polytechnic photos on Flickr

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Dance Performance by Choo Yut Shing

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Performed by the Republic Polytechnic Dharma Endari at the Esplanade Outdoor Theatre during In Youthful Company.

Preston Polytechnic by 70023venus2009

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It is NOT a University

Polytechnic by nyc.nyc

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Brooklyn, NY

Kwantlen Polytechnic University by Bill Anderson

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Warsaw Polytechnic University by Raymond Cunningham

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Warsaw Poland

Manchester Polytechnic, 1972 by Manchester Archives+

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Chorlton on Medlock, Lower Ormond Street, Manchester Polytechnic, Cavendish Street, Formerly All Saints Registry Office, 1972

Ref no: m19416

OXFORD ROAD STATION Manchester by ROB SKINKIS

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Greece: Sea Sun & Culture by Demetrios Georgalas aka brexians

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Greece was the first area in Europe where advanced early civilizations emerged, beginning with the Minoan civilization in Crete and then the Mycenean civilization on the mainland.

Later, city-states emerged across the Greek peninsula and spread to the shores of Black Sea, South Italy and Asia Minor reaching great levels of prosperity that resulted in an unprecedented cultural boom, expressed in architecture, drama, science and philosophy, and nurtured in Athens under a democratic environment.

Athens and Sparta led the way in repelling the Persian Empire in a series of battles.

Both were later overshadowed by Thebes and eventually Macedon, with the latter under the guidance of Alexander the Great uniting and leading the Greek world to victory over the Persians, to presage the Hellenistic era, itself brought only partially to a close two centuries later with the establishment of Roman rule over Greek lands in 146 BC.

Many Greeks migrated to Alexandria, Antioch, Seleucia and the many other new Hellenistic cities in Asia and Africa founded in Alexander's wake.

The subsequent mixture of Roman and Hellenic cultures took form in the establishment of the Byzantine Empire in 330 AD around Constantinople, which remained a major cultural and military power for the next 1,123 years, until its fall at the hands of Ottomans in 1453.

On the eve of the Ottoman era much of the Greek intelligentsia migrated to the Italian territories and much of non-Ottoman occupied Europe, playing a significant role in the Western European Renaissance through the transferring of works of Ancient Greeks to Western Europe.

Nevertheless, the Ottoman millet system contributed to the cohesion of the Orthodox Greeks by segregating the various peoples within the Ottoman Empire based on religion, as the latter played an integral role in the formation of modern Greek identity.

After the Greek War of Independence, successfully fought against the Ottoman Empire from 1821 to 1829, the nascent Greek state was finally recognized under the London Protocol. In 1827, Ioannis Kapodistrias, from Ionian Islands, was chosen as the first governor of the new Republic.

However, following his assassination, the Great Powers installed a monarchy under Otto, of the Bavarian House of Wittelsbach. In 1843, an uprising forced the King to grant a constitution and a representative assembly.

Due to his unimpaired authoritarian rule, he was eventually dethroned in 1863 and replaced by Prince Vilhelm (William) of Denmark, who took the name George I and brought with him the Ionian Islands as a coronation gift from Britain. In 1877, Charilaos Trikoupis, who is attributed with the significant improvement of the country's infrastructure, curbed the power of the monarchy to interfere in the assembly by issuing the rule of vote of confidence to any potential prime minister.

As a result of the Balkan Wars, Greece successfully increased the extent of her territory and population, a challenging context both socially and economically. In the following years, the struggle between King Constantine I and charismatic Prime Minister Eleftherios Venizelos over the country's foreign policy on the eve of World War I dominated the country's political scene, and divided the country into two opposed groups.

In the aftermath of WWI, Greece fought against Turkish nationalists led by Mustafa Kemal, a war which resulted in a massive population exchange between the two countries under the Treaty of Lausanne.

According to various sources, several hundred thousand Pontic Greeks died during this period.

