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Georg Baselitz, *1938, Hirtenkopf, 1986 (Shepherd's Head) - Albertina, Sammlung Batliner (Collection Batliner)
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.
ATC has a playing card as a background. Melted beeswax is used to attach and cover scraps of paper napkin and an image cut from Delft wrapping paper. The perception is nostalia.
Alternate Perception is a huge skate video I'm working on with Daniel Quiyu.
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It's always a matter of perception. Everything is.
When you see "Born to die", do you think it's being negative or fatalist because of the word "die" ?
For me, it's only truth: we're going to die, all of us, that's a fact. And accepting that fact helps understand how important it is to live life while you can, while you're alive. So as negative as the sentence may seem at first, it makes me very very happy.
Perception. :) (annnd a new tattoo on my arm as a reminder of that!)
One of my little side-projects: photographing doors, in a project I call "Doors of Perception" (yes, I am a fan of The Doors).
It is actually a rectangular pillar well in front of the building and not a flatbed wall. The shot was taken deliberately at an angle to create the illusion by the use of this brilliant street art work.
- Trompe l'œil... en d'autres termes truquer la perception visuelle
C'est en fait un pilier rectangulaire bien en avant du bâtiment et non un mur plat. La photo a été prise délibérément sous un angle pour créer l'illusion en utilisant ce street art brillant.
I've always admired the Barbican, along with many of the "utopian" projects from the brutalist period. Unfortunately many people, led by Prince Charles seem to despise these buildings. It's very much a challenge of perception, and how we are often mislead. This is a series of two images which have simply been post processed differently, and shows you how easily the mind can be warped.
some wake to discover
their species on the take
her problems, your problem
(just like mother used to make)
personal fiction is a cultural tradition
when we talk to ourselves for decades
and still never learn to listen
what stops the stranger self
from pushing to the surface?
we're all gods in our own minds most days
making differing opinions
out as blasphemy and curses
in the silent acceptance
of sheer perception
all we ever wanted
was life without direction
where all the things we do
like dreams, just kinda happen
tapping into artificial
emotional intelligence
asking: "why not live
the way most likely?"
the probable conclusion
the dice roll decision
the vision of what
predictably comes next
mechanical
assistance
in living
(at last)
~ ~ ~
March 7, 2026
Allains Creek, Nova Scotia
Year 19, Day 6691 of my daily journal.
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This is a video of the slides I presented at the CALRG seminar on March 3rd 2016. Further details at: www.open.ac.uk/blogs/CALRG/?event=seminar-getting-lost-in...
The bloody black damask underbust corset features 18 steel bones encased within a beautiful 14-panel silk damask shell, hand-flossed with silver thread. The corset also features a historically spaced split-front busk, "rabbit ear" lacing, floating modesty panel, and silver grommets and aglets. And blood, lots of blood!
Standard sizing with the addition of an M+ size created specifically for very curvy avatars that don't fit into the standard sizes, and a Bx size for top-heavy avatars.
Available in-world at Perception and on the Marketplace.
Perceptions - Rob Hall
"The Alabama Jubilee Hot-Air Balloon Classic is the oldest hot-air balloon race in the mid-South, started in Decatur, Alabama in 1978.
The sport of Hot-Air Ballooning had come to Decatur only a few years prior to the fact that the City of Decatur had decided to purchase a hot-air balloon but now needed pilots to fly it. So the salesman of the balloon cut a deal that he would train three pilots to fly the city's new balloon.
A few years later the sport of ballooning had hit Decatur hard and there were several well known pilots living in the area. Craving competition and the festival atmosphere provided at other ballon rallies 17 balloonists from Alabama,Kentucky, Ohio, Georgia, Mississippi and Louisiana got together with a handful of other volunteers and started the Alabama Jubilee
Initially Jubilee also served as a showcase for the new Decatur balloon, one of the first hot air balloons to represent a city, and an event to kick off Alabama's tourism season. These days Jubilee draws about 60 pilots from 20 states for two days of competition during the annual Memorial Day holiday weekend and serves not only as a showcase for the City of Decatur but as a must-attend community event that draws visitors for all over the country.
The continued popularity of the Alabama Jubilee prompted the Alabama Legislature to designate the City of Decatur as the “Ballooning Capital of Alabama.” The Jubilee has also been named a Top 20 Tourism Event in the Southeast for May by the Atlanta-based Southeast Tourism Society."
