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The building dates back to 1759 The pub is named after the magazine on the opposite side of the road, inside the pub retains many of its original features. I used to live just up the Prom from here, and regularly drank here with my dad.
A different perspective on a building located in Melbourne's Dockland Precinct. What I really enjoyed was the moodiness of the sky and how it changed the colour of the building.
George Washington Bridge Bus Terminal, Pier Luigi Nervi, architect. I recently shot a series of photos of this overlooked architectural gem. Some of the shots (not sure which) will appear in an upcoming issue of a+u magazine (an architectural magazine based in Tokyo).
Blackpool’s Pleasure Beach developed at the southern end of the resort from an informal fairground at the beginning of the twentieth century. It relied from the outset upon American rides and was soon advertising itself as England’s greatest American amusement park. In 1931, while on a visit to Philadelphia, the Pleasure Beach’s new managing director Leonard Thompson saw parks themed in the modernist style and thought the style might suit the Pleasure Beach.
He initially employed a Philadelphia architect, Edward Schoeppe, to design a new frontage to the park. However, in 1933 Thompson brought in Joseph Emberton to give the Pleasure Beach a unified image. By the end of the decade there was not a corner of the park that had not been transformed in the Emberton style. Old rides that did survive were at the very least given modernist kiosks and signage. Many of his designs had the spontaneity of exhibition buildings of the period, but, similarly lacked durability.
Emberton’s work for the Pleasure Beach culminated in a replacement for the wedding-cake-like Casino building of 1913. Despite the name, neither this building nor its replacement were ever intended or used for gambling. Emberton designed it from 1937 with local man Halstead Best as associate architect.
Although a very different building, the Casino inevitably draws comparison with the De la Warr Pavilion, but whereas the latter stands in splendid isolation on Bexhill’s sea front, the Casino has to compete with what is perhaps the most visually intensive backdrop in the country. Its main staircase, however, owes something to Gropius’s model factory for the 1914 Werkbund Exhibition at Cologne.
The building was opened in May 1939 by Baron Stamp. Although it attracted articles in the leading architectural magazines, people then had other preoccupations. Little over a year later, Stamp and his wife were killed when their house in Kent was bombed.( 20th Century Society)
The Pontsteiger is a residential tower in Amsterdam. Designed by Arons and Gelauff Architects it was chosen as the winning design in 2007 and, despite the financial crisis, was built almost according to the design in 2015. The ferry tower building is part of the Houthavens area development, and is therefore located on the IJ where the ferry leaves for the NDSM site and the Distelweg.
Construction of the 92-meter-high building was started in February 2015, the building was completed in 2018. The building is the highest residential building in Amsterdam.
Architect: Floor Arons & Arnoud Gelauff (Arons en Gelauff architecten)
Location: Houthavens, Amsterdam, The Netherlands
Start Construction 2015-05-01
Construction Completed: 2018-12-28
Opening 2018-09-05
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#amsterdamcity #architecture #art #cityarchitecture #citygrammers #design #fineartarchitecture #fineartphotography #fineartzone #home #iamsterdam #igersamsterdam #instagood #instagram #line #lines #linework #minimaldotcom #photography #straight #symmetry #symmetry_art #symmetryart #symmetrybreakfast #symmetryhunters #symmetrykillers #symmetrylovers #symmetryphotography #wood #woodwork #woodworking
While I was shooting this amazing building from street level at the entrance of the Silodam, a lady passed by and asked what I was shooting, seeming interested in the ND filters I was using. After a chat where I explained what and how I was shooting she explained she was a portrait photographer and asked if I would be interested to shoot from her living room higher up in the building. Stocked at the opportunity she provided for me I joined her and shot a lot of frames from her living room.
