View allAll Photos Tagged provocation
Look closely at the unused clip on the Lone Ranger-era cannon on the right. Now, compare it to the one on the left and notice the difference. This happened without provocation, where the broken clip in question (which was holding a cannon plunger since ~2015 with no problem) suddenly decided to dispense of it's load. Not sure where the tip landed, as I can't find it.
Oh, and the train cars in the background are from the 8-wide Wild West 4-10-0 + military train. I've built everything but the steam loco itself, but I can't finish this whole MOC today. I've had to redesign the prisoner car's exploding wall area (twice!) and have realized I'm short a couple parts for the tender that I know I don't have extras of. Frankly, I'm afraid at this point the loco won't work as planned, judging by how this day is going so far!
When this train get's completed, it will join four other trains on the photography table. I'll get the pictures taken at that point, due to this being the last Western train I plan on making. (yeah, I'm not so confident that will argument hold up in the future!)
To be able to look a man straight in the eye, calmly and deliberately, without the slightest ruffle of temper under extreme provocation, gives a sense of power which nothing else can give.
The story of the Elibank Castle reads like a ripping yarn. She was one of the earliest vessels built in the Great Lakes Area of NSW.
This image, obtained from recent satellite imagery, shows the location of Banyetta Point where the massacre of crew members on the first voyage of the Elibank Castle to the Solomon Islands in 1884/5.
To fully present the astounding events surrounding this vessel a report is presented for each of three periods in her short life:
- grounding in New Zealand in 1875
- first trip to the Pacific Islands in 1884
- final trip to the Islands in 1885
Section 1 deals specifically with her movement to New Zealand and subsequent grounding. Section 1
Section 2 deals with her first visit to the Pacific Islands in late 1884 and the murder of 5 crew members, including the captain.
Section 3 deals with her second and final visit to the Pacific Islands in 1885 when all but two of the crew were murdered - the survivors sailed the ship to New Guinea and were forced to abandon her and take to the long boat. Only one man survived and he turned up in Cooktown; seven months after the massacre in the Solomon Islands. Section 3
Details
Name: Elibank Castle
Type: Topsail Schooner – two masts
Official Number: ON 71811
Registered Sydney 3/1875
Length: 80 ft
Breadth: 18.5 ft
Depth: 6.85 ft
Registered net tonnage: 69.62 tons
Builders: William Peat and Donald Cameron
Location: Coolongolook, NSW.
Launched: September 1874 (no specific record)
Owners:
1875 – 1877 James Mathew Banks (NZ)
Registered in Wellington, New Zealand (2/1875)
Stranded Ninety Mile Beach; Recovered
Registered in Wellington New Zealand (10/1875)
1877 – 1879 George Parkman Austing (NZ)
Registered Dunedin, New Zealand (17/1877)
1879 – 1880 James Anderson (NZ)
1880 – 1884 Keith Ramsay, John Graham & James Anderson (NZ)
1884 - Capt. Augustus Otto Wilhelm Routch
Registered in Sydney 114/1884
Early Life
The Elibank Castle was built by William Peat and Donald Cameron on the banks of the Coolongolook River at Coolongolook. No details of her launch have been found but a report from 7th September 1874 indicated that launching was imminent.
"Peat and Cameron's vessel now building at the Coolongolook is nearly ready for launching. She is a pretty model and right well put together with well seasoned timber, and bids fair to prove a first class little craft to brave the dangers of the coast. September 7, 1874." The Maitland Mercury - 19 September 1874.
SECTION 2 - FIRST TRIP TO PACIFIC ISLANDS - 1884/5
Events on Bentley Island - 1884
Following the purchase of the Elibank Castle in October 1884 she was registered (Sydney 114/1884) and set sail from Brisbane for the Pacific Islands on 6th November under the control of Captain Howie. Her first port of call was the Louisiade Group of Islands off the Eastern tip of the mainland of what was then British East New Guinea (now part of the Milne Bay Province of Papua New Guinea). She reached Teste Island (also known as Wari Island) and then travelled on to Bentley Island (also known as Anagusa or Angusa Island) where the ship’s owner (Otto Routch) planned to establish a copra station. Two members of the crew William Reid and John McCord were left on Bentley island while the Eilbank Castle continued to Goodwin Island and then on the Bayetta on Rendova Island.
