View allAll Photos Tagged structures
I found this at the edge of a recreation ground whilst looking for something else. At first I thought it was a railway tunnel air vent but there aren't any tunnels in the area. Also, whilst it seems circular, the other side is actually flat. So no idea, really.
BAKOKO Director, Alastair Townsend designed and oversaw construction of the Cutty Sark Pavilion whilst working at Youmeheshe Architects and Designers, London. The cutting edge visitor center was built within a restricted budget and met a tight construction program of only 6 months from design to completion. The fast-track structure was the first building in the world to be designed using Bentley’s Generative Components parametric computational design software.
Cutty Sark is one of the world’s most famous sailing vessels. After being decommissioned, the historic clipper ship has rested in a dry dock in the centre of historic maritime Greenwich where it served as public museum. Grimshaw Architects in association with Youmeheshe Architects and Designers were commissioned to design a cutting-edge visitor centre within and beneath the ship as part of a 27 million pound conservation programme that required closing the attraction for a complete restoration overhaul.
The Cutty Sark Pavilion was built to provide an exciting and memorable temporary exhibition venue. It is dedicated to telling the story of the ship and the ambitious project underway to save her whilst she undergoes restoration and construction works. Originally, it was designed to remain on site during the Cutty Sark’s restoration and the construction of a Permanent Visitors’ Centre (taking 2-3 years). After serving its role in Greenwich, the structure will be disassembled and re-erected elsewhere; possibly serving as a remote classroom, museum, or exhibition space dedicated to telling the tale of Cutty Sark to audiences abroad.
The Pavilion’s role as a public face of the ambitious restoration project became all the more important when a devastating fire ravaged the ship in the early hours of May 21st 2007.
The design aim was to achieve an experience evocative of walking amongst the sails, masts, and rigging of a majestic sailing ship like Cutty Sark. Spherical steel nodes connect a hexagonal timber gridshell structure. A complex tension network of steel cables and masts give rigidity to the overall structure and prop the PVC fabric cladding with telescopic masts.
Tight integration of 3DCAD information between the design team and the contractors enabled the structure to be quickly designed, modified, and built. Digital manufacturing of elements such as the CNC’d structural timber components and the digitally tailored fabric cladding were vital to delivering such an ambitious structure in a mater of months.
Bentley’s Generative Components computational design software was utilized in designing the amorphous shape of this complex structure, giving an unprecedented level of global control over every element. Fairly radical adjustments to the structure’s design were possible even in the latter stages of design. This proved vital in meeting the tight program as well as reaching a cost-optimized solution.
The first building of it’s kind in the world, the Cutty Sark Pavilion’s experimental nature met the client’s demand that the temporary visitor center be relevantly engaging and intriguing in order to capture the public’s interest.
BAKOKO Director, Alastair Townsend designed and oversaw construction of the Cutty Sark Pavilion whilst working at Youmeheshe Architects and Designers, London. The cutting edge visitor center was built within a restricted budget and met a tight construction program of only 6 months from design to completion. The fast-track structure was the first building in the world to be designed using Bentley’s Generative Components parametric computational design software.
Cutty Sark is one of the world’s most famous sailing vessels. After being decommissioned, the historic clipper ship has rested in a dry dock in the centre of historic maritime Greenwich where it served as public museum. Grimshaw Architects in association with Youmeheshe Architects and Designers were commissioned to design a cutting-edge visitor centre within and beneath the ship as part of a 27 million pound conservation programme that required closing the attraction for a complete restoration overhaul.
The Cutty Sark Pavilion was built to provide an exciting and memorable temporary exhibition venue. It is dedicated to telling the story of the ship and the ambitious project underway to save her whilst she undergoes restoration and construction works. Originally, it was designed to remain on site during the Cutty Sark’s restoration and the construction of a Permanent Visitors’ Centre (taking 2-3 years). After serving its role in Greenwich, the structure will be disassembled and re-erected elsewhere; possibly serving as a remote classroom, museum, or exhibition space dedicated to telling the tale of Cutty Sark to audiences abroad.
The Pavilion’s role as a public face of the ambitious restoration project became all the more important when a devastating fire ravaged the ship in the early hours of May 21st 2007.
The design aim was to achieve an experience evocative of walking amongst the sails, masts, and rigging of a majestic sailing ship like Cutty Sark. Spherical steel nodes connect a hexagonal timber gridshell structure. A complex tension network of steel cables and masts give rigidity to the overall structure and prop the PVC fabric cladding with telescopic masts.
Tight integration of 3DCAD information between the design team and the contractors enabled the structure to be quickly designed, modified, and built. Digital manufacturing of elements such as the CNC’d structural timber components and the digitally tailored fabric cladding were vital to delivering such an ambitious structure in a mater of months.
Bentley’s Generative Components computational design software was utilized in designing the amorphous shape of this complex structure, giving an unprecedented level of global control over every element. Fairly radical adjustments to the structure’s design were possible even in the latter stages of design. This proved vital in meeting the tight program as well as reaching a cost-optimized solution.