Looking at the images I was shooting she came up with an even more epic angle on the other side of the Silodam where there is a huge balcony to shoot from and the angle on the Pontsteiger is just perfect! Thank you Marijke Volkers for inviting me into your home! Please visit Marijke’s portfolio here: www.marijkevolkers.nl or follow her work on instagram marijke1500
Architect: Floor Arons & Arnoud Gelauff (Arons en Gelauff architecten)
Location: Houthavens, Amsterdam, The Netherlands
Start Construction 2015-05-01
Construction Completed: 2018-12-28
Opening 2018-09-05
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#adobelightroom #adobephotoshop #amsterdam #amsterdamcity #architecture #architecture_hunter #architecturedesign #architecturelover #architecturelovers #architecturephotography #architectures #color #colorgrading #fineart #fineart #fineartphotography #iamsterdam #longexpoelite #longexposure #longexposure_shots #longexposurephotography #netherlands #nikon #photography #reflection #reflectiongram #reflections #sand #thenetherlands #tiltshift
The Anderston Centre, Glasgow, a deeply unlovely place, even as it was being built, passing it in 1969 I remember thinking how ugly it was and the years haven’t helped - although, astonishingly, the good readers of an architecture magazine, Prospect voted it in at number 54 in the best 100 modern Scottish buildings. #anderson #andersonglasgow #glasgowarchitecture #scottisharchitecture #brutalist #brutalism #brutal_architecture #brutalistarchitecture #architecture #glasgow #glasgowcity #glasgowcitycentre #geometric #patterns #glasgowblackandwhitephotography #blackandwhitephotography #monochromatic #monochrome
One of my favorite buildings here is the Evoluon. Not only because it’s shaped like a flying saucer, but because it’s also beautifully lit and built in an open space, giving you very special sci-fi vibes. And again, the snow is just adding to the scene. I walked 2 hours in the cold before taking this shot, and it was more than worth it.
Hope you like it!
Kuala Lumpur Convention Centre, Kuala Lumpur, Malaysia.
Poetry Of The Natural World
feel it | love it | enjoy it
All rights reserved - Copyright © SameSoul Photography™
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
The EYE Film Institute in the Netherlands is an in Amsterdam located film archive and museum. It preserves and shows foreign and Dutch films. The museums collection includes 37,000 film titles, 60,000 posters, 700,000 photographs as well as 20,000 books. The oldest materials date back from the start of the film industry in the Netherlands which was in 1895.
The museum is located in the Overhoeks area of Amsterdam. There is a a cinematography museum which was formerly called Filmmuseum and was founded in 1952. Prior to that it was called the Dutch Historical Film Archive (founded in 1946). The Filmmuseum used to be situated in the Vondelparkpaviljoen from 1975 but in 2009, The Nederlands Filmmuseum merged together with Holland Film and the Netherlands Institute for Film Education as well as the Filmbank. Plans were announced for a new home on the north bank of Amsterdam's waterfront, just behind the Central Station and is connected to the free ferry. Queen Beatrix officially opened the new building on April 4, 2012. The EYE building was designed by Delugan Meissl Associated Architects, their specialty designing buildings that appear to be in motion.
Client: ING – Real Estate
Architect: Delugan Meissl Associated Architects (DMMA)
Consultants: Implementation planning - Bureau Bouwkunde Rotterdam bv
Structural engineering: Abt-Adviseurs in Bouwtechniek, Delft
HVAC (Heating, ventilation, and air conditioning): Techniplan Adviseurs Bv, Rotterdam
Building physics: Peutz bv, Zoetermeer
Main Contractor: Bouwbedrijf M.J. de Nijs en Zonen BV
Location: IJpromenade 1, 1031 KT Amsterdam
Start of planning 2005
Start Construction August 2009
Completion December 2011
6.300 m² Total floor area | 4 Cinemas | 315 seats | 1.200 m² Exhibition space | 90 m² Workshop | 1.200 m² Offices | 450 m² Information | 100 m² Museum shop | 100 m² VIP area | 1.050 m² (approx.) Bar & Restaurant
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#amsterdamcity #architecture #art #cityarchitecture #citygrammers #design #film #fineartarchitecture #fineartphotography #fineartzone #home #iamsterdam #igersamsterdam #instagood #instagram #line #lines #linework #minimaldotcom #museum #photography #pattern #straight #symmetry #symmetry_art #symmetryart #symmetrybreakfast #symmetryhunters #symmetrykillers #symmetrylovers #symmetryphotography
Amsteldok is a large office building on Amsteldijk and Trompenburgstraat in the Suth of Amsterdam. It was designed by the Rotterdam based architect Huig Aart Maaskant. Until 2019 the building was called Rivierstaete.
