raumkörper – -Translation – Keybot Dictionary

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Obwohl den echten Kenner der Raumkörper den echter Genuss sind Meteorschauer im August (Perseiden) und Dezember (Geminids), und in diesen Tagen erwartet uns einen kleinen Himmels Schau, die Orioniden vorbereitet wird.

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Although the real connoisseurs of space objects a real treat is meteor shower in August (Perseids) and December (Geminids), and these days we have a small celestial show that Orionids will prepare. As the moon tonight will be very bright, and the clouds are diverging in the evening, we will not be able to see Orionids in all its glory and probably with average of 25 meteors per hour tonight will be seen less than 5 of them.

  www.kkl-luzern.ch  

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Irisierender Mittelpunkt der Lounge bildet ein intensiv blau leuchtender Raumkörper, der bis zum anderen Seeufer strahlt. Eine ovale Bar, die sich im Raum verschieben lässt, ermöglicht Flexibilität für eine Nutzung als Premium-Veranstaltungsraum.

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An intensely blue, luminescent spatial structure that can be admired all the way from the other side of the bay forms the iridescent focal point of the Crystal Lounge. The Crystal boasts an oval-shaped bar that can be moved around the space, allowing for maximum flexibility and turning the lounge into a premier events venue. Furnished with seductive blue leather seating and moveable sideboards, and with its night-blue carpet and nautically inspired parquet area, the Crystal is a real oasis midst the vibrancy of the KKL.

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Die Kernbereiche des Ringes werden über dreigeschossige Lichthöfe belichtet, angegliedert finden sich Raumkörper mit dienenden Funktionen sowie zusätzliche Aufenthaltsflächen mit hausinternen Raumbezügen.

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The proposed design concept makes residents the central consideration. An apartment format forms the home’s organisational basis: separate sleeping and living areas underline the each room’s place within an apartment-like residence. This system can be customised depending on the level of care required and the desired privacy, while also encouraging personalisation and the residents’ sense of ownership. The apartments are organised as two interlinked rings of eight units each, with two such groupings per floor. Within the rings, light arrives via three-storey atria to the secondary spaces and shared functions accessed from within. The one-storey base has been conceived as a friendly, generous and convivial lobby. It contains all the home’s general spaces and receives additional light from two atria acting as semi-private outdoor areas. A skylit entrance hall leads to various groups of predominantly public functions. The building has been placed on the western edge of the site as a reaction to the surroundings. Single storey volumes reflect the low surrounding buildings and facilitate a harmonious transition to the four storey main house without detracting from the context. The remainder of the site to the east has been landscaped as parkland and could accommodate future expansion.

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„Raumkörper und Juwelen“ Dieser eher kleine Geschäftsraum spiegelt die charakteristische Gestaltungsaussage der Goldschmiedin und Inhaberin wider. Der gerundete, ruhige Raumkörper in der vorderen Ladenhälfte bildet den reduzierten Hintergrund zur Präsentation der Schmuckstücke.

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“Spatial objects and jewels” This rather small business room reflects the characteristic design expression of the goldsmith and owner. The rounded, peaceful spatial object in the front half of the shop forms the minimalist background for presenting the jewels. Only the expressive candelabrum above the consulting table adds a decorative element to the elegant room. An unimpeded view into the second half of the shop allows insights into the craftsmanship of goldsmiths. The floor to ceiling wall covering with the guild’s coat of arms demonstrates modernly interpreted tradition.

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Show textShow cached sourceOpen source URL	„Raumkörper und Juwelen“ Dieser eher kleine Geschäftsraum spiegelt die charakteristische Gestaltungsaussage der Goldschmiedin und Inhaberin wider. ...
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine chinese-architects.com as primary domain	“Spatial objects and jewels” This rather small business room reflects the characteristic design expression of the goldsmith and owner. The rounded,...
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine chinese-architects.com as primary domain	“空间主体与珠宝” 这个玲珑空间完美地体现了首饰设计制作师兼女主人的作品设计特征。 店铺前半部分沉稳的弧形空间，为展示首饰佩件提供了一个低调的背景，这个优雅空间中的唯一点缀，便是洽谈桌上方的靓丽吊灯。 店铺后半部分为制作饰品所用，设计宽敞大方，可供顾客驻足观看制作师的创...

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Show textShow cached sourceOpen source URL	5. Der Ursprung der Raumkörper
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Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine urantia.org as primary domain	13. I governi dei settori
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine urantia.org as primary domain	10. Os Governantes dos Superuniversos
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Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine urantia.org as primary domain	1. Superuniversumien avaruustaso
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Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine urantia.org as primary domain	1. Poziomy przestrzeni superwszechświatowej
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine urantia.org as primary domain	015. Cele Şapte suprauniversuri
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Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine urantia.org as primary domain	6. Syftet med det Centrala Universumet

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Der eingeschnittene Lichthof wirkt als Schwelle zu Arbeitszimmer und Einliegerwohnung. Im oberen Raumkörper liegen die Schlafräume, die aufgrund ihrer Höhenlage und der rechtwinkligen Verdrehung einen Panoramablick auf den nahen See bieten.

