View allAll Photos Tagged mangle
Do not use this photo without a written authorization / All rights reserved.
No se use esta fotografia sin mi consentimiento por escrito.
Todos los derechos reservados / © Luis Bonilla 2008.
-Manglares en los pantanos de Monterrico, Guatemala a un par de kilometros del Oceano Pacifico.
Mangler from Kenner's Congo line. Him and Blast face seemed like the only good sculpts in the series.
Set: Prefering Scarf Gags (14) - Totally 162 Pics
Taken Feb 13, 2014
Upload Part #2 On Feb 27, 2014: Pics# 102..053
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162 Pics
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There Are Two Ways To Take This Silk Scarf Gag Behind Your Teeth.
The Ends Of The Blue White Dotted Scarf Moves Down Your Throat
Is An Very Interesting And Threatening Way To Be Gagged By This
Great Large Ball Gag. Having During Your Gag Session Your Hands
Securely Bound Behind Your Back, It's A Never Missing Thrill In
Your Way To Reach A Great Exploding Firework Long Before You Cum.
Be Careful, This Is A Very Dangerous Way To Wear A Gag. Not The
First Step For Beginners.
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Il y a deux façons de prendre ce Gag de foulard en soie derrière vos dents.
Les extrémités du blanc bleu pointillé écharpe se déplace dans la gorge
Est une manière très intéressante et menaçante d'être bâillonné par là
Grand bal grand Gag. Ayant, au cours de votre Session de Gag, vos mains
Solidement liés derrière le dos, c'est un frisson jamais manquant dans
Votre chemin pour atteindre un feu d'artifice explosant grand bien avant de vous foutre.
Soyez prudent, qu'il s'agit d'une façon très dangereuse de porter un bâillon. Pas la
Première étape pour les débutants.
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Hay dos maneras de llevar este pañuelo de seda Gag detrás de los dientes.
Los extremos del blanco azul punteada bufanda se mueve en la garganta
Es una forma muy interesante y amenaza de ser amordazado por esto
Mordaza de bola grande grande. Teniendo las manos durante su sesión de Gag
Firmemente atados detrás de la espalda, es una emoción que nunca falta
Su manera de llegar a una gran explosión de fuegos artificiales durante mucho tiempo
antes de venirme.
Ten cuidado, que esta es una manera muy peligrosa usar una mordaza. No la
Primer paso para principiantes.
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Existem duas maneiras de tirar esta mordaça de lenço de seda atrás de seus dentes.
As extremidades do branco azul pontilhada cachecol movimentos na sua garganta
É uma maneira muito interessante e ameaçadora de ser amordaçado por isso
Mordaça grande grande. Tendo durante sua sessão de mordaça em suas mãos
Firmemente atadas atrás das costas, é uma emoção nunca falta
Seu caminho para chegar a um grande explosão de fogo de artifício muito antes de você
gozar.
Cuidado, que este é um caminho muito perigoso usar uma mordaça. Não o
O primeiro passo para iniciantes.
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Ci sono due modi per prendere questa sciarpa di seta Gag dietro i denti.
Le estremità del bianco blu punteggiato sciarpa mosse giù per la gola
È un modo molto interessante e minaccioso di essere imbavagliato da questo
Grande grande palla Gag. Avendo durante la sessione di Gag le mani
Saldamente legati dietro la schiena, è un brivido mai manca
La strada per raggiungere un fuoco d'artificio che esplodono grande tempo prima si Cum.
Fate attenzione, che questo è un modo molto pericoloso indossare un bavaglio. Non la
Primo passo per principianti.
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Er zijn twee manieren om te nemen deze zijden sjaal Gag achter uw tanden.
De uiteinden van de blauwe witte gestippelde sjaal bewegingen in je keel
Is een zeer interessant en bedreigende manier om te worden de mond gesnoerd door dit
Grote grote bal Gag. Feit dat uw handen tijdens uw sessie Gag
Veilig achter je rug gebonden, is het een nooit ontbrekende sensatie
Uw weg naar een grote exploderende vuurwerk lang voordat je klaarkomt.
Wees voorzichtig, dat dit Is een zeer gevaarlijke manier om te dragen een grap. Niet de
Eerste stap voor Beginners.
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Der er to måder at tage denne silke tørklæde Gag bag tænderne.
Enderne af de blå hvide punkterede tørklæde flytter ned din hals
Er en meget interessant og truende måde at have mundkurv af dette
Stor stor kugle Gag. At have under sessionen Gag dine hænder
Forsvarligt bundet bag din ryg, er det en aldrig mangler spændingen
Din måde at nå frem til en stor eksploderende fyrværkeri længe før du Cum.
Vær forsigtig, dette er en meget farlig måde at bære en Gag. Ikke den
Første skridt For begyndere.