Rivierstaete was built between 1967 and 1973 and used to be the largest office building in Europe at a cost of 40,000,000 guilders. A metal sculpture by André Volten was placed in the Trompenburgstraat in 1972 during the construction period. The building had eight floors in staggered layers. The outside walls were covered with white tiles, making the building stand out among red brick residential buildings. 'The Monkey Rock' soon became the nickname of the Riverstaete buidling.
Several companies were located in the building. The Spyker automobile factory was built here at the beginning of the 20th century, after which the Nestelroy Trompenburg paper factory settled here, which was liquidated in 1968. The consulates of Peru and the Republic of Ivory Coast and the IT departments of the University of Amsterdam and the Hogeschool van Amsterdam were also located in the building. Currently WWP, Ogilvy and UberEats are located in the Amsteldok.
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#amsterdam #amsterdamgram #amstergram #architect #architecture #architecture_lovers #architecture_magazine #architecture_masters #architecture_view #architecturelovers #architecturephotography #architecturepicture #bestofamsterdam #business #design #facade #glass #iamsterdam #instadaily #light #lightroom #lines #loveamsterdam #netherlands #office #officedesign #officespace #photography #picoftheday #sky #window
Pavilion Le Corbusier Zürich, Switzerland - Publications from 1967 in some architectural magazines.
Project credits:
•Client: Heidi Weber
•Architect: Le Corbusier
•Construction management 1961–66: Willy Boesiger
•Execution 1966–67: Alain Tavès and Robert Rebutato
•Steel structure engineer: Louis Fruitet
•Façade studies engineer: Jean Prouvé
•Renovation 2017–19: Silvio Schmed and Arthur Rüegg on behalf of the city of Zurich
Iconic for its floating steel roof and brightly colored panels, the Pavilion Le Corbusier is the last building Le Corbusier designed before his death in 1965. Completed in 1967, the building stands as a testament to Corbusier’s renaissance genius as an architect, painter, and sculptor. It does so both intentionally, as it is an exhibition space for his life’s work, and naturally, as it is a building masterfully designed. Interestingly, the building diverges in some ways from the style responsible for his renown – concrete, stone, uniform repetition, etc. It celebrates the use of steel, with which he explored prefabrication and assembly, and a freedom through modularity, in which the plan is completely open but infinitely adaptable.
Heidi Weber, a successful interior designer and so called ‘great patron’ of Corbusier, commissioned the building in 1960 to be both a small home for herself, and a building to house Le Corbusier’s artwork, which she had already spent years patronizing. The project, then, was to be a ‘complete work of art,’ or a ‘Gesamtkunstwerk’ as it were, where Corbusier would design a building for the sake of his own art. This was a fitting task for Corbusier as, according to Sigfried Giedion, “It is essentially the synthesis of the arts that was expressed so strongly in everything he created.”
The building is composed of two major volumetric elements: a floating parasol roof-structure and beneath it, a two-story rectilinear volume sitting on a concrete pavilion floor. Modular steel frame cubes with a standard dimension of 2,26 x 2,26 x 2,26 m make up the structural framework of the base volume. Two sets of these cubes are stacked on top of one another to achieve the two-story height of the building. All necessary elements, including walls, windows, doors, etc., are bolted into these frames. The nature of these prefabricated cubes make for a completely open ground plan that can be divided at will, a convenience well attuned for a hybrid exhibition/dwelling space. In this way, Le Corbusier used standardized parts to create individual forms instead of uniform repetitions.