While on Bentley, William Reid was murdered on 23rd December 1884. John McCord wrote from Teste Island as follows “I regret to state that my mate William Reid was killed on 23rd December by natives on one of the Engineer Group. I have every reason to believe from the statements of the natives that a Chinaman named Ah Sing, camped on that island beche-de-mer fishing, either instigated the murder or is chargeable with complicity in the crime. Reid was, at any rate, shot with his (the Chinaman's) rifle. Being ill with fever I did not consider it safe to stop at Bentley Island by myself, therefore went to Teste Island, where I am at present stopping with the missionary”. The note was written to Mr. J.C. Baird and delivered by the master of the ketch Wild Duck when she docked at Cooktown on a voyage from New Guinea. The Queenslander - 31 January 1885
Events on Renova Island in the Solomons - 1885
Despite the death of Reid, the Elibank Castle continued her journey to Banyetta on Rendova Island in the British Solomon Islands. On Tuesday February 3rd, just a few days after the news of Reid’s death was received, the Elibank Castle arrived at Double Island flying distress flags that were reported by the steamer Port of Melbourne. The customs authorities at Port Douglas dispatched the tug Dingo and escorted her into port. Henry Charles Banks, the chief mate, brought the news of terrible events at Point Banyetta. He reported that the Captain - James Howie; Able Seaman - Carl Johann; and three kanakas (Ki-haah, Pine-ee, and My-le-Sah) were brutally murdered on the 15th January by the natives off Point Banyetta, of the Solomon group, while attempting to land. “On the boat getting towards the beach they were attacked by a number of the savages; there were probably over 60 in number. The murder was witnessed by those on board the vessel at anchor, and was committed with tomahawks, spears, and other weapons. Some of the natives, upon the boat nearing the shore, rushed suddenly into the water up to their waists and made for the boat. The captain had no suspicions that the natives were hostile, as he gave instructions before leaving the schooner that he would return during half an hour. The natives pulled the bodies out of the water and carried them ashore, together with the boat with the oars and articles of trading. The natives were accompanied by a large number of dogs, who were licking the blood of the victims. The boat was carried inland and ultimately disappeared. The mate says he fired two shots from the schooner with a rifle, to which no response was made. At about 10 a.m., however, there were rifle shots fired at the vessel, which passed over our heads and around the men on board. At about 11 a.m. George Palmer, the cook, went aft with a rifle and ammunition to keep up a continual fire until we got the canvas set.
We knocked out the shackle of the 45th fathom of the anchor cable, so as to be all ready for slipping. Whilst the hands were loosing the topsail a bullet severed the starboard clew, while another passed through the bunt of the sail. The shots were fired by the natives under cover of the bush. A consultation was held to consider the best means of saving the lives of the men and property on the schooner, and it was decided to slip the cable, but the vessel twice canted towards the shore. A squall fortunately came up, which favoured our getting away from the shore, when we slipped the cable and got away in the mist. It was thought to be the most prudent to proceed to Sydney direct. Being without anchor cables we put into Cairns Roads [Double Island], but the winds being exceedingly boisterous and heading, and our canvas being very dilapidated we were compelled to come on to Port Douglas".
LATEST BY WIRE - PORT DOUGLAS, February 3. - Cairns Post 5 February 1885
Inquiry into events on Rendova Island
An inquiry was subsequently held on the events at Banyetta Point (current name) and reported as follows:
"MURDERS AT THE SOLOMON ISLANDS.
On the 4th instant we published a telegram from Port Douglas announcing the arrival at that place of the schooner Elibank Castle, in charge of the mate, Henry C. Banks, who reported the murder of the captain and four hands at Point Benyetta, Solomon Islands. Pursuant to instructions from the Colonial Secretary, the police-magistrate at Port Douglas (Major Fanning) has since held an inquiry into the matter, and has forwarded to the Under Colonial Secretary the depositions, which have been kindly placed at our disposal.