Instability and successive coups d'état marked the following era, which was overshadowed by the massive task of incorporating 1.5 million Greek refugees from Asia Minor into Greek society.

The Greek population in Istanbul had shrunk from 300,000 at the turn of the century to around 3,000 in the city today.

On 28 October 1940 Fascist Italy demanded the surrender of Greece, but Greek dictator Ioannis Metaxas refused and in the following Greco-Italian War, Greece repelled Italian forces into Albania, giving the Allies their first victory over Axis forces on land. The country would eventually fall to urgently dispatched German forces during the Battle of Greece.

The German occupiers nevertheless met serious challenges from the Greek Resistance. Over 100,000 civilians died from starvation during the winter of 1941–42. In 1943 virtually the entire Jewish population was deported to Nazi extermination camps.

After liberation, Greece experienced a bitter civil war between Royalist and Communist forces, which led to economic devastation and severe social tensions between its Rightists and largely Communist Leftists for the next 30 years.

The next 20 years were characterized by marginalisation of the left in the political and social spheres but also by a significant economic growth, propelled in part by the Marshall Plan.

In 1965, a period of political turbulence led to a coup d’etat on 21 April 1967 by the US-backed Regime of the Colonels. On November 1973 the Athens Polytechnic Uprising sent shock waves across the regime, and a counter-coup established Brigadier Dimitrios Ioannides as dictator.

On 20 July 1974, as Turkey invaded the island of Cyprus, the regime collapsed.

Former premier Constantine Karamanlis was invited back from Paris where he had lived in self-exile since 1963, marking the beginning of the Metapolitefsi era. On the 14 August 1974 Greek forces withdrew from the integrated military structure of NATO in protest at the Turkish occupation of northern Cyprus.

In 1975 a democratic republican constitution was activated and the monarchy abolished by a referendum held that same year.

Meanwhile, Andreas Papandreou founded the Panhellenic Socialist Party, or PASOK, in response to Constantine Karamanlis' New Democracy party, with the two political formations dominating Greek political affairs in the ensuing decades. Greece rejoined NATO in 1980.

Relations with neighbouring Turkey have improved substantially over the last decade, since successive earthquakes hit both nations in the summer of 1999 (see Greece-Turkey earthquake diplomacy), and today Athens is an active supporter of Turkey's bid for EU membership.

Greece became the tenth member of the European Union on 1 January 1981, and ever since the nation has experienced a remarkable and sustained economic growth. Widespread investments in industrial enterprises and heavy infrastructure, as well as funds from the European Union and growing revenues from tourism, shipping and a fast growing service sector have raised the country's standard of living to unprecedented levels.

The country adopted the Euro in 2001 and successfully organised the 2004 Olympic Games in Athens.

WPI-JWU 197 2018-01-27 DSC_9566e by Lewis Day

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Worcester Polytechnic Engineers (No.21) vs. Johnson & Wales Wildcats

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

JWU 26-9 WPI

197 pounds: Michael DiNardo (Johnson & Wales (RI)) decision (2-0) over Michael Curtis (Worcester Polytechnic).

Not to be reproduced in any format or via any platform without express written permission.

Florida Polytechnic University by A. Thompson

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Lakeland, FL. Santiago Calatrava, architect.

Library of the Krasnodar Institute of Winemaking and Viticulture by Center for Jewish History, NYC

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Library of the Krasnodar Institute of Wine-making and Viticulture. This Institute, originally called the North Caucasus Polytechnical Institute, changed its name many times since its founding in 1918 during the Russian Civil War. The Krasnodar Institute of Wine-making and Viticulture, along with the Kransnodar Chemical-Technological Institute of Fatty Industry, were the names of the two branches of this Institute from 1938-1943. The Institute was evacuated to Uzbekistan at some point during World War II because of its value to the state. It is currently named the Kuban State Technological University, after having obtained university status in 1993. The University Library currently has over 1 million volumes, and is particularly strong in the sciences. One of the founders and the first rector of the Institute was Boris Rosing, the developer of one of the first cathode ray television receivers in 1907.

