View allAll Photos Tagged rectangular
Pair of bronze table-top figurines of reclining Silenus, one with wineskin, the other with a panther. From the Villa dei Papiri, Rectangular Peristyle. 1st Century AD Roman copy after a hellenistic Greek original. Museo Archeologico Nazionale di Napoli. Napoli, Campania, Italy. Copyright 2016, James A. Glazier. Pompeii.
Just past the rectangular iceberg, which is visible from behind the outboard engine, IceBridge saw another relatively rectangular berg and the A68 iceberg in the distance.
Image taken during an Operation IceBridge flight over the northern Antarctic Peninsula on Oct. 16, 2018.
Credit: NASA/Jeremy Harbeck
Rectangular Lead Weight (Greek inscirption of Agora Offical Seleukos, 2nd century A D) - Archaeological Museum Paphos
rectangular_diagonal
_ rechteckig_diagonal
_ Packstation is a service run by DHL Parcel Germany, a business unit of Deutsche Post's Mail division, in Germany. It provides automated booths for self-service collection of parcels and oversize letters as well as self-service dispatch of parcels 24 hours a day, seven days a week. Packstation started as a pilot project in 2001 and was quickly expanded. In November 2011 there were 2500 Packstation machines in Germany. Only ordinary parcels and letters delivered by Deutsche Post can be delivered to Packstations. Moreover, Deutsche Post allows its subsidiary DHL Express Germany to insert a limited number of express parcels.
"The spa building was built in the years 1864–1867 according to the project of architects Hain, Renner and Labitzký in a romantic style in the style of English chateau Gothic. It is a one-story building with a symmetrical layout on a rectangular floor plan with two inner courtyards." - info from the National Monument Institute.
"Karlovy Vary (German: Karlsbad) is a regional and statutory city in the Karlovy Vary district in western Bohemia, in the Karlovy Vary region, 110 km west of Prague at the confluence of the Ohře and Teplá rivers. Approximately 49 thousand inhabitants live here. Among other things, the glass and food industries are developed here. It is the most visited Czech spa town. As of 2021, it is on the UNESCO World Heritage List under the Famous Spa Cities of Europe. The city is a member of the Euregio Egrensis Regional Association of Municipalities and Cities and the Water Management Association of Municipalities of Western Bohemia.
The place where the center of Karlovy Vary was established remained for a long time outside the interest of the population. Steep slopes and unsuitable climatic conditions near the thermal springs did not provide suitable conditions for growing crops, which were crucial for settlement. The first settlements were more likely to be located in today's peripheral parts of the city.
The exact date of the city's founding is unknown. The permanent settlement around Vřídl was established in the middle of the 14th century. In 1370, it was granted to the city by Charles IV. privileges of the royal city. The legend of the founding of Karlovy Vary, recorded in 1571 by Dr. Fabian Summer, says that a hunting dog began to maul a piece of wild game during an expedition in the woods, falling into a pool of gushing hot water. The moaning of the dog summoned the other members of the expedition, who subsequently tasted the hot water. Charles IV was also informed about the find, who went to the place of the spring. Together with the doctors present, he stated that this hot water has healing effects, which he subsequently tried himself and experienced improvement. He then founded a spa called Teplé lázně u Lokte on the site of the alleged spring.
At first, the town had only a few inhabitants, whose most important role was to take care of the springs. Karlovy Vary initially developed at a slow pace. The Hussite wars did not affect the city in any way, because it was not understood as strategically important. The city slowly began to grow rich from the gradually developing spa industry. But the growth was hampered by several misfortunes that hit the city. A flood swept through the town in 1582 and a devastating fire in 1604, which destroyed 99 houses out of 102. The subsequent rapid growth was interrupted by the Thirty Years' War, which reduced the number of inhabitants and also the number of spa guests. The end of the 17th century starts a new growth in the city. Important European personalities begin to visit Karlovy Vary. The city began to expand with new buildings (e.g. the theater or the Saxon and Bohemian Hall, which became the basis for the Grandhotel Pupp etc.). In 1759, the city was again destroyed by flames. However, thanks to its fame, the city recovered relatively quickly from the fire. The Napoleonic wars rather benefited the city in a way. Thanks to their sufficient distance from the battlefields, they attracted visitors to the famous spa towns of Western Europe. Viennese architects Ferdinand Fellner and Hermann Helmer, who designed 20 important buildings in the city, are largely responsible for the architectural transformation towards Art Nouveau at the end of the 19th century. In the years 1870–1871, the city was connected to Cheb and Prague by means of a railway, which was later followed by regional connections.
The development of the city was disrupted by the First World War, after which it was not possible to continue such extensive growth. The city became the center of important events with the rise of Nazism. Local bookseller KH Frank became the leader of the Karlovy Vary Sudeten German Party, later the second most powerful man in the party. On April 24, 1938, Konrad Henlein presented the so-called eight Karlovy Vary demands, heralding the breakup of Czechoslovakia, in the city. In October of the same year, Karlovy Vary became part of the Third Reich. At the end of World War II, the city (especially the local part of Rybáre) was affected by bombing. The end of the war was also accompanied by the forced displacement of the original German population. During the era of socialism, several important buildings were built in the city center, such as the Vřídelní colonnade, the Thermal hotel, etc. The period after 1989 is characterized by the entry of Russian capital, which also affects the appearance of the city (e.g. by disrupting the historical character of the city with building plans). According to research by Russian activist Mikhail Maglov, who looked at property conditions through an analysis of the local real estate cadastre, "up to half" of local real estate is owned by citizens of the Russian Federation and other countries of the former Soviet Union.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Smilšu iela 8, Riga, Lativa.
======================
This is the most extravagant expression of Art Nouveau architecture I saw while I was in Riga, Latvia last year.
Here's what I have learned about it:
Building built in 1902. The authors of the project - H. Shelle and F. Sheffell.
It is an early sample of eclectic decorative Art Nouveau. The architectural finish of the facade of the building resembles the 19th century. buildings in the Riga boulevards, but mainly used Art Nouveau decorative expressions - various CT’sc masks, stylized plant motifs, striped tensioned lines, geometric shapes. Sculptural decorations in façades were made by sculptors Z. Oto and O. Vasil, and interior decoration - M. Loce.
The entrance hall is decorated with expressive female figures, as well as flower paintings and shoals.
