View allAll Photos Tagged phaser
Fur: Tonkinese - Blue Mink
Eyes: Dry Olive (Shape: Curious | Pupil: Small)
Shade: Twinkle
Tail: Fluffy
Ears: Scotty Fold
Whiskers: White (Shape: Odyssey FrazzyWave)
Size: 21 cm (8.2 inch)
Version: 1.49
Owner: 1GaJulia Resident
ID: af6dbee5-c3f6-ec25-7db0-9d318ef3f169
Pedigree: kittycats.ws/p.php?9b60fd37-a247188-30243
Visit this location at FelineS KittyCatS - The City... *NEW* in Second Life
photographer: @valeryshpakphotography
I'm taking photos for private galleries and art collectors,
working on events, weddings, family photos and modelling gigs
New York, Miami, Europe, Worldwide.
The first phase of my next custom LEGO creations, here's an articulated figurine of Link (as circa Legend of Zelda: Ocarina of Time era) in an artistically-transformed mode -- inspired by Japanese mechas, à la Mobile Suit Gundam! This particular figure is the original base model that I built; three more variants are currently being manufactured and photographed by me. Stay tuned for the next three versions from this series of custom LEGO figures -- and eventually an instructional guide with parts list so that you can build your own!
P.S. - The hard part? The shield. That damn shield.
️ SPQR - Phase I ️
▶️ Watch the Model Film in 4K on YouTube:
▶️ Intro to SPQR Project:
Support this unprecedented project on Patreon:
www.patreon.com/RoccoButtliere
Parts: 104,000+ (~1,700 unique)
Scale: 1:650
Dimensions: 57in x 289in (143cm x 231cm)
Research Time: 2,000+ hours since 2019
Design Time: 1,000+ hours in 200 days
Build Time: 600+ hours in 90 days
Photography: EClarke Photo 📷
© MMXXIII - Rocco Buttliere, LLC
Picture Taken Of The New Mario M Cuomo Bridge Taken From Sleepy Hollow New York. Photo Taken Saturday January 27, 2018.
DSC2789
How the desk looked for the last few years. Quad screens ftw.The 32" display on top is mounted to two 2x4's that run vertical up the back and are bolted to the lower frame and upper hutch. I used a Monoprice tv mount.
️ SPQR - Phase I ️
▶️ Watch the Model Film in 4K on YouTube:
▶️ Intro to SPQR Project:
Support this unprecedented project on Patreon:
www.patreon.com/RoccoButtliere
Parts: 104,000+ (~1,700 unique)
Scale: 1:650
Dimensions: 57in x 289in (143cm x 231cm)
Research Time: 2,000+ hours since 2019
Design Time: 1,000+ hours in 200 days
Build Time: 600+ hours in 90 days
Photography: EClarke Photo 📷
© MMXXIII - Rocco Buttliere, LLC
The Pina went through a phase at about 2 or 3 where she was completely obsessed with the color red. This was one of her go to dresses. I remember this day, August in Sacramento. It was blazing hot and we were at Jamba Juice waiting for smoothies she was angry for no reason other than being 2 nearly 3 and angry. She's thinned out a lot these day, her chipmunk cheeks and fat knuckles are leaving.
Found when looking through negatives. From Summer 2009 with the Rolleiflex. Same day as I took this accidental double exposure of the big one.
Now this is how it started, my dreams all broken-hearted...
So sang Darryl Pandy on Farley 'Jackmaster' Funk's seminal Chicago house hit 'Love can't turn around'. What has that got to do with today's WIP I hear you ask. Nothing. Not a thing. Just wanted to give you an earworm.
This is just phase 1 of the journey for this picture so I thought a work in progress shot was necessary for posterity. We've got a ways to go yet...
Cheers
id-iom
Row, but phased, this model displays his metal. Cold as Hell ?
It was 20°F ( °6.66C ) in the radio shack.
If Sam Peckinpah rode the rails.
Mamiya 645AFDII with Phase One P30+ digital back. 1/80" @ f/16, 35mm f/3.5 lens. ISO 100, WB daylight.
Post in Capture One Pro 7 and Photoshop CS6.
The end of painting of Wi-fi in coffee,carbon and graphite witg some Artgraf watercolor paint , Thank You for the visit and have a nice day
Pictured: Recruits receive 'fieldcraft' lessons on Barossa training area. These can include things like giving a fire control order to judging distances.
A series of images taken to replace the imagery at ATR Pirbright. The images depict day to day life and training of Phase 1 recruits.
On January 5, Cassini's ISS instrument observed a half-phase Titan from a distance of 1.16 million kilometers (0.72 million miles) in order to look for clouds in the moon's atmosphere as part of the "Titan Monitoring Campaign" (TMC).
This is an RGB true color composite of Titan. Notice the North Polar hood (detached) and the South Polar Vortex.
These images were taken on January 05, 2013 and received on Earth January 07, 2013. The camera was pointing toward TITAN at approximately 722,433 miles (1,162,643 kilometers) away, and the images were taken using the RED, GRN, BL1, CL1 and CL2 filters.