The roof structure, which stands on four rectangular supports, consists of two 12 x 12 m square elements made of welded steel sheets. Each square is in the shape of a parasol, one facing up and the other down. The entire structure is prefabricated: produced by the steel manufacture, brought to the site in the biggest possible pieces, assembled to its final state on the ground, and finally lifted into place. The two parasols provided cover from sun and rain during construction and continue to provide cover for the entire pavilion, while also acting as a dominant aesthetic element of the building.
Enamel panels in primary colors and glass envelope the main volume of the building. In the language of the rest of the building, the panels are of a standard dimension, one-third the size of the steel cubes. The panels and their respective colors are distributed throughout the building’s exterior with a perceptible rhythm.
Despite what seems to be a major focus towards the building itself, the pavilion does not neglect its site. Pivoting doors and windows that open to the outside help to blur the boundary between outside and inside; and a roof garden beneath the parasol structure allows for appreciation of its beautiful site, which includes a small pond adjacent to the pavilion.
It is important to note that the first design for the project, which he delivered to Weber in 1961, called for an entirely concrete building. This type of museum building was realized in Chandigarh, India. See my pictures in :
www.flickr.com/photos/durr-architect/3288234067/in/album-...
www.flickr.com/photos/durr-architect/albums/7215761497057...
It wasn’t until 1962 that Corbusier changed the design for Switzerland to be predominantly in steel. In its final form, however, he did choose to use some concrete, but only for the vertical circulation. This consists of only two structures: the interior staircase in the two-story studio space, and the exterior ramp, both of which go from the ground to the roof garden.
After a 50-year lease from Zurich council on the land it sits on ran out in 2014, the pavilion – a heritage listed building – reverted to being property of the city. In 2019 Pavilion Le Corbusier has reopened to the public in Zurich after architects Silvio Schmed and Arthur Rüegg restored the art museum to its original state.
A friend recently told me about this place, and I wasted no time in enlisting Euan's help to explore it. After a short train journey and with the help of the map-drawing skills of a kind girl in the local post office, we found what we were looking for: the ruins of St Peter's Seminary. One of the most extraordinary places I've ever visited, and I kicked myself for forgetting the wide angle lens. I'll be returning very soon.
Here, in the main chapel, I thought Euan had conceived a striking pose:
"Oh, that's good, stay like that!"
"I'm tying my laces!"
Paraphrased from Wikipedia: "By the time it was completed in 1966, its function was already out of date...As a result, the building never reached its full capacity of 100 students. From the outset, the building was riddled with problems, including maintenance difficulties with such a unique structure and significant water ingress. In 1980 the building closed as a seminary... and it is Category A listed by Historic Scotland. In October 2005, was named as Scotland's greatest post-WWII building by the architecture magazine Prospect. Nonetheless, the building remains a ruin: "nothing prepares one for the sight of the new grown prematurely old", writes Frank Arneil Walker of it. Attempts to convert and reuse it, or even protect it from further damage, have come to nothing."
Cardross, 2008.
The basement of this residential block is occupied by a parking lot. The street here pictured is hence "floating" at first level. The interior looks in perfect state but entirely froozen, with no trace of life of the residents. Kids can probably not play in this place... Most flats have a window giving on this interior hall. Still most of them were closed during the day when we were there. Is that the picture you expect for an architecture magazine?
Test for a fictional magazine about photography called Point.
Original photo by iciio.
More images of this work:
modern furniture series: semae sticker / tee logo / card, des. #3
the semae represents the Eames Low Side Chair by Charles and Ray Eames, 1946
It is hard to imagine now, but the use of plywood and chrome-plated steel in residential furniture was considered edgy, risky, and thoroughly new when this chair made its 1946 debut. It is modern, lightweight, strong, sculptural, and a complete departure from what furniture was.
Charles Ormond Eames, Jr was born in 1907 in Saint Louis, Missouri. By the time he was 14 years old, while attending high school, Charles worked at the Laclede Steel Company as a part-time laborer, where he learned about engineering, drawing, and architecture (and also first entertained the idea of one day becoming an architect).