The first building of it’s kind in the world, the Cutty Sark Pavilion’s experimental nature met the client’s demand that the temporary visitor center be relevantly engaging and intriguing in order to capture the public’s interest.
This brick structure is on the banks of the River Wear, Sunderland, just below the football ground "the Stadium of Light" (built on the site of the old Wearmouth Colliery). It is part of a coal staithe and was used for the quick loading of coal into ships or colliers, bulk coal carrying cargo ships.
A vehicle fire in a fully loaded equipment and hay barn bring mutual aid from CT,NY, and MA . Unfortunately the fast moving fire totally destroyed the structure and it's contents.
No correspondence.
A German observation post used to direct and observe the fall of artillery shells onto enemy positions.
Over a 106 years old, the Egmore Railway Station in Chennai, remains one of the cities centrally located, renowned landmarks. Its bright red and white colors, and vaulted metal ceiling on the interiors are what make it striking. With typical Victorian wrought iron beams,
The structure of Galleria Colonna ( of 1922 - restored and reopened in 2003) is a long "U" where are placed various type of shops. Along it you can find also coffee bars where you can sit while listening to a pianist playing life, or music in general. It's a little bit expensive take a break here but you're in Via del Corso...Rome's centre.
Have a great start of week.
*Starlight*
Yellow indicates permanent structures in both the new and old spaces. Red diagonals are doorways. Red floor is oak, green floor is porcelain tile. Red lines are windows (see front elevation photos on this photostream).
New doorway at top between the bookshelf and the yellow-colored closet leads to the dining room and to the bath and bedrooms. There is an oak floor under these areas already. The doorway will be a pocket door with full-length glass so that we can keep the dog, smells, and sounds corralled when we need it and yet not isolate the kitchen when door is closed. We will need to reconcile the new floor with the old oak floor here.
Green area is front lobby and includes a long coat closet. Lobby windows are awning style overlooking driveway. Front door has full-length glass with blinds to increase natural light during daytime. In previous photos, many of the walls of this area are painted green as a test of the color. There is a door at top of green area in drawing which was the original front door position in 1951. (We retained a door here when we expanded the house into the former front step area in 1975. We will retain the hollowcore oak door at this postion for dog, smell, and sound control as well as to block view of interior of house from front door when we need to do this.) Beyond this door are the living room, another bedroom, and a deck door that is almost directly in line with this doorway. We will need to reconcile the old oak floor at this position with the new tile floor.
Stairway to basement will have windowless pocket door. Most of the time this doorway will be open to allow dog access to basement walkout, but closed when needed. Steve has redone the entire basement stairway to allow a safe, wide top step threshold before the first descending step and to even out the stair heights. This was a lot of work and it cost us the lower half of the existing coat closet (which is cut off in photo).
Pantry closet was planned to be angled but we decided to square-off the access route; door will be windowless hinged door (I would like louvers but we'll see.)
Door to garage is a steel firedoor to be painted to match something in the lobby. This door sees a lot of action because Steve works on autos in garage and washes hands in kitchen. The coat closet will have a blaze orange section. The blind cupboard corner of the kitchen abutting this closet will have an access door from inside the coat closet instead of access from the kitchen. This will allow offseason boot storage. Closet door is two sliding doors, not bifolds as shown.
We will commission a custom bookshelf in the area formerly a doorway leading to the bathroom and bedrooms at upper left in photo. A small eating table with a piece of art behind it will lie between refrigerator and bookcase--it will be viewed down the long hall from the garage, so it has to be attractive and inviting. Another piece of art will be mounted on the uninterupted wall of the pantry closet--it will be best seen from the inside of the G. Another piece of art will be positioned to the left of the awning windows in the lobby, which can be seen from stools or after entering from dining room or when removing coat in lobby.
In previous photos, the middle of walls inside of the G-shaped kitchen are painted red as a test. There are upper cupboards on the top and bottom of the G but not on window wall or peninsula. Decor of the room(s) will be eclectic: Spare Scandinavian-style pale cupboards, modern white glass pendant lights, probably "pewter" door hardware, and a minimal backsplash. All countertops will be laminate except two butcherblock 2' x 2' sections either side of the range. Art works may include a mix of Audubon birds, a Breckenridge watercolor of a heron rookery, a couple oil landscapes, and national park early photos. Display pieces on the bookshelf will include Old Sheffield Plate silver antiques and Benningtonware teapots. A wooden hayfork may make an appearance somewhere here. Lobby and desk and table chairs may be early 19th century "fancy chairs" or similar items. A repro mahogany utility cupboard will serve in the lobby under the window until we find something more suitable.
As of late May, 2010, we have come to the point where we must make some flooring final decisions. Steve will be reconciling the ceiling first (so the slop does not fall on oak floor) and then will begin laying tile and oak. We must use strong porcelain tile instead of ceramic because of the potential heaving of old fill under the house.
