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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.
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.
Cyclocross involves bike racing on dirt, mud, pavement, grass, and various obstacles such as fences and stairs.
Klamath Falls Cyclocross Series 2009, Race One, Moore Park
Pontiac and Royal Oak Consumers Energy employees and family members gather at Great Lakes Crossing Outlets to participate in the Walk for Warmth coordinated by Oakland Livingston Human Services Agency.
As well as its involvement in 'The One', which developed as a result of Carousel Buses and Arriva The Shires agreeing to coordinate their services between Chesham and High Wycombe, Carousel Buses has also developed a network of services from Buckinghamshire towns to Uxbridge and Heathrow Airport over the past decade.
Route A40 commenced in August 2003, providing an hourly link between High Wycombe, Beaconsfield, Gerrards Cross, Uxbridge and Heathrow Airport. The route, initially using second-hand Leyland Olympians, was supported financially by BAA Heathrow and Buckinghamshire County Council, and was formally relaunched in January 2004 with brand-new Mercedes Citaros including 872, which has carried its cherished CB53 BUS registration since new.
In September 2009 route A40 was bolstered by the addition of route 740 between High Wycombe and Uxbridge, operating via the New Town area of Beaconsfield. At the same time a second Heathrow route was established, the A30 running from Chesham via Amersham, the Chalfonts, Gerrards Cross and Uxbridge. This provided many new links to Heathrow for the first time and also re-established the direct link from Chesham and Amersham to Uxbridge that had not existed for many years. The A30/A40/740 group of routes are now branded as 'Link to Uxbridge and Heathrow', as shown by 872 rounding the War Memorial at Chesham Broadway during the afternoon of Friday 19th April.
Seeking Solitude.
For most folks out there, a weekend of good rest and relaxation may involve spending time with family and friends, barbeque on the beach or parties in the house or clubbing away through the night or even getting cozy with the bed.. Somehow, all of that seems alien to me. I can't get myself to spend a weekend just lazing around doing nothing - I consider it a waste of life.
So the last weekend, I decided to head out. And backpack.
I had always been eying the Lakes Trail in Sequoia National Park since last year when I had done a long dayhike to Pear Lake Pear Lake. The barren rocky and open landscape that it presented was a stark contrast to the dense redwood and pine forests of the park.
The hike certainly wasn't an easy hike. The difficulty of a net elevation gain of 2500ft (~800m) in the 6 miles was compounded by the fact that I had little to no acclimatization to climb upto 9500ft (~ 2.9km). But upon reaching the solitude of the lake surrounded by rocky grey granite walls, all my troubles disappeared. I sat down next the lake for a long time just letting my mind wander. After dinner and nightfall, I came back to the same spot right next to the lake and started looking at the blissful twinkling sky.
The sky presented a glorious sight that is often missed by city folks. The kaleidoscope of stars that come out in such a dark sky was beyond compare. I was equally mesmerized and astonished by such a sparkling sky.
And the silence as well. Apart from the occasional howl of distant coyote roaming the rocky slopes in search of food, I heard nothing else. Not even the trees rustling, or the lake lapping at my feet or the rats and squirrels scampering in the woods.
It was a night to remember and treasure...
Until another night.
Do justice to this image. Please view on black.
Sequoia National Park
CA USA
Student Involvement Fair at Crossley Softball Field, 19 September, 2020. Photography by Glenn Minshall.
Over 100 organizations and departments set up in the Academic Quad to talk about what their organization is about and how students can participate at Occidental College's Involvement Fair, September 12, 2013. (Photo by Marc Campos, Occidental College Photographer)
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
Consumers Energy employees before the February 4, 2012 Walk for Warmth in Mt. Pleasant, Michigan coordinated by EightCAP, Inc.
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
21st March 2015 saw Miles Continental ŠKODA's first involvement with the Coffee Culture Le Race. For us, the day itself was a culmination of 5 months of training with our very own 'ŠKODA Cycle Wave'. Along with the support of fellow local businesses, we trained together throughout the months and started the race itself as one.