This book stamp is from a book looted by the Nazis and sorted by Colonel Seymour Pomrenze, one of “the Monuments Men,” at the Offenbach Archival Depot.

There are two scrapbooks of archival markings from the books sorted at the Offenbach Depot in the Seymour Pomrenze Collection held by the American Jewish Historical Society (Call number P-933) There is a finding aid for the collection here The digitized scrapbooks are available here and here.

For more information on this project check the Center’s blog: 16thstreet.tumblr.com/tagged/Offenbach-Depot

Dr. Mitch Fraas, Acting Director of the Digital Humanities Forum at the University of Pennsylvania Libraries' Special Collections Center is working on a similar project for the German book stamps based on NARA microfilm of the volumes the American Jewish Historical Society currently holds. See viewshare.org/views/mfraas/offenbach-bookplates/

The Center for Jewish History would like to acknowledge the following: The American Jewish Historical Society, who graciously allowed the use of their archival materials and digital content; Mitch Fraas, Acting Director of the Digital Humanities Forum at the University of Pennsylvania Libraries' Special Collections Center, for his data and technical assistance in this project; David Rosenberg, Senior Manager for Communications, and Melanie Meyers, Senior Reference Services Librarian for Special Collections, for managing and creating the digital map; as well as Reference Services Librarian Zachary Loeb and Reference Services Assistant Ilya Slavutskiy for their work on translating and mapping.

For copyright information, click here

Farris Wheel by crosstrippin

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~*Photography Originally Taken By: www.CrossTrips.Com Under God*~

A Ferris wheel (also known as an observation wheel or big wheel) is a nonbuilding structure consisting of an upright wheel with passenger gondolas suspended from the rim.

Ferris wheels are an amusement park ride and may also be found at urban parks and public places. Ferris wheels usually hold about 50-100 people.

History

The Ferris wheel is named after George Washington Gale Ferris, Jr. He graduated from Rensselaer Polytechnic Institute and he was a Pittsburgh, Pennsylvania bridge-builder. He began his career in the railroad industry and then pursued an interest in bridge building. Ferris understood the growing need for structural steel and founded G.W.G. Ferris & Co. in Pittsburgh, a firm that tested and inspected metals for railroads and bridge builders.

Ferris designed and built the first 264 foot (80 meter) wheel for the World's Columbian Exposition in Chicago, Illinois in 1893. The wheel was intended as a rival to the Eiffel Tower, the centerpiece of the 1889 Paris exhibition. This first wheel could carry 2,160 persons. The Ferris wheel was the largest attraction at the Columbian Exposition standing over 250' tall and powered by two 1000 HP steam engines. There were 36 cars accommodating 60 people each (40 seated, 20 standing). It took 20 minutes for the wheel to make two revolutions—the first to make six stops to allow passengers to exit and enter; the 2nd a single non-stop revolution—and for that, the ticket holder paid 50 cents. The wheel was moved twice after the 1893 Fair and was eventually destroyed (by controlled demolition) in 1906 after it was used at the St. Louis exposition of that year. At 70 tons, its axle was the largest steel forging of the time. It was 26 stories tall, only a quarter of the Eiffel Tower's height.[1]

Sections of this Ferris wheel were used to construct a bridge across the Kankakee River, about 45 miles south of Chicago just north of Tefft, Indiana. [2]

The Travels of Peter Mundy, 1608–1667 describes and illustrates "Several sorts of Swinginge used in their Publique rejoyceings att their feast of Biram" in the Ottoman Balkans. Among means "lesse dangerous and troublesome" only for children was a Ferris wheel "like a Craine wheele att Customhowse Key" where the passengers swing on short swings, sometimes sitting, sometimes hanging trapeze fashion. The illustration here is of a different Turkish design, apparently for adults.

