View allAll Photos Tagged phaser
Everything about this bird says dark-phased RTH, but the size. I almost passed right by him because he was so dark and nearly the same size as a crow. I would really appreciate it if someone could confirm the id.
March 20/22
22-618618
Toronto,
Mixed-use Development,
CIBC Square Phase II,
141 Bay St,
Ivanhoé Cambridge,
Hines,
50s,
Wilkinson Eyre Architects,
Adamson Associates Architect,
November 20/21
21-614490
Toronto,
Mixed-use Development,
CIBC Square Phase II,
141 Bay St,
Ivanhoé Cambridge,
Hines,
50s,
Wilkinson Eyre Architects,
Adamson Associates Architect,
Slowenien - Piran
Blue hour after sunset
Blaue Stunde nach Sonnenuntergang
Piran (Slovene pronunciation: [piˈɾáːn]; Italian: Pirano [piˈraːno]) is a town in southwestern Slovenia on the Gulf of Piran on the Adriatic Sea. It is one of the three major towns of Slovenian Istria. A bilingual city, with population speaking both Slovene and Italian, Piran is known for its medieval architecture, with narrow streets and compact houses. Piran is the administrative seat of the Municipality of Piran and one of Slovenia's major tourist attractions.
History
In the pre-Roman era, the hills in the Piran area were inhabited by Illyrian Histri tribes who were farmers, hunters and fishermen. They were also pirates who disrupted Roman trade in the northern Adriatic.
The Piran peninsula was incorporated into the Roman Empire in 178 and 177 BC and settled in the following years with rural homes (villae rusticae).
The decline of the Roman Empire, from the 5th century AD onward, and incursions by the Avars and Slavs at the end of the 6th century, prompted the Roman population to withdraw into easily defensible locations such as islands or peninsulas. This started local urbanisation and by the 7th century, under Byzantine rule, Piran had become heavily fortified. Despite the defences, the Franks conquered Istria in 788 and Slavs settled in the region. By 952, Piran had become a part of the Holy Roman Empire.
The earliest reliable records of the area are in the 7th century work Cosmographia by an anonymous cleric of Ravenna. The name of the town most probably originates from the Greek pyrrhos, which means 'red', because of the reddish flysch stones commonly found in the town's area. Some historians also refer it to pyros, meaning 'fire', due to ancient lighthouses which were supposed to be on the edge of the marina.
From 1283 to 1797, the town became part of the Republic of Venice, where it was governed in a semi-autonomous way, with a council of local noblemen assisting the Venetian delegate. Several enemy (e.g. from the Republic of Genoa) and pirate assaults were repelled during the late Middle Ages; a great pestilence hit the town in 1558, killing about two thirds of the population. The last decades of Venetian rule were marked by decadence, due to the competition with the nearby Austrian port town of Trieste.
The town was annexed to the Austrian Empire in 1797; but during the years from 1806 to 1814, it was ceded to the Napoleonic Empire. On 22 February 1812, the Battle of Pirano was fought between a British and a French ship of the line in the vicinity of Piran. This was a minor battle of the Adriatic campaign of the Napoleonic Wars.
At the end of the 19th century and the beginning of the 20th century, Piran was an Austro-Hungarian town with over 15,000 inhabitants, roughly the same size as nearby Koper. Around 80% of the population was ethnically and culturally Italian, with a Slovene minority of around 15%. It was a flourishing market and spa town with good transport connections. The first trolleybus line in the Balkans was introduced to public service on 24 October 1909 in Piran. In 1912, it was replaced by a tramway that operated on the same route till 1953.
After the First World War, together with Trieste and all Istria, the town was ceded to Italy. There were no particular events in those years, until Italy entered the Second World War in 1940. With the defeat of the Axis powers and the rise of Tito's rule, Piran was assigned to the Free Territory of Trieste, Zone B, under Yugoslavian administration, changing the official name in "Piran". The town was annexed to Yugoslavia in 1954, according to the London Memorandum signed together with Italy. A significant part of Piran's population chose to emigrate to Italy or abroad in the final phase of the Istrian–Dalmatian exodus, rather than stay in socialist Yugoslavia. The annexation to Yugoslavia was finally ratified with the Osimo Treaty in 1975, with the municipality becoming part of the Socialist Republic of Slovenia. Until the mid-20th century, Italian was the dominant language, but it was replaced by Slovene following the Istrian exodus. Since 1991, Piran has been part of independent Slovenia.