Because of personal preference and energy conservation, we have no recessed lights. The green area and hall toward patio have 3 successive ceiling-hugging lights. There is a matching utilitarian light to be positioned centrally off the pantry closet corner to give general light to the kitchen hall and there are two matching ceiling-hugging fixtures n the center of the G. There will be undercounter lights on the two ends of the kitchen. Three pendants will hang in front windows and two over the peninsula. A funky semi-antique small chandelier will hang over the table. Yes, that's a lot of lights. Not sure how much we will use any of them yet, but we know how much the ceiling-huggers will be workhorses because this space has so many different walkpaths. Wiring all this new stuff and removing vestigial wiring has been a challenge for Steve.
We have to have things done as much as possible for daughter Rebecca's visit from Alaska the 2nd week in June.
We bit the bullet at the end of May and commissioned someone else to put the finish on the cupboards. This will speed the work so that Steve can go to the Arctic in July.
____
Within the G, the wall on the left has two breadboards. The one next to refrigerator will make this a sandwich and toast station. It and the one under the window will also allow the countertop to expand in size to hold dishes coming and going to dinner parties in dining room. Lower left corner of G is the microwave and beverage station. Lower right corner is the baking area, with a breadboard, mixer on countertop and baking gear in drawers below. Peninsula of the G will have another breadboard and a drawer to accept peelings and such as we chop. Compost bucket goes under small sink. Double-trash is next to sink. We anticipate this to be the major veg chopping station. Although the range is simple electric range with hood above, there is access on both sides of it so two cooks should be happy. A portable induction plate can be used adjacent to range to expand cooking options during heavy use periods. We will countersink (pun!) two containers into the butcherblock to hold utensils to right of range and a large slit to hold knives left of range.
This kitchen and lobby should allow two people to enjoy it without feeling that the space is oversized, but when out of town family members come to stay for a period of time or when friends attend a party, they should be able to find a place here that is comfortable and welcoming. (Previously they were not allowed to stand about in the old kitchen.) When the muse attacks Linda and she announces a dinner party, she will no longer be restricted in the number of dishes or serving courses or wine glasses. In the summer when life is oriented toward the deck and the lake, it will be easier to move food and dishes from deck to kitchen via the hall by the green floor in the photo.
We have sacrificed a very large, beloved teak china cupboard in order to make the new entrance to the dining room. Items from it will be stored in kitchen. China, silverware, napkins, etc. will live in the lower drawers on the left side of this photo. Hope it all fits! Tablecloths were supposed to go into these drawers, but now they are designated to hang in the half-closet that was former coat closet. Flower arranging gear also will go into this closet, which still has a full-sized door on it, but someday, we may redo it as a true built-in cupboard (with attic access still in its ceiling!).
All it takes is money, time, expertise, and resolve!
Additional comment: Sept 2010...It should be noted that we extended the tile floor across the entrance to the basement. There is a nice looking piece of oak perpendicular to the walkpath, then the oak flooring that runs parallel to the front of the house.
View large to see the intricate, perfect structure of nature even (or especially) after all the blooming and growing is done.
Down at the end of the Leslie Street Spit, I found something vaguely ominous.
Mamiya 645 AFD with ZD digital back. 1/350" @ f/3.5, 35mm f/3.5 lens. ISO 200, WB cloudy.
Post in Capture One and Photoshop.
(Be sure to press "L" on your keyboard)
Browsing through some photos from about two years ago I came upon a few I quite liked.
Santa Monica doesn't screw around when it comes to parking structures: They have the multi-colored, eco-friendly Santa Monica Civic Center Parking Structure by Moore Ruble Yudell, and now there's Studio Jantzen and Behnisch Architekten's Parking Structure 6, another green garage, which looks to have taken inspiration from Paris's famous Centre Pompidou. Opened December 2013 with much fanfare, Structure 6 offers panoramic ocean views from the top of its eight stories, holds 744 cars and dozens of bikes, and includes electric vehicle charging stations, plus groundfloor retail space; there are also solar panels and those striking red staircases that allow easy access to every floor. Parking Structure 6 replaces a shorter and blander garage that held 400 fewer cars.
"Bridge 2"
STRUCTURES is a series of generative art pieces the explores the constructions of our world by taking photographs of man-made and natural structures and placing them into a new structure. This process semi-randomly fragments and rearranges the photographs into a grid of my design. I'll often run the images through this process several times, using various grid structures along the way.
Programs used: Lightroom, Photoshop, Processing
A blind shot. I really wanted to see the vintage wrought iron structure holding up this abandoned railroad bridge. There was a hole in the walkway on this bridge, but I still couldn't see the iron through the hole. So, I lowered my camera through the hole as far as I could reach, pointed it in a direction that I thought might work, and pressed the shutter release. When I heard the focus lock on to something, I took the shot. I didn't expect this.
10Sep2010
Pond behind our house with box structure for introducing young fish.
camera info: 7D | 17-55mm(ƒ/2.8) | ƒ/4.0 | ISO 100 | 1/1500s
EFESTO responds with style also to the tree higest of Europe!!!! Easy and functional aluminum structures :easy to assemble system thanks to modular composition. This structure protects from atmospheric agents.