In 1999 - 2000 the building was restored. The historic decoration has been restored only on the ground floor.
www.citariga.lv/lat/rigas-apskates-vietas/jugendstils-rig...
Riga, Smilšu street 8, is a 5-storeyed building with shops built in 1902, architects Heinrich Karl Söll, Friedrich Schaefer, renovated in 1999-2000, architects Arnis Kleinbergs, Janis Zvejnieks.
Eclectic decorative Art Nouveau building, whose facades are abundantly decorated with sculptures, which are the works of sculptors Sigismund Otto and Osvalda Vasil. The building was owned by the owner I. Bobrov. The facades of the building are richly decorated with bay windows and balconies decorated with wrought iron. Above the facade of Smilšu Street there are two women's wreath-shaped wreaths, symbolizing fine art and harmony. Entrance portals are decorated with an expressive female mascaron with closed eyes. The first floor of the building now houses shops, as well as a sweet shop with a small cafe, where you can taste a cup of coffee renovated Art Nouveau interior.
La verdad es que a estas las odio más que los televisores (la TV es mi amiga), porque estas te mojan con esas aguas que deberían estar prohibidas en todos los estados del mundo libre.
John Rylands Library, Deansgate, Manchester, 1890-99.
By Basil Champneys (1842-1935).
Commissioned by Enriqueta Rylands (1843-1908) as a memorial to her husband John (1801-1880).
Grade l listed.
The library was built on a rectangular plan and subsequent extensions are to the rear. It was designed to resemble a church in a decorated neo-Gothic style with Arts and Crafts details. It is constructed of Cumbrian sandstone, the interior a delicately shaded 'Shawk' stone (from Dalston, varying in colour between sand and a range of pinks) and the exterior, dark red Barbary stone from Penrith, built around an internal steel framed structure and brick arched flooring. The red 'Barbary plain' sandstone, which Champneys believed 'had every chance of proving durable' for the exterior, was an unusual choice in late Victorian Manchester. It proved relatively successful, as an inspection by Champneys in 1900 revealed little softening by the 'effects of an atmosphere somewhat charged with chemicals' although, by 1909 some repairs were needed.
The library has a crypt above which the building has two unequal storeys giving the impression of three. The ornate Deansgate facade has an embattled parapet with open-work arcading under which is a central three-bay entrance resembling a monastery gatehouse. Its two-centred arched portal has doorways separated by a trumeau and tall windows on either side. Above the doors are a pair of small canted oriel windows. Surfaces are decorated with lacy blind tracery and finely-detailed carving. The carving includes the "J. R." monogram, the arms of Rylands, the arms of Rylands' native town, St Helens, and those of five English, two Scottish and two Irish universities and those of Owens College. On either side of the entrance portal are square two-storey two-bay wings with plain walls with a string course containing grotesques and large octagonal lanterns. Behind the entrance portal flanked by square towers is the three-light east window of the reading hall. It has reticulated tracery and shafts in a similar style to the parapet. In front of the library are Art Nouveau bronze railings with central double gates and lamp standards.
en.wikipedia.org/wiki/John_Rylands_Library
—————————————————————————————————————————
JOHN RYLANDS LIBRARY AND ATTACHED RAILINGS, GATES AND LAMP STANDARDS`, DEANSGATE, MANCHESTER
Grade I listed
List Entry Number: 1217800
Detail
MANCHESTER
SJ8398SE DEANSGATE 698-1/27/118 (West side) 25/01/52 John Rylands Library and attached railings, gates and lamp standards (Formerly Listed as: DEANSGATE Rylands Library)
GV I
Library. 1890-99, by Basil Champneys, for Enriqueta Augustina Rylands in memory of her husband; with back extension 1912, also by Champneys. Red sandstone (roof not visible). Rectangular plan at right-angles to street, plus back extensions. Decorated Gothic style with Arts and Crafts accent. Two unequal storeys with the appearance of 3 storeys, designed like a church raised on a crypt, the facade composed of a 2-storey 3-bay centre (like the gatehouse of a monastery) flanked by square 2-storey 2-bay wings, with an embattled parapet to the whole and large octagonal lanterns over the wings; and, set back behind these, the east window of the reading hall flanked by square towers. The centre has very elaborate Gothic decoration throughout, including a 2-centred arched portal containing coupled doorways with a trumeau, a tall 2-light window each side, 2 small canted oriels above the portal, lacy blind tracery on all surfaces enriched with finely-detailed carving, and open-work aracading in the battlements; and the set-back 3-light east window of the hall has delicate reticulated tracery and shafts carried up to a similar open-work parapet. The walls of the wings and the towers, by contrast, are plain except for string courses enriched with grotesques: the wing to the left has tall transomed staircase windows at 1st floor with staggered sills, and low segmental-headed windows below these, that to the right has tall windows at ground floor and short ones above, and both have octagonal corner turrets with flying buttresses thrown back to the octagonal lanterns. The lanterns have transomed 2-light windows, blind tracery and open-work battlements like those of the centre, and the towers behind them have slender octagonal corner turrets and small 2-light windows above the level of the octagons. Return sides in similar style. Fine bronze forecourt railings with central double gates flanked by lamp standards, all in Art Nouveau style.
Interior: very fine vaulted entrance hall and winding vaulted staircase; church-like reading hall with much elaborate decoration, including traceried arcades, rib-vaulted ceiling, panelled reading alcoves with oriel windows, statues of John Rylands and Mrs Rylands, etc.
History: built to house the theological library of John Rylands (leading textile manufacturer and philanthropist), subsequently augmented by purchase of other collections, and now one of the finest in the country.
Listing NGR: SJ8356898213
Sant Martí del Congost és una església romànica construïda durant el segle XII sobre una església anterior. La planta de l'edifici era rectangular amb l'absis semicircular i s'hi accedia per un portal adovellat situat a la façana de migdia. Les reformes més notables del temple van fer-se durant el segle XVII, amb la construcció de les capelles laterals i la sagristia, l'obertura d'un nou portal al mur de migdia i la construcció del campanar. A causa de les deficiències estructurals que patia, entre el segle XVII i XVIII va reforçar-se la part de l'absis i s'hi va adossar dependències de la rectoria.