Henry Charles Banks, the chief mate of the Elibank Castle, which was on a trading voyage to the South Seas when the outrage was committed, deposed: We left Brisbane on Thursday, the 6th November, 1884, the Solomon Group being the last islands we touched at; the name of the last island, at which the murders occurred, is Benyetta; on the morning of 15th January the captain, James Howie, Carl Johann, able seaman, and three kanakas went on shore to trade for copra and tortoise shell; immediately on boat getting towards the beach she was attacked by a multitude of savages numbering, as far as we could guess from the vessel, over sixty, witnessed from vessel with glasses by me and the crew, the attacking party of natives using tomahawks, spears &c., some of them being up to their middle in the water; the captain, when going on shore, said that he would be back in half-an-hour, and we saw two natives; I did not see, myself, the two natives pulling a dead body out of the water; l and the rest of the crew saw natives carrying the boats, oars, lengths of calico, &c., along the beach; the boat disappeared, and I never saw it again; I fired two shots towards shore with a Snider rifle to see if any of the crew were alive, that is those that went ashore; about 10 o'clock a.m. the natives kept firing at us from the bush, the bullets coming in all directions among us, over our heads and between us; at about 11 o'clock a.m. I sent the cook, George Palmer, aft with rifle and ammunition, to keep up a continual fire, which he did, whilst we got canvas on the vessel and pulled up chain from below, and knocked out forty-five fathom shackle-pin, all ready for shipping; whilst a kanaka was loosening topsails one bullet severed starboard clew, another went through bunt alongside of him; at noon we looked everywhere from the vessel with glasses, and could see no-one, the natives being all concealed in the bush; after due deliberation and consultation to save our lives, the vessel and property, we unanimously decided to slip our cable, the last shift for our lives; the vessel canted in shore twice; at last a heavy squall coming away, favoured us; we slipped our anchor and cable, and got away in the mist; after the mist cleared away, I took glasses, but could see no one; we then held a consultation - by we, I mean myself and the crew - and decided that it would be most prudent to proceed to Sydney and do our best to get the vessel there; set all canvas, and proceeded; the following are the names of the murdered boat's crew which left the ship for the island - Captain James Howie, Carl Johann, able seaman; and three kanakas, named Ki-haah, Pine-ee, and My-le-Sah; all the names appear on the ship's articles; I saw the boat attacked immediately it arrived on shore; the ship was about 600 yards from the beach, and from what I saw I have every reason to believe that the persons enumerated previously were foully murdered; I have nothing more to say with regard to this matter, excepting that the reason I could not arrive at Sydney was because I was so very short-handed; there being only one man upon whom I could depend, I had to make for the first port - namely, Cairns. I arrived at Double Island, and anchored there. When at that place the harbour-master rescued me, and brought the ship to this port ; Double Island is about half- way between this port and Cairns; the captain and Carl Johann were both armed with revolvers when they started for shore, but from the sudden attack were unable to use them, as I did not hear any shots; to my knowledge the captain and other members were perfectly sober; the trade was solely confined to copra, beche-de-mer, tortoiseshell, and anything of that kind, there was no recruiting for labour; I can form no opinion as to the reason why the natives made this wanton attack, as I never visited any of these islands before ; I believe the captain had been at this island before; at the other islands in the Solomon Group which we visited we were received well by the natives ; when the captain left the vessel he did not ex- press any fear of danger; we remained at anchor exactly four hours after the boat was attacked ; the ship was well provided with arms, ammunition, and every other department; we had no arms for traffic; there were six Snider rifles and six revolvers only on board; I saw the captain and boat's crew land ; there were about sixty or seventy natives close by with spears, tomahawks, and shields; the captain had no time to trade, as directly the boat touched the beach they were attacked by the natives; as far as I know, the captain gave no provocation to the natives.
David Brown, boatswain, gave corroborative evidence, and added that the captain had bought some ground while at Bentley Island, that the captain and crew who were murdered had previously been ashore on the morning on which the outrage was committed, and that natives had been off to the vessel to trade, but that nothing had occurred likely to lead to any disturbance.