*EFESTO , also, remind that even this year will be at PROLIGHT+SOUND (Frankfurt ) which will be held April 4 to 7. Efesto in Hall 3.0 at the stand A30 presents great news!!!*
The Vienna flak towers are six large, of reinforced concrete erected defensive and protective structures in Vienna, which were built in the years 1942-1945 as giant bomb shelters with fitted anti-aircraft guns and fire control. The architect of the flak towers was Friedrich Tamms (1904-1980).
Flakturm, Arenbergpark
Image: Terrace of the flak tower in Arenbergpark
The system of the Vienna flak towers consists as a whole of six buildings, three turrets, each with a Feuerleitturm (fire-control tower). The three bunker pairs are arranged in a triangle in the approximate middle of which the Stephansdom is situated. The towers are of different heights, but their upper platforms are in exactly the same altitude, so that an overall coordination of air defense was possible. The maximum operating radius of the four main guns (12.8 cm twin) of each tower was under ideal conditions 20 km. The smaller platforms of combat and fire-control towers were provided for 2 cm anti-aircraft guns, but they were never used in Vienna. In addition to its military crew the flak towers in Vienna served as makeshift hospitals, housed radio stations and partly war-relevant technical companies and offered on a large scale air raid shelters for the population.
Flakturm Augarten
Picture: Flakturm, Augarten
After the war, the Red Army undertook blasting tests in Gefechtsturm (flak tower with battle platform) Augarten, but a removal of the towers failed because of the proximity to residential areas. Nowadays, a removal of the towers would be possible, but now existing only an official decision as to the two anti-aircraft towers in Augarten from 5 April 2000 (GZ 39.086/2/2000) because all six buildings ex lege have been put under monument protection. Today, the towers are partially owned by the City of Vienna and partly owned by the Republic of Austria. There were repeatedly attempts to rebuild the flak towers and make it usable. The ideas range from depot for important backup data to a café or hotel.
Planning
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark - Notstiege (Emergency flight of stairs)
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
Elevator shaft to the left, original instructions for lift usage right
After the battles of World War II also spread more and more to Vienna, Adolf Hitler ordered on 9 September 1942 the construction of flak towers in Vienna. The Air Force leadership provided for this purpose as building sites the Schmelz (Vienna), the Prater and Floridsdorf but Hitler rejected these places since the city center would not have been adequately protected because of the large distances. After discussions with Reichsstatthalter (Reich Governor) Baldur von Schirach, the final locations were determined. Instead of the Augarten, however, was initially the Roßauer barracks under discussion. The decisive factor for the choice of the places were on the one hand, the easy availability of the building ground and on the other hand the possibility to establish railway connections. The plan provided after the victorious end of the war to disguise the flak towers with marble and devote them as monuments to the fallen German soldiers. As with all the flak towers Friedrich Tamms was responsible for the planning, he was represented in Vienna by Anton Ruschitzka, construction management held Franz Fuhrmann from Vienna's city building department. The military leadership rested with Major Wimberger, which, however, had no mission staff. The material procurement was carried out by the Organisation Todt.
Construction
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
Emergency Exit Photo: Flakturm, Arenbergpark
With the construction of the flak towers the companies Philipp Holzmann and Gottlieb Tesch were commissioned, smaller firms being integrated via joint ventures. Since the availability of local workers due to conscription declined steadily, more and more prisoners of war, foreign and forced laborers were used in the course of the war. Cement was delivered primarily from Mannersdorf at Leithagebirge, to a lesser extent from Rodaun (situated in the outskirts of Vienna). The gravel stemmed from the gravel pits Padlesak in Felixdorf and Gustav Haager at Heidfeld at the Bratislava railway (Pressburger Bahn), about in the area of today's airport Wien-Schwechat. Sand was delivered in ships over the Danube Canal, which is why in the area of Weißgerberlände sand silos of the United Baustoffwerke AG were built. In this area was already in 1918 a feeder track of the tram through the Drorygasse. Although this was already in 1925 shut down it was restored in 1941 and enlarged in the following year after the construction of a new silo to two tracks. For the then due to the excavation of the foundations coming up overburden, at the Kratochwijlestraße (then Weissenbachstraße) in 22 District was created a landfill, which also got a tram connection.
This report is based on an article in the
WIKIPEDIA - The Free Encyclopedia
and is licensed under the GNU license
Free Documentation Creative Commons CC -BY- SA 3.0 Unported.
On Wikipedia there is List of the authors Available .
de.wikipedia.org
The monstrous remnants of the "Third Reich"
District II (Leopoldstadt), anti-aircraft towers in the Augarten, tram line 31 from metro station Scots ring/Schottenring (U2, U4).
On 15 March 1938 gathered some 200 000 Wiener (Viennese people) on Heldenplatz in order to celebrate the "Anschluss" of Austria to the so-called fatherland Germany, something, since the end of the first World War I many had been longing for. Adolf Hitler himself appeared on the balcony of the Neue Burg and announced: "As leader and Chancellor of the German nation and the Reich I report before story now the entry of my home in the German Reich". Then he boarded a plane back to Germany, the rest, as they say, is history. A few years later the magnificent Heroes Square (Heldenplatz) was dug up to plant vegetables there, they needed food for the distraught people who suffered the privations in Hitler's zusammenbrechendem (breaking down) "millennial Reich".