At the end of the race, our guests had use of the ŠKODA tent, with lounge facilities and refreshments.
We really enjoyed the entire event and look forward to the next one.
Register your interest in joining us for next year's event: eepurl.com/39hoP
View more of our involvement on our website: www.milescontinental.co.nz/lerace
Thanks so much to our fellow sponsors of the Coffee Culture Le Race, particularly those awesome people that joined us for our group meetings and offered their sage advice (special mention to ŠKODA New Zealand and Alison Shanks!):
* Coffee Culture
* Specialized New Zealand
* The Press - www.press.co.nz
* Chain Reaction Cycles
* iHeartRadio
* Pure Sports Nutrition
* Akaroa 365 days of the Year
* Les Mills - New Zealand
* Tineli New Zealand
* Mackley Carriers Ltd
* Nature Valley Australia & New Zealand
* Lindauer
* TotalPos Solutions
* SMITH OPTICS NZ
* Dole Fresh New Zealand
* Photo & Video International
* Meadow Mushrooms
* Breads of Europe
* O'Neill Rentals
* MG Marketing
* Pasta Vera
* Moffatts Flower Company
* Interislander
* Global Adventure Guide
* Complete Performance Ltd
* Odlin Cycle Coaching
* Ronald McDonald House South Island
* 5 Passes Tour
* Cycling New Zealand
#LeRace
Please credit www.milescontinental.co.nz if using these photos.
NRC volunteers judge projects for a special NRC award at the 2009 Montgomery County area science fair held at the University of Maryland.
Visit the Nuclear Regulatory Commission's website at www.nrc.gov/.
To comment on this photo go to public-blog.nrc-gateway.gov/2012/04/01/nrc-moves-its-publ....
Photos by www.RonSombilonGalleryPhotography.com
ABOUT ROAMING DRAGON
Roaming Dragon came to life as two lifelong friends identified a major void in Vancouver’s food scene…the absence of restaurant quality food being served via Food Trucks!
Since launching in June 2010, Roaming Dragon has earned praise for our menus, our involvement as leaders in the food truck revolution, and for elevating the food truck experience across Canada.
Roaming Dragon can be seen on the streets of Vancouver, catering the city’s most exciting events, at a Farmers Market, or participating in charity events.
We specialize in authentically unauthentic Pan-Asian deliciousness. We offer unique interpretations of dishes and flavours familiar throughout Southeast Asia.
Street Food. Catering. Events.
As crazy as it may sound, the Dragon is so much more than a truck that serves food…the Dragon has a spirit and energy of its own!
From the aesthetics of the Dragon to the delicious smells, the music to the welcoming lanterns, the amazing food to our incredible staff…the Dragon has heart and soul.
The combination of food, music, smells, and smiles from our team make the journey to the Dragon special. We’re PROUD of our team, PROUD of our food, PROUD of our suppliers, and most of all PROUD to serve our customers.
We fundamentally believe that you DESERVE the finest ingredients, prepared with care and respect, and presented in unique and delicious ways.
We’re PROUD to know where our food comes from, that it was raised ETHICALLY and NATURALLY. Our team takes PRIDE in bringing you the most INNOVATIVE Pan-Asian cuisine you’ll ever come across!
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Old petrol wagons, missing their bogies and disowned by their two owners - Caltex and KiwiRail. Now stored in a compound awaiting an unknown fate - to cut them up for scrap would involve spending a lot of money cleaning the petrol residue off the insides of the tanks. Diesels on the Johnsonville Line, 22nd November 2009
Mapping workshop in Nakhon, Kassena Nankana District - Ghana.
Photo by Axel Fassio/CIFOR
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
Victorian Alpine Huts survey, for Parks Victoria 1994-5.