Charles briefly studied architecture at Washington University in St. Louis on an architectural scholarship. He proposed studying Frank Lloyd Wright to his professors, and when he would not cease his interest in modern architects, he was dismissed from the university. In the report describing why he was dismissed from the university, a professor wrote the comment "His views were too modern." While at Washington University, he met his first wife, Catherine Woermann, whom he married in 1929. A year later, they had a daughter, Lucia.
After he left school and was married, Charles began his own architectural practice, with partners Charles Gray and later Walter Pauley.
One great influence on him was the Finnish architect Eliel Saarinen (whose son Eero, also an architect, would become a partner and friend). At the elder Saarinen's invitation, he moved in 1938 with his wife Catherine and daughter Lucia to Michigan, to further study architecture at the Cranbrook Academy of Art, where he would become a teacher and head of the industrial design department. One of the requirements of the Architecture and Urban Planning Program, at the time Eames applied, was for the student to have decided upon his project and gathered as much pertinent information in advance – Eames' interest was in the St. Louis waterfront. Together with Eero Saarinen he designed prize-winning furniture for New York's Museum of Modern Art "Organic Design" competition. Their work displayed the new technique of wood moulding (originally developed by Alvar Aalto), that Eames would further develop in many moulded plywood products, including, beside chairs and other furniture, splints and stretchers for the U.S. Navy during World War II.
In 1941, Charles and Catherine divorced, and he married his Cranbrook colleague Ray Kaiser, who was born in Sacramento, California. He then moved with her to Los Angeles, California, where they would work and live for the rest of their lives. In the late 1940s, as part of the Arts & Architecture magazine "Case Study" program, Ray and Charles designed and built the groundbreaking Eames House, Case Study House #8, as their home. Located upon a cliff overlooking the Pacific Ocean, and constructed entirely of pre-fabricated steel parts intended for industrial construction, it remains a milestone of modern architecture.
In the 1950s, the Eameses would continue their work in architecture and modern furniture design, often (like in the earlier moulded plywood work) pioneering innovative technologies, such as the fiberglass and plastic resin chairs and the wire mesh chairs designed for Herman Miller. Besides this work, Charles would soon channel his interest in photography into the production of short films. From their first one, the unfinished Traveling Boy (1950), to the extraordinary Powers of Ten (1977), their cinematic work was an outlet for ideas, a vehicle for experimentation and education.
The Eameses also conceived and designed a number of landmark exhibitions. The first of these, Mathematica: a world of numbers...and beyond (1961), was sponsored by IBM, and is the only one of their exhibitions still existant. The original was created for a new wing of the (currently named) California Science Center; it is now owned by and on display at the New York Hall of Science. In late 1961 a duplicate was created for the Museum of Science and Industry in Chicago; in 1980 it moved to the Museum of Science, Boston. Another version was created for the 1964/1965 New York World's Fair IBM exhibit. After the World's Fair it was moved to the Pacific Science Center in Seattle where it stayed until 1980. The Mathematica Exhibition is still considered a model for scientific popularization exhibitions. It was followed by "A Computer Perspective: Background to the Computer Age" (1971) and "The World of Franklin and Jefferson" (1975-1977), among others.
The office of Charles and Ray Eames, which functioned for more than four decades (1943-88) at 901 Washington Boulevard in Venice, California, included in its staff, at one time of another, a number of remarkable designers, like Don Albinson, Deborah Sussman, Richard Foy and Henry Beer.
Among the many important designs originating there are the molded-plywood DCW (Dining Chair Wood) and DCM (Dining Chair Metal with a plywood seat) (1945), Eames Lounge Chair (1956), the Aluminum Group furniture (1958) and as well as the Eames Chaise (1968), designed for Charles's friend, film director Billy Wilder, the playful Do-Nothing Machine (1957), an early solar energy experiment, and a number of toys.