Another Ferris wheel with a height of 65 meters (213 feet), dating back to 1897, is the Riesenrad in Vienna's Prater in the second district of Leopoldstadt. It was designed by Hubert Cecil Booth. See also World's Fair...

London, UK had its very own 'Gigantic Wheel' built at Earls Court in 1895, which was modelled on the original one in Chicago. This wheel stayed in service until 1906 by which time it had carried over 2.5 million passengers. It was built by two young Australian engineers named Adam Gaddelin and Gareth Watson and was the first of over 200 Ferris wheels that they built.

For the 1900 Paris Exposition a 'Grande Roue', of similar size and design to Ferris', was constructed. It was demolished in 1937. The wheel had 40 cars (as opposed to Chicago's 36), and is clearly visible in photos of the 1900 exhibition

Double and triple wheels

In the mid to late 1970s, coaster company Intamin AG invented a twist on the Ferris wheel. Using long arms to hold the wheels, they created a way to load and unload Ferris wheels more quickly. In 1976, 2 Sky Whirls opened at Marriott's Great America (IL, CA) and were the first triple wheels. Triple wheels were attached to three long arms mounted equal distance in a circle on a central tower. When loading/unloading passengers, the 3 arms would rotate until one arm was at the loading area and hydraulics would bring that arm/wheel to the ground.

A two-arm version titled "Zodiac" was also installed at Kings Island in Ohio as well as Hersheypark in PA titled "Giant Wheel." The double wheels were attached to a long, straight arm. The arm was mounted in the center on a central tower. When the hydraulics lowered one side, the other raised. The Kings Island Zodiac was relocated to Australia's Wonderland but closed in 2004.

All models featured 8-10 passenger cages. The cages were attached to the wheels by chains. When the wheel was in the loading position, it was horizontal and all cages could be loaded at once. As the arm raised or rotated, the wheel moved to a vertical position and provided a typical Ferris-wheel ride, only much higher from the ground.

Another version of this ride existed at Magic Mountain in California titled "Galaxy." This ride was similar to the Zodiac, except the arms did not raise as far off the ground. The arms on this ride were shaped more in a "V", than a straight line, and the central tower was shorter. On each wheel were 4 smaller wheels that also rotated, providing a double vertical rotating movement.

A fourth version of the ride was installed and removed at Astroworld in Texas titled "Morowheel." It was also similar to the Zodiac model, but had the shorter tower/"V" arm configuration of the Galaxy.

Observation wheels

Some operators prefer the term observation wheel to Ferris wheel, and large Ferris wheels are sometimes marketed as observation wheels to differentiate them from smaller Ferris wheels, however the two are actually the same, and any distinction between the two names is at the discretion of the wheel operator. Indeed, many of the wheels whose owners reject the term Ferris wheel actually have more in common with the original Chicago Ferris wheel of 1893, particularly in terms of being an iconic landmark for a city or event.

The world's tallest wheel, the Singapore Flyer, is described as an observation wheel by its operators.[4]

The London Eye (world's tallest, 1999-2006) is also described as an observation wheel by its operators.[5]

The Star of Nanchang (world's tallest, 2006-2008) is usually referred to as a Ferris wheel, and less commonly as an observation wheel.

World's tallest Ferris wheel installations

The world's tallest Ferris wheel is the Singapore Flyer, in Singapore. It is 165 metres (541 ft) high. It started rotating on February 11, 2008, and officially opened to the public on March 1, 2008.

The Star of Nanchang, in Nanchang, Jiangxi Province, China, previously held the record. It is 160 metres (520 ft) high and opened for business in May 2006.

The preceding record holder was the London Eye, in London, UK. It is 135 metres (440 ft) high, and is still the largest in the Western Hemisphere.[6] It was officially opened (by Tony Blair) on December 31, 1999, but did not open to the public until March 2000 because of technical problems.