Right: Gefechtsturm in the Augarten
In Leopoldstadt
Below: The Leitturm (control tower) in Arenbergpark
In III. District highway (Landstraße).
The already existing and sometimes bombastic Viennese architecture the occupiers seems to have pleased, no major buildings were added during their reign. On 9 September 1942, however, Hitler decreed that the city center of Vienna like in Berlin and Hamburg should be protected by some huge flak towers, three pairs should form a defensive triangle, St. Stephen's Cathedral was the center. 1943/44, the German troops began the construction of two flak towers in the Augarten and defaced in this way Austria's oldest still existing and in 1712 laid out baroque garden. Another pair of flak towers emerged in Arenberg Park in III. District (Landstraße), a third near the Mariahilferstraße (in Esterházypark and in the courtyard of the barracks Stiftskaserne) in the VI. resp. VII. District (Mariahilf/Neubau). The towers have been made of almost indestructible, 2.5 to 3.5 meters thick reinforced concrete and were self-sufficient, and they possessed their own water and power supply, first aid station and air filters if it should come to a gas attack. Each pair of flak towers contained a big, provided with a heavy gun flak tower and a smaller control tower for communication. The first is either a square tower in the style of a fortress, like the one in the Arenbergpark (neunstöckig - nine storeys), 41.6 meters high, 57 meters in diameter) or a round tower, in fact, sixteen -sided, as in the Augarten Park and the yard of the Stiftskaserne Barracks (zwölfstöckig - twelve storeys, 50.6 meters high, 43 meters in diameter). The heaviest artillery gun (105-128 mm) was standing on the roof, on the projecting balconies below there were lighter guns (20 to 30 millimeters). The Leittürme, from which the air defense was coordinated, were all rectangular (neunstöckig - nine storeys, 39 to 51.4 meters high, 24 to 39 feet long) and equipped with a lighter gun, they possessed communication devices and searchlights on the roof. Toward the of the war the towers only just were functional. They also served as air-raid shelter for the people in the area and each tower had space for 30 000 people. In the event that the war ended with a victory, the architect, the builder of the Reichsautobahn Friedrich Tamms, already had prepared designs to dress up the towers with black marble plates in which the names of the dead German soldiers should be engraved in gold letters. So the towers would also have been victory and war memorials (and thus in a strange way similar to the Mausoleum of Theodoric in Ravenna or the Castel de Monte in Apulia).
In the bureau of an architect of Berlin were even found plans to demolish the Jewish Quarter in the Leopoldstadt and to build a huge Nazi forum. Today, however, there is in Leopoldstadt again a thriving Jewish life and the flak towers are frozen monuments to the darkest times of Viennese history (in fact, the Russians tried to destroy the tower in Augarten with dynamite, which later on was mistaken for the vandalism of a few schoolboys, by mistake a forgotten weapon depot setting on fire).
In a famous quote Hitler Vienna compared with a pearl, which he wanted to give a socket. Towards the end of war, however, this socket only consisted of bombed-out buildings and abandoned flak towers, silent witnesses of the delusion of their builder. As a result, only the Leitturm was used in Esterhazy Park, and today in it the house of the sea (Zoo - Haus des Meeres) is accommodated. Outside there is a climbing wall with 25 different routes, and the vertical wall and the projecting balconies give a perfect imitation of an overhanging cliff of 34 meters of height. A conservatory (or biotope) with a miniature rain forest along with monkeys and birds has been added on one side; it is entered through a door that only with difficulty could be broken in the two and a half meters thick reinforced concrete, but this also ensures a uniform temperature for aquariums and vivariums in the tower.
The stable temperatures also have the Museum of Applied Arts (MAK) brought to take advantage of the flak tower in Arenberg Park as a magazine and occasional exhibition space; in the meantime it is known as Contemporary Art Tower (CAT).
A former air-raid shelter at the base of the Leitturm in Esterhazy Park now contains the Museum of Medieval legal history: the history of torture
Excerpts from
Duncan J. D. Smith; Only in Vienna
A travelling guide to strange places, secret places and hidden attractions
Translated from English by Brigitte Hilzensauer
Photographs by Duncan JD Smith
"The streets of Vienna are paved with culture, the streets of other cities with asphalt". Karl Kraus (1874-1936)
Vienna is certainly one of the greatest and also the most homogeneous capitals in Europe. And it is one of the most fascinating. The overabundance of travel guides that are out there to buy, presents the not too demanding visitor a magical (and easily accessible) abundance of museums, churches, palaces and culinary venues, and they recount the history of the city since the times of the Romans over those of the Habsburg Empire to the present.
