View allAll Photos Tagged Spectacular-Project
The Olympic park is in the modern quarter of Marussi 10km north of the centre, it is a huge architectural complex that sums up the skills and creativity of the Spanish architect Santiago Calatrava. The park has been reconstructed to house the Olympic games of Athens 2004 and the architect has created an unprecedented spectacular project, letting his imagination loose.
The Olympic park is in the modern quarter of Marussi 10km north of the centre, it is a huge architectural complex that sums up the skills and creativity of the Spanish architect Santiago Calatrava. The park has been reconstructed to house the Olympic games of Athens 2004 and the architect has created an unprecedented spectacular project, letting his imagination loose.
Olafur Eliasson was born in 1967 in Copenhagen and lives and works in Copenhagen and Berlin. His artistic practice focuses on the creation of sculptures and installations realized by diverse illusionist tricks using light, air, water and temperature, with the aim of involving the viewer in a totalizing manner.
In 1995, he graduated from the Royal Danish Academy of Fine Arts and, in the same year, he moved to Berlin and founded Studio Olafur Eliasson. Since the mid-90s he has had numerous exhibitions and projects around the world. Over the years, he has become more and more interested in the creation of projects related to the dynamics of environmental change. In 2003, he exhibited at the Tate Modern’s Turbine Hall in London The Weather Project-one of his most spectacular projects-which became one of the most significant events of his artistic career, attracting two million visitors in just six months. His works are included in important international collections such as the Guggenheim Museum, New York; the Centre for International Light Art, Unna; and the Museum of Contemporary Art, Los Angeles. He participated in the 50th Venice Biennale with the work The Blind Pavilion (2003); exhibited at the San Francisco Museum of Modern Art (2007); at MoMA PS1 (2008), New York; the Museum of Contemporary Art (2009), Sydney; the Langen Foundation (2015), Neuss; Fondazione Berengo (2015), Venice; and recently realized a series of interventions and installations for the garden at Versailles (2016). He won the Benesse Prize with Spiral Pavilion created for the Venice Biennale (1999), won the Nykredit Architecture Prize (2004), the Eckersberg Medal for Painting (2004), received the Crown Prince Couple’s Culture Prize (2006), was awarded the Joan Miró Prize (2007) and won the Mies van der Rohe Award (2013).
Olafur Eliasson was born in 1967 in Copenhagen and lives and works in Copenhagen and Berlin. His artistic practice focuses on the creation of sculptures and installations realized by diverse illusionist tricks using light, air, water and temperature, with the aim of involving the viewer in a totalizing manner.
In 1995, he graduated from the Royal Danish Academy of Fine Arts and, in the same year, he moved to Berlin and founded Studio Olafur Eliasson. Since the mid-90s he has had numerous exhibitions and projects around the world. Over the years, he has become more and more interested in the creation of projects related to the dynamics of environmental change. In 2003, he exhibited at the Tate Modern’s Turbine Hall in London The Weather Project-one of his most spectacular projects-which became one of the most significant events of his artistic career, attracting two million visitors in just six months. His works are included in important international collections such as the Guggenheim Museum, New York; the Centre for International Light Art, Unna; and the Museum of Contemporary Art, Los Angeles. He participated in the 50th Venice Biennale with the work The Blind Pavilion (2003); exhibited at the San Francisco Museum of Modern Art (2007); at MoMA PS1 (2008), New York; the Museum of Contemporary Art (2009), Sydney; the Langen Foundation (2015), Neuss; Fondazione Berengo (2015), Venice; and recently realized a series of interventions and installations for the garden at Versailles (2016). He won the Benesse Prize with Spiral Pavilion created for the Venice Biennale (1999), won the Nykredit Architecture Prize (2004), the Eckersberg Medal for Painting (2004), received the Crown Prince Couple’s Culture Prize (2006), was awarded the Joan Miró Prize (2007) and won the Mies van der Rohe Award (2013).
Even though I'm not religious in any christian sort of way, I still celebrate Christmas out of tradation. A gift from the City of Philadelphia to it's people was this spectacular projected light on the two main facades of their City Hall - so well done that I (and most other people) thought it was actually painted (daytime view of the other lit facade).
I hope that those who celebrate these holidaze have a good one, and that everyone has a great new year!
Am Samstag sind fast 30 000 Menschen in den Scharnhauser Park gepilgert, um den deutschen Beitrag zu den „Flammenden Sternen“ mitzuerleben. Joachim Berner hat dabei auf klassische Musik gesetzt.
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Deutschland - Innovative Pyrotechnik, aus Stuttgart mit Showdesigner Joachim Berner
mehrfacher offizieller Gewinner: - auch nach meinem Eindruck aus der Ferne - und Weltmeister
Mehrmals erhielt er mit IP den Weltmeistertitel bei der International Fireworks Competition in Montreal, Canada.
Testgelände
Riesiger
Steinbruch Ehingen bei Böblingen
Auch am Tag wird Feuerwerk getestet.
Auch vom Hubschrauber aus kann IP Feuerwerk nach unten abschießen.
Pyrotechniker
Eine Kernkompetenz von IP ist das Großfeuerwerk. Dabei unterscheidet sich die Innovative Pyrotechnik besonders in einem vom Markt: durch exakt synchron zur Musik gezündete Feuerwerke.
REFERENZEN
AC/DC
Welttourneen 1996-2016
Rolling Stones
Welttourneen 1995-2014
Tina Turner
Welttournee 2000
Ozzy Osbourne & Friends
Europatour 2001-2012
Kiss
Europatour 2010-2012
Nickelback
Europatour 2004-2010
Cro
Tourneen 2013-2015
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Nicht nur große Konzerte werden weltweit von IP realisiert und umgesetzt. Auch bei der Unterhaltungsbranche zählt IP weltweit zu einem der gefragtesten Lieferanten.
Beim Boxen, in der Formel 1, beim Motocross, bei Musicals und Themenparks, sowie bei unzählig anderen Anlässen macht Innovative Pyrotechnik nahezu alle Kundenwünsche möglich.
Spezialeffekte, schwere Bühnensequenzen und komplizierte Szenenumsetzungen kommen in jeder Produktion vor. Hier ist IP Spezialist um sich mit solchen Anforderungen auseinanderzusetzen und durch ein eigenes Entwicklungslabor auch verzwickte Probleme zu lösen.
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All specialeffects are used from the own production.
Since 1980 Joachim Berner is working as a pyrotechnist and creates a variety of his effects on his own. This aspect makes his productions unique and takes him all around the world. In 2007 he received the title of
World Champion in the Benson and Hedges International Fireworks Competition
in Montreal, Canada
The mayor service area and the main business of IP is the sector of professional fireworks.
An important trademark of the Innovative Pyrotechnik is the exactly coded and musically synchronous firework.
The precise work and the exact programming guarantees a perfect coordinated firework.
IP is known on the whole world and on many international firework festivals for its unique and breathtaking major projects.
„IP-Products“ is the own label of the Innovative Pyrotechnik. Constantly the innovaters are creating and developing new products and effects. Here is the place to try out and implement the ideas and impressions.
The project „Flammandra“ is a production of the Innovative Pyrotechnik. Together with the fireartist and choreographer Uta Rolland the company creates since 2004 own spectacular projects in combination with circus arts, fire acrobatics, dance and pyrotechnics.