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Det finns två sätt att ta denna sidenscarf Gag bakom tänderna.
Ändarna på den blå vit prickig Scarf flyttar ner i halsen
Är ett mycket intressant och hotande sätt att vara munkavle av detta
Stor stor boll Gag. Med under sessionen Gag händerna
Säkert bunden bakom ryggen, är det aldrig saknas spänningen i
Ditt sätt att nå en stor exploderande fyrverkeri långt innan du Cum.
Var försiktig, detta är ett mycket farligt sätt att bära ett skämt. Inte den
Första steget för nybörjare.
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Det er to måter å ta denne silkeskjerfet Gag bak tennene.
Endene av det blå hvitt prikkete skjerf trekk ned halsen
En meget interessant og truende måte å være Gagged av dette
Stor stor Ball Gag. Å ha under Gag økten hendene
Sikkert bundet bak ryggen, er det aldri mangler spenningen
Din måte å nå en stor eksploderende fyrverkeri lenge før deg Cum.
Vær forsiktig, dette er en veldig farlig vei å bære en vits. Ikke den
Første skritt For nybegynnere.
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有两种方式采取你的牙齿背后这丝巾堵嘴。
蓝白色的两端点缀你的喉咙围巾下移
是非常有趣和恐吓的方式，由这捆绑
伟大的大型球堵嘴。
堵嘴在会话过程中有你的手安全地绑定在你的背后，
是永远不缺少让人激动自己的方式来达到大爆炸的烟花很久之前你暨。
要小心，这是非常危险的方法是穿一个段子。
不适合初学者的第一步。
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Es gibt zwei Moeglichkeiten, diesen Seidentuch Knebel fuer hinter die Zaehne.
Die Enden des blau weiss gepunktete Schal Bewegungen in Ihrem Hals
Ist eine sehr interessante und bedrohliche Weise, dadurch geknebelt werden
grossartige grosse Ballknebel. Haben Sie waehrend Ihrer Knebel Sitzung Haende
Sicher hinter deinem Ruecken gebunden, ist es nie fehlenden aufregend
Ihr Weg zu einer grossen Explosion Feuerwerk zu erreichen lange bevor Sie kommen.
Vorsicht, dies ist eine sehr gefaehrliche Moeglichkeit, einen Knebel zu tragen.
Nicht der erste Schritt fuer Anfaenger geeignet.
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The Concrete Heritage Museum is losing a long term storage room as the owners of the building would like to renovate it for a future purpose. Much of what we have in there has no real place in our museum so we would like to dispose of it. Offering it to other museums is part of the process, so we hope that some of it will find a home in nearby community museums. Part of it is shown in these pictures today and more will be added later.
Una sencillita de una tarde en la ciénega de el puerto de Sisal, fue un deleite ver los flamingos, volando encima de nosotros, lo malo aquí es que no tengo un tele para que uds. pudieran apreciar estas aves en su hábitat. gracias por verla.
Back on January 28 of 1979, I learned that there had been a freight train derailment in Cornwall, New York. I wanted to go up and photograph it, but it was 45 miles from my house and I had only had a driver's license for about two months (two months in which I had never driven more than 20 miles away). I also didn't have my own car. I had to beg (and I mean beg) my parents to let me drive that far. Somehow I pulled it off and found my way to the Dock Hill railroad grade crossing along the Hudson River, where the wreck was being cleaned up the mangled tracks replaced. Although in the fifth photo here, you can see that other civilians were just walking around the wreckage, I was timid and only walked a ten or twenty yards along the west side of the tracks.
Rhizophora mangle Linnaeus, 1753 - red mangroves in the Bahamas.
Plants are multicellular, photosynthesizing eucaryotes. Most species occupy terrestrial environments, but they also occur in freshwater and saltwater aquatic environments. The oldest known land plants in the fossil record are Ordovician to Silurian. Land plant body fossils are known in Silurian sedimentary rocks - they are small and simple plants (e.g., Cooksonia). Fossil root traces in paleosol horizons are known in the Ordovician. During the Devonian, the first trees and forests appeared. Earth's initial forestation event occurred during the Middle to Late Paleozoic. Earth's continents have been partly to mostly covered with forests ever since the Late Devonian. Occasional mass extinction events temporarily removed much of Earth's plant ecosystems - this occurred at the Permian-Triassic boundary (251 million years ago) and the Cretaceous-Tertiary boundary (65 million years ago).
The most conspicuous group of living plants is the angiosperms, the flowering plants. They first unambiguously appeared in the fossil record during the Cretaceous. They quickly dominated Earth's terrestrial ecosystems, and have dominated ever since. This domination was due to the evolutionary success of flowers, which are structures that greatly aid angiosperm reproduction.