Credit: NASA / JPL / SSI / composite by Val Klavans
️ SPQR - Phase I ️
▶️ Watch the Model Film in 4K on YouTube:
▶️ Intro to SPQR Project:
Support this unprecedented project on Patreon:
www.patreon.com/RoccoButtliere
Parts: 104,000+ (~1,700 unique)
Scale: 1:650
Dimensions: 57in x 289in (143cm x 231cm)
Research Time: 2,000+ hours since 2019
Design Time: 1,000+ hours in 200 days
Build Time: 600+ hours in 90 days
Photography: EClarke Photo 📷
© MMXXIII - Rocco Buttliere, LLC
Frenchman Roland Magallon developed a microlight aircraft called the Mosquito in 1979 to fill the need for an aircraft combining the simplicity and maneuverability of hang gliders with the stability and flexibility of more traditional powered, fixed-wing aircraft. As the unique configuration became popular, it acquired the nickname 'trike' in reference to the distinctive three-wheeled enclosure suspended beneath the wing and containing the cockpit and engine. Thirteen years the Mosquito, another French designer named Renaud Guy introduced the Cosmos Phase II in 1992. He marketed the aircraft to pilots who wished to operate from airfields, snow, or water, and to those who wanted a good training aircraft. The trike soon found favor as a stable platform for aerial photography, and for towing aloft hang gliders. The pilot flying a Phase II could takeoff and land in less than 61 m (200 ft) and expect to fly approximately 322 km (200 miles) under most conditions. The ultralight cost about $14,000 in early 2004. Production ended in 2005 after dealers sold more than 800.
Trike ultralights such as the Phase II is well-suited to lead the migrations of large birds. Pilots can safely match the bird's cruising speed, which for Whooping cranes is about 24 km/h (38 mph). Trikes are highly maneuverable, they provide excellent visibility, and a guard is fitted easily to the aircraft to shield the birds from the spinning propeller. Direct control of the wing via the crossbar allows a pilot to concentrate more attention on the flock's position relative to the ultralight.
Operation Migration is a member of the Whooping Crane Eastern Partnership, along with seven organizations dedicated to saving the Whooping crane from extinction. For many bird species, the ability to migrate is a learned process. Canadian Bill Lishman founded Operation Migration as a non-profit charitable organization in 1994 to develop methods for teaching captive-reared birds to migrate by following ultralight aircraft. Lishman got the idea after watching John Moody fly his Easy Riser at Oshkosh in 1976. Another Canadian, Bill Carrick had trained Canada geese to fly alongside his motorboat using methods pioneered by the 1973 Nobel Prize-winning animal behaviorist, Konrad Lorenz. Carrick encouraged Lishman who in 1988 succeeded in training geese to fly with his own Easy Riser ultralight during short flights near his farm. Lishman teamed with Joe Duff in fall 1993 and the two Canadians led 18 Canada geese from Port Perry, Ontario, to Warrenton, Virginia. Thirteen of the birds proved that the idea worked when they returned to Ontario from Virginia the following spring.
Standing at 1.5 m (5 ft), Whooping cranes are the tallest birds in North America. Their wings span 2.1-2.4 meters (7-8 ft) and they prefer to sleep standing in shallow water to deter predators. They feed on clams, frogs, crabs, and aquatic plants and they mate for life. Whooping cranes are the rarest of the world's 15 crane species. Biologists have estimated they once numbered between about 500 and 1,400 before European settlement began to alter their habitat in 1870. The population had dwindled to just 15 Whooping cranes by 1941 but rebounded to 200 wild birds by 2004. Despite their recovery, a single catastrophe such as a hurricane, avian disease, or a chemical spill could extinguish the species.
Teaching the cranes to follow the ultralights begins before they hatch when aviculturalists expose the eggs to the recorded sound of an ultralight engine. At around 5-7 days old, a silent and disguised aviculturalist wearing a hand puppet that looks like the head and neck of an adult crane introduces each chick to an ultralight aircraft, accompanied by recorded crane brood calls to reassure the youngster. A bird seeing a human face or hearing a human voice while under the staff's care could 'imprint' on humans, losing its natural fear and dramatically decreasing its odds of surviving in the wild. As the bird matures, it will after a few years lose interest in the ultralight. By eight weeks, the bird is following the ultralight as it taxis and flying with the aircraft when the crane is 80-90 days old. Training flights can last as long as a half-hour and each chick can require an average of more than 11 hours to train.
The ultralight pilots lead the Whooping cranes along a migration route that stretches 1,932 km (1,200 miles) across seven states, Wisconsin, Illinois, Indiana, Kentucky, Tennessee, Georgia, and Florida. In 2005, the Operation Migration staff arranged accommodations for the birds at 38 sites spaced from 32 km (20 miles) to 113 km (70 miles) apart, each one selected to avoid populated areas. The migration that year lasted 50 days, split about evenly between flying with the birds and waiting for flyable weather. With the help of a tail wind, a single flight leg can cover 322 km (200 miles) in just over 3 hours. When either weather or cranes refuse to cooperate, a flight can cover less than 37 km (23 miles).
