from my natural make, which is
openess of Disposition as my poor Dr Brother wrote to
me to be cautious how I proceed, for he knew if
a person spoke a good Word to me I would do any
thing for [crossed out] them. — — I am very much obliged to
you my Dear for your intelligence respecting who was
Dead & Married, it was [crossed out] what I wished very much
to know, hope you will not forget it in future would
do as much for you if you were acquainted with
any person here, but your own Relations, poor Mrs.
Shopland is no more she departed this Life the 27th
of last March, 88 in a galloping Consumption [crossed out] which
is not uncommon in our family, leaving behind her 3
young Children, the eldest but seven Years old the youngest
when she died was but a twelvemonth, their names Lucy John
Marines with tank platoon, Battalion Landing Team 2nd Battalion, 1st Marines (BLT 2/1), 11th Marine Expeditionary Unit, fire the M256 smoothbore gun of an M1A1 Abrams tanks on static targets during Realistic Urban Training Marine Expeditionary Unit Exercise 14-1 (RUTMEUEX) at Fort Hunter Liggett, Calif., March 20, 2014. RUTMEUEX will prepare the 11th MEU Marines for their upcoming deployment, enhancing Marines' combat skills in environments similar to those they may find in future missions. (U.S. Marine Corps photo by Gunnery Sgt. Rome M. Lazarus/Released)
African Goshawk photographed at Lake Langano, Ethiopia. This is the unduliventer sub-species which may in future be split. Also known as Abyssinian Goshawk.
250 KV Hydro power project inaugurated at Kalash valley.
CHITRAL: 250 Kilo vat Kalash hydro power project inaugurated in
Kalash valley for electrification the entire valley. A function was
held in this connection District Coordination Officer (DCO) Chitral
Rahmatullah Wazir was chief guest on the occasion. Addressing on the
occasion Engineer Temour Shah coordinator of Rural Community
Development Program (RCDP) while he also briefing the stakeholders
said that new Kalasha hydro power project will bring revolution in
development of Kalash valley. He thanked to USAID and national rural
support program for financial assistance of this power house. Wazir
Zada Kalash Manager of AVDP and representatives of Kalash community
thanked the implementing agency as well as donors for construction of
this hydro power project. He said that Kalasha having thousands of
years old history but they still living of stone period because of no
developmental schemes in the valley. There is no electricity from
government national grid station in three valleys of Kalash but local
people have arranged micro hydro power stations on self help basis.
And now after completion of this mega hydro power house it will really
causes for socio economic development of the valley and its
inhabitants. A lady participant Miss Nasreen said that this power
house will bring lights in lives of Kalash people and will declared
mailing stone for sustainable development of Kalash community.
Addressing on the occasion DCO Chitral stressed upon the technical
staff for choosing suitable site for this power house so as to be
saved from flood and other natural disaster. He said that district
administration encourage all those organizations and donors who donate
and invest in Chitral for uplift of this backward district. He said
that Chitral having potential of 10000 Mega watt power generation and
provincial government also have kicked a number of hydro power
projects in entire district. He said that in future Chitral will
capable to generate thousands of Megawatt electricity and people will
came here from down districts for labor and business but Chitrali will
be self sufficient and they will no need to travel down districts for
laboring. He said that District administration have included
construction of Bashalini (menses houses) for Kalash women in Annual
Development Program (ADP). He thanked to civil society for playing
vital role in development of Chitral and assured that all possible
supports will be rendered to those who work for benefit of Chitral. He
also stressed upon the local people that community participation is
must for long term and sustainable development because by this way
local community own any developmental projects and will play role for
its protection and sustainability. Besides him Bezaingi a Kalash elite
and other spoke on the occasion. A large number of people both from
Kalash and Muslim community participated in opening ceremony of
Kalash Hydro power project and expressed their great pleasure on
construction of this power house.
G.H. Farooqi C/O Manager bank Islami Main branch Chitral phone No
0943-320737, 0943-316052, 0943-414418 , 03025989602, 03337069572,
03159698446, 03469002167
email: gulhamad@gmail.com
Exclusive display around City Hall of innovative transport products & services related to the 2012 Investing in Future Transport Conference - organised by Cleantech Investor & Revolve.
London City Hall is the headquarters of the Greater London Authority, the Mayor of London as well as the London Hydrogen Partnership. Exclusive display around City Hall of innovative transport products & services related to the 2012 Investing in Future Transport Conference - organised by Cleantech Investor & Revolve.
London City Hall is the headquarters of the Greater London Authority, the Mayor of London as well as the London Hydrogen Partnership.