The several shows work with different themes staged with these elements. The repertoire longs from thematic shows to product presentation and full-length programmes. The audience will be part of an unique and charming events which brings a breathtaking experience.
the website of Flammandra
Another spectacular project built by Empire Glass and Aluminium
Builder: Grocon
Architect: FJMT
www.empireglass.com.au/portfolio-item/legion-house-167-ca...
Olafur Eliasson was born in 1967 in Copenhagen and lives and works in Copenhagen and Berlin. His artistic practice focuses on the creation of sculptures and installations realized by diverse illusionist tricks using light, air, water and temperature, with the aim of involving the viewer in a totalizing manner.
In 1995, he graduated from the Royal Danish Academy of Fine Arts and, in the same year, he moved to Berlin and founded Studio Olafur Eliasson. Since the mid-90s he has had numerous exhibitions and projects around the world. Over the years, he has become more and more interested in the creation of projects related to the dynamics of environmental change. In 2003, he exhibited at the Tate Modern’s Turbine Hall in London The Weather Project-one of his most spectacular projects-which became one of the most significant events of his artistic career, attracting two million visitors in just six months. His works are included in important international collections such as the Guggenheim Museum, New York; the Centre for International Light Art, Unna; and the Museum of Contemporary Art, Los Angeles. He participated in the 50th Venice Biennale with the work The Blind Pavilion (2003); exhibited at the San Francisco Museum of Modern Art (2007); at MoMA PS1 (2008), New York; the Museum of Contemporary Art (2009), Sydney; the Langen Foundation (2015), Neuss; Fondazione Berengo (2015), Venice; and recently realized a series of interventions and installations for the garden at Versailles (2016). He won the Benesse Prize with Spiral Pavilion created for the Venice Biennale (1999), won the Nykredit Architecture Prize (2004), the Eckersberg Medal for Painting (2004), received the Crown Prince Couple’s Culture Prize (2006), was awarded the Joan Miró Prize (2007) and won the Mies van der Rohe Award (2013).
The Garden Which is the Nearest to God
The celebrated Japanese artist Taturo Atzu (formerly Tatzu Nishi) is known for its spectacular but most alienating projects. After New York and Singapore this summer Amsterdam's turn. From June to September 2015 he realized a temporary platform on the roof of the Oude Kerk (Old Church). It offers visitors a unique view of the Red Light District. At the same time he opens an architectural domain where the public normally has no visibility.
Taturo Atzu's temporary plateau was externally accessible via a scaffold structure. Even the climb up was really an experience. Once there you had a unique view of the intricate grid of the old city center of Amsterdam. Another surprise was the confrontation with the impressive slate roof landscape that was not previously seen as close. With its two massive peaks, the roof of the Old Church is one of the largest roof areas of Europe.
Huyskamer Amsterdam
The Garden Which is the Nearest to God refers not only to the classical image of the church as a meeting place. This project also included the gradual adjustment from religious to cultural location. The fact is that the Ancient Church traditionally nicknamed "livingroom of Amsterdam 'carries. this title is undoubtedly a source of inspiration for Taturo Atzu. After their hallucinogenic climb up the visitors entered an airy living room. Here they came face to face with the angel-shaped weather vane. A bit further, around the so-called storm washers, they could take part in a conversation pit, with their noses on top of the clock. It was an experience that calls into question the actual significance of the monument and the tension exposes between public and private space.
About Taturo Atzu
The Japanese Taturo Atzu (Nagoya, 1960), whose work on this scale has never before been exhibited in the Netherlands, is also known under the names Tatzu Nishi, Tazu Rous, Tazro Niscino, Tatzu Oozu and Tatsurou Bashi. His spectacular projects testify to a long fascination with opposites meet. Typically Atzu by definition temporary settings, with the intimacy of home or hotel rooms, around public and often national monuments. By creating such widespread astonishment Taturo Atzu represents the relationship between society and the individual in question. In his work he explores the personal relationship of ordinary people to the Great Story of history
Taken by: Emiel Dekker (emield.myportfolio.com/)
The Garden Which is the Nearest to God
The celebrated Japanese artist Taturo Atzu (formerly Tatzu Nishi) is known for its spectacular but most alienating projects. After New York and Singapore this summer Amsterdam's turn. From June to September 2015 he realized a temporary platform on the roof of the Oude Kerk (Old Church). It offers visitors a unique view of the Red Light District. At the same time he opens an architectural domain where the public normally has no visibility.
Taturo Atzu's temporary plateau was externally accessible via a scaffold structure. Even the climb up was really an experience. Once there you had a unique view of the intricate grid of the old city center of Amsterdam. Another surprise was the confrontation with the impressive slate roof landscape that was not previously seen as close. With its two massive peaks, the roof of the Old Church is one of the largest roof areas of Europe.
Huyskamer Amsterdam
The Garden Which is the Nearest to God refers not only to the classical image of the church as a meeting place. This project also included the gradual adjustment from religious to cultural location. The fact is that the Ancient Church traditionally nicknamed "livingroom of Amsterdam 'carries. this title is undoubtedly a source of inspiration for Taturo Atzu. After their hallucinogenic climb up the visitors entered an airy living room. Here they came face to face with the angel-shaped weather vane. A bit further, around the so-called storm washers, they could take part in a conversation pit, with their noses on top of the clock. It was an experience that calls into question the actual significance of the monument and the tension exposes between public and private space.
About Taturo Atzu
The Japanese Taturo Atzu (Nagoya, 1960), whose work on this scale has never before been exhibited in the Netherlands, is also known under the names Tatzu Nishi, Tazu Rous, Tazro Niscino, Tatzu Oozu and Tatsurou Bashi. His spectacular projects testify to a long fascination with opposites meet. Typically Atzu by definition temporary settings, with the intimacy of home or hotel rooms, around public and often national monuments. By creating such widespread astonishment Taturo Atzu represents the relationship between society and the individual in question. In his work he explores the personal relationship of ordinary people to the Great Story of history
Taken by: Emiel Dekker (emield.myportfolio.com/)
At the corner of Main Road (the A6, ultimately linking London to Scotland) and, self-evidently, Chapel Lane, this is almost the last building at the northern end of the village, though that puts it midway between Galgate Silk Mill, once the primary employer, and the homes of the mill's workers.
Though I think I recall it still being nominally open to the public as recently as the 1990s, there's now no indication that this is police property, other than the attractively-weathered plague depicting the Lancashire Constabulary coat of arms.
It was designed by County Architect Henry Littler (1865-1933), who seems to have specialised in police stations, though his most spectacular project must be Preston's Sessions House, purpose-built and still accommodating Crown and Family courts.
Another spectacular project built by Empire Glass and Aluminium
Builder: Grocon
Architect: FJMT
www.empireglass.com.au/portfolio-item/legion-house-167-ca...
Another spectacular project built by Empire Glass and Aluminium
Builder: Grocon
Architect: FJMT
www.empireglass.com.au/portfolio-item/legion-house-167-ca...
Another spectacular project built by Empire Glass and Aluminium
Builder: Grocon
Architect: FJMT
www.empireglass.com.au/portfolio-item/legion-house-167-ca...
