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Cincinnati, OH. March 25, 2020. Shot on a Nikon F6 and Kodak Portra 160. Developed and scanned by The Darkroom.
On 19th March 2006, the recently closed depot in Richmond acted as a staging post for redundant vehicles. 2706 R706MHN was a prematurely withdrawn Metrorider at only 8 years old that was one of the last new United livery (with red showing around the destination screen)
Paul Bulcke visits a school close to our new plant in Karnataka, India. Nestlé works with local government in the region to provide clean drinking water and sanitation facilities to village schools
yes...you may notice I am missing 4 squares. That is because it's a bit bigger than I had originally planned, and so the 'spares' have been used up.
Sign alongside a turnstile at Meadow Lane, home to Birstall United Football Club, who celebrated in 2021 their 60th anniversary.
Captured before a 3-0 victory, in the First Division of the United Counties League, over Leicester area neighbours Kirby Muxloe.
Three up at half-time, Birstall, during the second period, saw a penalty saved, struck the inside of a post three times and were denied in a one-on-one. Kirby Muxloe squandered three very good chances in the last 10 minutes.
Match statistics
Birstall United versus Kirby Muxloe
United Counties League, Division One (7.45pm kick-off)
Admission: £5. Programme: 16 pages (included with admission). Attendance: 102. Birstall United 3 Kirby Muxloe 0 (half-time 3-0). Scoring sequence: 1-0 (6mins, Paul Pallett, penalty); 2-0 (23mins, Corey Bucalossi); 3-0 (39mins, Dre Articolo).
Church of Ss Peter & Paul, Aston from Holborn Hill.
The New Years Day walk into Nechells.
Villa Park, home of Aston Villa FC behind.
The Britannia put on the left (Lichfield Road).
The church is on Witton Lane and near Aston Hall Road.
Grade II* listed building.
Anglican Church of Ss Peter and Paul, Birmingham
997/7/94 WITTON LANE
25-APR-52 WITTON
Anglican Church of SS Peter and Paul
(Formerly listed as:
WITTON LANE B6
WITTON
PARISH CHURCH OF ST PETER AND ST PAUL)
(Formerly listed as:
WITTON LANE
WITTON
PARISH CHURCH OF ST PETER AND ST PAUL)
II*
997/7/94 WITTON LANE
25-APR-52 WITTON
Anglican Church of SS Peter and Paul
(Formerly listed as:
WITTON LANE B6
WITTON
PARISH CHURCH OF ST PETER AND ST PAUL)
(Formerly listed as:
WITTON LANE
WITTON
PARISH CHURCH OF ST PETER AND ST PAUL)
II*
An Anglican parish church, originating before 1086, though nothing visible survives from this date. The west tower dates from the C15, with its spire renewed in 1776-7 by John Cheshire (circa 1739-1812); otherwise the church dates from 1879-90, with the south porch added in 1908, all to designs by Julius Alfred Chatwin (1830-1907). The church is constructed from brownish-grey sandstone, under slate roofs.
PLAN: The plan has nave, apsidal chancel, north and south aisles, north organ chamber and south chancel chapel, and south porches. Attached to the north and extending westwards is a late-C20 church centre (not of special interest).
EXTERIOR: The building is set on a moulded sandstone plinth, and has angle buttresses and pitched roofs. There is a west tower of four stages with angle buttresses, three-light windows and an unusual treatment of the bell stage, which has rows of segment-headed recesses with two tiers of trefoil-headed panels; the central pair are louvred, those flanking are blind. The stages are marked by moulded string courses. The tower is surmounted by an elegant, broachless octagonal spire. The tower, nave and chancel have unifying crenellations. The aisle windows and those to the south (Erdington) chapel have simple Y-tracery, with drip moulds and some head stops, in part to accommodate stained glass from the earlier church. The clerestory has windows of three lights, with cusped heads and trefoils in Decorated tracery above. The nave and chancel are continuous, the transition between the two marked by large pinnacles with gargoyles at their bases. The high, five-sided chancel has tall buttresses with multiple off-sets, and three-light windows with continuous mullions, those to the sides with similar tracery to those in the clerestory. Nave, chancel and chapel have gargoyles and moulded detailing.