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
Total, totalitarian, dead
Picture: Flak tower in 1943 /44, Augarten
At the zero point of the knowledge about the progress of the world stands since 11 September 2001 "Ground Zero". The debris field of the World Trade Center was used as a metaphor, which for its part marks a zero point. "Ground Zero" is called the area that lies in the center of a nuclear explosion. In Hiroshima and Nagasaki this area has been explored, the experiments that began with Albert Einstein's warning of a nuclear policy of Nazi Germany, were successful beyond measure. The name for the nuclear program, "Manhattan Project". With the beginning of the new millennium "Ground Zero" is real returned to where it had once taken its nominal starting point. The skyscraper obviously is able to stimulate the imagination of physicists, ballistics and aeronauts. In the skyscraper the obsessions of the 20th century are concentrated, self-sufficiency and utopia become one in the sky billowing tower. It is the exalted and the sublime. It provides a beacon, of the construction as well as of the destruction.
As the World Trade Center each of the Viennese "flak towers" come along as pairs: One serves as control tower, the other as a flak tower. The central component is the platform, it was needed in high altitudes in order to have a clear field of fire over the city. The tower architecture, which thereby became necessary, one used for bunker systems, no fewer than 40,000 people should here find shelter. For other facilities there was also space: the Gaupropagandaleitung (Regional propaganda direction) for example, the radio station, a munitions factory. At three locations in the city - the triangle that they abzirkelten (encircled), took in Vienna's historic center - in the years 1943/44 had established an own self-contained world, with it corresponded an outside, the world of total war. The flak towers gave this world the architectural icon.
On 14 February 1943, the British Air Force had carpet bombings on German cities announced after it adversary those commitments to civility, just in war of some validity, namely to protect non- military targets, long ago had abandoned. It was a strategy that should give World War II a decisive turn. The Germans had their production concentrated on weapons with immediate penetrating power, especially on fighter planes and tanks. The Allies, however, swore on sustainability, on long-range bombers that now more and more were used. Against such so-called "flying fortresses" should prepare the city's flak towers.
On 18 February 1943 already, the Nazi regime had reacted propagandistically. Joseph Goebbels delivered in the Sportpalast (Sports Palace) those infamous speech in which an unleashed crowd at the top of its voice loud the hysterical question "Do you want total war?" applauded. From then on, the action would no longer overridingly occur on the fronts. Now, as Goebbels put it, the "phalanx of the homeland" was at stake. The war would be carried to the cities. In their midst, in the urban milieu that would now lose all nonchalance and any worth of life. Also, and just that is what the flak towers stand for: their comfort is the security wing, their promise the ammunition depot. They guarantee offensive and defensive in one. In this hard as reinforced concrete alignment, imagined the regime each of every Volksgenossen (member of the German nation).
The flak towers are the architecture of total war par excellence: monumental exclamation marks for military preparedness, towering icons of the resistiveness, uniform archetypes of a technical, an instrumental progress, to which the Nazi state with due atavism was always committed. Furthermore, comes to some extent the domestic political effect: The flak towers are citadels against the own population, reduits in the face of a psychological and social situation, which solely by forced violence, by martial law and concentration camps could be overmastered.
The prototype of the flak towers built up in Berlin, as well as their principle was conceived in the capital, especially by Albert Speer, the Minister for the war economy. But as a kind of urban identification mark they stand in Vienna, and also for this the logic of total war can be used. It is the logic of destruction, the so-called "Nero-command", which after Hitler's disposal would have provided the destruction of all remaining infrastructure in the German Reich. It is the logic of a perverted Darwinism, which would have applied the dictum of unworthy life in the moment of defeat on the own population.
In one of his table talks in May 1942, Hitler blustered about the "huge task to break ... the supremacy of Vienna in the cultural field ...". The hatred toward the city of his youth was notorious, and one may assume that the flak towers, whose placement the "Führer" personally ordered, the enemy, in a manner of speaking, definitely should stake out a target area. Because naturally, the towers would increasingly attract attacks on themselves. But they have the war unscathed as hardly another building survived. That they are standing for the long shot, the totalitarism this very day is clear. To eliminate them, would mean to turn the city with them in rubble.
A collaborative project combining photographs and an original music score.
Photography Derek Eyre
Music Paul Barker
The Verona Arena (Arena di Verona) is a Roman amphitheatre in Piazza Bra in Verona, Italy, which is internationally famous for the large-scale opera performances given there. It is one of the best preserved ancient structures of its kind. Amphitheatre
The building itself was built in AD 30 on a site which was then beyond the city walls. The ludi (shows and games) staged there were so famous that spectators came from many other places, often far away, to witness them. The amphitheatre could host more than 30,000 spectators in ancient times.
The round façade of the building was originally composed of white and pink limestone from Valpolicella, but after a major earthquake in 1117, which almost completely destroyed the structure's outer ring, except for the so-called "ala", the stone was quarried for re-use in other buildings. Nevertheless it impressed medieval visitors to the city, one of whom considered it to have been a labyrinth, without ingress or egress. Ciriaco d'Ancona was filled with admiration for the way it had been built and Giovanni Antonio Panteo's civic panegyric De laudibus veronae, 1483, remarked that it struck the viewer as a construction that was more than human. Musical theatre
The first interventions to recover the arena's function as a theatre began during the Renaissance. Some operatic performances were later mounted in the building during the 1850s, owing to its outstanding acoustics.