Bicentennial Tower is a project of architectural design that has been designed by Entorno AID and CMS+GMP. This site has an area of about 17650.0 square meters and is located in Cra 4 Este, Chía, Chía, Cundinamarca, Colombia. This spectacular project was built in 2013 with a stunning exterior d... freshomedaily.com/?p=40901
#Amazing-Architecture, #Architecture-Design, #Building, #Colombia, #Cundinamarca, #Spectacular-Project
Zhangjiajie Grand Canyon Glass Bridge is a glass bridge that has been designed by Israeli architect Haim Dotan. The longest bridge in the china glass has a height of up to 3.543 feet. The bridge is located in National Park of Zhangjiajie, Hunan Province, China.
Picture of Zhangjiajie Grand... freshomedaily.com/?p=44674
#Amazing-Architecture, #Architecture-Design, #China, #Hunan-Province, #Located-In-Zhangjiajie, #Spectacular-Project
I know it's a bit dark but the aim of photography is to tell a story. Not all stories are nice.
A shot I've had in mind for a while and inspired by a chap called Rick Nunn (www.ricknunn.com) whose spectacular Project 50s provided the motivation to do more with my camera and dip my toes into strobist waters.
Every photographer starts their career by seeing other people's works and thinking "I'd like to be able to do that one day", and Rick's work inspired me in that way. I now think I've reached a stage in my photography where I could tackle this shot and "get it right". This is my homage, a nod to him, and a thank you for the inspiration :)
Strobist - YN560II through umbrella (now since broken...) at 1/8th power, pointing at my bloody corpse from atop the kitchen worktop.
YN460 right beside the knife at 1/64th pointed at the ceiling (avoids the horrific highlights I was getting when aimed directly at it)
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
This angle is named "Nido D'Amore" (Love Nest)...
Actually I immediately thought to tale's White Rabbit :DDD
A charming place... tiring, bur charming. :)
From Unesco Site:
"The Villa Gregoriana was created out of the necessity to defend the town of Tivoli from the ruinous floods of the Aniene. The villa is positioned in a very steep valley, in ancient times called the "Valley of Hell", carved out at the foot at the ancient acropolis of Tivoli by the river which here, in two drops, descends over 130 metres. The site was strategically important in the communications between the shepherding peoples of the Aniene Valley and the Tiber Plain from the archaic age. It was here that, upstream of the great waterfall and subject to the supervision (and tolls) of the Tiburtine Acropolis, the first bridge had been built. This position was one of the strategic reasons for the birth of the ancient Tibur, and the rocky spur on which the acropolis and the ancient residential area arose because it was geologically and hydrologically very difficult, was "cultivated" at least from the 2nd century AD. In fact, also thanks to the calcareous and karstic nature of the terrain, there are at least 12 known manmade hydraulic structures - ditches, canals, locks, and branches of aqueducts - without counting the remains of bridges and mills, used to divert, control, and use the variable pressure of the waters, many of which are still in use or, in any case, accessible.
The fame of the place, dating back to antiquity, is seen in numerous literary references, including verses in Horace's "Odes" and the passage from Statius's Silvae, which describe the villa of the Roman patrician Manlius Vopiscus, the remains of which are at the site.
Numerous pictorial representations of the crag of the Acropolis, with its temples and the drop of the Aniene, bear witness to the good fortune enjoyed by the place, which never ended and reached its peak between the 18th and 19th centuries: the first work done to render the place accessible to the travellers of the Grand Tour was carried out during the Napoleonic period, in 1809, as ordered by the Governor of Rome. The nature of the places was modelled according to the neoclassical taste, with the creation of avenues and belvedere stopping points and, to permit visiting the Cave of Neptune, a tunnel was dug into the rock, with side openings offering impressive views of the underlying chasms (Miollis tunnel). The ruins of the Roman Age buildings, grown wild down through the centuries, were carefully restored and integrated into the garden, where new plants were planted and paths, walkways, stairways, and utility and service rooms were laid out.
The disaster caused to the residential quarter by the flood of 1826, which had destroyed almost all the homes situated in the oldest part of the town, moved the government of the Papal State to intervene. Worldwide resonance was given to the drafting of the plans, and numerous foreign architects took part in the competition. Almost all the plans proposed the construction of high walls and embankments, diverting any floodwaters into effluents. The winning proposal was that of Clemente Folchi, who suggested diverting the bed of the Aniene. In 1832, a huge and spectacular project thus began to divert the river by means of the so-called Cunicoli Gregoriani (Gregorian Tunnels), two 300-metre tunnels of a width varying from 10 metres at the entrance to 7.20 at the exit, dug under Mount Catillo, so as to move the course of the Aniene and the falling point of the water further away from the residential area.
The project was authorized and financed by Pope Gregory XVI who, on 7 October 1835, watched the spectacle of the first prodigious drop of the water in the new great waterfall. The work was not limited to just the rerouting of the river, but also included the construction of two vast squares, Piazza Rivarola and Piazza Massimo, joined by the bridge called Ponte Gregoriano.
The Villa Gregoriana is actually an "accessory" of the primary structure, which is the hydraulic structure. Set over the ancient Roman villa of Manlius Vopiscus, the Villa was built in 1834 on the basis of the directives of Cardinal Rivarola and carried out under the control of Msgr. Massimo and the architect Folchi. The park of the Villa, which stands in the chasm of the former course of the Aniene, to the left of the great waterfall (in the so-called baratri tiburtini - Tiburtine chasms), is an admirable synthesis of the natural landscape with the well camouflaged manmade one overlapping it. Situated immediately below the ancient Acropolis of Tivoli, the Villa is dominated by the Roman temples attributed to Vesta, the Sibyl, and Tiburnus which, although they are just outside its boundaries, can rightfully be counted as part of the considerable archaeological heritage of the site. The old riverbed and the steep walls delimiting it were used to create a walkway amidst limestone formations, caves, gorges, and archaeological remains, still of impressive beauty today. A spectacular view is that of the drop of the Great Waterfall, magnificent and impressive in the powerful rush and roar of its water. Descending further, we find the dark green of holm oak, cypress, and pine trees; then the water that falls in front of the Cave of Neptune and forms a pond, then sinking into the Cave of the Sirens.
Today, the current arrangement of the site, the ownership of which was transferred in 1870 from the Papal State to the Italian Government, even if this was determined by the need to regulate the waters of the Aniene, is - with its archaeological structures, remains of various ages, and exceptional natural elements, caves and panoramic views - a place of enormous environmental, historic, and artistic value."
Krisztina de Châtel,
Working in cooperation with Veiligheidsregio Rotterdam-Rijnmond, Krisztina de Châtel creates a spectacular project on location in which the fire brigade and its vehicles confronts six professional female dancers.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
Foreign Minister Lakshman Kadirgamar recalled the history of the Dutch Burgher community who played an unparalleled role in the public life Sri Lanka.
“The Dutch Burgher community excelled not only in exalted positions in our society. They also performed with great credit, quality, effectively in various other areas of our national life,” he said.
He expressed these views in a speech made to mark the 50th anniversary of Sri Lanka-Netherlands diplomatic relations.
Sri Lanka was a Dutch colony from 1638-1796.
The full text of the speech as follows:
Excellencies,
Ladies and Gentlemen,
The Portuguese initially came to this island in 1501 as traders, but they stayed in occupation of the Maritime Provinces by force of arms until they were expelled by the Dutch in 1638.