On 24 October 2010, Slovenia became the first country of former communist Europe to elect a black mayor. The physician Peter Bossman, who came from Ghana in the late 1970s, was elected the Mayor of Piran. He officially took office at the first constitutional meeting of the Municipal Council on 12 November 2010, succeeding Tomaž Gantar. He represents the Social Democrats.
The territorial claims of Croatia and Slovenia in the Gulf of Piran remain an important matter of debate in the Croatia–Slovenia border disputes that began after the dissolution of Yugoslavia.
Culture and education
Piran is the birthplace of the Italian[ composer and violinist Giuseppe Tartini, who played an important role in shaping its cultural heritage. The town's main square, Tartini Square (Slovene: Tartinijev trg, Italian: Piazza Tartini), is named after him. In 1892, the 200th anniversary of his birth, a monument to Tartini was erected in Piran. Venetian artist Antonio Dal Zotto was commissioned to create a larger-than-life bronze statue, which was mounted on its pedestal in 1896. The statue dominates the square, overlooked by the Cathedral of Saint George. The painter Cesare Dell'Acqua was also born in Piran.
Piran is the seat of the Euro-Mediterranean University of Slovenia (EMUNI), founded in 2008 as one of the cultural projects of the Barcelona Process: Union for the Mediterranean. The Piran Coastal Galleries, a public institution encompassing a group of six public contemporary art galleries, is based in Piran.
Cultural events
Musical evenings have taken place for decades in the Greyfriars Franciscan monastery's atrium, one of the most beautiful cloister atriums in the Slovenian Littoral, which has good acoustics.
The municipality's festival is 15 October, which celebrates the foundation of the first Slovenian partisan naval detachment, named Koper, in 1944.
Geography and climate
Piran is located at the tip of the Piran peninsula, part of the Gulf of Trieste.
To the east of the town, along the northern coastline (in the direction to Strunjan) there is a small tourist settlement named Fiesa. Piran and Fiesa are connected by a promenade along the beach. Piran has a humid subtropical climate with warm summers and cool rainy winters. Snow is rare (usually 3 days per year, almost always in traces). There are 22 days a year with maximum temperatures of 30 °C (86 °F) or higher; on one day a year the temperature does not exceed 0 °C (32 °F). Fog appears about 4 days per year, mainly in winter.
Demographics
According to the Austrian language census of 1910, there were 7,379 inhabitants in the town proper, 95.97% Italians and 0.09% Slovenes. In 1945, the town proper had 5,035 inhabitants, 91.32% Italian and 8.54% Slovene speakers. After World War II, when Piran became a part of Yugoslavia, there was an exodus of the Italian-speakers from the region. They were replaced by Slovene settlers, both from other areas of Slovenian Istria and from interior areas of the country. In 1956 there were 3.574 inhabitants, 67.6% Slovene and 15.5% Italian.
Monuments
Piran was heavily influenced by the Venetian Republic and Austria-Hungary, therefore the monuments differ greatly from those in inner parts of Slovenia. The Piran town walls were constructed to protect the town from Ottoman incursions; many parts of the town walls from different eras remain, and are of interest to tourists. In the middle of the town is the Tartini Square, with a monument in memory of Giuseppe Tartini. Nearby are located various important buildings, such as Tartini’s house, first mentioned in 1384 and one of the oldest in town, the Municipal Palace, Loggia and Benečanka, among others. On the hill above the town is the biggest and most important church, the Saint George's Church, with a Franciscan monastery nearby.
Communications and transport
There is an international airport and a marina in the vicinity of the town. The medium-wave transmitter of Radio Koper is in Piran. It transmits on 1170 kHz and has a 123.6-metre-tall guyed mast with cage antenna. The town is connected with Koper, Izola, Portorož (the location of the airport), Sečovlje and Lucija by a cheap bus line. The lines of other coastal settlements operate mostly during the tourist season.