And in 1913, operatic performances in the arena commenced in earnest due to the zeal and initiative of the Italian opera tenor Giovanni Zenatello and the impresario Ottone Rovato. The first 20th-century operatic production at the arena, a staging of Giuseppe Verdi's Aida, took place on 10 August of that year, to mark the birth of Verdi 100 years before in 1813. Musical luminaries such as Puccini and Mascagni were in attendance. Since then, summer seasons of opera have been mounted continually at the arena, except in 1915â18 and 1940â45, when Europe was convulsed in war.
Nowadays, at least four productions (sometimes up to six) are mounted each year between June and August. During the winter months, the local opera and ballet companies perform at the L'Accademia Filarmonica.
Modern-day travellers are advised that admission tickets to sit on the arena's stone steps are much cheaper to buy than tickets giving access to the padded chairs available on lower levels. Candles are distributed to the audience and lit after sunset around the arena.
Every year over 500,000 people see productions of the popular operas in this arena.[3] Once capable of housing 20,000 patrons per performance (now limited to 15,000 because of safety reasons), the arena has featured many of world's most notable opera singers. In the post-World War II era, they have included Giuseppe Di Stefano, Maria Callas, Tito Gobbi and Renata Tebaldi among other names. A number of conductors have appeared there, too. The official arena shop has historical recordings made by some of them available for sale.
The opera productions in the Verona Arena had not used any microphones or loudspeakers until an electronic sound reinforcement system was installed in 2011.
In recent times, the arena has also hosted several concerts of international rock and pop bands, among which Laura Pausini, Pink Floyd, Alicia Keys, One Direction, Simple Minds, Duran Duran, Deep Purple, The Who, Dire Straits, Mike Oldfield, Rod Stewart, Sting, Pearl Jam, Radiohead, Peter Gabriel, Björk, Muse, Paul McCartney, Jamiroquai, and Whitney Houston.
In 1981, 1984 and 2010 it hosted the podium and presentation of the Giro d'Italia with thousands packing the arena to watch the prizes being handed out.
The 2011 Bollywood film Rockstar directed by Imtiaz Ali starring Ranbir Kapoor with music composed by Academy Award winner A.R.Rahman opens and closes with musical concerts shot here.
On 26 March 2013, Paul McCartney confirmed a show at the venue as part of his 2013 Tour. The show is scheduled to take place on Tuesday, 25 June 2013.
British-Irish boy band One Direction performed on 19 May 2013 as part of their Take Me Home Tour
Piazza Bra , or simply the Bra (a name derived from a corruption of the term "Braida", which in turn derives from the Lombard breit , or "off"), is the largest square in Verona , located in its center historian .
The square of Piazza Bra began to turn into only the first half of the sixteenth century , when the architect Michele San Micheli concluded the palace of Honorij : this building was to delimit the western side of the square of the future, as well as to establish a correct outlook on the ' Arena . The first attempt to transform the clearing dirt road instead of walking, however, was the mayor Alvise Mocenigo, who wanted to create a meeting place for the rising bourgeoisie Verona: he was able to inaugurate the first part of the Liston , a paved sidewalk that lines connecting the Bra Corso Porta Nuova in Via Mazzini , in 1770. La Gran Guardia , begun by the Venetians in the seventeenth century and completed by the Austrians in the ' Nineteenth Century , went to delimit the southern side of the square, while in 1836 the architect Giuseppe Barbieri designed the eastern edge, where a hospital were demolished, some houses and a church, which was built in place of the Gran Guardia Nuova , better known as Palazzo Barbieri. This, initially used as a barracks by the Austrians, became, as a result of ' annexation of Veneto to the Kingdom of Italy , the seat of the municipality of the City of Verona.
History
Origins
In Roman times , the place where you would then open the Bra was outside the city and yet away from the main roads. It is only since the first century AD, when it was built the ' amphitheater in the Roman Empire, better known as the Arena of Verona , who came to define the northern edge of what centuries later would become one of the main squares of Verona. In 305 the Emperor Galerius , during a short stay in the city, he opened a door along the walls which was built in 265 by the Emperor Gallienus , which surrounded the Arena went thus creating a first connection between the city and the place where later would be born Bra.
The square, however, began to abbozzarsi only in the Middle Ages: the walls of the city was enlarged at that point between 1130 and 1153, going to close so that piece of land that later would become, coming to have the size of a square. Those areas between the walls and the Roman city walls were called braide, from the Lombard breit ; the braida that could match the current Bra in the twelfth century was far more extensive than at the edge of the square today.
A door that the Braida along the city walls is already mentioned in a document dated 1257, but later his place was taken by the gates of the Bra , probably due to the Visconti and to the Venetians : the first arch is dated to the late fourteenth century and the second to the second half of the fifteenth century. The clock that is located between the two arches of the gates of the Bra was a gift of Count Antonio Nogarola made ââin 1871: it was installed with the dials is visible from one side on the other walls. The clock was inaugurated on June 2, 1872 and refurbished in 1879 because of its vagueness.