In 1602, Admiral Joris Van Spilbergen, a high official of the Dutch East India Company (VOC), a joint stock company founded in that year, set foot on the shores of eastern Sri Lanka, South of Batticaloa and was received by King Wimaladharmasuriya, in Kandy. The Dutch too came to trade but they stayed in control of the maritime areas by force of arms, having systematically ousted the Portuguese from these areas of the island, until they too were ousted in 1796, this time by the British, who like the others, having come to trade, gained possession of the whole island by force of arms and remained in occupation of it until 1948. This, in a few words, is the sad saga of a hospitable nation that lost its independence for nearly 450 years.
Ladies and Gentlemen, what we commemorate today is not the Dutch connection forced upon us 400 years ago. What we celebrate joyfully today is the 50th anniversary of a free association between two small, independent and sovereign states-one located in Europe with a long mercantilist and maritime tradition, and the other an island in the Indian Ocean with an ancient civilization strategically located on the main sea routes between East and West.
Diplomatic relations between Sri Lanka and the Netherlands were formally established on 23rd November 1951. Sri Lanka had a resident Charge d’ Affaires in The Hague until 1963. In that year Sri Lanka’s Ambassador in Bonn was concurrently accredited to The Hague. This function was transferred to the Sri Lanka Embassy in Brussels in 1978. In 1993, a fully-fledged Sri Lanka Mission with a resident Ambassador was established in The Hague, the capital of the Netherlands.
On the other hand, the Netherlands had established Consulates at Galle and Colombo, which were closed in 1899 and 1953 respectively. The Netherlands Embassy that was opened subsequently in Colombo was closed for budgetary reasons in 1972 and reopened in 1977.
Excellencies, Ladies and Gentlemen, on this happy occasion it is my pleasure to convey, on behalf of the Government of Sri Lanka, our felicitations and warm greetings to His Excellency Hein Princen, Ambassador of the Kingdom of the Netherlands in Sri Lanka, the members of the Royal Netherlands Embassy and the members of the Dutch community resident in Sri Lanka.
It is a remarkable tribute to the Netherlands that the influence of that 150-year period when the Dutch were here many centuries ago has remained. That influence lingers in many areas of our national life. Great monuments-forts (one of them a world Heritage Site in Galle), mansions (including the buildings where the High Court and the District Courts of Colombo and the Ministry of Foreign Affairs are housed), churches, canals-vividly recall the Dutch presence in Sri Lanka.
There are two great living legacies of the Dutch period of our history. One is the Roman Dutch law and the other is the Dutch Burgher community, alas not as numerous as they were up to a few decades ago.
The Roman Dutch law, implanted here by the Dutch, is still the common law of Sri Lanka, as it is of South Africa. There was a time when it applied in Guyana and in what was then Rhodesia (and is now Zimbabwe). I am not sure to what extent it applies in those countries now. The Dutch did not leave the Roman Dutch law in Indonesia. Indonesia was ruled by the Dutch by decree, but in Sri Lanka, in Ceylon, for a reason, which still eludes legal scholars, the Dutch decided to plant this great body of law here a long time ago. And after the Dutch period was over and the British came here, the record shows that the British judges of the Supreme Court of Ceylon, in the early years of the 19th century, decided that the Roman Dutch law should be retained intact, and indeed British judges made a great contribution towards the development of Roman Dutch law. But it is not remarkable, Ladies and Gentlemen that so many centuries later the basic principles of that body of law are still embedded in the case law of Sri Lanka, applied day after day in our courts. In the Netherlands itself, Roman Dutch law no longer applies. It was superseded by the Napoleonic Code. The great Dutch legal scholars wrote in Latin. During my time as a law student we had to learn Latin because we had to have at least some basic familiarity with the works of the great Dutch writers on Roman Dutch law. Gone are the days when our lawyers and judges could read in their original language, the works of the great Dutch jurists, Grotius and Voet, Vaderlinden, Vanleeuwen and others.
Some 40 years ago, I spent some months, at the University of Leiden, reading the old texts on Roman-Dutch law written in Latin by the great 17th century Dutch jurists. In an-antechamber of the library of that ancient university the name of Johannes Voet is clearly seen, scratched on the stone wall of the room, among hundreds of other names. It is said that Voet, later the renowned jurist, had carved his name on the wall while waiting in that room, like all the other students, for the dreaded announcement of their examination results.
The influence of the Roman Dutch law in our jurisprudence is well illustrated by a decision of the Judicial Committee of the Privy Council, sitting in London, then our highest court of appeal, in 1956, before Sri Lanka became a Republic, where the ownership of a valuable property in Colombo turned entirely on the interpretation of one sentence in Latin in a treatise by a rather obscure Dutch jurist called Perezius. I remember that case very well because it was my first appearance in a court as a very junior lawyer.
During the British period of our history, the Dutch Burgher community played an unparalleled role in the public life of this country. I wish to take this opportunity to pay a tribute to the Dutch Burgher community of Sri Lanka through those members of the community who are present here this evening. Those who are here this evening are themselves individually most worthy representatives of those magnificent people who have gone before them. In literally every walk of life in Sri Lanka the Dutch Burghers have made an outstanding contribution. In doing so they showed that our national life could be greatly enriched, that there is a contribution to be made, by all the citizens of our diverse society, if only they look beyond the narrow constraints of ethnicity. Our public life is studded with the names of eminent, legendary figures from that community. They produced great judges and lawyers, outstanding doctors, writers, historians, sociologists, archaeologists, administrators, teachers and professors, scientists, legislators. Present this evening is a distinguished lady, President of the Dutch Burgher Union, whose father, the distinguished Dr. R. L. Brohier, was an outstanding representative of that generation of great scholars and writers. We have here a representative of the Dutch Reformed Church. The Dutch Reformed Church has been a great pillar of Sri Lankan life for a long time. In the field of business and commerce there were giants among them. I am also pleased to see here a gentlemen who until quite recently was Chairman of one of the leading business houses in Sri Lanka.
The Dutch Burgher community excelled not only in exalted positions in our society. They also performed with great credit, quietly, effectively, in various other areas of our national life-in the police, the armed services, in the railways, in sport. They gave to the country a Commander of the Army, a Commander of the Navy and an Inspector General of Police. Some of the pioneer sportsmen of our country came from that community. Alas, as I said a moment ago, there are very few Dutch Burghers left in Sri Lanka; they began to melt away, perhaps most markedly in the decades of the 50s. Their departure has greatly impoverished our public life. Many of them migrated to Australia, others over the decades went to other countries, but in Australia there are a large number of them, and there too they are playing a notable role as good solid citizens. In the name of all the citizens of Sri Lanka I salute the Dutch Burgher community for the enormous contribution they have made towards the enrichment of the public life of Sri Lanka.
After the liberalization of the Sri Lankan economy in 1971, its export trade with the Netherlands, which had been hitherto confined largely to traditional items, became diversified. There has been a significant expansion of trade between the two countries during the last decades, although the scale of trade is still comparatively small in the overall business links between countries.
