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Olympus PEN-FT
F.Zuiko Auto-S 1.8/38mm
Fomapan 100 Classic
ars-imago #9 1+50 9min @20° in Kaiser Tank
DSLR Scan
NegativeLab Pro
©Alan Yahnke
Canon Super Sure Shot (AF35 ML) point and shoot - 40mm 1:1.9 lens - Expired Kodak 200 35mm Film - Epson V750 Scanner
This Brown Hare has taken up residence just 30m from our home, in fact I can see it from our bedroom window!
It appeared a few days ago along with two others, they seem to have disappeared but this one has been in the same bit of the field for the past 48 hours, lets hope it hangs around for awhile!
Same sign, from the Island
Nova Scotia Ferry
Channel-Port aux Basques Newfoundland & Labrador
800 iso, f/11, 1/500
Canon EOS Rebel T3i & Canon EF-S 18-55@ 55mm
Fomapan film and Arista EDU come from the same manufacturer. I developed the 120 Fomapan 200 & Arista EDU 100 in same container.
1/2
Our late winter break in Tenerife was a bit different this year. The weather was forecast to break the day we arrived – and it did! Rain wasn’t the problem it was gale force winds – the same winds that caused the dust storms in Africa that caused the pollution and sand in the UK. We have witnessed gales in Tenerife before but this was worse than we’d seen it in the past . The palm trees were bending, the sand drifting like snow and the sea was raging. We usually walk around 150 miles on a ten day break but for five days we just walked with a brief spell on the beach, then the gales came back. We covered 22 miles some days and totalled 192 miles, not bad for a beach holiday. In some of the photos it looks stunning but look at the tops of the palm trees, like inside out umbrellas, the beach beds are empty and the waves were up to ten feet high and smashing thirty feet in the air. For five days everyone stood taking photos of the sea. For two days all boats stayed in harbour, only the big ferries sailed, there wasn’t a thing at sea, not even the surfers, we’ve never known that happen before. To add to this jellyfish in their hundred were washing up on shore and there was a severe risk of a burn from them. Even when red flags were flying and flags warning about the jellyfish were up the occasional nutter would go in the water and some people took staggering risks with their children including one couple with a baby, dangling it over the waves, just to get a photo, playing chicken as monster waves crashed in.
One day I had to catch my club sandwich as it went flying from my plate in the wind, empty glasses slid off the table and seat cushions went cartwheeling down the pavement. A couple of days were dull and cool but the menacing clouds made impressive photos, the sea was like a boiling cauldron. We did have days of beautiful weather as well, the second half of the holiday was normal sunny Tenerife. I haven’t hired a car for ages on Tenerife, it adds a degree of hassle to – what is supposed to be – a sun and relax holiday so again we didn’t go up El Teide. Next time perhaps. I took my racing bike once just to cycle from sea level to 8000 feet nonstop – twice! it’s a seventy mile round trip and a long drag to the top. On the way home we had to make an emergency landing in Dublin, fire tenders with foam jets pointing at us, unfortunately I was facing the setting sun and couldn’t take photos as the sun was shining straight through the window. Seven and a half hours on the plane, not much fun.
To see more about the history of J B Schofield & Sons Ltd and their plant and vehicles look here: www.jbschofieldandsons.co.uk/
Pair of Wright Eclipse Gemini bodied Volvo B9TLs at Lawrence Hill depot...WX09 KCK 37771 and WX58 JYO 37627 together on 2nd June 2018.
Same unit of PHiZZ variation 2
Designer: Lewis Simon, Francesco Mancini
Folder: Francesco Mancini
Unit size: Square, 7.5cm
Paper: Kami
Book: Modular Origami Polyhedra by Simon, Arnstein and Gurkewitz (Original Decoration box)
All Saints, Hitcham, Suffolk
If you don't know mid-Suffolk, you may well be surprised by the hills which roll across the space between Stowmarket and Hadleigh, as if this was not East Anglia at all. In this remotest part of the county, miles from the nearest town, villages take on a self-sufficient air, and Hitcham is the largest of them. Its church, All Saints, sits high in a wide open churchyard on the outskirts of the village. The house opposite the entrance to the graveyard was the medieval guild hall. This is a big church, and was once the centre of one of the county's largest parishes. It was the Priory of Ely's most valuable living in the whole of the county, worth twice as much as any other, and was therefore bestowed on favoured clerics.
This situation continued when the patronage was taken over by the state after the Reformation, and to be made rector of Hitcham remained a desirable appointment well into the 20th Century. As the excellent guidebook notes, some rectors of this parish achieved fame and influence. Take Adam Easton, for instance. In the 14th Century, he was made a cardinal while still rector here. However, as he was also Archdeacon of Shetland, Orkney and Dorset, as well as Prior of Saint Agnes at Ferrara in Italy and the personal secretary to Pope Urban VI, one assumes that he didn't spend a lot of his time on parish business. His successor John Bremore was the personal secretary to the antipope John XXIII at Avignon, so presumably he didn't live in the parish either.