In late 1947 the Tallangatta & District Ski Club sought permission to erect a cabin 200-300' below the summit of Mt Wills, involving some clearing of alpine ash for the site and associated ski runs. The cabin would be of log and measure around 40'x20'x15' high. The club claimed itself a bona-fide sporting organisation, non profit and affiliated with the Federation of Victorian Ski Clubs. Tom Dunlop of Tallangatta was the club secretary and he sought aid from the local parliamentarian, Tom Mitchell MLA to speed up approvals to allow construction before the 1948 snow season{ DCNR file 73/1196 19.12.47, 13.1.48}. The Upper Murray Chief Forester, R Marshall, responded to the application stating that the site was in open snow gum country and he had no objection. The timber could be obtained from low grade alpine ash in the area and at no charge as long as the hut was made available for forestry officers. Clearing the ski runs would mean removal of snow gums but these were not thought to be useful milling timber in any case. The new track needed would provide a useful fire break{ ibid. 23.12.47}. A further proposal by the club described the materials as secondhand milled ash, pine floors and iron roofing. This hut was planned to be built as soon as possible on a second lower site (4900') as a base for day visits to the area. Another cabin, on the first site higher up the mountain, was planned for longer term accommodation but would not be built in the near future{ ibid.12.1.48}. Further information from the club revealed that the first hut built would be temporary, being one of Dunstan's mill huts reused on a site a little further up the mountain from that applied for. This allowed the alpine ash to be spared in favour of clearing snow gums{ ibid. report 27.1.48}. Water would come via a race from a creek to the west and the only materials needed from the site would be snow gums, for the blocks. A permissive occupancy was recommended. As for the higher site, clearing of about 4-5 chain, between two sphagnum moss beds, was needed to make the future hut safe from fire{ ibid.}. Official approval was made by telegram, noting the need to shift the site out of the ash belt. This was March 1948, allowing some time for work on the hut before snow. The rental was 5/- per year per site. Conditions included no occupation without permission during the summer unless a dugout was provided as was normal for forestry operations{ ibid. 16.3.48}. The license was dated 1.4.1948{ ibid. lic. num. 2004}. Another telegram described the hut as a one room cabin 30'x18' in round foot ash logs, 8 ' high walls, stone chimney in the rear, 2 large windows in front, one side door, an iron hipped roof, hardwood floor and a Hygeia Disholvenator for septic disposal{ ibid. 18.3.48}. This was varied yet again to a split slab hut 30' x 15' wide which meant that 90 1' snow gum bed logs and 8' split ash for the walls were needed: most of the remaining timber was to be sawn while only 5 posts would be needed. No royalties were to be charged for the snow gum as long as the hut could be used by officers during summer{ ibid. 22.3.48 report}. This last description matches more closely the existing hut, west end. By 1972 the club was being reformed, one result being the loss of the hut license through non payment of rent. The new secretary, Mrs Dawn Madin, noted that a lot of work had been done on the hut and the club now sought renewal of the license{ ibid.23.5.73}. Office bearers for that year included Mike Townsend as president, Keith and Mike Paton, and Regina Townsend. The license was renewed on $4/annum ($10 by 1978, $35 by 1987). This was when the ski tow was first alluded to. The club made reference to the `Top Hut' or summit hut at Mt Wills in the 1980s, noting that the gate was locked to the track stopping their use of skidoos to gain access in winter. This was result of conservation measures which sought to revegetate the track and the club was informed that the hut was refuge only during the winter. During a review of leases in the early 1990s the valuer general valued this hut site at $400/annum At the same time, the club had drawn up major extensions to the hut but wanted the rent to remain the same and the lease period to be extended{ ibid.30.10.90 plans also}. Despite the drawing showing a large extension to one end of the original hut, the department thought that the renovations were to take place within the existing roofline and were surprised when they noted footings being dug beyond the hut wall line. The club had a shire building permit but no departmental approval. Confusion appears to have existed as to what was existing and what was not, with the original 1948 section having been apparently extended by some 50% by the date of the application. Despite policy against enlarging the hut, the renovations eventually went ahead by replacement of a skillion section added to the side of the hut with a new two level gabled roof bay, approved in 1991 and commenced in 1992. The skillion (or flat) roofed carport used for the over-snow vehicles was also renewed in the early 1990s, with a former CFA building (rural truck shed); again despite some confusion over the club's permission to use this type of vehicle in the area{ ibid.18.7.91}. The new building would offer another vehicle bay but this would be used for refuge. Recently, some controversy has surrounded the use of the hut by the Charles Sturt University for their fieldwork excursions, prompting the club to consider restriction of the hut's use{ ibid. letter 19.11.92}. A plaque has been placed out the front of the hut to commemorate the life of Mike Townsend (past President), who was accidentally killed in 1983 { Carroll}.