In the year 2000 Sri Lankan exports to the Netherlands amounted to US$ 80 million, while imports from the Netherlands amounted to US$ 45 million. Bilateral trade in both directions has so far tended to be concentrated in a few areas, supplemented by many small, often irregular shipments in other product areas. The main Sri Lankan export items in recent years have been ready-made garments, tobacco, rubber and rubber products, tea and spices. A similar pattern can be observed for Sri Lankan imports from the Netherlands. Four main categories account for almost two-thirds of the import trade. These are tobacco, paper and paper products, vegetables and electrical equipment. The remaining trade is wide ranging but appears to fluctuate considerably. Rotterdam serves as an important distributing centre for Sri Lankan products in Europe. Today there are more than forty Dutch companies with a significant investment in the island. One such Anglo-Dutch firm, Unilever, started operations here in 1937.
Tourists from the Netherlands constitute a small but significant proportion of the tourist traffic from Europe to Sri Lanka. Statistics reveal that in the year 2000, 22,618 Dutch tourists visited Sri Lanka out of a total of 267,644 from the whole of Europe.
In 1999, the Dutch Government approved a plan proposed by the Development Co-operation Minister, Eveline Herfkens, for the reorganization of the Development Co-operation program with developing countries. Under this plan, Sri Lanka is among 19 short listed countries, which have been identified for long-term cooperation in the fields of rural development, environment, reconstruction and rehabilitation.
The Dutch canal system linked Colombo to Chilaw. This was the means of transport used at the time of the Dutch-and thereafter by the British too. The system is well preserved. Minister Weerakoon, when Minister of Science and Technology, explored the possibility of dredging the canals with Dutch expertise and using them for a boat service for fishermen to dock their boats for repairs; for the establishment of bio-fertilizer plants to be set up in the Muthurajawela, the extensive expanse of water-logged land near Colombo, and for tourist purposes. Dutch expertise on the use of canals is highly prized world-wide. In Sri Lanka, the revival of the canal system with modern Dutch technology would be an efficient and pleasing way of re-vivifying a cherished part of our historical legacy.
In the cultural field, the Netherlands Government has made financial assistance available for the preservation of the Dutch heritage in Sri Lanka. Dutch funding has helped restore the museum and the Wolvendhal Church in Colombo and parts of the Galle Fort. An Arts and Cultural Centre will be established in the VOC hospital in Colombo, once restoration work, supported by the expertise of Dutch architects is completed. There is also a proposal to establish a Galle Heritage Centre with Dutch collaboration. A permanent exhibition of artefacts from the Dutch period has already been opened in the Galle Maritime Museum.
In addition, a project to preserve and exhibit the underwater remains of an ancient Dutch VOC ship, “De Avondster”, which lies at a depth of 4-7 metres, about 50 meters from the beach off the Marine Drive in Galle, is due to get underway in early December. The three-year programme of work is estimated to cost 66 million rupees and will be funded by the Netherlands Government, through the Dutch Cultural Fund’s “Avondster” project.
In late 2000 Ambassador Princen played a key role in the formation of the Sri Lanka-Netherlands Association in Colombo to strengthen and promote historical, social, cultural and economic ties between the two countries. Among the major activities proposed for 2001/2002 by the Association are the renovation of the Dutch period Museum with help from the Ethnological Museum in Leiden, a programme for the conversion of the Dutch Forts in Sri Lanka to living resorts, sponsorship of a travelling photographic exhibition titled “Dutch Features in Sri Lanka” and the publication of “Dutch Maps and Plans of Sri Lanka”.
In the field of educational co-operation too, the Netherlands has been active. The Netherlands Universities Foundation for International Co-operation (NUFFIC), founded in 1952, has the Institute of Social Studies (ISS) in The Hague as its educational arm. This project which comes under the Mutual Heritage Programme of the Sri Lankan Government is due to carry out further archaeological work in Galle involving the Amsterdam Historical Museum, the University of Amsterdam, the Western Australian Maritime Museum and the Central Cultural Fund of Sri Lanka.
There have been strong academic links between the two countries. Many Dutch scholars have researched Sri Lanka’s history and culture. Professor Senarath Paranavithana, doyen of Sri Lankan archaeologists, wrote his Ph.D thesis, which was later published as “The Stupa of Ceylon” at the University of Leiden.
Around 40-50 Sri Lankan post graduate students and scholars are following educational programmes under the aegis of NUFFIC. The need to have a strong relationship between the Netherlands and the participants in these programmes was realised with the formation, under the development co-operation programme for 1997/2000, of the Netherlands Alumni Association of Sri Lanka in 1976, which has a current membership of more than 400. The Netherlands Government has made a financial grant of US$ 1 million for research and education. In the year 2000 sixty-four Sri Lankans were following courses under that fellowship programme.
The Netherlands Government also finances educational activities in the field of human rights through a number of organizations such as the Institute of Policy Studies, non-governmental organizations involved in human rights and the University of Colombo.
In recognition of the long-lasting ties that bind our two countries, President Kumaratunga made an official visit to the Netherlands in March this year, the first visit by a Sri Lankan Head of State. She extended an invitation to Her Majesty Queen Beatrix of the Netherlands to undertake a visit to Sri Lanka at her convenience.
Excellencies, Ladies and Gentlemen, on this historic occasion when we celebrate the 50th anniversary of the establishment of diplomatic relations between Sri Lanka and the Netherlands. I ask you to rise and join me in a toast to Her Majesty Queen Beatrix of the Netherlands and the people of the Netherlands and to the long friendship between Sri Lanka and the Netherlands.
The speech delivered by Hein Princen, Netherlands Ambassador
Your Excellencies, Honourable Minister,
Distinguished Ladies and Gentlemen,
I am very grateful to the honourable minister for having so kindly arranged tonight’s official dinner party, in celebration of fifty years of diplomatic relations between our two countries, and I sincerely thank the minister for his most kind words.
I am very pleased and honoured to see so many good friends. Some of you have for many years been playing an important part in fostering the relations between our two countries, and by doing so have contributed to what they are today: excellent and friendly.
Honourable minister,
Since establishing diplomatic relations in 1951, the first years have only shown limited activities. In 1954 our Governments concluded an AIR SERVICES AGREEMENT KLM – and several years later AIR LANKA - started linking our countries by air. And the ABN Bank set up office in Colombo.
By the mid 70s, our relations received an important boost, when an important bilateral cooperation programme was launched. Those days we also changed the location of our office - away from Fort - and of the residence.
Honourable Minister, Ladies and Gentlemen,
I would have been here in 1976, as Charge d’Affaires, on recommendation of the then minister Jan Pronk. However, only one year earlier, I had started in Singapore my assignment as the Deputy Head of Mission, so the then Foreign Minister did not agree with me so quickly swopping one beautiful island for another.
Our cooperation programme initially focussed on assistance to the rural sector (plantations, districts of Nuwara Eliya and Ratnapura, the Mahaweli programme). In 1982 we signed a TECHNICAL COOPERATION AGREEMENT. One of the more spectacular projects those days was the arrival of 2000 cows – for livestock development in the rural areas.
Since the 70s, hundreds of Sri Lankans went to the Netherlands for training and exchange in a great variety of fields. In 1976 the Netherlands Alumni Association Lanka (NAAL) was established, and in my country the STICHING NETHERLAND SRI LANKA.
The same year the port cities of Galle and the Velsen / IJuiden started a twinning programme.
Gradually the cooperation programme also started covering scientific cooperation, the environmental sector (wetlands, Muturajawela), reconstruction /rehab/relief for conflict affected areas, and infrastructural development (ports, railways, roads).