John Whytewell, Rector throughout the Reformation, was chaplain to Thomas Cranmer, although, unlike that stubborn character, he received a royal pardon from Mary. Coming forward to the 17th Century, Laurence Bretton was a solid Laudian, ensuring his inevitable removal by the Puritans as a scandalous minister (for which, read 'liberal intellectual'). His successor, Miles Burket, had also been a Laudian, but in a Vicar of Bray fashion he became the Puritan preacher here, and died in poverty after the Restoration.
Mostly, the Rectors here seem to have been a jolly lot. John Matters, in the first decades of the 19th century, was famous for his befriending of, and care for, the poor of the parish, matched only by his neglect of his ecclesiastical duty. He is quoted in the guide as having a favourite saying: He that drinks strong beer, and goes to bed quite mellow, lives as he ought, and dies a hearty fellow. And his successor was Hitcham's most famous rector of all, but we'll come back to him in a minute.
Hitcham was not home to a great landed family, so it was the power and wealth of Ely priory that built this church. It is a grand affair, entirely rebuilt in the 14th and 15th centuries. One look tells you that this was not a piecemeal building. Mortlock observes that the grand flushwork porch is very like the one at neighbouring Bildeston, but it does not seem so imposing here against this big building. There is a very odd stop on the 15th century doorway. The one on the left is a lion, but on the right there appears to be a wild man and a tree surrounded by a picket fence.
At first sight, the interior is slightly disappointing. Large and plain, it is as if it had been scraped clean by Miles Burket's cronies, perhaps in reaction to the incumbency of Laurence Bretton. The brick floors are attractive, and the fine 14th century aches of the arcades reach right up into the clerestory, but the heavy Victorian woodwork gives it all a sombre feel.
The hammerbeam roof was rebuilt after the Reformation, and includes lots of unfamiliar secular imagery, the heraldry of the State. However, there is some dispute about exactly when this happened, why, and how much was renewed. The arms of both James I and Charles I are here, giving a date in the first third of the 17th century, but the pineapple pendants appear more recent. At the west end, however, there are a couple of secretive green men on the hammer beam ends, which must be from an earlier age. One theory suggests that the roof was repaired in a hurry after a fire, and then beautified later.
The chancel is a 19th century rebuilding (a photograph of this event, which used to be at the west end, is rather alarming, like a gap-toothed Madonna) and it is evidence of the Anglo-catholic enthusiasm of Alexander Grant, Rector for the last 40 years of the 19th Century. At nearby Kettlebaston, this enthusiasm was realised by the Vicar there in the form of a gorgeous little shrine, but here, something more grandiloquent was intended. Hence the five steps up to the chancel, and two more up to the sanctuary, representative of the seven sacraments of the Catholic Church, and familiar from 19th century London Anglo-catholic churches. There is no evidence that Anglo-catholicism ever took such a firm foothold here, though.
The chancel is so grand, some visitors must easily overlook the remains of the rood screen. Only the dado survives, but it is worth a look because instead of saints the panels depict angels holding the instruments of the Passion. Something similar can be seen at Blundeston in the north of the county, and there are also angels on the screen at Southwold of course. Not surprisingly, they were vandalised by the 16th century reformers. What is more surprising is that they have survived at all. Presumably they were moved to their present position at the time of the 19th century reordering, but when Arthur Mee came here in the 1930s, he could barely discern them as figures, and thought them saints. So they've been restored, probably under the influence of Munro Cautley when he was diocesan architect.
In such a wealthy parish, perhaps it is not surprising that little else medieval survives. The converse of this, of course, that the restoration of this church has generally provided work of quality. Although the benches are heavy, they do carry several bench ends which are probably the work of the great Ipswich woodcarver Henry Ringham. The best are the four evangelistic symbols towards the front. In fact, the guidebook suggests that the benches were removed from the church towards the end of the 19th century and replaced with chairs as at Rattlesden and Kettlebaston, only to be returned at the behest of the eccentric and splendidly-named Maxwell Maxwell-Gumbleton, who was jointly Bishop of Dunwich and Rector of Hitcham in the 1930s and 1940s. Maxwell-Gumbleton had a Bishop's throne built, which he installed in the chancel. It must have given his parishioners something to think about. It is still there today, and is replicated in slightly more modest form by the churchwardens' seats at the west end. Maxwell-Gumbleton's also are the George VI coat of arms, dated 1937, and a lovely modern font cover, given as a memorial.
From an earlier age are the very elaborate brass inlay in front of the sanctuary, and the mid-17th century memorial to a Waldegrave in the north aisle, more austere than it would have been twenty years before or after. In the south aisle there is a copy of the Adoration of the Magi by Rubens, which is in Kings College Chapel. At first, I couldn't work out why it looks a little odd, and then it hit me - it is in reverse.