És un edifici de planta de creu llatina amb l'absis no marcat en planta a l'exterior i semicircular a l'interior. La nau està coberta amb volta de canó, que descansa sobre la cornisa de les parets laterals. Les capelles laterals s'obren a la nau amb arcs de mig punt sobre pilastres de pedra i estan cobertes amb volta d'aresta. L'absis està cobert amb volta de quart d'esfera i presenta set fornícules separades amb columnetes, que van posar-se al descobert en una prospecció que va fer-se durant la segona meitat del segle XX, i es troba inclinat cap enrera desgut a la debilitat del terreny. Als peus del temple hi ha el cor sostingut amb bigues de fusta, al qual s'accedeix per unes escales de cargol. Al seu costat hi ha el portal primitiu tapiat, d'arc de mig punt adovellat, i sobre el cor hi ha una finestra romànica geminada, que va quedar oculta amb la construcció del campanar de torre. La il·luminació de nau es resol únicament per un un òcul situat en el mur de ponent, al costat del qual es van obrir dos petits portals. L'accés a l'església es fa des de migdia per un portal d'estil renaixentista, amb pilastres acanalades als brancals i llinda motllurada, que està coberta per un porxo creat en l'espai d'unió amb la rectoria. La façana de ponent estava tapada per diversos cossos relacionats amb la rectoria, que van ser enderrocats i han deixat a la vista la base del campanar torre i la façana de tramuntana de la rectoria. Entre els murs de llevant i tramuntana hi ha diversos contraforts. El parament dels murs és de pedra lligada amb argamassa revestits amb morter de calç, tot i que en algunes parts com al campanar presenta carreus de petites dimensions.
El temple va ser consagrat pel bisbe Gotmar l'any 898, sota petició de l'abadessa Emma. Els vestigis materials localitzats a la cripta apunten a l'existència d'un lloc de culte anterior a l'església, amb enterraments datats entre els segles VI i VII. El temple erigit per Emma ja disposava d'un altar on s'hi va jurar el testament d'Odesind. A principi del segle XII es va construir una nova església sobre l'anterior, a petició del senyor del vilar d'Aiguafreda, Rotlan Guillem, del sacerdot Bernat Ramon i d'altres feligresos. Va ser consagrada pel bisbe de Vic, Arnau de Malla, el gener del 1105. La nova església tenia tres altars dedicats a Sant Martí, Sant Pere i Sant Climent, així com un cementiri i una sagrera, a l'entorn de la qual no s'hi va establir cap nucli de població. Durant el segle XV va afegir-se un altar dedicat a Nostra Senyora de Gràcia, així com posteriorment al Roser, a Sant Isidre i a Sant Antoni de Pàdua. Tanmateix, no va ser fins al segle XVII que van començar a afegir-se capelles laterals, entre les que hem de destacar la del Sant Crist, el qual va gaudir d'una gran devoció entre la població. Les intervencions d'aquest període van afectar l'estructura de l'església, que ja es trobava malmesa per les condicions d'humitat del subsòl, motiu pel qual van haver-se de reforçar fins a deixar ocult exteriorment l'edifici romànic. L'antic campanar d'espadanya va ser substituït per l'actual l'any 1668. Les pluges abundants de la primaversa de 1853 van afectar novament l'estructura de la construcció, que va ser reparada de nou gràcies a l'esforç dels feligresos. Uns anys més tard, l'església va perdre les seves funcions parroquials, que va adquirir l'església de la Immaculada Concepció, construïda al segle XVII en el petit nucli de població que s'havia creat a l'entorn del camí ral. Des d'aleshores, l'església antiga va començar a denominar-se "Aiguafreda de Dalt". El rector va residir-hi fins a l'esclat de la Guerra Civil, quan l'església va ser saquejada i va destruir-se la imatge del Sant Crist. L'any 1940 es va portar una nova imatge i el seu culte va quedar restituït.
Ruta excursionista a Wikiloc.
Alternate in first comment. Which is better?
----
Otevřu dnes ráno oči a vidím tohle. V noci to tam nebylo! :-)
De planta rectangular amb tres naus, una central gran i dues laterals més petites que s´obren a la central mitjançant arcades. La nau central és coberta amb volta de canó. Pels falsos nervis d´arcs i les falses claus de volta, hom pensa que es tracta d´una falsa volta feta amb maons, i que la coberta real sigui amb cabirons de fusta coberts amb teula àrab. La separació entre les arcades de les naus laterals (quasi capelles) està formada per pilastres rematades amb una senzilla motllura, i des de cada pilastra surten els arcs de la volta. A la part de l´atri hi ha un cor tot construït en fusta. L´orientació de l´església és la de l´originària romànica, amb la porta d´accés cara al sud. El campanar, que s´aixeca sobre la porta, és molt pesat i massís.
Adossada al seu costat, hi ha l'antiga rectoria, reconvertida en casa de colònies, amb diversos annexos al seu voltant. És un edifici de tres plantes a dues vessants i llindes de pedra.
L'Esquellerida és una roda de fusta amb quatre eixos, que suporten dotze campanes petites, de dimensions i sons diferents. La roda té un suport de fusta fixat a la paret, on és agafat mitjançant un eix de ferro, acabat externament en forma helicoïdal, que li permet de girar lliurement, tot estirant una corda lligada a l'extrem de l'eix.
De la primera església de Sant Pau, en tenim noticies en el segle X; en el segle XII se´n construeix una altra, la durada de la qual arriba fins el 1688, en què és enderrocada per a construir-hi l´actual, que es beneeix l´any 1693.
L'origen de l'Esquellerida es remunta a l'edat mitjana, si bé els que resten en l'actualitat corresponen generalment a l'època barroca. La funció d'aquests instruments musicals era la de sonar en diferents moments dels oficis religiosos, com ara el Glòria i la consagració, en senyal de joia. Oposat a aquest instrument, hi ha la matraca, que servia per a denotar tristor; el seu so era de fusta.