These last years my country is also actively involved in co-funding assistance to conflict affected areas-mainly through the UN agencies, World Bank, Asian Development Bank and ICRC. We are also paying special attention to Poverty Reduction process.
Honourable Minister,
I should like to use this opportunity to express my gratitude to the Director General ERD and his staff for the excellent working relationship that exists between this department and my embassy.
As from the 80s, also economic and trade relations were improved significantly, total trade now amounting to US$ 140 million, two thirds of which is Sri Lanka’s export to the Netherlands, one third Dutch export to Sri Lanka.
In 1984 and 1985 agreements were signed to promote and protect investment and to avoid double taxation. The Netherlands is the 5th or 4th largest foreign investor in Sri Lanka.
Direct investment was made by companies such as the anglo-dutch giants Unilever and Shell, by AGIO Tobacco, and by the companies in the field of horticulture, garments, tourism, several joint-ventures with; that is the Hayleys Group and Keells Holdings, and, more recently, by another Anglo-Dutch multinational P&O/Nedloyd in the Port of Colombo (SAGT), which port is also in close contact with the world’s largest port Rotterdam.
Honourable Minister,
You will no doubt agree with me, that over the last years, our diplomatic missions here as well as in The Hague, are playing – more than ever- an important role in promoting our bilateral relations, covering our economies, our cultures, our universities, our mutual heritage, culminating in the official visit to the Netherlands on 18 and 19 March, of Her Excellency the President of Sri Lanka, accompanied by yourself.
This year also the Minister of Justice, Batty Weerakoon, visited my country, to attend an international conference on fighting corruption. It is regrettable that a visit by Minister Ronnie de Mel to Rotterdam could not take place.
During the past 50 years, our two countries have paid special attention to the historical relations, that go back to the year 1602, when the first official contact was made between then the (7) United Provinces of Holland and then Ceylon.
Many institutions and individuals have dedicated time and energy in studying and researching – not only in our archives and universities, even by scuba diving for shipwrecks – the many interesting aspects of our mutual heritage.
I would like to mention here the Sri Lanka Archaeological Department, the Law Faculty of the University of Colombo (Roman Dutch Law), the National Archives, our National Museum, the Dutch Burgher Union, and also the now 359 years old Dutch Reformed Church.
The Netherlands is proud to be one of the main sponsors of the INSTITUTE OF POLICY STUDIES, which is at present one of the most distinguished think-tanks of this country.
Last year the Sri Lanka Netherlands Association (SLNA) was established – its 1st President Dr. Roland Silva is on a mission to China and cannot be with us tonight. The Association will foster friendship between our two countries and promote social, economic and cultural activities. She will also play an important role in the events next year, covering the commemoration of the 400 year relations between the Netherlands and Sri Lanka.
Honourable Minister, Ladies and Gentlemen,
In conclusion, may I once more express my sincere gratitude to you, honourable minister and Mrs. Kadirgamar, for so generously offering this official dinner to my wife and myself, to all our friends present here tonight, to celebrate the fact that in November of 1951 our two countries established diplomatic relations.
I feel proud to state that 50 years later, the relations between the Netherlands and Sri Lanka are excellent and vibrant, justifying this very happy gathering for all of us.
Excellencies, Ladies and Gentlemen,
May I propose a toast to H.E. Chandrika Bandaranaike Kumaratunga, the President of Sri Lanka, to the people of this country, and to the excellent relations between the Netherlands and Sri Lanka.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
The celebrated Japanese artist Taturo Atzu (formerly Tatzu Nishi) is known for its spectacular but most alienating projects. After New York and Singapore this summer Amsterdam's turn. From June to September 2015 he realized a temporary platform on the roof of the Oude Kerk (Old Church). It offers visitors a unique view of the Red Light District. At the same time he opens an architectural domain where the public normally has no visibility.
Taturo Atzu's temporary plateau was externally accessible via a scaffold structure. Even the climb up was really an experience. Once there you had a unique view of the intricate grid of the old city center of Amsterdam. Another surprise was the confrontation with the impressive slate roof landscape that was not previously seen as close. With its two massive peaks, the roof of the Old Church is one of the largest roof areas of Europe.
Huyskamer Amsterdam
The Garden Which is the Nearest to God refers not only to the classical image of the church as a meeting place. This project also included the gradual adjustment from religious to cultural location. The fact is that the Ancient Church traditionally nicknamed "huys chamber of Amsterdam 'carries. this title is undoubtedly a source of inspiration for Taturo Atzu. After their hallucinogenic climb up the visitors entered an airy living room. Here they came face to face with the angel-shaped weather vane. A bit further, around the so-called storm washers, they could take part in a conversation pit, with their noses on top of the clock. It was an experience that calls into question the actual significance of the monument and the tension exposes between public and private space.
About Taturo Atzu
The Japanese Taturo Atzu (Nagoya, 1960), whose work on this scale has never before been exhibited in the Netherlands, is also known under the names Tatzu Nishi, Tazu Rous, Tazro Niscino, Tatzu Oozu and Tatsurou Bashi. His spectacular projects testify to a long fascination with opposites meet. Typically Atzu by definition temporary settings, with the intimacy of home or hotel rooms, around public and often national monuments. By creating such widespread astonishment Taturo Atzu represents the relationship between society and the individual in question. In his work he explores the personal relationship of ordinary people to the Great Story of history
Taken by: Emiel Dekker (emield.myportfolio.com/)
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
Another spectacular project built by Empire Glass and Aluminium
Builder: Grocon
Architect: FJMT
www.empireglass.com.au/portfolio-item/legion-house-167-ca...
Due to an temporary plateau and scaffolding art project on the rooftop of the Oude Kerk (Old Church) in Amsterdam it was possible to come as close to the Clockwork of the church as never before.
The Garden Which is the Nearest to God
The celebrated Japanese artist Taturo Atzu (formerly Tatzu Nishi) is known for its spectacular but most alienating projects. After New York and Singapore this summer Amsterdam's turn. From June to September 2015 he realized a temporary platform on the roof of the Oude Kerk (Old Church). It offers visitors a unique view of the Red Light District. At the same time he opens an architectural domain where the public normally has no visibility.
Taturo Atzu's temporary plateau was externally accessible via a scaffold structure. Even the climb up was really an experience. Once there you had a unique view of the intricate grid of the old city center of Amsterdam. Another surprise was the confrontation with the impressive slate roof landscape that was not previously seen as close. With its two massive peaks, the roof of the Old Church is one of the largest roof areas of Europe.
Huyskamer Amsterdam
The Garden Which is the Nearest to God refers not only to the classical image of the church as a meeting place. This project also included the gradual adjustment from religious to cultural location. The fact is that the Ancient Church traditionally nicknamed "huys chamber of Amsterdam 'carries. this title is undoubtedly a source of inspiration for Taturo Atzu. After their hallucinogenic climb up the visitors entered an airy living room. Here they came face to face with the angel-shaped weather vane. A bit further, around the so-called storm washers, they could take part in a conversation pit, with their noses on top of the clock. It was an experience that calls into question the actual significance of the monument and the tension exposes between public and private space.