The great popularity of the London Eye led to a number of other cities (including Belfast, Birmingham, Kuala Lumpur, Las Vegas, Manchester, Melbourne, Moscow, Nanchang, Shanghai, Singapore, and York) installing, or proposing to install, very tall (50 m or higher) wheels. The proposed Birmingham wheel would perhaps be the most unusual, as it would be fixed in place while the pods would move around the circumference along a rail track.

The Shanghai Star, initially planned as a 200 metres (660 ft) tall wheel to be built by 2005, was revised to 170 metres (560 ft) with a completion date set in 2007, but then cancelled in 2006 due to "political incorrectness"[7]. Plans to build a 183 metres (600 ft) wheel at the Rio All Suite Hotel and Casino in Las Vegas were cancelled in May 2004. An approximately 150 metres (490 ft) wheel was proposed for the redevelopment of the New Frontier Hotel and Casino (also in Las Vegas) but the site has since been sold to another developer.

More Ferris wheels and manufacturers

* The Great Wheel Corporation

o Proposed wheel in Qingdao, China

o Proposed wheel in Orlando

* The Allan Herschell Company

o Seattle Wheel - has 15 cars with up to two people per car.

* Eli Bridge [3]

o Eagle Wheel - 16 cars with up to three people per car.

o Hy #5 Big Eli Wheel - some are cable driven, others are rim driven. Has 12 cars with up to three people per car.

o Little Wheel - much smaller in dimensions, but it still has 12 cars with up to two people per car.

* Ronald Bussink Professional Rides (formerly Nauta Bussink) [4]

o R60 - 60 meter wheel with 42 enclosed capsules with air conditioning. The largest transportable Ferris wheel in the world. Seen in Germany (Dresden), Malaysia (Kuala Lumpur), Spain (Seville), UK (Belfast, Birmingham, London, Manchester, York) and elsewhere. It requires at least twenty 40ft containers to transport it and is ballasted with water.

* Chance Morgan

o Astro Wheel - 16 cars (8 facing one way, 8 facing the other way) with up to two people per car.

o Century Wheel - 15 cars with up to four people per car.

o Giant Wheel - 20 cars with up to six people per car. This is one of the biggest production Ferris wheels, and requires at least two 18-wheelers to transport it.

o Sky Wheel - a double wheel. There is a wheel on top, and bottom of the ride. There are eight cars per each wheel with up to two people for each car.

* Intamin AG

o Coaster Wheel - this type of Ferris wheel is a little different. Some of the 16 cars move on a track in the middle of the wheel. There are also 8 cars on the outside of the ride that do not move much, and do not have a track. One of these is located at Disney's California Adventure, and another is located at Coney Island. Each car can hold up to six people.

* Roger Wadkins (formerly Bob Childress - Expo Wheels LLC)

o Expo Wheel - 16 cars with up to two people per car. The seating on this wheel is much like the Eli Bridge Hy #5, or Chance's Astro Wheel.

Ferris wheels in popular culture

* The hero of Robert Lawson's children's book The Great Wheel is part of the construction crew for the original ferris wheel.

* The TV show Carnivàle deals with a circus in 1930's, which has its Ferris wheel as an important symbol, which plays an important role in the series finale.

* The main character from Stargate: Atlantis, John Sheppard, likes Ferris wheels.

* The Ferris wheel Riesenrad (in Vienna, Austria) is the stage for a key scene in the 1949 film noir The Third Man. It is also featured in the 1987 James Bond film, The Living Daylights, and appears in the 1995 Richard Linklater film Before Sunrise.

#Polytechnic #NPUA #university by Mane Hambardzumyan

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#Polytechnic #NPUA #university

Florida Polytechnic by Burnt Umber

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New Classroom building and campus design by Dr. Santiago Calatrava

The Fly Factory / Búi Bjarmar Adalsteinsson (IS) by Ars Electronica

In his “Fly Factory,” the artist uses a mixer and a microwave oven to make a tofu-like product from fly maggots (raised by species-appropriate means).

credit: Daniil Primak, Polytechnic Museum

Florida Polytechnic University by Jose Bonilla

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Embroidery Studio, 1979 by MMU Visual Resources

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Embroidery students drawing plants and flowers in Manchester Polytechnic's Cavendish Building in 1979.