Hospitium to Boxley Abbey (Cistercian). Late C13 or early C14. Ragstone with plain tile roof, 186 feet long. Gable end walls recessed above tie-beam. Each wall has very small irregularly placed rectangular ventilation holes. All original windows are morticed in sides and tops for rectangular bars and have chamfered reveals. Some of the windows and doors are now blocked. West gable has 3 lancet-type pointed windows above, and 3 below the tie- beam, the central one in each case stepped above the lower 2. Small later window punched through coping at left end. South side:fenestration changes towards centre of building. Left section has 5 regularly-spaced oblong windows under the eaves. On the ground floor, below the middle 3 and stepped slightly to the left are 3 taller, narrower oblong windows. At the left end, immediately below the cill level of the upper windows is a small inserted window with a wooden frame and below the left original first-floor window are 2 superimposed inserted windows, also in wood frames. One pointed window on ground floor to right of last first-floor window. Central quarter of wall blank save for one pointed window will cill immediately above level of tops of ground floor windows. Right section has 4 regularly spaced narrow oblong windows well below the eaves with similar windows on the ground floor below. Inserted barn doors with wooden archi- traves below 2 central first-floor windows. East gable: has one pointed window in the centre above the tie-beam and 2 oblong windows, much larger than any others in the building, under the tie-beam towards the centre of the wall, with 2 immediately beneath on the ground floor. North side: fenestration highly irregular. Left section has tall narrow oblong first floor windows well below the eaves, similar to those on the south side; one at the left end opposite the end window in the south wall and 2 much further towards the centre of the building, aligned to the right of the 2 counterparts in the south wall. One similar window on the ground floor below the second first-floor window from the left. On the ground floor, 2 arched doorheads, one to left of the left first-floor window and one beneath the first- floor window at the right end; that to left has stone voussoirs and chamfered stone jambs with broach stops. Slightly projecting rectangular stone stack on first floor, on brick relieving arch between the left first-floor window and the full-height barn doors. Full-height inserted barn doors opposite the doors on the south side. Central quarter blank save for inserted wooden doors on each floor. Right section:inserted wooden doors on each floor to right of those in central quarter, the top door obscuring an original oblong window. Then 2 smaller oblong windows immediately below eaves, opposite those on south side, with a pointed window on the ground floor below that to left and a blocked oblong window below that to right. Large long oblong opening under eaves to right of these with wall-plate as head and with broach stops to chamfered stone jambs and a plain cill; not morticed for iron bars, and possibly a first-floor door.
Andrea was nice enough to test knit Rectangular Ulmus in the medium size for me. It measures about 10 x 66" blocked.
Color tinted photographic postcard, rectangular cardstock, c. 1906, published by Thompson's Studio.
Emerald Peak - Elevation: 2545 m - Emerald Peak forms part of the scenic backdrop that greets visitors to Emerald Lake near Field, BC. Although the peak is often ascended on snowshoes or skis in the winter, it also makes for a fine summer objective, offering easy scrambling to the false summit and moderate scrambling from there on.
Link to this same postcard photo in black & white - search-bcarchives.royalbcmuseum.bc.ca/bit-of-emerald-lake...
Colour postcard view - Photographer / Illustrator: Thompson's Studio, Vancouver, British Columbia
Thompson's Studio & Supply House.
Thompson, Stephen Joseph (1864-1929).
(1885-1909): New Westminster/1901-1904; Vancouver/1901-1929.
Commercial (to 1911); Supplier (1908-1911; 1922?-1929).
He operated as Thompson's Studio & Supply House (1908-1911). After retiring to the real estate business in 1911 or 1912, his negatives were acquired by the Shaw Bros. Ltd. With the help of his son, S.C. Thompson, S.J. re-entered the business as a supplier around 1922 under the firm name Burrard Photo Arts Supply. The company was renamed Photo Arts Ltd. in 1927 and his son took it over following his father's death.
The Grade I Listed Carew Castle, a Norman Rectangular castle with Elizabethan Ranges alongside the Carew River in Pembrokeshire, South Wales.
The Carew family take their name from the place, and still own the castle, although it is leased to the Pembrokeshire Coast National Park, which administers the site.
The use of the site for military purposes extends back at least 2000 years. The castle stands on a limestone bluff overlooking the Carew inlet — a part of the tidal estuary that makes up Milford Haven. The site must have been recognised as strategically useful from the earliest times, and recent excavations in the outer ward have discovered multiple defensive walls of an Iron Age fort.
The Norman castle has its origins in a stone keep built by Gerald de Windsor around the year 1100. Gerald was made castellan of Pembroke Castle by Arnulf of Montgomery in the first Norman invasion of Pembrokeshire.
Gerald's son William took the name "de Carew", and in the middle of the 12th century created an enclosure with stone walls incorporating the original keep, and a "Great Hall" inside it.
The de Carews fell on hard times in the post-Black Death period and mortgaged the castle. It fell into the hands of Rhys ap Thomas, who made his fortune by strategically changing sides and backing Henry Tudor just before the battle of Bosworth.
Rhys's grandson Rhys ap Gruffudd fell out of favour and was executed by Henry VIII for treason in 1531. The castle thus reverted to the crown and was leased to various tenants. In 1558 it was acquired by Sir John Perrot, a Lord Deputy of Ireland, who completed the final substantial modifications the castle.
Perrot subsequently fell out of favour and died imprisoned in the Tower of London in 1592. The castle reverted to the crown and was finally re-purchased by the de Carew family in 1607. In the Civil War, the castle was refortified by Royalists although south Pembrokeshire was strongly Parliamentarian. At the Restoration the castle was returned to the de Carews, who continued to occupy the eastern wing until 1686. The castle was then abandoned and allowed to decay.
Information Source:
Brown rectangular metal case for blood pressure gauge with a small centered silver-colored label on top with the engraving, "M. P. RINDGE M.D." (Dr. Mila P. Rindge). Case hinges open so that the lid, which contains the calibrated glass tube, which runs along the length of the inside of the lid, and the mercury container, stands vertically. Next to the measurements is a company logo for Baumanometer, which includes the text, "Standard for Accuracy the World Over / U. S. Pats. Nos. 1594039 & 1821902 / Made in U.S.A. / W. A. Baum Co, Inc. - New York / Kompak Model." Housed in the base of the container is the grey cloth cuff with the Baumanometer logo and the black rubber tube and bulb.
Caution this instrument still functions and contains MERCURY. Case is 11 3/4" x 3 3/4" x 1 1/2".
Belonged to Dr. Mila E. Rindge or her doctor father, Milo. Learn more about her at www.madisonhistory.org/doctor-in-the-house/. Purchased at a local antique store as a collection inside classic doctor’s bag by MHS Director Jennifer Simpson in October 2020
ACC# 2020.118.004
See other medical related items in the MHS museum at flic.kr/s/aHsmTm2Swj
(Photo credit - Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
City Life | Architecture | Buildings | Travel | Lines
Visit also:
Instagram: @thomasueda
© Thomas Ueda, All Rights Reserved
A man leisurely sits without a sense of a hurry next to a recreated Japanese-style store front/residential building that reflects the design elements of a much earlier era.