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
©AVucha 2018
An 18-year-old Harvard man has been charged following a crash involving a car and motorcycle that left two people with life-threatening injuries in Harvard on Sunday.
Harvard police and firefighters were called at 4:45 p.m. on Sunday to Marengo Road and Brink Street in Harvard. Emergency crews found two people who were riding on the motorcycle who suffered life-threatening injuries.
A REACT medical helicopter and Flight For Life helicopter were both called to the scene to fly the victims to Rockford Memorial hospital.
Police said that Yonatan Escobar-Albarran, 18, of Harvard, was issued two citations for failure to yield at a stop or yield intersection and failure to reduce speed to avoid an accident.
Police said that Escobar-Albarran was driving southbound on Marengo Road when he collided with the motorcycle that was driving westbound on Brink Street. Officials said that he did not yield at the intersection.
The McHenry County Sheriff’s Office Accident Investigation Unit responded to assist with the investigation.
This photograph is being made available only for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial material, advertisements, emails, products, promotions without the expressed consent of Alex Vucha.
This Image:
As the name suggests, I feel that this frame is the purest expression of flow. Smooth, elegant and light.
---------------------------------------------
Project Overview
A. Introduction
My project explores the nature of “flow”, and looks at its multiple permeations in the world, both natural and man-made. I am interested in the inherent challenge in expressing movement in a still image. Moreover, I am not interested in mere movement; my interest is in fluid movement, or flow.
In retrospect, every aspect of my life involves flow. Whether it is my kayaking career, ski racing, or my love of clean and simple design, I pursue flow. But how can one express the emotion—the feeling—of flow? As they say, a picture can be worth a thousand words.
I researched the study of fluid dynamics on the Internet to find possible subjects (science clarified ). The three examples of fluid movement that I decided to explore include:
1.Water
2.Smoke
3.Transportation (both vehicular and pedestrian)
B. Influences
My initial inspiration came from the work of Amar Ramesh. His work with smoke photography, and what he can do with his images in collage work is amazing. An interesting connection that I discovered while researching the art of flow and fluid dynamics was the artwork of Jackson Pollock (Technica). I had not thought of his painting as fluid, but it really is. While his work is not photography, it is certainly influential and noteworthy.
C. Technical Setup
Water:
I focused on river currents, both slow and fast. I used a slow shutter with some ND filters and a polarizing filter so that I could shoot during the day. I explored the expressiveness of both abstract and literal images.
Smoke:
I used an incense stick as my smoke source. I shot with no ambient light, and a very strong side light (500w Halogen), with a barn door to prevent light from leaking onto the black background. Most of my shots were in the neighborhood of 1/100 @ f4 ISO320. Ideally, I would have had enough light to shoot at f8, and ISO100 but I was unable to generate enough light. I experimented with various color balances to effect the emotions of the images. I chose to shoot at 1/100 over 1/200 to really highlight the movement of the smoke, at the expense of crispness in some instances.
Transportation:
I shot at night in uptown Charlotte. I found various elevated positions to incorporate the static city and the dynamic cars. I found it interesting, and challenging, to incorporate both the movement of pedestrians and automobiles in the same images. Slow shutter speeds, low ISO and small apertures helped me to get the results that I was looking for.