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From the entrance at the intersection between ground floor and the upper story placed in an orthogonal direction one floor above, a cross-shaped corridor layout can be distinguished on two levels. The living quarters on the ground floor with a view of the garden are accented by the dining room that projects into the garden in line with the upper story that juts out of the building one floor above. The inserted light shaft opens to the office and a lodger flat. The bedrooms in the upper structure offer a panoramic view of the nearby lake due to the altitude and the orthogonal twist of the building.

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„Raumkörper und Juwelen“ Dieser eher kleine Geschäftsraum spiegelt die charakteristische Gestaltungsaussage der Goldschmiedin und Inhaberin wider. Der gerundete, ruhige Raumkörper in der vorderen Ladenhälfte bildet den reduzierten Hintergrund zur Präsentation der Schmuckstücke.

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“Spatial objects and jewels” This rather small business room reflects the characteristic design expression of the goldsmith and owner. The rounded, peaceful spatial object in the front half of the shop forms the minimalist background for presenting the jewels. Only the expressive candelabrum above the consulting table adds a decorative element to the elegant room. An unimpeded view into the second half of the shop allows insights into the craftsmanship of goldsmiths. The floor to ceiling wall covering with the guild’s coat of arms demonstrates modernly interpreted tradition.

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Die Farbintensitäten und -Kontraste entstehen aus der Einwirkung und dem Zusammenspiel von Licht auf Raum (Raumkörper) sowie aus der Überlagerung von Farben im Entstehungsprozess. Trotz digitaler Aufnahmetechnik gibt es keinerlei technische Manipulationen oder montageartige Veränderungen der aufgenommenen Bilder am Computer.

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The colour intensities and the colour contrasts come into being through light influencing and interacting with space (taking object) as well as colours superimposing each other during the development process. Despite digital photograph technique, there is absolutely no technical computer manipulation or modification, e.g. composite pictures, to the pictures. All editing parameters e.g. contrast control, brightness and saturation are in accordance with the alterations normally carried out during photo laboratory work for analog photograph.

  www.tinguely.ch  

Show textShow cached sourceOpen source URL	Das Monument – parallel zur Erdachse gestellt, mit vier unterschiedlich rasch nach kosmologischen Rhythmen und Gesetzen um die eigene Achse rotierenden Innenkörpern – hätte den Sitz einer hierarchisch und gerecht organisierten Regierung einer neuen sozialen Ordnung repräsentiert.Die sich drehenden Raumkörper von Tatlins „Weltmaschine“ zeigen im wörtlichen Sinne Revolution an.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine tinguely.ch as primary domain	Few twentieth-century works of art have acquired such a legendary status as Tatlin’s projected Monument to the Third International of 1919–20, which was to have been 400 metres tall. For various reasons – Civil War, lack of material resources, and the technological limitations of the time – it was never realized. The monument – set parallel to the earth’s axis with four inner bodies rotating each on its own axis at various speeds in accordance with cosmological rhythms and laws – would have been the seat of the hierarchically and justly organized government of a new social order. The rotating spatial bodies of Tatlin’s “world machine” are indicative of revolution in both senses of the word. In 1920 Nikolai Punin praised the design as “an international event within the world of art” and saw it as “the organic synthesis of the principles of architecture, sculpture and painting.” Had it been built, the tower would have represented the logical extension of the principles of time and space developed in Tatlin’s counter-reliefs, and would have made possible a new experience of space in certain senses not dissimilar to that of flying. Tatlin’s tower project acted as a catalyst in the discussion conducted by figures such as Leon Trotsky and Anatoly Lunacharsky about how life, art and the state were to function in the young post-revolutionary Soviet Union; now it ranks as an inspirational and interpretational work of the highest order. In the course of the rediscovery of Tatlin’s œuvre since the 1960s, the lost model of the tower has been reconstructed in a number of different variants. The exhibition in Basel is to juxtapose the two most outstanding examples – from Moscow and Paris – and bring them into dialogue. This spectacular presentation will generate illuminating insights into the way Tatlin’s work has been received and will help visitors to understand the factors that led to its creation.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine tinguely.ch as primary domain	Rares sont les œuvres d’art du XXe siècle à revêtir un statut aussi légendaire que le projet de Monument à la Troisième Internationale que Tatline élabora en 1919-1920. La réalisation de cette construction (haute de 400 mètres) fut néanmoins empêchée par la guerre civile, mais aussi par le manque de ressources matérielles et les limites technologiques de l’époque. Le monument – placé parallèlement à l’axe de la Terre avec quatre volumes intérieurs tournent plus ou moins vite autour de leur propre axe selon des rythmes et des lois cosmologiques – devait incarner le siège du gouvernement d’un nouvel ordre social, avec une hiérarchie juste. Les volumes tournants de la « Machine mondiale » de Tatline symbolisent la révolution au sens littéral. En 1920, Nikolaï Punin célébra le projet comme un « événement international dans le monde de l’art » et y vit « la synthèse organique des principes de l’architecture, de la sculpture et de la peinture ». La tour construite aurait été la prolongation logique des principes temps-espace que Tatline avait développés dans ses contre-reliefs : elle aurait permis une nouvelle approche de l’espace, d’un certain point de vue presque comparable à l’expérience de voler. La Tour Tatline servit de catalyseur à la discussion menée par des personnalités comme Léon Trotski ou Anatoli Lounatcharski sur la conception de la vie, de l’art et de l’État dans la jeune Union Soviétique après la Révolution ; aujourd’hui, elle est le véhicule par excellence d’inspirations et d’interprétations fortes.