Taken from alabamajubilee.net/about.php?pagename=history as it appeared on May 26, 2014.
Bob and Matt test drive the Rolls Royce Ghost at the famous Pebble Beach Concours d'Elegance. We drove it through the beautiful scenery of the 17 mile drive.
Sponsored by Power Brake Service - Changing the perception of brakes from pads and rotors to rocket science since 1950. Performance Hydro-Boost™ & AIRMASTER™ Brake Systems www.powerbrakeservice.net
About Power Brake Service:
We build and Rebuild endless varieties of new and classic brakes for every type of vehicle and trailer. The company was started by George Sweeting in 1950 who worked for the railroads and Lockhead, it is now run by his son Bob Sweeting who learned about modifying cars while drag racing in the 60's, and Bob's son Matt Sweeting (who grew up in all of this) is taking over more and more responsibilities. We were a Warehouse Distributor for Bendix for 20 years until they sold they sold their Power Brake Division to Bosch, which is when we became a special modification contractor with Bosch for their power brakes - which come on most new American vehicles. Our ability to design brake systems, rather than just replace rotors and pads, has taken us to amazing places and we have worked on amazing projects. We have:
Hydro-Boost Conversions
Vacuum Brake - Conversions, Upgrades, and Modifications
Wilwood and Brembo Disc Brake Kits
Master Cylinders
Stainless Braided Hoses
Classic Car / Muscle Car Stock Brake Restoration and Rebuilding (Corvette, Camaro, Chevelle, Mustang, Ford & GM Truck, Mopar, Rolls Royce)
Light Truck / Medium Truck Hydro-Boost Replacement Parts and Conversions
Medium Truck / Heavy Truck Hydro-Max, Air brake, and Air-hydraulic systems - and Hydro-Max Conversions for the obsolete Delco Hypower
Conversions for the obsolete Buick Grand National, T-bird SC, Land Rover, Jeep and all other electric brake booster / electric powermasters
Modified brakes for Altered Bed Fleet Vehicles
Modified sensitivity for the Handicaped
Disc/Drum and Disc/Disc Proportioning Valves
We have worked on everything from propane powered trams to roller coasters, cranes, parade floats, multi engine street rods, classic european cars, double decker buses, and a Freightliner racing truck. Our favorite is working on big engine muscle cars that make too little vacuum and need more stopping power.
331/365
I've gotta say. I'm in a strange, strange mood today.. I've been so busy, I'm starting to notice it's effecting my pictures. Tomorrow I have people coming to visit 'till Thursday, which I then leave at 6am in the morning to drive 15 hours, and then sleep in a random hotel and drive a few more hours to get to Connecticut Friday morning. I'll get to stay by the beach (yay!) and then head to Boston for a few days on Sunday. It should be a good weekend, but my mind is just overflowing with all I have to get done. On a side note; while I'm in Boston I'll be hanging out with an awesome photographer friend and we're gonna collab! Can't wait!
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Humor me people...
What do you see?
I played with a feature in PS and came up with this picture.
Can anyone guess what`s going on here?
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.
What had been a throw away shot, caught my eye today and I thought...What if?
So, I twisted it 90 degrees, and boosted the shadows and color. Now it makes me think about a different perspective.
"Being born in a duck yard does not matter, if only you are hatched from a swan's egg."
Hans Christian Anderson
This is our local swan. Her and her partner have been using this nest, just a few minutes walk from my parents' house, for years. They have been the victims of vandals destroying the nest, yobs stealing or breaking their eggs and the Cob has required medical treatment after swallowing an abandoned fishing hook and line. Yet they come back year after year, laying their eggs and producing ugly yet beautiful young, which, if they avoid the mink and pike, grow into majestic and serene adults. Truly inspirational.
copyright, 2012, Ferran Cubedo.
SALE OF PRINTED ARTS > : society6.com/ferrancubedo/Perception-Nature_Framed-Print#...
To view complete project: Mindwash_Under the Threshold of Consciousness
Promotional Book | Type Promotional Book for Copy // Copy Cut // Copy Semi Grotesk
The basis of this project was to choose a typeface and design a poster, promotion book, type promotion book, and website to showcase and promote the chosen typeface. I chose the Copy Family: Copy // Copy Cut // Copy Semi Grotesk from the T26 Digital Type Foundtry.