D. What I learned, what I would do differently, and where I would like to go next.
Regarding my goal of expressing fluidity in a static frame, I feel that I did a good job of expressing my feeling of flow. I learned that it took both abstract and literal images to demonstrate my emotions. Also, for a lot of these images I had to shoot a lot of frames to get what came out to about 30 good images. My estimate is roughly 1000 frames total. I think that this partly because of the nature of nature—it is very unpredictable.
I learned that it takes a lot of continuous light to be able to light a subject at a preferable f8 1/200 ISO100. I really enjoyed experimenting with lighting and the dramatic results that can be achieved. However, having absolute control over the light really forces you to understand what you are doing, and it can be challenging to achieve the look that you want.
If I could do this again, I would try to find a 1000W Halogen and use a reflector for the smoke photography. For my traffic photographs, I would have liked to be able to shoot from elevation in uptown. As it was, I was only able to shoot into uptown. Looking straight down on traffic would have been an interesting shot, with rich shapes and patterns.
If I were to expand this set of images, I would like to feature a group of images featuring the movement of people.
The one true failure in my project was my attempt to photograph oil in water. Finding a vessel that was absolutely clear proved nearly impossible. I also experimented with lighting the vessel from the side, the bottom and both. I was unable to get any shots that I was really excited by. I think that to make it work, I would have needed either a LOT of light, or a large enough tank that I could get some depth of field to be able to hit the focus right. As it was, the lens was too close to the bubbles to get sharp images. Additionally, the small vessel made it difficult to capture pleasing compositions.
Bibliography
science clarified . science clarified . 5 April 2012 .
Technica, ARS. Wired. 19 August 2011. 5 April 2012 .
Here is a collage I did in which it involves a giant oak tree with a lot of people hanging around and admiring it.
Sources for the photos: tdbklassen.wordpress.com/2009/12/31/sightseeing/large-tre... pngimg.com/upload/man_PNG6515.png
www.immediateentourage.com/ie/wp-content/uploads/2013/04/... www.immediateentourage.com/ie/wp-content/uploads/2013/04/... darrenfinn.wordpress.com/2014/10/13/photoshop-exercise/ www.gymtasticsgymtools.com/blog/wp-content/uploads/2013/0... www.immediateentourage.com/ie/wp-content/uploads/2012/01/... www.immediateentourage.com/ie/wp-content/uploads/2010/03/... www.immediateentourage.com/ie/wp-content/uploads/2011/01/... skalgubbar.se/post/46580783975/203-im-sitting-on-the-roof... www.immediateentourage.com/ie/wp-content/uploads/2010/03/... skalgubbar.se/post/57010962703/entourage-silhouettes-pers... www.immediateentourage.com/ie/wp-content/uploads/2011/11/... www.immediateentourage.com/ie/wp-content/uploads/2011/10/... www.immediateentourage.com/ie/wp-content/uploads/2011/01/... 24.media.tumblr.com/tumblr_m5o7ofIsZf1qikgdeo1_1280.png
3.bp.blogspot.com/-DqmVtWkLLgk/UUnWiYsufHI/AAAAAAAAEkc/cI... cozey7.com/cozey-gallery/
www.immediateentourage.com/ie/wp-content/uploads/2012/01/... www.bebopusadogcollarsandleashes.com/wp-content/uploads/2...
www.immediateentourage.com/ie/wp-content/uploads/2012/04/... www.immediateentourage.com/ie/wp-content/uploads/2011/11/...
www.turnkeystorage.com/wp-content/uploads/2014/02/family-...
pngimg.com/upload/dog_PNG192.png
www.immediateentourage.com/ie/wp-content/uploads/2011/12/...
