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).
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.
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/)
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/)
information panel on the Zermatt-Blatten path about a crazy train project on the Matterhorn. The text says :
Spectacular projects : conquering the matterhorn by rail
The zany chronicle of projects to develop the Matterhorn began back in 1855, ten years before it was first ascended, when a man from Alsace suggested building a balloon station on the mountain. The idea was to float tourists up to the summit in a gas balloon attached to a fixed cable running from the foot of the mountain to the top. But that remained the stuff of dreams...
Four years later the cantonal engineer of Valais presented his plans for a spiral-shaped tunnel with windows offering changing views of the inside of the mountain. This visionary designed coaches for conveying tourists along a 22km open carriageway from zermatt to the foot of the mountain and from there up the 15km of the corkscrew road in the heart of the Matterhorn to the summit. Investors, however, were skeptical...
A little over a decade later, rail technology had advanced : the first rack railway in Europe was built on the Rigi in 1871 and construction on the Visp-Zermatt locomotive line began in the late 1880s. But before the line to Zermatt was completed, the printer and railway aficionado Caspar Leonhard Herr-Bétrix from Biel/Bienne realised another ambitious project : an extension to the Gornergrat continuing on to the Matterhorn! In 1890 an application was filed with the Federal COncil. A first section extended the Visp-Zermatt line via the Gorner gorge to Zum See. Here passengers are taken by funicular railway to the Shcafberg, switching cars in the middle. The third section transported people via electric cogwheel railway past Schwarzsee to the underground station at Whympershütte, near the present Hörnli Hut. From there a funicular ascends at a dizzying 75% gradient to the Matterhorn station summit with a panoramic lounge and restaurant. After some back-and-forth, in 1892 the Federal OCuncil granted the licence to the engineer and topographer Xavier Imfeld.
But by that time public enthusiasm for mountain railway construction projects had waned, and nature conservationists, mountaineers and physicicians had ... (damned, I lost the end...)
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
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
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