The first trolleybus line in Slovenia entered public service on 24 October 1909 in Piran, then part of Austria-Hungary. It ran from Tartini Square along the coast and the shipyard to Portorož and Lucija. The town authorities bought five trolleybuses manufactured by Austrian company Daimler-Motoren-Gesellschaft. In 1912, it was replaced by a tram system that operated until 1953, when it was superseded by buses.
Sports
Pod Obzidjem Stadium (Slovene: Stadion pod obzidjem) is a multi-purpose stadium in Piran. It is used for football matches and is the home ground of football team NK Portorož Piran. The stadium currently holds 750 spectators, 500 of them can be seated.
(Wikipedia)
Die Stadt Piran, italienisch: Pirano ist der Hauptort der aus elf Ortschaften bestehenden Gemeinde Piran in Slowenien. Piran liegt im äußersten Südwesten des Landes auf einer Halbinsel am Adriatischen Meer. Mit ihrer Lage, ihrer Altstadt und venezianischen Architektur ist die Stadt an der Slowenischen Riviera eines der bekanntesten Touristenzentren des Landes.
Name der Stadt
Der Stadtname stammt wohl vom griechischen Wort pyros für Feuer. Der Legende nach soll auf der Landzunge Punta, wo der Ort errichtet wurde, anstelle eines Leuchtturmes ein Feuer den Schiffen den Weg zur griechischen Kolonie Aegida (Koper) gewiesen haben. Piranum wird im 7. Jahrhundert erstmals schriftlich erwähnt.
Geschichte
In den Jahren 177/178 v. Chr. wurde die istrische Halbinsel von den Römern erobert. In dieser Zeit begann die allmähliche Kolonisierung und Romanisierung des Gebietes. Dadurch kam es in der Gegend des heutigen Piran zu vereinzelten Streusiedlungen. Unter byzantinischer Herrschaft begann im 7. Jahrhundert mit einer befestigten Siedlung die urbane Entwicklung von Piran. 788 wurde Istrien durch die Franken besetzt und politisch in die Mark von Friaul eingegliedert. Nach der Aufteilung des fränkischen Kaiserreiches wurde die Grafschaft Istrien 843 ins Italienische Königreich eingegliedert und im Jahre 952 dem Heiligen Römischen Reich bzw. in diesem dem Herzogtum Bayern einverleibt.
In der zweiten Hälfte des 13. Jahrhunderts begann Venedig mit der Eroberung istrischer Städte und besetzte im Jahr 1283 auch Piran. 1692 wurde in Piran der Geiger und Komponist Giuseppe Tartini geboren. Ihm zu Ehren wurde 1894 der Tartiniplatz benannt.
1809 bis 1813 gehörte Piran kurz zu den Illyrischen Provinzen Napoleons. Danach kam es wieder zur Habsburgermonarchie. Das kaiserliche Österreich hatte hier die Republik Venedig beerbt und brachte im 19. Jahrhundert Piran eine neue Zeit des Wohlstands. Dazu haben vor allem die Salinen beigetragen, da Österreich mit der Wiederbelebung der Salzproduktion die Salinen von Sečovlje auf eine Produktion von 40.000 Tonnen jährlich aufstockte.
Nach dem Ersten Weltkrieg fiel Istrien mit dem Vertrag von Rapallo 1920 an den Kriegssieger Italien, der Istrien seit November 1918 besetzt hatte. Es folgte eine strenge Italianisierungspolitik, und die slowenische Sprache wurde in der Öffentlichkeit verboten.
Das faschistische Italien war im Zweiten Weltkrieg zunächst mit dem Deutschen Reich verbündet. Im September 1943 hatte eine neue italienische Regierung jedoch den Waffenstillstand von Cassibile mit den Alliierten geschlossen. Daraufhin besetzten Wehrmachts- und SS-Einheiten das ganze Land, so auch Istrien. Nach dem Krieg war die Region um Triest wieder zwischen Italien und Jugoslawien umstritten. Das Gebiet wurde daher unter UN-Verwaltung in zwei Zonen aufgeteilt. Piran gehörte dabei der südlichen Zone B an, die den westlichen Teil von Istrien bis zur Mirna umfasste. Erst im Londoner Abkommen von 1954 wurde das Freie Territorium Triest aufgelöst und die Zone B offiziell Jugoslawien angegliedert. Die meisten Italiener verließen daraufhin die Stadt.