Olympus OM-D E-M1 with M. Zuiko 12-40 f/2.8
From a tapering strip of paper with 5,6x1,4xmore than one meter
Diagram in Assia Brill's book "Curlicue - Kinetic Origami"
Located at no. 4 Georg-Koberer-Weg.
"Former defensive tower, rectangular tower, three-story gable roof building with half-timbered upper floor, first quarter of the 16th century.
Sommerhausen is a market in the Würzburg district of Lower Franconia and a member of the Eibelstadt administrative community. Apart from the main town there are no other parts of the municipality.
Sommerhausen is located on the right bank of the Main, 13 kilometers south of Würzburg. In addition to viticulture, tourism and the art scene play a major role. Sommerhausen is surrounded by Ochsenfurt in the east and south, and Eibelstadt borders the municipality in the north. Directly opposite Sommerhausen, on the west bank of the Main, is the town of Winterhausen. The curious names of the two towns have their origins in the church patrons. The Sommerhäuser church patron Bartholomew has his memorial day in the summer (August 24th), the Winterhäuser church patron Nicholas in the winter (December 6th).
Sommerhausen has been an important community on the Main since the Middle Ages. It was not subordinate to the Prince-Bishop of Würzburg. The Limpurg taverns came to Sommerhausen in 1413 through the marriage of the tavern Friedrich and Elisabetha von Hohenlohe. As part of the Speckfeld rule of the heirs of Counts Schenk von Limpurg (first Counts Pückler, then Counts Rechteren-Limpurg), which was mediated by Bavaria, Sommerhausen belonged to the Franconian Imperial Circle from 1500. From 1540 onwards, the Reformation was introduced in the Limpurg region, so that Sommerhausen became a Protestant enclave in the predominantly Catholic Main Franconia.
In 1810 it came to the Grand Duchy of Würzburg during territorial consolidation, with which it returned to Bavaria in 1814. As part of the administrative reforms in Bavaria, today's municipality was created with the municipal edict of 1818. In 1896/1897 the community had a Main bridge built.
The place, nestled in the valley of the Main under vineyards, has been the flagship of Franconian romanticism for decades. The medieval city wall has been preserved. All the buildings in the town center in the narrow, winding streets look back on several hundred years of history. The town hall dates back to the 16th century.
Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).
After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.
In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.
From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.
Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).
Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.
Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.
Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.
The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Rectangular plates :)
Been working on sushi the past 4 days.
All handmade by myself out of polymer clay (fimo)
Harkhebit was a "Royal Seal Bearer, Sole Companion, Chief Priest of the Shrines of Upper and Lower Egypt, and Overseer of the Cabinet" in early Dynasty 26. His tomb was a great shaft over sixty feet deep sunk into the desert and solid limestone bedrock in the Late Period cemetery that covers most of the area east of the Djoser complex at Saqqara. In a huge plain chamber at the bottom of the shaft, a rectangular rock core was left standing and hollowed out to house this anthropoid sarcophagus. When the tomb was excavated by the Egyptian government in 1902, the sarcophagus contained the remains of a badly decomposed gilded cedar coffin, and a mummy that wore a mask of gilded silver, gold finger and toe stalls, and numerous small amulets. Other canopic and shabti equipment accompanied the burial. The finds went to the Egyptian Museum, Cairo, while this sarcophagus was purchased from the Egyptian government by the Metropolitan Museum in 1907.
The sarcophagus is one of a group with plump, squarish broad faces, smooth unarticulated bodies, and slightly protruding feet that originate in the Memphite area and date, when their dates can be closely ascertained, to the time from the reign of Psamtik II (ca. 595-589 BCE) through the reign of Amasis (570-526 BCE). Several of them may have been produced by the same workshop; this one bears a strong resemblance to one in Leiden datable by his name to the reign of Amasis. Technically the sarcophagus is one of the masterpieces of late Egyptian hard-stone carving. The interiors of the extraordinarily rendered sunk-relief hieroglyphs and figures were left rough and may have been intended to be painted, perhaps in green. The long text on the lid comes from the Book of the Dead.
Translation of hieroglyphs
Box (same text on both sides, except for the ending)
Revered before Ptah-Sokar, royal sealbearer, sole companion, chief overseer of the national shrines of Upper and Lower Egypt, chamberlain Harkhebit, justified, possessor of reverence, son of the god’s scribe Padi-Hor (left), born of Ta-senet-en-Hor (right).
Lid, upper left
Recitation: I will be the protection of the burial of the Osiris chamberlain Harkhebit, justified. Figures: Hapi, Qebeh-senuf, He Who is Under his Moringa Tree, Anubis.
Lid, lower left
Recitation by Nephthys: (2) I have encircled my brother, Osiris chamberlain (3) Harkhebit. Your flesh will not be bent.
Lid, upper right
Recitation: I will be the protection of the burial of the Osiris chamberlain Harkhebit, justified. Figures: Imseti, Dua-mutef, He Who Sees his Father, Farsighted Horus.
Lid, lower right
Recitation by Isis: (2) Osiris chamberlain Harkhebit, (3) I am your sister Isis. I will be your protection.
Text in the center (Spell 72 of the Book of the Dead)
Recitation by the Osiris chamberlain Harkhebit: Hail to you, lords of order, free (2) of disorder, who are alive forever, to the limits of eternity! You should reveal the world to me, since I am effective (3) in what you do, I am in control of your magic, I am recognized as you are. You should save (4) me from the aggressive crocodile in this doubly-ordered land. You should give me my mouth that I might speak (5) with it.
Offerings will be given to me in your presence, because I know you, I know (6) your names. I know the name of that great god to whose nose you give sustenance: Tekemu (7) is his name; he opens the region below the eastern horizon of the sky; he opens the region below the western horizon (8) of the sky. I depart when he departs, I proceed when he proceeds, and vice-versa. You will not remove me from your starry path. The Rebel will not gain control (9) of me. I will not be rejected at your gate. You will not close your doors on me.