INTERIOR: The interior is long and high, dominated by the apsidal east end; there is no chancel arch. The nave and chancel have a continuous hammer-beam roof, adapted to the apsidal chancel. There is parquet flooring to the nave and aisles, and mosaic floors in geometric designs to the chancel and the Erdington chapel. The west entrance under the tower gives access to the body of the church. The high C15 tower arch has four continuous chamfers. Immediately in front of it is the font, with elaborate cover; designed by Chatwin, it was installed in 1881. The seven-bay nave arcades are formed from pointed arches carried on alternating round and octagonal piers, with shallow capitals with foliate carving. Although there is no structural break between the nave and chancel, the decoration becomes more sumptuous at the east end. The hammer-beam roof has a wealth of carved timber angels, and punched decoration to the trusses. The elaborate two-bay chancel arcades have ogival arches, with rich embellishments including crocketing, cusping, angel figures and pinnacles. The apse has five fine stained glass windows by Hardman and Co, dating from 1885, depicting the Adoration of the Lamb. Below, the sanctuary is clad in marble, with rich carved and pierced decoration, incorporating canopied sedilia. The reredos has three similar marble canopies, over a stone relief triptych. These, and the other furnishings, were all designed by Chatwin, including the pulpit, which is situated at the eastern end of the nave; installed in 1885, it is of alabaster and marble, with biblical scenes in relief, and is integral with the truncated remains of the chancel screen. The Erdington chapel has a timber barrel-vaulted roof, mosaic floor and houses monuments to the Erdington family. In addition to the Hardman windows at the east end, there is further stained glass of the mid- and late C19 to the north and south aisles, Erdington chapel, and tower. Makers include Hardman and Co, Lavers and Barraud, Alexander Gibbs and Heaton, Butler and Bayne. A window of the C18, by Francis Eginton, is resited above the north door, now leading to the attached church centre.
MONUMENTS: The church has an important collection of effigies and mural monuments, dating in a wide range from the medieval period to the C19. In general, those to the Holte family of Aston Hall are situated in the north aisle, and those to the Erdingtons in the Erdington Chapel. There are further mural monuments sited in the north and south aisles, the Erdington Chapel, and under the tower. The monuments include the following, though the list is not exhaustive. An alabaster knight of circa 1360 and a sandstone lady of circa 1490 lying together on a tomb chest; said to be a C16 amalgamation of the two original tomb chests, possibly commemorating Ralph Arden and Elizabeth, wife of Robert Arden, and probably moved here from Maxstoke, his home. Sir Thomas Erdington (died 1433) and wife Joan or Anne Harcourt (died 1417); he is in armour, she in a long skirt and mantle, set on a chest tomb with carved shields and angels; probably erected circa 1460. Another similar effigy, probably to Sir William Harcourt (died 1482 or later), on a chest tomb with carved angels. William Holte (died 1514) and his wife, both effigies in sandstone, on a chest tomb. Portrait bust of 1883 of John Rogers, MA (died 1555); born in Deritend, Birmingham in 1500, Rogers was instrumental in the translation and revision of the Matthews Bible, which became the standard translation in 1537; he was burned at the stake in 1555 as part of Mary Tudor's persecution of Protestants. A mural monument with the kneeling figures of Edward Holte (died 1592) and his wife, Dorothy, set in a recess with Corinthian columns. Effigies of Sir Edward Devereux (died 1622) and his wife Katherine, on an altar tomb, in black marble and alabaster, under a pediment carried on Corinthian columns. A fine monument of the early C18, with weeping putti, to Sir Thomas Holte (died 1654) who built nearby Aston Hall. A draped tablet to Henry Charles (died 1700), servant to the Holte family for 33 years. A highly architectural monument to Sir John Bridgman (died 1710) by James Gibbs, 1726. Mural monument in the Baroque style, to Sir Charles Holte (died 1722). Mural monument to Robert Holden (died 1730) and wife Laetitia (died 1751) by Michael Rysbrack, 1753, with angel heads. A portrait medallion with mourner to Sir Charles Holte (died 1782). A sarcophagus on lion feet, to Sir Lister Holte, by Westmacott, 1794. John Feeney (1809-1899), benefactor of the church, an Arts and Crafts plaque with classical surround and figures, by George Frampton, 1901.
HISTORY: A church at Aston is recorded in the Domesday Book (1086), when Aston was a much more significant settlement than Birmingham, valued at 100 shillings as opposed to Birmingham's 20 shillings. At times during the Middle Ages the advowson was held by members of the de Erdington family; Thomas de Erdington founded a chantry in the church in 1449, and the family are commemorated in the Erdington Chapel in the current church. From the mid-C16 until 1818, the advowson descended with the manor of Aston, falling to the prominent Holte family who built nearby Aston Hall in the early C17 and remained lords of the manor for some 200 years. Members of the Holte family have monuments in the present church. Later in the C19, the advowson was with the Aston Trustees, with whom it has stayed.
The earliest surviving part of the current church is a small amount of C14 stonework set in the north aisle wall, though this is not legible as part of the earlier church building. The west tower was built during the C15, and its spire renewed by John Cheshire in 1776-7. Drawings indicate that during the early C19, the church had a chancel with an east window of circa 1300 of three lights and intersecting tracery, and with three south windows. The nave had a low-pitched roof, and the blocked head of a former chancel arch showed above the low-pitched chancel roof. The south aisle had three south lancet windows and C18 or early-C19 east window, above which was the blocked pointed head of the earlier east window. The mullions of the aisle and clerestory windows had been removed in 1790 when the roof and interior of the church had been restored.
