vista of the original Gothic Louvre palace behind St John Baptist

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vienna / wotruba church

Taylor Brace (Short /Long Type) is a light weight spinal brace, covers all dorsal, lumbar and sacral vertebras, supports and immobilizes the spine in neutral position, still permitting the requisite body movement

Features

Rigid Splints are light in weight, durable and provide effective immobilization. They can be customized to provide accurate shape and excellent comfort. They maintain the spine in neutral position and allow accurate posture correction.

Horizontal Chest Splint arrest the rotational movement of the torso for effective immobilization of the entire dorso lumber region. Can be conveniently removed when not required.

Adjustable shoulder straps correct the shoulder posture, ensure better fitting and no loosening or migration of the brace.

Available in two heights to ensure better dorso lumber immobilization. Large hook loop area and elasticized abdominal panel ensure all population fits into two circumference variants.

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

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provenance: Okoličné, Liptov county, central Slovakia

property of the East Slovak Museum in Košice

The master´s quality is manifested through the depiction of faces, introspective,

full of dignity and melancholic lyrism that is enhanced with a delicate sfumato.

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Baptism of Christ on the other side of the panel

provenance: St Elizabeth Cathedral in Košice

location: East Slovak Museum in Košice

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please do not use without permission

Nardo di Cione, workshop of

partly by Andrea di Cione, called Orcagna

property of the Bojnice Castle Museum

exhibited at the Slovak National Gallery in Bratislava

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Basilica of St Aegidius, church with the largest number (11) Gothic altars in Europe, in their original settings, UNESCO´s World Heritage site

Bardejov, north-eastern Slovakia

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AMDG

A day in hospital for some routine surgery that will hopefully mean that, after more than 5 years, I start to get unbroken sleep again… It’s called “sacral neuromodulation” - I call it my bionic a*se… 😁

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

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Košice, Abov county, eastern Slovakia

Gothic reliefs 1400-1430

Baroque sculptural additions 1720 by Simon Grimming

(please do not use without permission)

Reportage.

Luogo: Cossoine.

Questa è la prima parte del reportage. A breve posterò le altre foto.

Le immagini che inserirò sono sconsigliate a chi è vegetariano e a chi ha lo stomaco debole.

L'uccisione del maiale è un rito antico, quasi sacrale, dove il rosso del sangue si mischia a quello del vino.

This Cybertech Cyberspine is a lumbar back brace designed to comfortably control and manage acute pain associated with osteoporosis, compression fractures, spinal stenosis, strain, and excessive kyphosis. The design of the thoracic lumbar sacral orthosis doesn’t allow movements that could cause further pain in back with its superior stabilization and control. To check out our TLSO back brace go to BraceAbility. To check out other back braces available go to www.braceability.com/back-braces-back-supports-lumbar-bel...

brocade, gold and silver threads

provenance: St Elizabeth Cathedral, Košice, Slovakia

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

vista of the original Gothic Louvre palace behind St John Baptist

for educational purpose only

please do not use without permission

Franciscan church in Bratislava, Slovakia

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AMDG

Church of St. John of Dukla and Monastery of Bernadine monks - the church with two towers was built between 1761 and 1764 in the late baroque style. The temple was extended from 1890 to 1902 when a chapel of St. John of Dukla was built and the main nave was enlarged. Also monastery building was added. The interior dates back to the turn of the 19th century. The paintings of Tadeusz Popiel present scenes from life of St. John of Dukla. There is a silver coffin with relics of St. John. Pope John Paul II came to Dukla on 9th of August, a day before the canonization event and he spent a night in the monastery

Yoga For Svadhishthana Sacral Chakra

Contact Us:

Email: Contact@worldpeaceyogaschool.com

Phone: +91-9105127694

An Irminsul (Old Saxon, probably "great/mighty pillar" or "arising pillar") was a sacral pillar-like object attested as playing an important role in the Germanic paganism of the Saxon people. The oldest chronicle describing an Irminsul refers to it as a tree trunk erected in the open air. The purpose of the Irminsuls and the implications thereof have been the subject of considerable scholarly discourse and speculation for hundreds of years.