[EMB5-007e]

Football match at Buckingham Palace by The British Monarchy

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Polytechnic FC (in blue), during their match with the Civil Service FC in Buckingham Palace's garden, central London.

NUS by R~P~M

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My NUS card from 1991/2. I look a lot like my son, except that I used to spray Sun-In in may hair.

USM-NU - 2014-11-22 - 165 - DSC_3367 by Lewis Day

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University of Southern Maine vs. Norwich University

WPI Sports & Recreation Center · Worcester Polytechnic Institute · Worcester, MA

November 22, 2014 · Southern Maine 23, Norwich 18

165 pounds

Zach Gibson (Norwich) decision (8-3) over Daniel DeCarlo (USM)

Florida Polytechnic University by A. Thompson

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Lakeland, FL. Santiago Calatrava, architect.

Florida Polytechnic University by Jose Bonilla

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Kwantlen Polytechnic University by Bill Anderson

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Marylebone student room by UniOfWestminsterArchives

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PCL's Marylebone campus housed the Schools of Architecture and the Built Environment and the School of Management Studies. There was also accommodation on site in Luxborough Lodge. Today the site forms the Marylebone campus of the University of Westminster and has been comprehensively re-developed.

Wien, 1. Bezirk, Museum für Angewandte Kunst (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße by Josef Lex (El buen soldado Švejk)

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The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

USM-NU - 2014-11-22 - 125 - DSC_2972 by Lewis Day

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University of Southern Maine vs. Norwich University

WPI Sports & Recreation Center · Worcester Polytechnic Institute · Worcester, MA

November 22, 2014 · Southern Maine defeats Norwich (23-18)

125 pounds

Michael Arangio (USM) decision (10-5) over Chase Jefferys (Norwich)

WPI-USM 157 2018-01-27 DSC_9045 by Lewis Day

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Worcester Polytechnic Engineers (No.21) vs. Southern Maine Grizzlies

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

WPI 21-13 USM

157 pounds: Tyler Marsh (Worcester Polytechnic) fall (at 5:28) over Zac Thompson (Southern Maine).

Not to be reproduced in any format or via any platform without express written permission.

WPI-USM 197 2018-01-27 DSC_8525 by Lewis Day

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Worcester Polytechnic Engineers (No.21) vs. Southern Maine Grizzlies

January 27, 2018

Sports & Recreation Center (Worcester Polytechnic Institute)

WPI 21-13 USM

197 pounds: Michael Curtis (WPI) decision (6-0) over Brandon Cousino (USM).

Not to be reproduced in any format or via any platform without express written permission.

Eggon mother and baby in Langa Langa Village, Nasarawa State, Nigeria. #JujuFilms by Juju Films

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Eggon mother and baby in Langa Langa Village, Nasarawa State, Nigeria. #JujuFilms

Polytechnic College Hotel by SMU Libraries Digital Collections

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Title: Polytechnic College Hotel

Creator: Unknown

Date: ca. 1909

Part of: George W. Cook Dallas/Texas image collection

Series: Series 3: Photographs

Series 3, Subseries 3, Postcards

Series 3, Subseries 3d, RPPC, Texas

Place: Fort Worth, Tarrant County, Texas

Description: People stand on the upper walkway of the Polytechnic College Hotel.

Physical Description: 1 photographic print (postcard): gelatin silver; 9 x 14 cm

File: a2014_0020_3_3_d_0481_c_fortworthhotel.jpg

Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.

For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/gcd/id/2991

Florida Polytechnic by Burnt Umber

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New Classroom building and campus design by Dr. Santiago Calatrava

Wien, 1. Bezirk, Museum für Angewandte Kunst (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße (Pae White Orllegro) by Josef Lex (El buen soldado Švejk)

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