The red mangrove principally lives in sheltered estuaries with its roots in and often submerged by marine water. Most angiosperms cannot tolerate such saline conditions. The plant’s vascular tissues transport nutrients and water throughout the plant, as do all vascular plants. The transported water is, of course, quite salty. This salt is not needed by the organism. The red mangrove concentrates the salt into a few leaves, which turn yellow. Eventually, the yellow, salt-rich leaf detaches and falls into the water. These leaves essentially act as kidneys for the whole plant.
Classification: Plantae, Angiospermophyta, Rhizophorales, Rhizophoraceae
Locality: northern shore of the eastern part of South Pigeon Creek Estuary, southeastern San Salvador Island, eastern Bahamas
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More info. at:
A mangle from the manse of the United Presbyterian Church, Bute Terrace, Millport. Made by Lindsay & Fenwick. It was kept at the manse after its working life had stopped and then donated to the Museum of the Cumbraes. The mangle is part of the museum's collection.
The mangle consists of an green painted iron frame supporting two wooden rollers. On top a screw and wishbone spring are used to regulate the pressure between the rollers. It is powered by a turning handle with wheel and gears. The mangle rests on four castors used to move the object.
Mangles were used to squeeze excess water from washed clothes and linens. The wet fabric was placed at the gap between the rollers and the handle turned. This pulled the cloth through the mangle and rid it of water. Large mangles, such as this one, would have been used in well-off households.
For more information on the Yesterd@ys project, please visit Our Website, or email us at NAHeritage@North-Ayrshire.gov.uk
DISCLAIMER
All archival images on this website have been made available by The North Ayrshire Council in good faith for reference and/or educational purposes only and without intent to breach any proprietary rights which may subsist in the work. Images may not be printed, copied, distributed, published or used for any commercial purposes without the prior written consent of the individual or body which holds such rights. Should any alleged breach of proprietary rights be brought to the attention of The North Ayrshire Council, relevant material will be removed from the website with immediate effect.
The North Ayrshire Council is not responsible for the content, reliability or availability of external websites and cannot be held liable for any loss or damage to the user, of whatever kind, arising either directly or indirectly from use of same. Listing should not be taken as an endorsement of any kind and in particular, of views expressed within any such site.
Our home was no exception to the general rule of the 1950s that Monday was wash-day. This was pretty well an all-day affair. It began by filling up the tub with water which then had to be heated to boiling point. The clothes and soap powder were then added and left to boil away for several hours. The next step was to run each item through the wringer (or mangler, as we knew it). The surplus water would run back into the tub. Duly wrung out, the clothing would be placed outside to dry on the washing line. You hoped it would not rain. We were fortunate not to live too close to a railway line, where smuts from passing steam trains could negate all the previous washing efforts. After all that, attach a hose to the tub's outflow tap and drain the surplus water into the back yard, and if possible, open all windows and doors to let the condensation escape. Repeat the following Monday.
Acme was our brand of mangler, but made redundant when we were able to afford a new twin-tub washing machine in 1963. I was astonished that my mother could now complete the wash cycle within the morning.
Wringing Machine, or mangle, made about 1900 by Donald & Co., Glasgow, and used to double press clothes.
The wringer is a cast iron framed machine on four castors. Three wooden rollers are driven via cogs from a large hand-powered wheel. Tension in the rollers comes from iron weights hung on levers. A wooden shelf on its front collected the pressed clothes.
Because of its size this wringer would have been used in a mansion or a laundry. Most people could not afford to buy a machine of this quality but would pay to use one in a communal laundry.
For more information on the Yesterd@ys project, please visit Our Website, or email us at NAHeritage@North-Ayrshire.gov.uk
DISCLAIMER
All archival images on this website have been made available by The North Ayrshire Council in good faith for reference and/or educational purposes only and without intent to breach any proprietary rights which may subsist in the work. Images may not be printed, copied, distributed, published or used for any commercial purposes without the prior written consent of the individual or body which holds such rights. Should any alleged breach of proprietary rights be brought to the attention of The North Ayrshire Council, relevant material will be removed from the website with immediate effect.
The North Ayrshire Council is not responsible for the content, reliability or availability of external websites and cannot be held liable for any loss or damage to the user, of whatever kind, arising either directly or indirectly from use of same. Listing should not be taken as an endorsement of any kind and in particular, of views expressed within any such site.
Rouge sur gris - Karlsruhe
Red on grey - Karlsruhe
Rot auf Grau - Karlsruhe, 1962
Lack auf Leinwand/Lacquer on Canvas
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.
A bridge crossing the Elbow River connecting the communities of Elbow Park and Britannia is mangled beyond recognition.
As his body was warped by the Far Realm, the Mangler's arms split at the elbows, turning him into the horrid creature you see today.
Not to be confused with a wringer, the mangle was used to smooth sheets...Seen at the Temora Rural Museum 12/02/15