Julius Alfred Chatwin, the foremost church architect in Birmingham in the later C19, set about rebuilding the church during the later C19; construction was carried out in phases from 1879. The construction of the chancel and Erdington Chapel was anonymously funded by John Feeney, owner of the Birmingham Post; Feeney was buried at the church, and is commemorated with a memorial by George Frampton, RA. The chancel and south chapel were complete by 1883, and the nave finished in 1889. The final elements, including the south porch, were not completed until 1908, the year after Chatwin's death. The building incorporated embellishments from the earlier church on the site, including some C19 stained glass, and fragments of the medieval phases, including a C14 piscina, resited in the south aisle. The south chapel was created as the Erdington Chapel, to house monuments to that family. A wide range of monuments from the earlier church was incorporated into the new building, ranged along the north and south aisles, north and south sides of the chancel, and in the Erdington Chapel.
A glass and metal-framed meeting room was inserted into the north aisle during the later C20. A church centre was built to the north-west in 1980, linked to the church on the north side. In 2009, a cruciform baptismal pool was added to the dais in front of the chancel.
SOURCES: Colvin, H, A Biographical Dictionary of British Architects (4th edn, 2008), 249-50
Foster, A, Pevsner Architectural Guides: Birmingham (2007), 279-81
Griffin, P and Griffin, P, Aston Parish Church: A History and Guide (2009)
Pevsner, N and Wedgwood, A, The Buildings of England: Warwickshire (1966), 146-8
History of the County of Warwick (Victoria County History), Volume 7: City of Birmingham (1964), 374-6
REASONS FOR DESIGNATION: The Anglican Church of SS Peter and Paul, Aston, is designated at Grade II*, for the following principal reasons:
* The west tower is an impressive, substantial survival from the C15, with an elegant spire added in 1776-7 by John Cheshire
* The remainder of the church, built to designs by J A Chatwin in 1879-1908, is a high-quality composition in a Gothic style, large in scale and rich in detail
* The interior has a sumptuous east end with a wealth of carved decoration, and an excellent suite of furnishings designed by Chatwin, complemented by good stained glass windows in opulent colours by Hardman and Co
* Its important relationship to Aston Hall and its owners, the Holte family, for whom this was their family church, and numbers of whom are commemorated here
* The church houses a large number of funerary monuments dating from the medieval period to the C19, all of good quality, and unusual in their spread and the extent of their survival
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
This is a fun assignment that I work on with my students. The goal of the lesson is for them to use the full range of graphite pencils (2H-8B) in their drawing kits, and to practice the values, textures and line work in the fur.
magneticpic.posterous.com/911-9-years-later
Caption :Anti-Abortionist rally near Ground Zero displaying the photo of a dismembered fetus.
united |yoōˈnītid| |juˈnaɪd1d|
adjective
joined together politically, for a common purpose, or by common feelings.
I had always thought I was a veteran, a hardened and at times even a bit cynical newsman, until that September eleven.
Years of travel to disaster areas and war zones did not prevent me to get deeply touched and traumatized by the events of nine years ago right in the heart of the city I call home.
When the twin towers were brought down I spent over four uninterrupted weeks in the area of what soon came to be known as “Ground Zero”, working for a television network.
We witnessed and reported the stupor, the incredulity and the sheer pain at first and later on, as the days passed by, the human strength, the heroism and civic values of the American people.
One of the things that helped me most in surviving emotionally such a horrible experience was the sense of togetherness and unity I could perceive around me, all the time.
While from the destroyed buildings noxious fumes kept smoldering up to the heavens for many days and the streets were covered in dust, shattered glass, burned papers and even human remains, we were all doing our jobs in unison.
From us in the press to the police and the fire brigades, whose heroism was truly relentless, to the many doctors who rushed to the scene, to sanitation workers with their unpleasant and most difficult task of cleaning up the mess, to the many NYC citizens, cheering to the rescue vehicles passing by and offering their time and labor in many supportive activities.
It was a truly horrible moment in American history, and we all silently understood it, deep inside ourselves. At the same time, I think it was one of the highest peaks, at least in my lifetime, of social union, as, in spite of the dreadful situation, we were all strongly focused towards common goals and feeling truly blessed for living in this country.
As the years went by, a lot of things in America, the world and even inside my soul have changed.
Although I sometimes returned to ground zero, to report about the commemorative events that take places there every September eleven, to this day I don’t particularly enjoy going south of Canal street since my month-long permanence in that area nine years ago. Whenever I do, memories suddenly become too vivid and I even have flashbacks, I smell the deadly smell again, I hear the sirens, and I have distressing feelings of total, unrecoverable loss that leave me quite unsettled.
