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Detail of Sony Center's roof, electrified for Sliders Sunday.
Sony Center, a 132,500 m² building complex at Potsdamer Platz (located across the Berliner Philharmonie), consists of several buildings of which the main complex was designed by Chicago-based architect Helmut Jahn. It was opened in 2000.
Sony Center's impressive 3,500 m² roof spans the entire patio, the so-called Forum. The spectacular roof construction consists of safety glass and translucent fabric panels which are attached by tie rods to a steel ring that rests on the surrounding buildings. The roof's shape represents Japan's Mount Fuji. In Japanese mythology, the Kami – holy powers or spirits that are worshipped in Shinto religion – live in the mountains. Since Berlin lies in a mostly flat region and has no real mountains to speak of, the roof's design was supposed to ensure the Kami's protection for Sony's European headquarters (today, Sony's German branch is located at Sony Center) by building them an artificial mountain to live in.
Happy Sliders Sunday, Everyone!
Detail des Daches des Berliner Sony Centers am Potsdamer Platz (und gegenüber der Berliner Philharmonie). Eines der bekanntesten Merkmale des 132.000 m² großen Gebäudekomplexes ist das auffällig geformte, 3.500 m² große Dach, das den gesamten Innenhof, das sogenannte Forum, des Sony Centers überspannt. Die bemerkenswerte Stahlkonstruktion, die aus Sicherheitsglas sowie lichtdurchlässigen Stoffbahnen besteht, die mit Zug-Ankern an einem Stahlring befestigt sind, der auf den umliegenden Gebäuden aufliegt, wurde vom österreichischen Stahlbau-Unternehmen Waagner-Biro realisiert.
Die markante äußere Form des Daches symbolisiert Japans heiligen Berg Fujisan. Nach japanischem Glauben werden die Berge von den Kami bewohnt, gottähnlichen Geistern. Um auch für das Sony Center, das ursprünglich Sonys Europäischer Hauptsitz war (heute residiert dort Sonys deutsche Zweigniederlassung) den Schutz der Kami sicherzustellen – und da Berlin bekanntermaßen in flachem Gelände liegt und über keine echten Berge verfügt –, wurde das Dach der Form des Fujisan nachempfunden, um den Kami einen "Berliner Wohnsitz" zu schaffen.
Ich wünsche Euch einen guten Wochenstart, liebe Flickr-Freunde, passt gut auf Euch auf!
Catch a wave and take in the sweetness.
Take in the sweetness. .
You want this, you need this!
Are you ready for it?
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In a sea of ferns a small tree shrugs off its autumn coat. Taken in Hillock Wood, Princes Risborough.
"Cascade Complex" in Yerevan is an architectural complex on the hillside, located north of city center.
Externally, they look as great stairs, decorated with flowerbeds, fountains, sculptures and contemporary chaczkarami (plates with a carved Armenian cross). The name comes from fountains that flow down of cascade.
The first caskades project at the beginning of 20th century was developed by architect Alexander Tamanian. To commemorate the 50th anniversary of joining Armenia to the USSR, in 1970 this great construction project was returned. Work began only in 1980, but after the earthquake in 1988 and the breakup of the Soviet Union, the work was stopped.
In 2001, the building was taken over by Armenian millionaire, philanthropist and collector Gerard Cafesjian who lived in the United States. He decided to transform the whole into a museum with an exhibition of modern art.
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Kaskady w Erywaniu to kompleks architektoniczny na zboczu wzgórza, położony na północ od centrum miasta.
Zewnętrznie prezentują się jako wielkie schody, ozdobione kwietnikami, fontannami, rzeźbami oraz współczesnymi chaczkarami (płytami z rzeźbionym krzyżem ormiańskim). Nazwa wywodzi się od fontann, które spływają po progach na kształt kaskady.
Pierwszy projekt Kaskad na początku XX wieku opracował architekt Aleksander Tamanian. Dla uczczenia 50-lecia przyłączenia Armenii do ZSRR, w latach 70 tych XX wieku powrócono do tego wielkiego projektu budowlanego. Prace rozpoczęto dopiero w 1980, ale po trzęsieniu ziemi w 1988 i rozpadzie Związku Radzieckiego, prace przerwano.
W 2001 roku budowę przejął żyjący w Stanach Zjednoczonych ormiański milioner, filantrop i kolekcjoner Gerard Cafesjian. Zdecydował się przekształcić całość w muzeum z ekspozycją sztuki nowoczesnej.
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Too much to see in a single place, to many details and its hard to get them all even since the place is not that big, its basically a medium house, but every corner has a little special detail that can be easily missed.
Along a central corridor, is a group of buildings thought to be a "House for Women" or “Virgins of the Sun.”
Women, who lived here were chosen as children to worked for the Royal Family and keep the temple clean. They were typically daughters of important members of the community and considered very beautiful.
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Acllahuasi, term kichwa (Aclla = Escogida, Huasi = house 'House of the Chosen'), women dedicated directly to the service of the temple and their occupants, in charge of spinning, embroidering and making textiles, in addition to preparing food for the Inca and priests .
Architecturally it is about six rooms built with stones of good Inca stonework, arranged around several internal courtyards. Most of them are in foundations, unlike the main room located at the east end of the complex, which preserves the walls and access door in its entirety, inside it can be seen nineteen trapezoidal niches that decorate it.
Der Düsseldorfer Kö-Bogen als Schwarzweiss-Interpretation. Der Kö-Bogen ist ein Gebäudekomplex und Freiraumgefüge zur Stadterneuerung in der nordrhein-westfälischen Landeshauptstadt Düsseldorf. Benannt wurde das städtebauliche Projekt nach dem Viertelkreis-Bogen, den die dort am Rande des Hofgartens und des Teichs an der Landskrone einst verlaufende Hofgartenstraße in Richtung der Königsallee, der Kö, beschrieb.
Düsseldorf's Kö-Bogen as a black-and-white interpretation. The Kö-Bogen is a complex of buildings and open space structures for urban renewal in Düsseldorf, the state capital of North Rhine-Westphalia. The urban design project was named after the quarter circle arch, which the Hofgartenstraße that once ran on the edge of the Hofgarten and the pond at the Landskrone in the direction of Königsallee, the Kö.
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Not sure what all these things did. Attached to the water pump. Taken at the Shreveport Water Works Museum, a National Historic Landmark.
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