Sehenswürdigkeiten
An der westlichen Spitze der Landzunge befindet sich die burgartig wirkende Kirche Sv. Klementa (St. Clementa), die als Wahrzeichen der Stadt gilt.
Etwa 100 Meter östlich des Tartiniplatzes steht ein Franziskanerkloster, das im Sommer für Konzerte genutzt wird und in dessen Untergeschoss eine Gemäldesammlung venezianischer Maler zu sehen ist.
Auf der nördlichen Klippe der Halbinsel überragt die Kathedrale Sv. Jurij (St. Georg) die Stadt, die 1637 errichtet wurde. Der Kirchturm der Kathedrale ist dem venezianischen Markusturm nachempfunden. Die Kirchturmspitze schmückt eine schwerttragende Statue des Stadtpatrons Sankt Georg. Die Figur dreht sich entsprechend der Windrichtung und dient den Bürgern der Stadt somit als Wetterfahne.
Altstadt
Die Altstadt mit ihren engen Gassen erstreckt sich auf einer etwa einen Kilometer langen, spitz zulaufenden Landzunge in ost-westlicher Richtung. Zur Landseite hin wird sie durch eine teilweise erhaltene historische Verteidigungsanlage mit Wehrgängen und -türmen abgegrenzt.
Im Stadtkern im italienisch-venezianischen Stil gibt es einige Baudenkmäler und Aussichtspunkte. Die südliche Strandpromenade, vom kleinen Hafen bis zur Spitze der Landzunge, ist gesäumt von zahlreichen Restaurants für das touristische Publikum.
Tartiniplatz
Zentrum des städtischen Lebens ist der restaurierte Tartinijev trg (it. Piazza Tartini, dt. Tartiniplatz). Er entstand im Jahr 1894, als der damals an dieser Stelle liegende, zu klein gewordene und als Müllkippe verwendete Hafen endgültig zugeschüttet wurde. Zentral auf dem Platz steht eine vom venezianischen Künstler Antonio Dal Zotto geschaffene überlebensgroße Bronzestatue des namensgebenden Komponisten Giuseppe Tartini, die anlässlich dessen 200. Geburtstages am 2. August 1896 enthüllt wurde.
Zum 300. Geburtstag des Komponisten wurde eine Neugestaltung des Platzes in Auftrag gegeben. Die vom Architekten Boris Podrecca gelegte Ellipse aus weißem Stein soll an den Wendeplatz der elektrischen Straßenbahn (1912–1953) sowie an den Fischerhafen erinnern, der das städtische Leben früher an diesem Ort prägte.
Zum Ensemble des Platzes gehören das klassizistische Rathaus an der Nordseite und rechts davon ein gotisches Patrizierhaus. Das Benečanka (Venezianerhaus) wurde von einem reichen venezianischen Kaufmann für seine in Piran lebende Geliebte gebaut. Die Hausecke gibt das Antlitz der Geliebten wieder. Die zum Tartiniplatz gerichtete Fassade enthält ein Relief mit der italienischen Aufschrift lassa pur dir („Lass sie reden“).
Museen
Am Hafen der Altstadt sind drei Museen rund um das Thema Meer zu besichtigen. Das Aquarium (Akvarij Piran) unter der Adresse Kidriĉevo nabrežje 4 zeigt die Meeresfauna der Adria. Das Pomorski muzej (Meeresmuseum) im Gabrielli-Palast in der Cankarjevo nabrežje 3 präsentiert die wirtschaftliche Nutzung des Meeres (Fischerei, slowenische Seefahrt, Meersalzgewinnung). Das Muzej podvodnih dejavnosti (Museum für Unterwasseraktivitäten) in der Župančičeva 24 beschäftigt sich thematisch mit dem Tauchen und zeigt beispielsweise Schiffswracks.