About Taturo Atzu
The Japanese Taturo Atzu (Nagoya, 1960), whose work on this scale has never before been exhibited in the Netherlands, is also known under the names Tatzu Nishi, Tazu Rous, Tazro Niscino, Tatzu Oozu and Tatsurou Bashi. His spectacular projects testify to a long fascination with opposites meet. Typically Atzu by definition temporary settings, with the intimacy of home or hotel rooms, around public and often national monuments. By creating such widespread astonishment Taturo Atzu represents the relationship between society and the individual in question. In his work he explores the personal relationship of ordinary people to the Great Story of history
Taken by: Emiel Dekker (emield.myportfolio.com/)
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
Just a quick note to everyone, Im not dead, just incredibly busy, but i have been working on some spectacular projects and hopefully I can get those up here soon, so just wanted to upload a few new photos to hold you guys over till the really good stuff comes!
A killer vintage storefront in San Fran's Chinatown.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
The Dutch embassy in Berlin was designed by Rem Koolhaas and his OMA Studio in 1997 after winning a competition to build it.
After the destruction of the former embassy during the Second World War and after the fall of the wall, building a new diplomatic headquarters in the city for the Dutch Ministry of Foreign Affairs was a great step. The choice of the site along the river Spree, with the intention to emulate the typical landscape and canals of Holland, are a representation of the care with which this work has been done. It is said that with this work, Koolhaas completed sealing the role of architectural chancellor of his country.
In 2005, the Dutch “Mies van der Rohe” won the Prize for Contemporary Architecture of the European Union, displaying a total of 242 projects. Among the 5 finalists were included the Stade Municipal de Braga, project Soto de Moura, the Swiss Re headquarters in London, Norman Foster, the department stores Selfridges & Co. in Birmingham, Jan Kaplicky and the esplanade and photovoltaic plant Forum 2004 in Barcelona, Spain, Lapeña Martinez and Torres Tur.
The jury, among whom was the renowned architect Zaha Hadid, awarded the work to whomever highlighted the close relationship with the environment and the reconceptualization of the notion of an embassy. Koolhaas emphasized that “it is not a spectacular project, but modest, severe, that departs from the assumption that the Netherlands has traditionally been a peaceful country that has lived with the agony of war throughout its history, and now established its embassy in Berlin, a Berlin city so mired in war.” Koolhaas said that “the rigidity of the urban planning authorities of the former West Berlin, would have left the project in a typical neighborhood of embassies, and instead we were fortunate enough to find a depressing, yet full of melancholy site in the former GDR. The perpetrators of the former East Berlin were open to the proposal.
Just a quick note to everyone, Im not dead, just incredibly busy, but i have been working on some spectacular projects and hopefully I can get those up here soon, so just wanted to upload a few new photos to hold you guys over till the really good stuff comes!
I found these super cool lights outside of this 60s ranch house in Modesto, CA a few days ago!
It is the only word I can find to describe the dance show that we watched last night at the Auditorium.
The troop form Mercia certainly put on a great show for us. Expect to see more pictures from this fabulous show.
Canon 5D MkII with Canon EF 70-200mm f/4L IS USM lens.
This photo was taken thanks to a scaffolding art structure on the roof of the Oude Kerk (Old Churck) in Amsterdam, The Netherlands.
The Garden Which is the Nearest to God
The celebrated Japanese artist Taturo Atzu (formerly Tatzu Nishi) is known for its spectacular but most alienating projects. After New York and Singapore this summer Amsterdam's turn. From June to September 2015 he realized a temporary platform on the roof of the Oude Kerk (Old Church). It offers visitors a unique view of the Red Light District. At the same time he opens an architectural domain where the public normally has no visibility.
Taturo Atzu's temporary plateau was externally accessible via a scaffold structure. Even the climb up was really an experience. Once there you had a unique view of the intricate grid of the old city center of Amsterdam. Another surprise was the confrontation with the impressive slate roof landscape that was not previously seen as close. With its two massive peaks, the roof of the Old Church is one of the largest roof areas of Europe.
Huyskamer Amsterdam
The Garden Which is the Nearest to God refers not only to the classical image of the church as a meeting place. This project also included the gradual adjustment from religious to cultural location. The fact is that the Ancient Church traditionally nicknamed "huys chamber of Amsterdam 'carries. this title is undoubtedly a source of inspiration for Taturo Atzu. After their hallucinogenic climb up the visitors entered an airy living room. Here they came face to face with the angel-shaped weather vane. A bit further, around the so-called storm washers, they could take part in a conversation pit, with their noses on top of the clock. It was an experience that calls into question the actual significance of the monument and the tension exposes between public and private space.
About Taturo Atzu
The Japanese Taturo Atzu (Nagoya, 1960), whose work on this scale has never before been exhibited in the Netherlands, is also known under the names Tatzu Nishi, Tazu Rous, Tazro Niscino, Tatzu Oozu and Tatsurou Bashi. His spectacular projects testify to a long fascination with opposites meet. Typically Atzu by definition temporary settings, with the intimacy of home or hotel rooms, around public and often national monuments. By creating such widespread astonishment Taturo Atzu represents the relationship between society and the individual in question. In his work he explores the personal relationship of ordinary people to the Great Story of history
Taken by: Emiel Dekker (emield.myportfolio.com/)
Another spectacular project built by Empire Glass and Aluminium
Builder: Grocon
Architect: FJMT
www.empireglass.com.au/portfolio-item/legion-house-167-ca...
The Four Seasons idea of the Ana Monro Theatre has been realised in the spring of 2010 with the first dance steps of Prešerna Ana. Like Ana Desetnica, Ana Mraz and Ana Plamenita, the Prešerna Ana Festival has its own concept. It started as a single event within the Ana Desetnica Festival in 2008 and 2009 – Ana’s Dance Night. Prešerna Ana is primarily cooperation between the Ana Monro Theatre and Fičo Balet – an unconventional dance and theatre group that launched a spectacular project “Go Out and Dance“ on April 29th, the World Dance Day, simultaneously taking place on the streets of Ljubljana, Zagreb, Belgrade, Sarajevo, Sofia and Skopje.
In 2010, dancing on the streets entered a new era in Ljubljana. The Prešerna Ana & Go Out and Dance project was enriched by other dance institutions as well as recognized dancers and choreographers: Plesni teater Ljubljana, Plesni studio Intakt, Zavod Federacija, Vitkar zavod, Vita Osojnik etc. Together with all the visitors of the streets of Ljubljana this was a successful homage to dance and spring-time
via. anamonro.org
An enormous ship sails into the centre of Victoria Square, Birmingham, docking itself beside the city’s Town Hall. High above the people who gather to look at this marvel, dancers and aerialists appear in the ship’s rigging.
Professional dancers and aerialists join forces with a huge amateur choir, live musicians and more than 140 community performers to transform the Square and tell the story. Watch the action unfold onboard the ship and be caught up in the atmosphere on the ground, where seagulls swoop and travellers prepare to embark on their journey. The ship sets sail, the Town Hall is transformed by spectacular projected imagery and the city’s skyline becomes a dream of undiscovered worlds.
This outdoor multimedia spectacle is created by Motionhouse, one of the UK’s foremost dance theatre companies, and world-renowned physical theatre company Legs On The Wall, from Australia. Produced by Birmingham Hippodrome, and with original film projections from award winning Logela Multimedia.