After taking off, the Whooping cranes jockey for the best position and then 'surf'' the strong wing tip vortex generated by the ultralight. A bird can fly with considerably less effort from this coveted position. The other birds maneuver into a diagonal line, wingtip to wingtip, each surfing a similar but less intense vortex generated by flapping wings. The flock settles down and all goes well until, without warning, the crane surfing the ultralight (which it considers another crane thanks to months of careful imprinting) decides to challenge aircraft for the right to lead the formation. The other birds follow and quickly envelope the aircraft. The pilot is suddenly "IFR in cranes" with no choice but to back away from the gaggle, climb above it, and then drop back into the lead. A particularly aggressive bird will sometimes repeatedly challenge for the lead until the ultralight pilot is nearly exhausted.
Crossing the Appalachian Mountains is the most difficult part of migrating with the birds because of the elevation but there are other hazards in the air and on the ground. The birds will follow the ultralight as it descends to treetop height or climbs to several thousand feet, however, low flying is dangerous. Cranes have been injured and killed in collisions with power lines and aircraft. One year during an overnight stop, a Whooping crane succumbed to a bobcat. Another year, a crane probing mud for food lodged its beak inside a spent shotgun shell. An ultralight pilot noticed the bird's predicament during flight and plucked the shell after landing. The birds can tire, break formation, and land, often taking several flight mates with them. When this happens, one of the two ultralight pilots supporting the lead aircraft gives chase, rounds up the stragglers, and then reunites them with the main flock as soon as possible. As John Christian of the U. S. Fish and Wildlife Service said, Operation Migrations' work "is the wildlife equivalent of putting a man on the moon."
A significant step toward establishing what biologists believe is necessary to insure species survival - two independent groups of 25 wild breeding pairs that can migrate on their own - occurred in March 2006 after a Whooping crane trained using the Operation Migration ultralights migrated on its own from Florida to Wisconsin, the first to do so in more than 100 years. Yet the year also saw the program threatened by land development. Pilots noted a significant increase in the number of houses and businesses occupying once wild habitat along the migration route. The staff must abandon a regular stop in Tennessee because developers had planned to build 1,000 new homes adjacent to the site in 2007. A crane nest site in Florida is also threatened. Despite many difficulties, Operation Migration has developed one of the most innovative and important wildlife conservation programs in history. They are well on their way to saving a species from extinction, and their efforts have boosted public interest in wildlife conservation. Joe Duff's role was critical to the program's success. He led the organization from its inception and developed the training protocols. By 2007, Duff had flown with birds longer than anyone had. He and his staff also led migrations of Trumpeter swans and Sandhill cranes.
Pilots volunteering for Operation Migration flew the Phase II now belonging to the NASM. Using this aircraft, they led Canada geese to South Carolina in 1995, Trumpeter swans to the Chesapeake the following year, Sandhill cranes in 1997, 1998, and 2000, and the first Whooping cranes from Wisconsin to Florida in 2001. In 1996, the aircraft also appeared in the Columbia Pictures film Fly Away Home, starring Anna Paquin and Jeff Daniels. The trike is equipped with a custom-built bird guard enclosing the propeller; radios, GPS navigation, and a sound system to broadcast adult crane calls while flying with the birds.
the image contains leaf-shaped phase-change crystals
Courtesy of Yi Yang
Image Details
Instrument used: Tecnai Family
Magnification: 9900
Horizontal Field Width: 11.4 um
Vacuum: 10(-5) Pa
Voltage: 200 kV
Spot: 8
Working Distance: NA
Detector: HAADF-STEM detector
(for further information just follow the link at the end of page!)
The Spanish Apartment
The "Spanish Apartment" arose 1895 under Archduke Friedrich as the residence apartment of the Spanish royal family. Lodged here until 1918 Frederick's sister Maria Christine (1858-1929), wife of the died in 1885 Spanish King Alfonso XII, and her in 1886 born son Alfonso XIII. during her frequent stays in Vienna.
Spanish Apartment © AnnA BlaU; Furniture: On permanent loan from the MAK-Austrian Museum of Applied Arts/Contemporary Art
Spanish Apartment
Due to a war damage, of the once seven chambers comprehending apartment after 1952 only two rooms have been preserved, the Small and the Large Apartment that are now again equipped with their original furnitures of Joseph Danhauser.
www.albertina.at / das_palais / prunkraeume / spanisches_appart ...
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.
In dieser aktuellen Phase temporäre Fotos!
Zeitvertreib und etwas Abwechslung aus dem Wald
- überwiegend mit 'Altglas'.
_______________________________________
In this current phase temporary photos!
Some pastimes and little diversion from the forest
- mainly with 'older lenses'.
_____________________
Summilux-M 50mm ASPH
i wanted to try making something for the LEX miHD ear line, and so i decided to go with some cool little spirals. this item is PBR enabled! people using non-pbr viewers will get fallback baked textures instead.
available as a fatpack or one of 4 colour palettes.
mp: marketplace.secondlife.com/stores/220606
inworld:
Unit 1001, route 761P to Yuen Long just about to exit the Tin Shui Wai, section and head eastward to Yuen Long. Tin Shui Wai town can be seen in the background.
1001 happens to be the first LRT unit delivered and entered service back in 1988 with the then (KCR)