Landschaft
Küstenwanderweg („Uferpromenade“) mit interessanten Gesteinsschichtungen an den Steilwänden von Piran zum See und Strand von Fiesa im Norden der Halbinsel.
Salinen von Strunjan und von Sečovlje
Schutzpatron
Der Schutzheilige der Stadt Piran ist Sankt Georg. Dies findet sich wieder im blau umrahmten roten Georgskreuz des Stadtwappens. Weiterhin zeigt sich eine Darstellung des Drachentöters mit einem Schwert auf der Spitze des Kirchturms der Stadtkirche St. Georg.
(Wikipedia)
This wasnt a Direct Ford Factory Car, but was done by Phase Autos for Customers from Ford, and it was basically What should have been Built, but Didnt by Ford Themselves.
Magazine Advert.
September 19/2021
Toronto,
Mixed-use Development,
CIBC Square Phase II,
141 Bay St,
Ivanhoé Cambridge,
Hines,
50s,
Wilkinson Eyre Architects,
Adamson Associates Architect,
As New York City entered Phase 1 reopening on Monday, June 8 riders made a safe return back to the subways, As New York City entered Phase 1 reopening on Monday, June 8 riders made a safe return back to the subways, MTA New York City Transit worker Tammy Taylor hands out hand sanitizers to customers at Atlantic Av Station in Brooklyn. MTA New York City Transit / Patrick Cashin
Cleveland
January 2014
Sony A7R | Contax G Carl Zeiss Biogon T* 28mm f2.8 (TechArt V2 AF Adapter) | Lightroom 5 Flat Field Plug-in
Photographer - Valery Shpak @valeryshpakphotography - New York wedding photographer on film and digital
Central Market Austin Texas , January 30, 2017
Straight out of the back +1 exposure nothing else, this back is remarkable! the pictures that come out of this back are a dream!
This rehouse involved cutting the PCB into 2 pieces and sandwiched together into a 1590BB enclosure.
The New Tappan Zee Bridge In Tarrytown New York. Since October 2013, Permanent Piles Are Being Vibrated And Then Pounded In Place Into The Bottom Of The Hudson River To Begin Forming The Bridge’s Foundation. There Will Be About 1,000 Of These Piles Used To Hold Up The New Tappan Zee Bridge. It Will Be 2018 When The New Bridge Is Completed. Photo Taken Saturday November 8, 2014.
DSC8495
Sawmill workers in Kumasi, Ghana, prepare legal sawnwood for distribution across Ghana and internationally.
Support provided by the FAO-EU FLEGT Programme has allowed Kumasi Wood Cluster to contribute to a national communications strategy which highlights the benefits of legal timber production and use.
The FAO-EU FLEGT Programme has supported 25 projects in Ghana since the beginning of Phase III in 2016, committing over USD 2.7 million, with a focus on capacity building among private sector operators, communication and the establishment of a Timber Legality Assurance System. Prior to the signing of the VPA in 2009, much of Ghana’s timber was illegally sourced – since then the country has seen a dramatic increase in the sourcing of legal timber and transparency.
©FAO/KWC
As New York City entered Phase 1 reopening on Monday, June 8 riders made a safe return back to the subways, an MTA New York City worker sets up a table at Atlantic Av Station in Brooklyn to give out hand sanitizers and face masks. Photo: MTA New York City Transit / Patrick Cashin
Abandoned miniature golf and driving range. Closed since 2006, a lot if decay has set in after only a short period of time.
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.
Radisson Martinique on Broadway (formerly Holiday Inn Martinique)
49 West 32nd Street
New York, NY 10001
Statue of Horace Greeley, founder the New York Tribune, sits on Broadway in front the Radisson Martinique. Cartouches and balconies add boldness to the hotel.
-------
Developer William R. H. Martin built The Hotel Martinique which was designed by Henry J. Hardenbergh. It was built with French château elements in phases from 1897-1911. The architect Hardenbergh also designed the original Waldorf Hotel and Astoria Hotels, as well as the Plaza in NYC and the Willard (1906) in Washington, DC, and the Copley Plaza (1912), in Boston, MA. He was best known as the architect for The Dakota on Central Park West.