Title / Titre :
Camp etiquette involves shaving daily and putting on a tie when cleaning up after work at Eldorado Mining and Refining Ltd. /
Au camp de l’Eldorado Mining and Refining Ltd, il est de mise de se raser quotidiennement et de porter la cravate après le travail
Creator(s) / Créateur(s) : Eldorado Mining & Refining Ltd.
Date(s) : circa / vers 1930
Reference No. / Numéro de référence : ITEM 3375959
central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3375...
Location / Lieu : Port Radium, Northwest Territories, Canada / Port Radium, Territoires-du-Nord-Ouest, Canada
Credit / Mention de source :
Eldorado Mining & Refining Ltd. Eldorado Nuclear Limited fonds. Library and Archives Canada, C-023984 /
Eldorado Mining & Refining Ltd. Fonds Eldorado Nuclear Limited. Bibliothèque et Archives Canada, C-023984
Styling of Chinese food involves quite a number of garnishing, and I have a potential food styling job for some Chinese dishes coming up next week, so I thought I just start learning how to carve vegetables and fruits.
My first attempt was the white flower from turnip, which didn't turn out that well, the roses from carrot and leaves from cucumber were made in the second attempt today, and turned out much better.
Still needs a lot of practice, and patience, patience, patience...
I did not set up proper lighting for this, just a table top day light fluorescent light.
Read my blog for full story.
(IMG_9554-daylight-contrast-cropped-wm)
"Involving women in land issues is as important as involving other members of the society. Access to land increase women's involvement in improving food security and gives them an equal platform to participate in income generating activities," said Naswaha Said.
A member of Lamukani Community Justice Center, the mother of seven aged 47 champions for women's rights in land ownership, access to education and alternative dispute resolution mechanisms.
Photo credit: Irene Angwenyi / USAID Kenya
Oriente Station Lisbon Portugal - design Santiago Calatrava - 1993 - 1998
Going beyond the competition brief, Calatrava proposed piercing the embankment to establish a link between the previously separated areas of the Olivais District. The existing Avenida Berlin, perpendicular to the embankment, was extended to the river's edge. The new Reciproca Avenida, a matching but slightly oblique avenue, was built on the northern edge to establish an important east-west axis penetrating the Expo site. This solution provided clear and easy pedestrian access among the various transport modes, while serving as the ordering principle for the entire proposal.
Creation of the two flanking avenues, which define the boundaries of the pedestrian precinct, was a grand gesture involving the elevation of the station and its displacement to the north of the originally designated site. The proposal thus ventured into the realm of urban planning: a decision that not only won the support of the Expo organizers but also of the city's planning authorities, who up to that point had not been involved. The strategic order of the design helped to achieve the aim of giving the Olivais District a function beyond Expo.
Calatrava placed the platforms on a bridge structure, comprised of five parallel rows of twinned arches. The bus terminal is located immediately to the west of the station, and a complex of commercial buildings is arranged around a plaza to the east. This plaza provides access to a shopping mall, which, along with ticket counters and platform access, occupies a multi-level hall directly beneath the platforms.
We have expanded the color range of PRECIOSA Rocailles for you to include new natural colors!
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Fire involving a large field in Low Risby in North Lincolnshire. The fire spread rapidly due to the dry conditions due to the continuted heat.
In the Far North region of Cameroon, 4-year-old Wadale takes antimalarial medicine with the help of his mother during the fourth cycle of Cameroon's seasonal malaria chemoprevention (SMC) campaign. According to Wadale's mother, their family has not had a single case of malaria this year.
SMC is a campaign style public health intervention to prevent and treat malaria infection in young children living in the Sahel region of Africa. SMC involves giving an antimalarial medicine at monthly intervals for a maximum of four months during the rainy season when malaria transmission spikes (from July to October). The goal is to treat any existing infections and maintain protective drug concentrations in the blood throughout a complete transmission season.
Photo Credit: PMI Impact Malaria
The Jackson Walk for Warmth took place in downtown Jackson, where the Consumers Energy Headquarters is located. Pictured, Patti Poppe, Vice President of Customer Experience and Operations (right), carries a Consumers Energy banner with other employees.