My bread is in Pe; (10) my beer is in Dep. I have taken possession of the temple that my father Atum gave me. He established (11) for me an earthly house, with barley and emmer in it without number, and festival is made in it for me by my son (12) of my body. May you give me invocation offerings of bread and beer, cattle and fowl, alabaster and clothing, incense and oil, every good and pure thing on which a god lives.
I will be set forever (13) in any form I desire. I go downstream to the Field of Reeds, I go upstream to the Field of Offering. I am the Double Lion.
-- James P. Allen 2004
Greywacke (stone). Late Period (Saite), Dynasty 26, mid to late, ca. 595–526 BCE.
From Egypt, Memphite Region, Saqqara, Late Period cemetery, Tomb of Harkhebit, burial chamber, Egyptian Antiquities Service excavations, 1902.
Met Museum, New York (07.229.1a, b)
Craft School, The Hague - Scheveningen, NL, designed by J. Duiker in 1930-1931. Restored in 1998 to a multi-company building with 22 units.
Technical school, formerly the Third Craft School, consisting of rectangular staggered building masses of three storey's, partly basement, under flat roofs. The ideas of the Nieuwe Zakelijkheid or Modernism, break the concept of the closed façade wall and create a completely new architecture with large glass surfaces where inner and outer space penetrate each other. The wall surfaces to be completed are closed where necessary to heights that are functionally determined in relation to the activities behind the façade.
The carrying frame is made of reinforced concrete. The façades consist of, among other things, cavity walls. The outer leaf is poured concrete on the spot and the inner leaf is made of floating stone. The skeleton and inner and outer walls have been plastered; the different materials, textures and seams, are this stucco layer is made into a continuous skin. The plinth around the building is dark and changes in height. Clarity and practical room layout determine the interior with centrally located stairwell and continuous corridors with on either side at right angles or parallel to them classrooms. The toilets are projected with each classroom. The wardrobe and the bicycle parking are central and can be checked from the porter's lodge.
The building has 21 classrooms; the local dimensions form the basis for the measurement method (a column distance of 8 x 8 meters) of the design. The dimensions are of three types: 8x8, 8x13 and 8x16 meters. The concrete skeleton allows the placement of large glass surfaces. The classrooms and other rooms receive their light via steel windows with horizontal rod distribution with narrow profiles and steel façades with glass on the corridor sides. The arrival of light in the hall is achieved through large areas of glass building blocks.
The school building was very much in line with the modern ideas of upbringing and well-being from that time, which were strongly oriented towards health and hygiene. An open floor plan with large glass surfaces where light and air can penetrate to a large extent translate these ideals into architecture. Cultural-historical significance as a school building that expresses in its design the modern views on upbringing and well-being in the thirties. Architecturally important as a representative and rare example of a school building in the style of the Nieuwe Zakelijkheid or Modernism.
he massive rectangular building with four corner towers stands on an isolated rocky hill of the Little Carpathians directly above the Danube river in the middle of Bratislava. Because of its size and location, it has been a dominant feature of the city for centuries. The location provides excellent views of Bratislava, Austria and, in clear weather, parts of Hungary.
“Our Baby Book,” a keepsake baby album illustrated by the famous Janet Laura Scott for the Whitman Publishing Co. in 1938.
Jackson Square, a rectangular plot of land, roughly the size of a city-block, marks the site of the original settlement of New Orleans by the French Mississippi Company. Known at the time as Place d'Armes, it was designed in 1721 by landscape architect, Louis H. Pilié. It originally served as military parade grounds, and later as a market place and site for executions. Today it is a well manicured park and the spiritual center of the French Quarter.
From 1762-1803, after New Orleans was ceded to Spain in the Treaty of Paris and served as the Capital of the French Province of Louisiana, it bore the spanish translation of its original name, Plaza de Armas. After being returned to French control in 1801, the city was part of the land sold to the United States in the Louisiana purchase in 1803. It was in the Place d'Armes that the American flag was first raised over the newly purchased territory.
After the Battle of New Orleans, the final major battle of the War of 1812, the plaza was renamed in honor of General Andrew Jackson, an American military commander in the battle who would go on to serve as the seventh President of the United States, from 1829-1837. In 1856 the Baroness Celestin Pontalba paid for the square's beautification. Under her auspices, the Pelanne brothers designed the wrought-iron fence surrounding the park and on February 8, 1856, sculptor Clark Mills' equestrian statue of Jackson was dedicated in the center of the park. The statue, one of three identical casts (the others are in Washington D.C. and Nashville, TN), depicts General Jackson reviewing his troops at the Battle and was the first to ever depict a hero astride a rearing horse. After occupying the city after the Civil War's Battle of New Orleans in 1862, Union General Benjamin "Beast" Butler engraved "The Union Must and Shall Be Preserved" on the plinth.
Surrounding the park is a pedestrian plaza. Diverse artists rent space and hang their works on the fence, and jazz musicians, tarot card readers, and clowns entertain throngs of tourists. When originally laid out, the plaza overlooked the Mississippi River, but the view was blocked in the 19th century by larger levees. Under the administration of Mayor Moon Landrieu, a scenic boardwalk, known as Moon Walk, was built along the river. Flanking the uptown and downtown sides of the Square, are the Pontalba Buildings, matching red-brick block long 4-story buildings erected in the 1840's. The ground floors house shops and restaurants; the upper floors are apartments that are the oldest continuously rented in America.
On the Place John Paul II, the promenaded section of Chartres Street stretching the last length of the park, sit three historic buildings financed by Don Andrès Alomonester y Rojas, the Baroness Pontalba's father. The center of the three is St. Louis Cathedral. To its left is the Cabildo, built in 1795. It served as the capitol for the Spanish colonial government, then later as City Hall, and home of the State Supreme Court, and today houses the Louisiana State Museum. It was here that the finalization of the Louisiana Purchase was signed. To the cathedral's right is the Presbytère, built between 1794 and 1813. It originally housed the city's Roman Catholic priests and authorities, and then served as a courthouse until 1911. Today it is part of the Louisiana State Museum, housing a Mardi Gras Exhibit.
The Saint Louis Cathedral is the oldest, continuously operating cathedral in the United States and the seat of the Roman Catholic Archdiocese of New Orleans. Three Roman Catholic churches have sat on this site since 1718. The cornerstone of the present structure, designed by Gilberto Guillemard, was laid in 1789, elevated to cathedral status in 1794 and completed in 1795. In 1819, Henry S. Boneval Latrobe added the clock and bell tower. Between 1845 and 1851, J.N.B. DePouilly remodeled and enlarged the church. In 1964, the cathedral was designated as a minor basilica by Pope Paul VI. Pope John Paul II visited the basilica, on the occassion of his second pastoral visit in the United States on September 12, 1987.