Short films produced by the couple often document their interests in collecting toys and cultural artifacts on their travels. The films also record the process of hanging their exhibits or producing classic furniture designs, to the purposefully mundane topic of filming soap suds moving over the pavement of a parking lot. Perhaps their most popular movie, "Powers of 10", gives a dramatic demonstration of orders of magnitude by visually zooming away from the earth to the edge of the universe, and then microscopically zooming into the nucleus of a carbon atom. Charles was a prolific photographer as well with thousands of images of their furniture, exhibits and collections, and now a part of the Library of Congress.
Charles Eames died of a heart attack on August 21, 1978 while on a consulting trip in his native Saint Louis, and now has a star on the St. Louis Walk of Fame. Ray died 10 years later to the exact day.
At the time of his death they were working on what became their last production, the Eames Sofa which went into production in 1984.
graphics: a.golden, eyewash design c. 2007
Arne Jaconben:
The Model 3107 chair is one of the most popular chairs in Danish design history. It was designed by Arne Jacobsen, using a new technique in which plywood could be bent in two dimensions. It has been produced exclusively by Fritz Hansen A/S ever since its invention in 1955. It is also the most copied chair in the world.
Being a "copy" itself contributes some irony to that fact. The chair, along with the Jacobsen's Ant chair, was, according to Jacobsen himself, inspired by a chair made by the husband and wife design team of Charles and Ray Eames.
The chair comes with a number of different undercarriges - both as a regular four-legged chair, an office-chair with five wheels and as a barstool. It comes with armrests, a writing-table attached, and different forms of upholstring. To some extent, these additions mar the simple aesthetics of the chair, while contributing with some practical elements.
Arne Jacobsen is the Danish architect who mastered the most personal and successful interpretation of the international functionalism. His architecture includes a considerable number of epoch-making buildings in Denmark, Germany and Great Britain. Arne Jacobsen initially trained as a mason before studying architecture at the Royal Danish Academy of Arts, Copenhagen, graduating in 1927.
From 1927 until 1930, he worked in the architectural office of Paul Holsoe. In 1930, he established his own design office, which he headed until his death in 1971, and worked independently as an architect, interior, furniture, textile and ceramics designer. He was professor of Architecture at the Royal Academy of Arts, Copenhagen, from 1956 onwards. His best known projects are St. Catherine's College, Oxford, and the SAS Hotel, Copenhagen.
Arne Jacobsen's designs came into existence as brief sketches and were then modeled in plaster or cardboard in full size. He kept on working until his revolutionary ideas for new furniture had been realized at the utmost perfection. The "Ant" from 1952 became the starting point of his world fame as a furniture designer and became the first of a number of lightweight chairs with seat and back in one piece of moulded wood.
graphics: a.golden, eyewash design c. 2007
I am rather delighted to have a feature in the current issue of FAHRENHEITº magazine. FAHRENHEITº is a contempary arts and lifestyle magazine that supplements the prestigious 'Excelsior' mexican newspaper. As you can tell I am rather happy! :-)
I have pasted a translation of the text below.
ARCHITECTURAL AESTHETICS
Martin Turner is an english photographer searching for geometric compositions with architectural elements
After a solitary search for his own photographic language, Martin Turner is a passionate photographer based in Bristol, England who has built a loyal fan base through his growing portfolio in architecture and landscape photography.
With a calculated spontaneity, Turner raises the result he’s pursuing, evaluating the exposure time, adjusting the focus with deep depth of field and positioning the lens at angles that create an interesting geometric game to achieve balance between architecture, lighting conditions and an indisputable technical control of the camera.
A discerning eye constantly searching for symmetry, contrast and juxtaposition, the body of work of this english photographer shows constant emphasis on detail and sharpness, altogether with a measured use of post-production tools, capturing the purity of the image and the continuous improvement of his technique.