Church of St. Stephan
Tower of the parish church
The parish church of St. Stephen's is a Roman Catholic church and is on the eastern edge of the old city core (parish court) of Baden in Lower Austria. The tower with the characteristic Baroque onion dome is visible from far away and still dominates the cityscape.
History
The Church of Baden belonged to the diocese of Passau for centuries. This long ties recalled that the parish church of the Holy Baden Is dedicated to Stephen, the patron saint of Passau. Bathing was originally a branch of the mother parish churches of Traiskirchen.
In 1220 a priest in Baden was first documented. What position he had - he might have been chaplain to the castle Baden - was not mentioned. As Traiskirchen with all its branches to the Melk Abbey, it was assumed it was in 1312 for separation of Baden. It has now an independent parish under the patronage of Melk. After prolonged disputes between the bishops of Passau and Melk the Abbey Melk in 1693 handed over the right of patronage to Passau. When the dwarf Diocese of Vienna was founded in 1469 was elevated to archbishopric in 1729 , it came to assign the previously belonging to Passau area south of Vienna, including Baden. 1784 Baden is finally sovereign's parish.
From the original parish area of Baden several new parishes were created: Sooß (from 1783 parish ), St. Christopher (St. Helena in 1783 raised as to the parish) and St. Joseph (1990 applicable to the parish). The parish is about 6,000 Catholics today with one of the largest parishes of the Deanery Baden. Besides the parish church, also belong to other churches and chapels of the parish pastoral area .
Appearance
The architectural history of the church in front of the building at the end of the 15th Century can only being guessed based on the remaining components. Mentioned in documents is only the existence of a charnel house (charnel house) in 1258. But have worked in Baden before that time priests and Baden castle certainly had a church or chapel, one can assume that towards the end of the 12th Century a church was located on the present site .
The immediate predecessor dates back to the Romanesque period. This church was probably a three-nave building with two low towers between which the chancel and apse were. Around 1400 began the construction of a Gothic chancel, including the lower church, which was built in the Romanesque apse and this eventually replaced. The nave of the church was in the second half of the 15th century erected, thereby including the Romanesque exterior walls. This period also saw the establishment of the main tower over the existing two Romanesque towers fall. This work - probably made necessary by a partial destruction of the church during the Hungarian invasion - had to be interrupted again and again in these troubled times. The main tower was not completed and finally covered with a gable roof. Only in 1697, after the tower was damaged in the wars against the Turks, put it on the appearance typical baroque onion dome. The most northern Vorturm (ante-tower) still existing remains of a "murder Gallery" reminiscent of the involvement of the Church in the defenses of the city. Around the year 1480, the Gotisierung (gothification) to have been completed. Puzzles are on the tower located in the west over the main entrance. The so-called "shot- tower" once towered far beyond the roof and, like the main tower was heavily damaged in the wars against the Turks. In 1827 it received its present appearance. It is believed that this tower was built in the Gothic period.
The 67 meter high tower, incidentally, is the so-called parament chamber and the watchman's apartment, on which until the 20th Century the sacristan lived. The belfry holds five bells. Of them survived the two world wars: the "Great Bell" (2000 kg tone: H) from 1832 and the " litany bell " (950 kg Sound: s) from in 1764. The other three bells were cast in 1949 : "Marie Bell" (sound : fis ) , the " Joseph Bell" (sound : gis) and the " Urbaniglocke " (sound : h).
Interior Design
View from the gallery
View of the nave
Paul Troger: Stoning of St. Stephen
Furnishings from the Romanesque and Gothic periods are scarce. From the Romanesque still can be found animal heads that are immured in the vaults of the central nave. The Gothic remember especially the baptismal font and several angels on the church walls and at the south gate. The period after 1480 to 1683 is marked by the Ottoman wars and the Reformation, where the Baden ministers eagerly have been engaged. Therefore receive only grave monuments from the Renaissance period, some of which are attached to the pillars of the Church. Noteworthy is a grave slab in the chapel for the Baden minister Joseph Vincent Bauernfeind († 1517).