Jackson Square National Register #66000375 (1966)
Vieux Carré Historic District National Register #66000377 (1966)
El Foro Romano, también conocido por su nombre en latín, Forum Romanum, es un foro rectangular situado en el centro de la ciudad de Roma y rodeado por las ruinas de varios edificios antiguos. Los ciudadanos de la ciudad antigua se referían a este espacio, que originalmente era un mercado, como el Forum Magnum, o simplemente como el Forum.
Durante siglos, el Foro fue el centro de la vida diaria de Roma: lugar de celebración de procesiones triunfales y elecciones; escenario de discursos públicos, juicios penales y combates de gladiadores; y núcleo de los asuntos comerciales. Aquí numerosas estatuas y monumentos conmemoraban a los líderes de la ciudad. Corazón de la antigua Roma, ha sido descrito como el lugar de reunión más célebre del mundo y de la historia.[2] Situado en un pequeño valle entre el monte Palatino y la colina Capitolina, actualmente el Foro es una extensa ruina compuesta por fragmentos arquitectónicos y excavaciones arqueológicas intermitentes que atrae a más de 4.5 millones de visitantes al año.
Buena parte de las estructuras más importantes de la ciudad antigua estaban situadas en el Foro o cerca de él. Los primeros santuarios y templos de la Monarquía romana estaban ubicados en su extremo sureste. Entre estos se encontraban la antigua residencia real, la Regia (siglo viii a. C.), y el Templo de Vesta (siglo VII a. C.), así como la Casa de las Vestales, todos los cuales fueron reconstruidos después del nacimiento del Imperio romano.
Otros santuarios arcaicos situados al noroeste, como el Umbilicus urbis y el Volcanal (santuario de Vulcano), se transformaron en el Comitium, el espacio público de reunión de la República. Aquí fue donde empezó el Senado, así como el propio Gobierno republicano. Gradualmente se instalaron en la zona la Casa del Senado, oficinas gubernamentales, tribunales, templos, monumentos y estatuas.
Con el tiempo, el antiguo Comitium fue sustituido por el adyacente Foro, más grande, y el centro de la actividad judicial se trasladó a la nueva Basílica Emilia (179 a. C.). Unos ciento treinta años más tarde, Julio César construyó la Basílica Julia, junto con la nueva Curia Julia, reorientando tanto las oficinas judiciales como el propio Senado. Este nuevo Foro, en la que resultaría ser su forma definitiva, funcionaba entonces como una plaza revitalizada de la ciudad donde el pueblo de Roma podía reunirse por motivos comerciales, políticos, judiciales y religiosos en números cada vez mayores.
Eventualmente, muchas actividades económicas y judiciales se trasladarían del Foro Romano a las estructuras más grandes y extravagantes construidas al norte (el Foro de Trajano y la Basílica Ulpia). Durante el reinado de Constantino el Grande se construyó la última ampliación importante del complejo del Foro, la Basílica de Majencio (312 d. C.). Esto hizo que el centro político de Roma volviera al Foro hasta la caída del Imperio romano de Occidente, que se produjo casi dos siglos más tarde. (Wikipedia)
© Copyright : You can not use my photos !
© Copyright : No se pueden utilizar mis fotos !
© Copyright :Sie können nicht meine Fotos !
© Copyright : Vous ne pouvez pas utiliser mes photos !
© Copyright : Non è possibile utilizzare le mie foto!
© Copyright : ! لا يمكنك استخدام الصور الخاصة بي
© Copyright : ! איר קענען ניט נוצן מיין פאָטאָס
© Copyright : 你不能用我的照片！
© Copyright : あなたは私の写真を使用することはできません！
© Copyright : तुम मेरे फ़ोटो का उपयोग नहीं कर सकते हैं!
© Copyright : Вы не можете использовать мои фотографии!
Gemniemhat had two coffins. The outer coffin had decayed, but the inner (of cedar) was in an excellent state. They are typical rectangular coffins of the early middle kingdom, painted with a decorative scheme that includes false doors, geometric friezes, representations of funerary offerings and coffin texts.
The Coffin Texts are a collection of ancient Egyptian funerary spells written on coffins beginning in the First Intermediate Period. Ordinary Egyptians who could afford a coffin had access to these funerary spells and the pharaoh no longer had exclusive rights to an afterlife.
Gemniemhat (also called Gemni) was an Ancient Egyptian official who is known from his well-preserved burial excavated at Saqqara. Gemniemhat dates to the end of the First Intermediate Period or the early Middle Kingdom.
Provenance: Saqqara
From the tomb of Gemniemhat
ÆIN 1615
Ny Carlsberg Glyptotek, Copenhagen
Trying to figure out as many possible ways to tessellate each waterbomb molecule. Recent conversations with Beth Johnson's have encouraged me to resume my waterbomb studies of way back when, and this is a set of CP's that I'm doing for the write-up. I've stumbled across some interesting assortments that I hadn't encountered before, which I am excited about.
Best to be viewed in full-size. Drawn with Inkscape.
Arsenal (Vienna)
The Vienna Arsenal, object 1
(Pictures you can see by clicking on the link at the end of page!)
The Arsenal in Vienna is a former military complex in the southeast of the city, located in the 3rd district of Vienna. The mighty, consisting of several brick buildings facility is located on a rectangular plan on a hill south of the Country Road Belt (Landstraßer Gürtel).
Meaning
The Arsenal is the most important secular assembly of Romantic Historicism in Vienna and was conducted in Italian-Medieval and Byzantine-Moorish forms. Essentially the complex is preserved in its original forms; only the former workshop buildings within the bounding, from the the outside visible wings were replaced by new constructions.
History to 1945
Bird's eye view of the complex, arsenal, lithography Alexander Kaiser, 1855
Vienna Arsenal (Museum of Military History)
Arsenal, with HGM (Heeresgeschichtliches Museum) from the East
The complex, with a total of 31 "objects" (buildings) was built from 1849 to 1856 on the occasion of the March Revolution of 1848 and was the first building of the fortress triangle, replacing the old Vienna's city walls, with the Rossauer Barracks and the now-defunct Franz Joseph barracks at Stubenring. These buildings should not serve to deter foreign enemies from the city, but to secure state power in the event of revolutionary upheavals in Vienna. The decision to build the Arsenal, it came from the 19-year-old Emperor Franz Joseph I who on 2 December 1848 had come to the throne.