Concept_Subject of Study:
Copy Semi Grotesk, the typeface designed by Thomas Mettendorf, is a mix between a slab serif, serif, and monotype typeface categories. Copy Semi Grotesk is a typeface that stands on its own, in a unique category between the slab serif, serif, and monotype; in short, Copy Semi Grotesk represents a sense of duality which is how it relates to the subject of subliminal perception. Subliminal perception occurs when you are not consciously aware of receiving information, or learning, yet the information is still stored in your mind; it reaches the individual on a subconscious level but affects one on a conscious level, thereby adding to that layer of duality. Since Copy Cut, with its angular cuts, is about breaking away from the ordinary shapes and basic design, so too is the concept of this book: to break through the meaning of these subliminal messages and realizing the underlying true content.
Final size of book: 7" x 10" | Printed on Brilliant Supreme Matte paper
Poster size: 24" x 36" | Printed on Brilliant Supreme Matte paper
In rural areas of Pakistan, fear of mobility is one of the most common reasons why girls are not sent to schools post puberty. Funny when it comes to earning, that fear vanishes in no time!
Photo Taken in Beaverton, ON - April 2021 (I love you Dad)
It was easier to get mad at him than it was to understand him. My dad was a tree with love and life running through each branch and for me, I had a leaf on that tree. It may have been a single leaf but it was mine, my own small piece of him. You see, also running through each branch was the reasons for why my dad was the man he was. You couldn’t see the reasons because as the tree grew the bark grew with it and that bark was thick, impenetrable and it covered the scars that my dad carried with him each and every day of his life. He never really talked a lot about it and no one ever really understood his reasons and it was just easier to get upset with him than it was to stop and question “why am I really getting upset”? I am sure that he realized the upset but he was trapped within that tree. He could hear the upset, see the upset and without a doubt he could feel the upset, but there he was stuck within that tree. Through it all though I hung onto that one leaf. I watched that leaf shine in the sun, drip in the rain, blow through the storms and dazzle with such beautiful colours in the fall. That leaf never fell to the ground and I hung on to it knowing that this leaf, this one small part of such a huge tree was mine. The rain and storms and the cold winter always gave way to the warmth of the sun and beauty of the fall. The tree that was my dad was anchored by all that was good, all that was love but some of the roots injected into him all that he struggled with. I do not blame my dad for allowing his tree to sway or to allow for branches to fall off because I knew he was powerless and I eventually understood. It took me awhile but I understood because like some of the roots on his tree, I inherited the same struggles. Nobody really seems to want to listen but he did as I listened to him. He understood first hand what I was telling him because he lived it his entire life. For me, the last 6 years I’ve been to many people hoping someone would listen, someone would understand or that someone would help but I always came back to him. “Why Dad” I would begin to ask and he never had an answer but he always provided an understanding. “Why does it feel like the world is always ending, my heart racing, what happened to me”, I would ask and again, never a definite answer, just words of understanding. “Why do I sit in a chair all day Dad and I feel paralyzed to move even though I know what I’m doing is wrong and I’m hurting others”, he would look at me from his car and I knew he understood. He understood because he is the tree and these are all his branches. It didn’t make Christmas’ easier and it didn’t make holding his hand easier because the branches on my dads tree were long now and showing signs of all the years and all that they have endured - but, he understood and I understood. I had a leaf on my dad’s tree, a single leaf but to me it was bigger than the tree itself because it was my leaf, my piece of my dad and I loved that leaf. I watched helplessly as that one leaf, my leaf fell to the ground and I wasn’t there to catch it. I should have been there to catch it and I let it fall. Gone now is that leaf, never to return again, never to extend that hand and tell me he loves me. What I would give to have that leaf back, just to see it shine again because that leaf had more love in it than I really ever knew until now, because it is gone. I don’t know what more to say, the pain right now is felt by many who had leafs on that tree. Some had many leafs, some had bigger leafs and I am sorry that these leafs are also gone - we all have lost a piece of something beautiful. I am so sorry Dad
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Although it looks like a swamp in this shot, it is actually Deep Fork River flood water at the Wildlife Refuge. kayak.oklahomaroadtrips.com.
New Flickr Profile Found At www.flickr.com/davegruentzel
My large cap mic. does the job very nicely.