A Germanic god Irmin, inferred from the name Irminsul and the tribal name Irminones, is sometimes presumed to have been the national god or demi-god of the Saxons. It has been suggested that Irmin was more probably an aspect or epithet of some other deity – most likely Wodan (Odin). Irmin might also have been an epithet of the god Ziu (Tyr) in early Germanic times, only later transferred to Odin, as certain scholars subscribe to the idea that Odin replaced Tyr as the chief Germanic deity at the onset of the Migration Period. This was the favored view of early 20th century Nordicist writers, but it is not generally considered likely in modern times.

The Old Norse form of Irmin is Jörmunr, which just like Yggr was one of the names of Odin. Yggdrasil ("Yggr's horse") was the yew or ash tree from which Odin sacrificed himself, and which connected the nine worlds. Jakob Grimm connects the name Irmin with Old Norse terms like iörmungrund ("great ground", i.e. the Earth) or iörmungandr ("great snake", i.e. the Midgard serpent).

According to the Royal Frankish Annals (772AD), during the Saxon wars, Charlemagne is repeatedly described as ordering the destruction of the chief seat of their religion, an Irminsul. The Irminsul is described as not being far from Heresburg (now Obermarsberg), Germany. Jacob Grimm states that "strong reasons" point to the actual location of the Irminsul as being approximately 15 miles (24 km) away, in the Teutoburg Forest and states that the original name for the region "Osning" may have meant "Holy Wood."

The Benedictine monk Rudolf of Fulda (AD 865) provides a description of an Irminsul in chapter 3 of his Latin work De miraculis sancti Alexandri. Rudolf's description states that the Irminsul was a great wooden pillar erected and worshipped beneath the open sky and that its name, Irminsul, signifies universal all-sustaining pillar.

Under Louis the Pious in the 9th century, a stone column was dug up at Obermarsberg in Westphalia, Germany and relocated to the Hildesheim cathedral in Hildesheim, Lower Saxony, Germany. The column was reportedly then used as a candelabrum until at least the late 19th century. In the 13th century, the destruction of the Irminsul by Charlemagne was recorded as having still been commemorated at Hildesheim on the Saturday after Laetare Sunday.

The commemoration was reportedly done by planting two poles six feet high, each surmounted by a wooden object one foot in height shaped like a pyramid or a cone on the cathedral square. The youth then used sticks and stones in an attempt to knock over the object. This custom is described as existing elsewhere in Germany, particularly in Halberstadt where it was enacted on the day of Laetare Sunday by the Canons themselves.

Awareness of the significance of the concept seems to have persisted well into Christian times. For example, in the twelfth-century Kaiserchronik an Irminsul is mentioned in three instances:

Concerning the origin of the Wednesday:

ûf ainer irmensiule / stuont ain abgot ungehiure, / daz hiezen si ir choufman.

"On an Irminsul / stands an enormous idol / which they call their merchant"

Concerning Julius Caesar:

Rômâre in ungetrûwelîche sluogen / sîn gebaine si ûf ain irmensûl begruoben

"The Romans slew him treacherously / and buried his bones on an Irminsul"

Concerning Nero:

ûf ain irmensûl er staich / daz lantfolch im allez naich.

"He climbed upon an Irminsul / the peasants all bowed before him"

Hypotheses - A number of theories surround the subject of the Irminsul.

Germania

In Tacitus' Germania, the author mentions rumors of what he describes as "Pillars of Hercules" in land inhabited by the Frisii that had yet to be explored. Tacitus adds that these pillars exist either because Hercules actually did go there or because the Romans have agreed to ascribe all marvels anywhere to Hercules' credit. Tacitus states that while Drusus Germanicus was daring in his campaigns against the Germanic tribes, he was unable to reach this region, and that subsequently no one had yet made the attempt. Connections have been proposed between these "Pillars of Hercules" and later accounts of the Irminsuls. Hercules was probably frequently identified with Thor by the Romans due to the practice of interpretatio romana.