The design for the Imperial Artillery Arsenal came from General Artillery Director Vincenz Freiherr von Augustin, to which, subsequently, the site management had been transferred. Under his leadership, the buildings under assignment of sectors have been planned of the architects Carl Roesner, Antonius Pius de Riegel, August Sicard von Sicardsburg, Eduard van der Nüll, Theophil von Hansen and Ludwig Förster and built by the company of the architect Leopold Mayr.
From 1853 to 1856, Arsenal church was built by the architect Carl Roesner. The K.K. Court Weapon Museum, later K.K. Army Museum, now Museum of Military History, housed in a separate representative free-standing wing, was completed structurally in 1856, but was only in 1869 for the first time accessible.
For the construction of the Arsenal 177 million bricks were used. Construction costs totaled $ 8.5 million guilders. In the following years, there have been extensions. During the two world wars, the complex served as a weapons factory and arsenal, especially as barracks.
The record number of employees in Arsenal was reached in the First World War, with around 20,000 staffers. After 1918, the military-industrial operation with own steel mill was transformed into a public service institution with the name "Austrian Factories Arsenal". However, there were almost insoluble conversion problems in the transition to peacetime production, the product range was too great and the mismanagement considerable. The number of employees declined steadily, and the company became one of the great economic scandals of the First Republic.
By the fall of 1938, the area belonged to the 10th District Favoriten. However, as was established during the "Third Reich" the Reich District of Greater Vienna, became the arsenal complex and the south-east of it lying areas in the wake of district boundary changes parts of the 3rd District.
During the Second World War, in the Arsenal tank repair workshops of the Waffen-SS were set up. In the last two years of the war several buildings were severely damaged by bombing. During the Battle of Vienna, in the days of 7 to 9 April 1945, was the arsenal, defended by the 3rd SS Panzer Division "Totenkopf", focus of the fighting, the Red Army before its victory facing heavy losses.
History since 1945
Ruins of the object 15 after the air raids 1944
Deposits at the Arsenal Street
After heavy bomb damages during the Second World War, the buildings of the Arsenal were largely restored to their original forms.
In the southern part and in the former courtyard of the arsenal several new buildings were added, among them 1959-1963 the decoration workshops of the Federal Theatre designed by the architects Erich Boltenstern and Robert Weinlich. From 1961 to 1963, the telecommunications central office was built by the architect Fritz Pfeffer. From 1973 to 1975 were built operation and office building of the Post and Telephone Head Office for Vienna, Lower Austria and Burgenland (now Technology Centre Arsenal of Telekom Austria) with the 150-meter high radio tower in Vienna Arsenal according to the plans of architect Kurt Eckel. In the 1990s, a rehearsal stage of the Castle Theater (Burgtheater) was built according to plans by Gustav Peichl.
Also the Austrian Research and Testing Centre Arsenal, now Arsenal Research, which has made itself wordwide a celebrity by one of the largest air chambers (now moved to Floridsdorf - 21st District), was housed in the complex. A smaller part of the complex is still used by the Austrian army as a barracks. Furthermore, the Central Institute for Disinfection of the City of Vienna and the Central Chemical Laboratory of the Federal Monuments Office are housed in the arsenal. The Military History Museum uses multiple objects as depots.
In one part of the area residential buildings were erected. The Arsenal is forming an own, two census tracts encompassing census district, which according to the census in 2001 had 2.058 inhabitants.
End of 2003, the arsenal in connection with other properties of the Federal Property Society (BIG - Bundesimmobiliengesellschaft) was sold to a private investor group. Since early 2006, the lawyer of Baden (Lower Austria, not far away from Vienna) Rudolf Fries and industrialist Walter Scherb are majority owners of the 72,000 m2 historic site that they want to refurbish and according to possibility rent new. Fries also plans to enlarge the existing living space by more than a half (about 40,000 m2).
An architectural design competition, whose jury on 28 and 29 in June 2007 met, provided proposals amounting to substantial structural changes in the complex. Such designed competition winner Hohensinn a futuristic clouds clip modeled after El Lissitzky's cloud bracket, a multi-level horizontal structure on slender stilts over the old stock on the outskirts of the Swiss Garden. The realization of these plans is considered unlikely.
Some objects are since 2013 adapted for use by the Technical University of Vienna: Object 227, the so-called "Panzerhalle" will house laboratories of the Institute for Powertrains and Automotive Technology. In object 221, the "Siemens hall", laboratories of the Institute for Energy Technology and Thermodynamics as well as of the Institute for Manufacturing Technology and High Power Laser Technology are built. In object 214 is besides the Technical Testing and Research Institute (TVFA) also the second expansion stage of the "Vienna Scientific Cluster" housed, of a supercomputer, which was built jointly by the Vienna University of Technology, the University of Vienna and the University of Agricultural Sciences.
Accessibility
The arsenal was historically especially over the Landstraßer Gürtel developed. Today passes southeast in the immediate proximity the Südosttangente called motorway A23 with it connection Gürtel/Landstraßer Hauptstrasse. Southwest of the site runs the Eastern Railway, the new Vienna Central Station closes to the west of the arsenal. Two new bridges over the Eastern Railway, the Arsenal Stay Bridge and the Southern Railway bridge and an underpass as part of Ghegastraße and Alfred- Adler-Straße establish a connection to the on the other side of the railway facilities located Sonnwendviertel in the 10th District, which is being built on the former site of the freight train station Vienna South Station.
On the center side is between Arsenal and Landstraßer Gürtel the former Maria Josefa Park located, now known as Swiss Garden. Here stands at the Arsenal street the 21er Haus, a branch of the Austrian Gallery Belvedere, on the center-side edge of the Swiss Garden has the busy suburban main railway route the stop Vienna Quartier Belvedere, next to it the Wiener Linien D (tram) and 69A (bus) run.
A rectangular shaped cake to look like a Dad's desk complete with an edible laptop, telephone, coffee cup, mouse and pad, eye glasses and stacks/trays of paper to celebrate his birthday and retirement. Created by www.fortheloveofcake.ca in Toronto