George Palmer, cook, in the course of his evidence, deposed; I saw the natives with their spears and axes, up to their waists in the water, chopping at what I look to be the kanaka making for the ship; I then went for'ard and told David Brown that the boat was attacked, when he came up all we could see was the natives running away with the calico and other trade; I looked through the glasses again and saw the natives dragging the dead body of a white man out of the water on to the beach; I could see the man was dead from the appearance of the body, which was only about 250 yards away; David Brown called the mate, who, on coming up, saw at once what was wrong, and the only thing that could be seen on the beach was the dogs tearing away at something which we could not distinguish; I then called Thomas Hogan, who was in his bunk asleep; he came up; the mate, Mr. Banks, fired two shots towards the shore, but got no reply ; we then decided to wait till 12 o'clock, to see if any of the men would turn up; we were all standing aft, and the natives commenced firing; none of us were armed; they continued firing for about three-quarters of an hour; two bullets went through the topsails, and one was found on the deck; I then got a rifle, and fired in the direction from which the natives were firing; I was standing on the starboard quarter; from what I saw I have no doubt whatever that the captain, Charlie [Carl], and three kanakas were murdered; I did not hear any firing from the captain and his party when they reached the shore; the cable was slipped at 12 o'clock, and we reached Double Island Point about the beginning of this month; the natives' object, I believe, in attacking the boat was to take the trade, and afterwards the vessel; we were not engaged in the labour traffic; the three natives who brought the copra off to the vessel were quite contented with the trade given in exchange; I gave the captain and Charlie the revolvers on the second trip; the captain did not express that there was likely to be any difficulty on shore.
Augustus O. W. Routch, owner of the schooner Elibank Castle, stated that the vessel had been licensed by the Governor of New South Wales to trade in the South Sea Islands, and was registered in that colony.
While the accounts vary slightly, it is quite clear that the stated intent of the voyage was not to recruit for the labour trade and the vessel was not licensed to engage in the labour trade. There is little doubt, however, that the hostile response at Banyetta was a reaction against previous labour recruiters and their actions. This first voyage of the Elibank Castle to the Pacific Islands resulted in the murder of a total of six people and it was a great surprise to many that a second voyage was undertaken in 1885.
Image Source
iTouch Map -Banyetta Point on Rendova island, Solomon Islands
Acknowledgements: The assistance of Mori Flapan (Mori Flapan boatregister) by providing access to his extensive database is greatly appreciated.
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flick Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
Nouvelle provocation de Maurizio Cattelan : l'artiste transforme Bergame avec cinq œuvres monumentales.
Anacortes.
"On September 7, 1899, Alfred Hamilton (1872-1902) shoots and kills prominent attorney David. M. Woodbury (1849-1899) without provocation. Hamilton, a notorious miscreant, has been wandering around Anacortes intoxicated, threatening the citizenry with a revolver, and efforts by the city marshal to arrest him without bloodshed have been unsuccessful. Woodbury lingers in great pain for three days before dying on September 10, 1899. A Skagit County jury will find Hamilton guilty of first-degree murder with the mandatory sentence of death. On appeal the Washington State Supreme Court will grant him a new trial based on judicial error. To assure a fair and impartial jury, Hamilton's retrial will be held at the Whatcom County Courthouse in Bellingham. Once again, he will be found guilty of first-degree murder and sentenced to hang. Hamilton's attorneys will appeal the subsequent conviction to the state Supreme Court, where the judgment of the lower court will be affirmed. On May 23, 1902, Hamilton will be hanged in the courtyard outside the Whatcom County Courthouse. This will be the last legal execution to occur in Washington outside the confines of the state penitentiary at Walla Walla."
We, Mike and I, were walking around with our cameras and talking about how tired we were of shooting Melbourne. Then we came across her. She is a performance artist who was just testing what reactions she would get when wearing a bag on her head (yeah, we had a conversation, it was odd speaking to a bag). Then we agreed: Melbourne is still great to shoot. We just need provocation once in a while.
MikeKS has a version of this image with an 85mm lens.
Seen along Swanston Street, Melbourne, Australia.
MoStreet art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.ntréal, Québec...
Summer's End: Living Sculpture: An exercise in curated opulence. The metallic drape transforms into a second skin, blurring the line between fine art and provocation. Gilded, glowing, and entirely in control.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
... mal nécessaire ...?
... les plus perspicaces auront bien sûr reconnu Pixel derrière l'affiche ...
"au secours !!! ... enlevez-moi ce truc ...!"
... bien sûr, cliquer sur la pub ne vous mènera nulle part (et puis quoi encore!) ... juste à voir l'affiche ... et l'oreille de Pixel en pleine résolution ...
Ein Graffiti an einer Haltestelle der AKN hier in Norddeutschland brachte mich zum Nachdenken, da ich den Sinn nicht verstand und er sich mir auch immer noch nicht ganz erschließt. Nachforschungen in Richtung eines Graffitiprojektes zur Prävention von illegalen Graffitis oder Gewaltprävention ergaben keine Treffer.
Meine Bearbeitung des zugrundeliegenden Graffitis zeigt nun eine Interpretation des Graffities.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.