Many years ago, I chatted with a churchwarden here, and she told me tha, although 42 men in this parish lost their lives in the first world war, only 28 of them are remembered on the war memorial here. She suggested that this was perhaps because the others were from chapel families, or perhaps the families had moved away before the memorial was installed. Whatever, it gave me pause for thought, for if a similar situation exists in other parishes, then we may assume that many hundreds of people who gave their lives have, in fact, been forgotten.
But one name stands out in this parish as forever being associated with it. You might overlook the simple memorial in the chancel by Thomas Woolner, and you'll certainly miss the little memorial plaque above the door as you came in, but both are worth a look because they both remember the same person, the great John Stevens Henslow.
Henslow was a remarkable man by anyone's standards. He was Regius Professor of Botany at Cambridge University in the 1830s, and was looked on with enough favour to secure the lucrative Hitcham rectorship. However, rather than send a poorly-paid curate to do his work for him, which would have been the usual early 19th century Trollopeian way, he followed in John Manner's footsteps, and came to Hitcham himself.
It is hard now to imagine what a contrast this remote place must have been with cosmopolitan Cambridge, barely 40 miles away. Henslow wrote in his diary that he had come to "a woefully neglected parish, where the inhabitants, with regard to food and clothing and the means of observing the decencies of life, were far below the average scale of the peasant class in England." It is recorded that his first congregation here in this vast space was insufficient to fill one pew.
Over the course of the next 25 years, he turned his parish upside down, applying his scientific knowledge to the antiquated and conservative farming methods of the local farmers. He increased their prosperity, and that of the poor farm labourers. He started a school, and an institute of adult education. He led outings through the local countryside, and would sometimes take the whole parish on the train to London, including one trip to the great Exhibition of 1851 in Hyde Park. It was said that the entire village emptied on these occasions, travelling by cart and on foot to Stowmarket railway station, and then on to London.
"Everyone is to be in good humour", he told his parishioners, "accommodating to all, and especially attentive to the ladies of the party. If the weather should prove unpropitious, every one is to make the best of it, and not to complain more than he can possibly help."
It is said that, on holiday at Felixstowe, he realised the fertilizing properties of the coprolite nodules in the cliffs there, and interested two local farming brothers so much that they set up a fertiliser processing factory at Ipswich docks. Their name was Fison.
But an even more famous name associated with Henslow is Charles Darwin, one of Henslow's students at Cambridge. Henslow encouraged Darwin to investigate the development of species, finding him a place aboard HMS Beagle, the scientific survey ship. Darwin sent his notes and samples back to Henslow, who circulated them in the scientific community. Darwin came back to England to find himself a celebrity. The basis of The Origin of Species was put together at Hitcham Rectory, although Henslow would later repudiate its conclusions.
Most importantly, however, as far as my children were concerned when they were younger, Henslow was the guiding light behind the opening of Ipswich Museum, which still retains one of the finest 19th century natural history collections in the country. A portrait of him hangs in the entrance hall, and the name of a road in the east of the town remembers him.
He died at the relatively young age of 65. His predecessor had been the jolly John Matters. His successor was the Anglo-catholic enthusiast Alexander Grant, who, as well as rebuilding the chancel, is still remembered in the village for taking the side of the workers during the lock-out strike of 1874, when he allowed them to use the church building for their meetings.
These three extraordinary men between them spanned the entire 19th century here. Trollope himself could not have written a better novel.
Maria Lassnig (1919 - 2014), Das Wiesel und der blöde Mensch - The Weasel and the Stupid Human Being, 1996, Greifvogel - Bird of Prey, 2000, "The Question about Nature", 2000 (Bleistift, Guasche in Gelb - Pencil, gouache in yellow), Albertina
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that ​​the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values ​​found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values ​​of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Same unit of PHiZZ variation 1
Designer: Lewis Simon, Francesco Mancini
Folder: Francesco Mancini
Unit size: Square, 7cm
Paper: Kami
Book: Modular Origami Polyhedra by Simon, Arnstein and Gurkewitz (Decoration box)
This time he was raising his trunk. Don't think he was impressed with us. Taken in Munnar, India.
Canon T-90
Vivitar Series One 70-210mm
Provia 35mm
SAME SAMETTO
"COSTUMI e MESTIERI d'Epoca COSTUMES and CRAFTS Time" in Val di Non Smarano - Coredo Tn in collaborazione con G.A.S. www.gasnoce.it/default.aspx
24.07.2011
The finals for the Blackpool Same Sex Dance Festival 2013. Held in the Spanish Hall, Winter Gardens in Blackpool and hosted by the Sugar Dandies
samesexdancefestival.com/home.html
Images taken by Oskar Marchock
© 2013 Oskar Marchock All Rights Reserved
Same birds as a previous post but not the same image. I like the look on the face on the upper bird (?male) better in this image here, but I like the face of the lower bird (?female) on the other image.
(Please feel free to share this image on Facebook, but no other usage without written permission. Thanks.)