  fiek.uni-pr.edu  

Show textShow cached sourceOpen source URL	Die mumok Lounge ist ein lichter, transparenter Raumkörper mit einmaligem Ausblick auf die aktuelle Ausstellung im Kuppelsaal
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine mumok.at as primary domain	The Lounge is a bright, transparent space with a unique view of the latest exhibition below in the domed hall, setting a refined stage both for gala dinners and for lectures and symposia

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Show textShow cached sourceOpen source URL	Die bereits 1999 entstandene Installation „Room for all colours“ verwandelt den markanten, langgestreckten Rampenraum der Langen Foundation in einen Ort der körperlichen und emotionalen Erfahrung: Eine große, von hinten beleuchtete Projektionswand taucht den acht Meter hohen Raumkörper in wechselndes farbiges Licht, durch das sich die Besucher auf verschiedenen Ebenen bewegen können.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine langenfoundation.de as primary domain	Inside the building, the installation Room for all colours, dating from 1999, transforms the unique elongated ramp of the Langen Foundation into a space that conveys both an emotional and physical experience. A large backlit projection screen bathes the eight-meter high object in the light of alternating colors, through which the viewers move as they pass through different levels of the space.

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Durch zwei ineinander verschlungene und organisch frei im Raum aufgehängte Kunststoffschläuche, an denen je 24 Lautsprecher in regelmäßigen Abständen angebracht sind, scheint der Ton mal in knirschenden Geräuschen herabzurieseln, mal in zischenden Lauten hindurchzuschießen und verwandelt die gesamte Skulptur in einen „akustisch – schwingenden Organismus“ (B. Leitner), der fast selbst zu atmen scheint. Im Vergleich zu den reduzierten, formal asketischen Installationen, an denen Tonfolgen scheinbar geometrisch strenge Raumkörper aufzuspannen vermögen, scheint die

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In recent years, Bernhard Leitner’s sound/space/body installations, that have always developed at the intersection of sound, sculpture, and architecture, refusing any clear location, have begun to attract the interest of artists from the performing arts. Dancers and performers develop their own choreographies along Leitner’s sound/space/bodies and allow new corporeal and movement spaces to emerge in temporal-spatial performances. They allow themselves to be drawn into a universe in which visual, acoustic, temporal, and physical worlds of experience “coincide,” and “being in sound” becomes a “being in the world.”5

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Show textShow cached sourceOpen source URL	Das Projekt Schöpfung führt den Besucher wenige Stufen treppauf in einen Raumkörper, von dem aus Welt und unendlicher Raum in einer anormalen Perspektive zu betrachten sind. Die Produktion beginnt vor dem Urknall, vor den die heutige Wissenschaft schon im Stande ist, hinauszurechnen, widmet sich dann der christlichen Schöpfungslehre und stellt dieser die selbst ernannte "Krönung der Schöpfung", den Menschen und seine Werke, gegenüber.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine peterhansfelzmann.at as primary domain	The project Creation leads the visitor a few steps upward into a room, from which the world and boundless space can be viewed in an abnormal perspective. The productions starts before the Big Bang – beyond which present-day science is by now able to extrapolate, then devotes itself to Christianity’s concept of Creation, and confronts this with the self-defined Coronation of Creation of man and his works.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine peterhansfelzmann.at as primary domain	Проект Создание предлагает посетителю подняться на несколько шагов вверх, в комнату, из которой мир и безграничное пространство можно наблюдать в необычайно большой перспективе. Представление вселенной начинается со времени до Большого Взрыва - момента, до которого современная наука пока не в состоянии экстраполировать события. Затем работа выражает концепцию Творения с точки зрения христианства, и ставит человека, самопровозгласившего себя Венцом Творения на весы с его деяниями.