This picture is from an article called “The Rescuing Hug”. The article details the first week of life of a set of twins. Each were in their respective incubators and one was not expected to live. A hospital nurse fought against the hospital rules and placed the babies in one incubator. When they were placed together, the healthier of the two, threw an arm over her sister in an endearing embrace. The smaller baby’s heart stabilized and temperature rose to normal.
life is so beautiful.
HOW can you not reblog HOW
This is so sweet.
This also has happened with babies that have been pronounced dead right after being born. Their mothers hold onto them and the warmth of their mothers brings them back to life.
I always wanted this on my blog.
this is amazing
Madrid • Spain
Despite the guidelines drawn on the plots, places need to express their own personality, to arise naturally, to construct themselves. And concretely this one is aligned against a green area, against the concatenation of public spaces that link the old Carabanchel district with its forest through the new neighborhood.
The plant will incinerate waste, from nine surrounding municipalities and from many places abroad to produce electricity and heat power for the whole region of Roskilde. To provide the huge new incinerator line, planned in a relatively flat landscape and next to the relatively small city of Roskilde with a suitable appearance, an international design competition was organized. In 2008 the jury unanimously selected the design proposed by Erick van Egeraat. The design presents an iconic expression for the otherwise functional architecture of the local waste management company Kara/Noveren’s next generation incineration line. The façade consists of two layers: the inner layer is the skin which provides the actual climatic barrier, allowing the second skin to be treated more freely – raw umber-coloured aluminium plates with an irregular pattern of laser cut circular holes. The aluminium plates are treated to give them the desired colour and patina at day time. At night, the programmable lighting, installed between the two facades, gives the building an additional metaphor.
Karvansaray Restaurant in Baku
The first photo made the rounds on Tumblr last year, with the rumour that ‘the hole’ was originally caused by a rooftop bomb attack. False. The restaurant is housed inside a 14th century caravasai, a Persian word combining kārvān (caravan) with sara (palace), essentially a traveler’s inn.
1. 53.0066°N 7.1920°E. Bourtange is a village with a population of 430 in the municipality of Vlagtwedde in the Netherlands. The star fort was built in 1593 during the Eighty Years’ War when William I of Orange wanted to control the only road between Germany and the city of Groningen. Bourtange was restored to its mid-18th-century state in 1960 and is currently used as an open-air museum.
2. 40°46’56”N; 73°57’55”W. Central Park in New York City spans 843 acres. That’s 6% of the island of Manhattan.
3. 41°23′27″N 2°09′47″E. Barcelona, Spain.
4. 5°26′15″N 12°20′9″E. Venice, Italy
5. 31.079844, -97.80145. In 2013, there were 923,400 home construction projects in the United States. Killeen, Texas.
6. 36.211001, -115.266914. The Desert Shores Community in Las Vegas, Nevada contains 3,351 units and four man-made lakes. Las Vegas, Nevada
7. 25°50′17″N 50°36′18″E. Durrat Al Bahrain will consist of 15 connected, artificial islands (including six atolls, five fish-shaped, and two crescent-shaped). Construction costs are estimated at $6 billion and the project is slated for completion in mid-2015. Bahrain.
8. 5°40′S 52°44′W. Clearcutting operations in the Amazon Rainforest of Para, Brazil branch out from one of the state’s central roads. Pará, Brazil.
9. 32.170890°N 110.855184°W. Tucson, Arizona.
10. 36.78234°N 2.74315°W. Plasticulture refers to the practice of using plastic materials in agricultural applications. This is visible in the plains and valleys of Almeria, Spain where nearly 20,000 hectares are covered by these greenhouse structures. Almeria, Spain
Moritzburg Castle Nieto Sobejano Arquitectos
"The architectural proposal emerged from an intuition that marks every posterior decision: a new roof conceived as a large, folded platform, which rises and folds to emit natural light, and from which two new exhibition spaces hang. This operation frees up the western wing from the presence of the old ruin, which allows for the re-creation of a unique large-scale space, column-free, and offering different exhibition opportunities. A new roof landscape—clad in rigid aluminum panels—establishes a dialogue between its angular geometry and the irregular volumes of the sloping roofs of the castle. The pyramidal skylights, positive and negative, express through their variations that architecture is a combinatorial art; that our task, in the end, is to find the relative position of its elements. The new intervention in the Moritzburg Castle aims at protecting the ruins that have represented it for centuries. It does so by keeping the existing building intact, and superimposing a light structure that evokes the works displayed inside."
“I try to keep my photography as distinct as I can from personal interpretations,” says the photographer, whose exposures can be as long as 45 minutes in some of the darkened cathedrals. In all, Morlinghaus photographed 17 places of worship with his Sinar P2 8×10 large format film camera. All but Mariendom in Neviges, Germany, are in the United States. In every case, Morlinghaus says, clergy and custodians were proud to welcome him in.
“These ecclesiastical buildings were the most accessible interiors that I ever photographed,” he says. “Rarely, have I encountered more cooperative or welcoming people.”
In 1968, American artist Donald Judd purchased 101 Spring Street, a five-story cast-iron building in New York’s SoHo neighbourhood designed by Nicholas Whyte for $68,000. The artist lived there with his family for many years and used the space as a studio. The building is considered to be the birthplace of ‘permanent installation’ as well as an inspiration for much of his work. Judd believed the placement of an artwork was as vital to its understanding as the work itself. His first applications of this idea were realised in his installation of works throughout 101 Spring Street as he renovated the expansive property.