To see more of his work : flickr.com/photos/martinturner, longerexposure.com
www.fahrenheitmagazine.com/en/
Urs is an architect who we used to share a space with in the city. He asked if I'd be interested in doing a portrait of him for an Austrian Architecture magazine which will be featuring one of his major recent public commissions in Austria. So out came the Speed Graphic, the f2.5 178mm Aero Ektar and some 4x5 sheets of expired Portra, mixed it with some window light and hey presto, a portrait.
Ingredients:
Tomato, mozzarella, cooked ham, mushrooms, bacon, onion, oregano, olympus E-500 and zuiko 8mm fisheye.
Prep Time: 1.3 sec. exposure
Result: DIGITAL CAMERA MAGAZINE FRONT PAGE, 2011 NOVEMBER
Mangiare bene!
Masjid Zahir, Kedah Malaysia.
Masjid Zahir is the state mosque of Kedah. It was built in 1912 by Tunku Mahmud, the son of Sultan Tajuddin Mukarram Shah. The mosque was built on the site of the resting place of local warriors who fell in the course of defencing Kedah against the Siamese invasion of 1821.
The design of Masjid Zahir is based on that of Masjid Azizi of Bandar Langkat in northern Sumatra. The mosque has five domes to represent the five tenets of Islam. Sultan Abdul Hamid Halim Shah officiated in the opening of Masjid Zahir on Friday, 15 October, 1912, and acted as Imam for the day, after reading a sermon by Tunku Mahmud. This mosque has been voted the top 10 most beautiful mosques in the world.
Poetry Of The Natural World
feel it | love it | enjoy it
© S.K The Pixgrapher
Do not use or reproduce this image without my explicit permission.
© All rights reserved.
The entrance to the Pontsteiger is a pier of approximately 30 meters wide, starting at Tasmankade and it ends 200 meters further in a square on the water. The first part of the pier (the Kistdam) is home to the new landing place for the ferry to Amsterdam Noord. A wide pedestrian boulevard leads pedestrians to the Ponsteiger, the cozy inner area and small harbour for private boats of residents of the building.
Architect: Floor Arons & Arnoud Gelauff (Arons en Gelauff architecten)
Location: Houthavens, Amsterdam, The Netherlands
Start Construction: 2015-05-01
Construction Completed: 2018-12-28
Opening 2018-09-05
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#amsterdamcity #architecture #art #cityarchitecture #citygrammers #design #fineartarchitecture #fineartphotography #fineartzone #home #iamsterdam #igersamsterdam #instagood #instagram #line #lines #linework #minimaldotcom #photography #straight #symmetry #symmetry_art #symmetryart #symmetrybreakfast #symmetryhunters #symmetrykillers #symmetrylovers #symmetryphotography #wood #woodwork #woodworking
Ostatnio często fotografujemy w tym 47 piętrowym kolosie 😎 Budynek robi tak niesamowite wrażenie, że postanowiliśmy sobie „cyknąć” fotkę z INTEMPO w tle 🇪🇸🌴
Zapraszam na Instagram:
He was sitting on the steps of the catedral de habana vieja. Got this partial shot, with zoom, but when I moved around to get another shot face-on, he saw me and put the magazine over his face. Perhaps he resented the intrusion, though seems to me decorating his face like that he's asking for it. Perhaps he's there to solicit payment for pics from tourists and understandably wasn't going to give me one for free. But finding his demeanour a little intimidating, I balked at approaching him. I was quite shocked at the excessiveness of his face piercings. Could hardly imagine the pain he had inflicted upon himself for his 'face-art'. The degree of scarring looks most severe. What motivates such extreme action? A form of exhibitionism designed to set oneself apart from the conformity & anonymity of today's society or, in this particular man's life- conditions, from the inflicted oppression of Cuba's dictatorial government......his way of circumventing his loss of freedom of speech? I see young people in Toronto, 'goths', dressed in black, with multiple piercings, in the lips, the eyebrows, cheeks, but they are most often seen in groups so it feels tribal. This man seemed very much alone. Wonder if he ever has regrets about what he's done? I hope he has a mother who loves him!
Found the term 'modern primitive' in a google link on body piercing.