The Martinique was named after its original owner William R. H. Martin. At his death in 1912, Martin's property holdings were estimated to be worth more than $10,000,000, and included the Martinique Hotel and the Marbridge Building.
According to emporis.com the sixteen-story French Renaissance styled building capitalized on the openness made possible by Greeley Square, to show off the building's mansard roof, with its towers, and ornate dormers. Despite having been built in three sections, the hotel maintains a harmonious street presence on all three facades.
Department store owner Rodman Wanamaker invited some 35 prominent golfers, including Walter Hagen, the 1913 U.S. Open champion Francis Quimet and golf course architect A.W. Tillinghast, to a luncheon at the Taplow Club in the Hotel Martinique in New York City on Jan. 17, 1916. This exploratory meeting resulted in the formation of The PGA of America.
In the 50's, it was one of the few in the city to still offer rooms without baths.
No hotel epitomized New York's bad old days like the Martinique, on 32nd and Broadway.
The Martinique Hotel, owned by Martinique Hotel Affiliates Inc., was used as a welfare hotel from 1973 to 1988. The writer Jonathan Kozol reported that in the late 1980's Salvatore Tuccelli, a part owner of the Martinque Hotel, managed the hotel with the assistance of a gun in his belt.
New York City, using its own funds, plus state and Federal aid, spent about $1,500 a month to keep 400+ homeless families in the Martinique.
In 1988 Mayor of NYC, Ed Koch pledged to empty the Martinique and 46 other hotels it used to house the homeless by July 1990. The Martinique Hotel was chosen to be first, because it was one of the biggest hotels, and a target of complaints in the neighborhood and because it had become a symbol of the horrors of a system that paid exorbitant sums to warehouse families in shabby, crowded hotels. In 1988 the city was paying $1,800 to rent one room for a family of four per month.
On May 5, 1998, the Hotel Martinique was granted landmark status by the New York City Landmarks Preservation Commission.
The Martinique on Broadway, underwent a major renovation program in 1996-1998 converting it from a 650- SRO Hotel into a 18-story 532-room first class, full service hotel, with 20,000 square feet of meeting and ballroom space and 15,000 sq. ft. of retail space at ground level. The property is currently being operated as a Radisson Hotel, and managed by Thurcon Properties Ltd.
Information obtained from Credit Suisse First Boston Prospectus dated October 12, 1999:
On October 27, 1998 Herald Hotel Associates, L.P. obtained a $36 million loan at 8.5% interest from Credit Suisse First Boston. Harold Thurman, a New York area real estate developer is the principal of the limited partnership. The load is secured by a first priority lien on the Holiday Inn Broadway, 18-story 531 room hotel at 1260 Broadway, New York, New York which is managed by Thurcon Properties, Ltd. Thurcon's management fee is 5% of gross revenues, subordinated to the CSFB loan. The Holiday Inn franchise agreement is effective June 26, 1996 for a term of 20 years. The Holiday Inn franchise fees include a royalty of 5% of gross revenues, a marketing contribution of 1.5% of gross revenues, a reservation contribution of 1% of gross revenues, and a monthly reservation fee of $6.43 per room.
A 2006 press release issued by Carlson Hotels reported:
"The New York Martinique Hotel located on 32nd Street and Broadway will be reflagged by manager/owner by Harold Thurman (aka Herald Hotel Associates, L.P )as the New York Martinique Radisson Hotel July 1,2006 after undergoing extensive renovation which will cost upwards of $10 million.
Renovation of the 330,000 s/f hotel includes the addition of flat screen televisions, new furnishings to guest rooms, the extensive remodeling of the lobby, and the construction of a French Brasserrie, a gym and a private club called the Martinique club, exclusively for executives. Some of the renovation was completed in June 2006. Anticipated completion date for the rest of the hotel is January 2007.
The reflagging means that the hotel will take on the new name and have access to Radisson's member services in exchange for their agreement to operate according to the Radisson standards. The 532 room Radisson Martinique, which was built in 1898, is taking on the global brand name to enhance the atmosphere of the historical hotel."