Externsteine relief and site

On the Externsteine Descent from the Cross relief, the bent structure in the right centre is popularly identified as Irminsul.

Though this may be correct, it is not supported by any contemporary sources.

According to one particularly well-known suggestion, an Irminsul was situated at or near the Externsteine, a famous rock formation near Detmold, Germany. A Christian relief on the Externsteine (see photo above) depicts what has been described as a bent tree-like design at the feet of Nicodemus. This artwork, variously dated to the early ninth to early twelfth century AD, is popularly believed to represent the bent or fallen Irminsul beneath a triumphant Christianity.

While both the artwork and the Irminsul were known to scholars for centuries - Goethe for example discussed the relief in detail -, they were not connected until the 1929 interpretation of lay archaeologist Wilhelm Teudt. In 1934 to 1935, the Ahnenerbe undertook extensive fieldwork in an attempt to uncover material evidence of the use of the Externsteine as a place of Germanic paganism worship, yet no such evidence was found.

Few modern scholars consider it anything but an outright invention of Teudt, who did not provide evidence to back his claims.

Today it is generally accepted by historians that there is no historic attestation connecting the Externsteine to the Irminsul. Certainly, the Eresburg was only about 45 kilometers (c.28 miles) from the Externsteine, and there indeed was an Irminsul "near the Externsteine", but extensive archaeological studies of the Externsteine have failed to yield any material evidence for their use as a sacred site between Mesolithic and pre-Christian times. Thermoluminescence dating of firesites suggests that the site was occasionally used as a rock shelter in Saxon times, but apparently not to the extent one would expect from a major place of worship.

Jupiter Columns

Comparisons have been made between the Irminsul and the Jupiter Columns that were erected along the Rhine in Germania around CE 2 and 3. Scholarly comparisons were once made between the Irminsul and the Jupiter Columns; however, Rudolf Simek states that the columns were of Gallo-Roman religious monuments, and that the reported location of the Irminsul in Eresburg does not fall within the area of the Jupiter Column archaeological finds (Wikipedia).

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

dôležitá informácia v Profile

Martyrdom of St John Evangelist on the other side of the panel

provenance: St Elizabeth Cathedral in Košice

location: East Slovak Museum in Košice

for educational purpose only

please do not use without permission

provenance: Richvald, Šariš county, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission

Slovenská národná galéria

Slovak National Gallery

Bratislava, Slovakia

St. Stanislaus Kostka Church, The Sanctuary of The Divine Mercy

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Root - the Black Bolster Strong.

Sacral - the Blue, Watery, Incredibly Soft, incredibly Voluptuous Cushion. So soft that you could die of Volupté. So strong because no coup breaks it, it is so soft and so mellow, so pleasurable, that nothing can break it. The source of Pleasure in Us - Is Infinite. And is Intrinsic.

-Solar Plexus - the Shamanic Frame Drum.

-Heart- the Tambourine, Remo Frame Drum. With its metal jingles, jingling at the sound of Layne's Redmonds teaching, Layne Redmond's Magic, Layne Redmond's Voice.

-Throat - the toilet paper with Blood, representing my finding of my voice. And arriving at the culmination in which I understood, I had experienced a finding, THE finding: The Finding of My Voice.

-Third Eye - the Simpler Tambourine, not with a double set of jingles, - such a Deep Intuition that nothing is Complex Anymore

-Crown Chakra : the Flame, the Flame on the Candle, The Flame on le Bougie. Fire. Something Inmaterial. Inmaterial, Alive.

Unspeakable, as different from all the other things, than fire is from this physical, tangible objects.

So violently, and delicately, it begins.

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

dôležitá informácia v Profile

brocade, gold and silver threads

provenance: St Elizabeth Cathedral, Košice, Slovakia

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

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.

Bodh Gaya, Gaya, Bihar, India.

Bodhgaya is the place where Buddha got enlightenment after seven weeks of meditation , so it's the most sacred place of Buddhism.

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

dôležitá informácia v Profile

Heraklion Archaeological Museum Annex

New Palace period (griffin)

Final Palatial period (shields and sacral knots)