Before the poppy became the recognised flower for remembrance the violet, in South Australia, was the 'symbol of perpetual remembrance'. Violet day was first held in Adelaide on 2 July 1915. A crowd gathered at the Soldiers' Memorial Statue, now known as the Boer War Memorial, for speeches and a performance by the Police Band. The Governor addressed attendees, stressing remembrance and honouring of Australian troops and their sacrifice to Empire. Women dressed in white sold posies of violets and purple ribbons to raise money to support returned soldiers, or the Cheer-up fund.
On Thursday 2nd, Friday 3rd and Saturday 4th July 2015 Adelaideians braved the chilly winter evenings for a "son et lumiere" when Illuminart animated the Torrens Parade Ground with Architectural Storytelling Projections for the 100th anniversary of Violet Day. Moving image projection mapping on the Drill Hall building drew from historical images, and documents, to show the First World War experience in South Australia and tell how the Cheer Up Society came to exist.
The story commemorates the women and volunteers who established the Cheer Up Society and other volunteer organisations. They not only provided support to men on the front, but also provided ongoing support to wounded and shell-shocked men, and to bereaved mothers and families.
The Cheer Up Society raised funds to build a soldiers’ clubhouse by selling violets around South Australia. The Cheer Up Society was a uniquely South Australian response to the war involving primarily women; and the Violet Day fundraiser they established continued for nearly 60 years. This spectacular project illuminated and transfigured the architecture of the Torrens Parade Ground Drill Hall building over three nights, coinciding with the centenary of the first Violet Day.
Ref: History SA website
Babalugroup ha depositado su confianza en FENIX desde el principio para equiparse con sus torres elevadoras y sus trusses para llevar a cabo proyectos de todo tipo, como una línea de meta y un podio para un triatlón.
Babalú has placed its trust in FENIX from the beginning to equip itself with FENIX lifting towers and trusses to perform original and spectacular projects ranging like a finish line and a podium for a triathlon.
Resale in Noida Sector 133, is an Spectacular Project in Noida sector 133. In this Project is Really Amazing and It has lots of open space which will make be feel Awesome. The project has got very less loading charges and is going to be designed Awesomely. These Apartment International Features Adding like Swimming Pool, Jogging Track for men’s and Women's, Tennis Coach, Badminton Coach, Green Beautiful Garden, 24*7 Higher Gate Security, Multipurpose hall or more Latest Facilities Available. In this Apartment Near by Hospitals, Hotels, Schools, Colleges, Jogging Track, Noida Extension, Noida Expressway, Metro Station, Bus stop etc. The project is going to all the facilities near to it with a upcoming metro station. In this Project group is working from several years and they have given many projects. The project is going to be give its possession by the end of the year 2019. In this Apartment Very Reasonable Rate just Starting Price 44 Lac.
For More Updates:- www.justprop.com/property/price/Noida/Plots/Sector-133
Before the poppy became the recognised flower for remembrance the violet, in South Australia, was the 'symbol of perpetual remembrance'. Violet day was first held in Adelaide on 2 July 1915. A crowd gathered at the Soldiers' Memorial Statue, now known as the Boer War Memorial, for speeches and a performance by the Police Band. The Governor addressed attendees, stressing remembrance and honouring of Australian troops and their sacrifice to Empire. Women dressed in white sold posies of violets and purple ribbons to raise money to support returned soldiers, or the Cheer-up fund.
On Thursday 2nd, Friday 3rd and Saturday 4th July 2015 Adelaideians braved the chilly winter evenings for a "son et lumiere" when Illuminart animated the Torrens Parade Ground with Architectural Storytelling Projections for the 100th anniversary of Violet Day. Moving image projection mapping on the Drill Hall building drew from historical images, and documents, to show the First World War experience in South Australia and tell how the Cheer Up Society came to exist.
The story commemorates the women and volunteers who established the Cheer Up Society and other volunteer organisations. They not only provided support to men on the front, but also provided ongoing support to wounded and shell-shocked men, and to bereaved mothers and families.
The Cheer Up Society raised funds to build a soldiers’ clubhouse by selling violets around South Australia. The Cheer Up Society was a uniquely South Australian response to the war involving primarily women; and the Violet Day fundraiser they established continued for nearly 60 years. This spectacular project illuminated and transfigured the architecture of the Torrens Parade Ground Drill Hall building over three nights, coinciding with the centenary of the first Violet Day.
Ref: History SA website
Before the poppy became the recognised flower for remembrance the violet, in South Australia, was the 'symbol of perpetual remembrance'. Violet day was first held in Adelaide on 2 July 1915. A crowd gathered at the Soldiers' Memorial Statue, now known as the Boer War Memorial, for speeches and a performance by the Police Band. The Governor addressed attendees, stressing remembrance and honouring of Australian troops and their sacrifice to Empire. Women dressed in white sold posies of violets and purple ribbons to raise money to support returned soldiers, or the Cheer-up fund.
On Thursday 2nd, Friday 3rd and Saturday 4th July 2015 Adelaideians braved the chilly winter evenings for a "son et lumiere" when Illuminart animated the Torrens Parade Ground with Architectural Storytelling Projections for the 100th anniversary of Violet Day. Moving image projection mapping on the Drill Hall building drew from historical images, and documents, to show the First World War experience in South Australia and tell how the Cheer Up Society came to exist.
The story commemorates the women and volunteers who established the Cheer Up Society and other volunteer organisations. They not only provided support to men on the front, but also provided ongoing support to wounded and shell-shocked men, and to bereaved mothers and families.
The Cheer Up Society raised funds to build a soldiers’ clubhouse by selling violets around South Australia. The Cheer Up Society was a uniquely South Australian response to the war involving primarily women; and the Violet Day fundraiser they established continued for nearly 60 years. This spectacular project illuminated and transfigured the architecture of the Torrens Parade Ground Drill Hall building over three nights, coinciding with the centenary of the first Violet Day.
Ref: History SA website
Before the poppy became the recognised flower for remembrance the violet, in South Australia, was the 'symbol of perpetual remembrance'. Violet day was first held in Adelaide on 2 July 1915. A crowd gathered at the Soldiers' Memorial Statue, now known as the Boer War Memorial, for speeches and a performance by the Police Band. The Governor addressed attendees, stressing remembrance and honouring of Australian troops and their sacrifice to Empire. Women dressed in white sold posies of violets and purple ribbons to raise money to support returned soldiers, or the Cheer-up fund.
On Thursday 2nd, Friday 3rd and Saturday 4th July 2015 Adelaideians braved the chilly winter evenings for a "son et lumiere" when Illuminart animated the Torrens Parade Ground with Architectural Storytelling Projections for the 100th anniversary of Violet Day. Moving image projection mapping on the Drill Hall building drew from historical images, and documents, to show the First World War experience in South Australia and tell how the Cheer Up Society came to exist.
The story commemorates the women and volunteers who established the Cheer Up Society and other volunteer organisations. They not only provided support to men on the front, but also provided ongoing support to wounded and shell-shocked men, and to bereaved mothers and families.
The Cheer Up Society raised funds to build a soldiers’ clubhouse by selling violets around South Australia. The Cheer Up Society was a uniquely South Australian response to the war involving primarily women; and the Violet Day fundraiser they established continued for nearly 60 years. This spectacular project illuminated and transfigured the architecture of the Torrens Parade Ground Drill Hall building over three nights, coinciding with the centenary of the first Violet Day.
Ref: History SA website