The Turkish wars of 1529 and 1683 brought with it severe damage. So had to be replaced in addition to the placement of the tower bulb especially the interior of the church in the Baroque style. During the 18th Century was the formation of several side altars in the nave of the church at the beginning of each side of the ship, the Lady altar to the pulpit, the altar and the Sebastian Anthony altar. Joseph's Chapel was also the Baroque style. Where today stands the main altar, were erected an altar in honor of the Holy Cross, but in 1758 in the former sacristy below the North Tower (Chapel of the Cross) was added. At the same time was finished the construction of the present sacristy. Also worthnoting is that the Sebastian altar was donated to the plague year of 1713 the Baden citizenship as a reminder. This is attested to by a votive tablet, which now hangs above the output in the sacristy. In the chancel, the windows were bricked up almost entirely and set a Baroque high altar. The altarpiece depicting the stoning of St. Stephen painted the famous Baroque artist Paul Troger. In the sacristy the Baroque has left its mark: the altar in honor of St. Francis Xavier and the valuable baroque sacristy cabinet from 1743.
In 1880 began extensive Regotisierungsarbeiten (re-gothification work). 1893, the Baroque high altar was replaced by the current. Only the high altarpiece remained in the church and got its present location on the output with the vestry. The walled-up windows in the chancel were re-opened. Similarly, the neo-Gothic paneling and the choir was built. Even the altars in the aisles and the St. Joseph's Chapel and the Chapel of the Cross were again re-gothicised. Is painful that in this course the original Gothic console statues on the walls have been replaced be new-gothic ones. Only one has been preserved and is on display in Baden Schiestl-Hof. With the transformation of the side entrances ended 1913 gothicised parish church.
In the 70 years the great interior and exterior renovation of the church took place. There were several rooms grown during the installation of a district heating at the north gate. The interior renovation of the main altar and today's session was established. The neo-Gothic altars in the aisles were removed, and only the remaining altar statues. Also, the defective Baroque pews were replaced by new ones. In 1989, the altar of the Chapel of the Cross was eventually transferred to the parsonage, and there set up a chapel.
Organ
The Hencke-Organ
The organ of the parish church was originally built for the Dorotheerkirche in Vienna in 1787 and brought here. It is a work of the famous organ builder Johann Hencke from the year 1744.
During the renovation in 1987 (organ building Gerhard Hradetzky Oberbergen in Lower Austria) the original keys have been re-installed, on which have probably already played Mozart and Beethoven. The organ has 28 stops on two manuals and pedal.
Mozart, who had assisted in the performance of several of his shows in Baden St. Stephen was a friend of the former choir director Anton Stoll in 1791 and dedicated to him his famous Ave Verum K. 618, probably in June 23rd of 1791 was premiered in the parish church .
It is scheduled as follows:
I. Main
1 Principal 8 '
2 Octav 4 '
3 Quint 3 '
4 Super Octave 2 '
5 Mixture V 2 '
6 Cymbals III 1 '
7 Bordon 16 '
8 Forest T Fleten 8 '
9 Quintadena 8 '
10th Pointed Fleten 4 '
II positive
11th Gamba 8 '
12th Principal 4 '
13th Octav 2 '
14th Quinta 11/2 '
15th Mixture IV 11/2 '
16th Copel 8 '
17th Fleten covered 4 '
18th Sesquialtera II
19th Krum Horn ( B / D ) 8 '
pedal
20th Contrabass 16 '
21, Principal Bass 8 '
22, Octave 4 '
23, Mixture III 3 '
24th Octav Bass 8 '
25th Quinta 6 '
26th Great Posaun 16 '
27th Posaun Octav 8 '
Measurements [ Edit]
Length 55 m
Width 20 m
67 m tower