Development
Piazza Bra after the arrangement of the central gardens
Piazza Bra in the mid-twentieth century.
The Bra began to be defined as a square only in the first decade of the seventeenth century, when they started on the south side of the factories Gran Guardia and the seat of the ' Accademia Filarmonica of Verona . In conjunction with the factory della Gran Guardia became the leveling the square as possible, and also create some gradients to regulate the flow of stormwater, operation up to that time never practiced because the space was used by stonemasons, that here, as well as work, abandoning the resulting material, and because the clearing was used for the discharge of material from construction in progress in the area.
For others, one hundred and fifty years the space was in clay, in fact, only in 1770 the foundations were laid of Liston will of the mayor Alvise Mocenigo. On March 13, 1782 Francis Menegatti presented a project to the final lastricamento of Liston that the City Council approved and, after this surgery, the bra became the favorite place for afternoon walks in place of Piazza dei Signori . Goethe , in his essay Journey to Italy , describes enjoyed the arrival carriage with ladies and gentlemen, and said that the sunset loitered along the rim of the amphitheater enjoying the most beautiful views of the city. I insole and down on the pavement off the Bra 'walked a multitude of people .
The square was smoothed more times: in 1808 he was entrusted with the task of remaking the Liston architect Luigi Trezza and in 1820 excavations were carried out along the Arena, in order to bring to light the basis of the same, as it was buried about two feet because of the sediments that were deposited after the numerous floods that had undergone the city. He also opted for a lowering of the average level of Bra about 70 centimeters along a line slightly inclined from the Gran Guardia At Arena, lowering the share of Liston.
Plan of Bra in a drawing by Giuseppe Barbieri
As for the lighting, until the eighteenth century the bra at night was totally immersed in the dark; only in the nineteenth century were installed lights in oil and gas lighting in 1845, so that the Liston also became a place for evening strolls. Then important for the conformation of the square today, is the accommodation in the central part of the garden Bra occurred in 1873: the central gardens were created with three circles forming a triangle with a central fountain.
Between 1884 and 1951 the square was affected by the rails of the tramway town .
Events
It is interesting to read the description of Liston of an astonished reporter of the magazine Esperia in an article of 1837:
" ... the audience is walking the plank of 'Veronesi, extended space, which is located in a few cities: here business people are dining and comforting conversation, idleness is recreated, and the beautiful flock there to get tributes of glances and sighs of their worshipers ... and many cafes offer brilliant and sufficient acceptance to the numerous meetings that there agree. Street musicians and improvisers, unpleasant indeed, but the liveliness of the inhabitants always well received, breaking the monotony of chatter; and the music of the military garrison increase much fun. Very pleasing to the eye is in the summer thousands of people of both sexes, and before sitting under the porch; and a more active crowd by constantly prowling the paths formed by the rows of seats, and now dispense with a bow, and now dwell near some nice, vibrate envious compliments and words of hope and voting ... while the beautiful turn cautious gaze looking at the confused teeming with ill-concealed impatience, greeting or stop most expensive among the happy meeting ... "
In the past, however, the Bra was used for uses other than those described well by this reporter: in particular, after the twelfth century it was included in the city walls it was used for the wood, hay, straw and cattle, so that in ancient documents is called the Bra cattle market. More often is cited as the parade ground, as was the case here the review of the troops from the beginning of the Venetian rule, which is why this was one of the points of conflict between the French and Venetian soldiers during the Veronese Easters in 1797 . Starting from 1633, after the approval of the Venetian Senate for the creation of an exhibition of goods in the city, there were held two annual fairs fifteen days each, which continued to be held until one of them was destroyed by fire October 28, 1712, and then restored in another place, it was established only in 1822, a new exhibition, which would last in Piazza Bra for twenty years.
Fair in very old custom is instead to Saint Lucia : it takes place every year from 11 to 13 December, but do not know its origins. Legend has it that, probably in the communal, an epidemic broke out in the city that struck my eyes, it was so that the Veronese decided to make a pilgrimage to the church of Saint Lucia (no longer exists): the children, who did not want to participate , were persuaded to return with the promise that they would find the shoes filled with gifts. The miracle occurred, and since then the fair is held to coincide with the feast of Saint Lucia.
The comet of Verona during a night snowfall
During the Christmas season takes place within the Arena arches dell ' Arena, the International Festival of the Nativity , an event born in 1984 from the mind of Alfredo Troisi , along with the comet symbol of the event, from the reservoir from the Arena, go to dive in Bra. Over the years the star has taken on meanings and values ââare independent of the review of the nativity, as to be appreciated by itself. This architecture-sculpture was designed by architect and designer Rinaldo Olivieri : his intuition came to looking at a map of the city, characterized by two large voids, one of the auditorium and that of the square in front of the Arena. It was from this impression that he was born an ideal line, a huge arch that connects the Arena with the urban space, an arc of light and steel from the Temple of the music goes to fall and explode among citizens.