This morning I woke up really early, feeling a little under the weather (or perhaps just a day older). I decided not to go to ground zero and instead pay my respect, have my moment of silence, in private.
Then, all of the sudden, I changed my mind and a little later I found myself emerging from a subway station in that area I unfortunately know so well.
I witnessed two main events, a city block away from each other: a rally in favor of the controversial Mosque, which is to be built nearby, and a rally by radical anti-abortionists. I took a few shots of both events and, despite my absolute respect, unobtrusiveness and a police press pass around my neck, I managed to be shoved rather impolitely in my chest, while I was taking a shot, by a Lieutenant screaming “and next time I’ll take your camera from you”.
Soon I had enough.
I don’t even want to attempt a judgment about what I saw. I’ll just say that my visit to ground zero didn’t allow me see much unity or civic values today. I think, had it not be for the massive police presence, most of the people there, some them screaming “Allah Akbar” in a megaphone, others kneeling to Jesus Christ in front the poster of a dismembered fetus, would have gladly tried to slash each others throat.
Canon 7D
LensEF600mm f/4L IS II USM
Tv( Shutter Speed ) 1/2000
Av( Aperture Value ) 8
ISO Speed 500
Flash On
عقاب البادية
العقبان التي تعيش في أوروبا وآسيا الوسطى تهاجر في الشتاء إلى إفريقيا، والعقبان الشرقية تهاجر إلى الهند. تضع هذه العقبان بيضة إلى ثلاث بيضات في عش تصنعه من الأغصان وتضعه على شجرة. وتفضل عقبان السهوب المواطن الجافة والمفتوحة، كالمناطق الصحراوية وشبه الصحراوية والسهوب والسافانا.
قاب السهوب عقاب ضخم، طوله يتراوح ما بين 62 و 81 سنتمترا، والمسافة بين جناحيه عند الطيران 1.65 إلى 2.15 متر، ووزن الإناث يتراوح ما بين 2.3 و 4.9 كيلوغرام وهي أكبر قليلا من الذكور التي يتراوح وزنها ما بين 2 و 3.5 كيلوغرام.
تختلف العقبان اليافعة قليلا عن الناضجة، ولكنْ كلاهما فيه تنوع من الألوان، وتكون عقبان السهوب الشرقية أضخم وأغمق لونا من العقبان الأوروبية والآسيوية الوسطى.
يشبه صوت عقاب السهوب نعيق الغراب، ولكنه أكثر هدوءا من الغراب.
يكثر وجود عقبان السهوب في مواسم الهجرة في بعض المناطق مثل نيبال، إذ يمرّ عبرها حوالي 15.3 عقاب كل ساعة
الغذاء الأساسي لعقاب السهوب هو الجيف (الحيوانات الميتة) الكبيرة الجديدة، ولكنه قد يصطاد القوارض والثدييات الصغيرة التي قد يصل حجمها إلى حجم القواع أو الأرنب البري، ويصطاد الطيور أيضا، وقد يصل حجم الطيور التي يصطادها إلى حجم طائر الحجل، كما قد يقوم بسرقة الغذاء من مفترسات أخرى. يملك عقاب السهوب حوصلة في حلقه تمكنه من تخزين الغذاء عدة ساعات قبل أن يتجه إلى المعدة.
By far if I have to choose the best one among my photographs, I will choose this one first. Actually while taking this shot, I was waiting for her to take off. The moment she lifted I started firing my camera and the result is what you see.
© Copyright Nandakumar Gowraraju.
All my images and contents are All Rights Reserved. They should not be reproduced in any way, and unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me.Failing to do so will result in severe legal consequences as per Indian Copyrights Act, 1957.
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.
Very Old machine it is one of the effects of the English colonization of Egypt
Are currently in one of the old houses whos owned by one of the very poor Egyptians in a very very poor area.
The most IMPORTANT ISSUE is that no one knows its there and no one knows the value of this ...ARCHEOLOGICAL...MACHINE...
...UNTIL NOW !!!
...IMAGINE THAT ...?!?!?!
Astronauts from five space agencies around the world take part in ESA’s CAVES training course– Cooperative Adventure for Valuing and Exercising human behaviour and performance Skills.
The three-week course prepares astronauts to work safely and effectively in multicultural teams in an environment where safety is critical.
As they explore caves they encounter caverns, underground lakes and strange microscopic life. They test new technology and conduct science – just as if they were living on the International Space Station.
The six astronauts have to rely on their own skills, teamwork and ground control to achieve their mission goals – the course is designed to foster effective communication, decision-making, problem-solving, leadership and team dynamics.
Credits: ESA – A. Romeo
Kmart's store brand in Australia/New Zealand is called "Smart Value", instead of "Smart Sense", as it's called in the US. But other than that, the logo looks the same.
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