Susi Berlin S.U.S.I. Interkulturelles Frauenzentrum
نساء Frauen women femmes donne femei kadınlar phụ nữ nök γυναικών mujeres kobiety mulheres женщины jinek زنان. Herzlich willkommen bei S.U.S.I. Interkulturelles Frauenzentrum. Träger: Für eine kulturvolle solidarische Welt e.V.. S.U.S.I. Interkulturelles Frauenzentrum. Innsbrucker Straße 58, Berlin. Verein: Interkulturelles Frauenzentrum S.U.S.I., Bayerischer Platz, Berlin–Schöneberg – Information zu Kontakt, Öffnungszeiten, Anfahrt und mehr. SUSI Interkulturelles Frauenzentrum, Berlin. Gefällt Mal · 7 Personen sprechen darüber · waren hier. S.U.S.I. = piteabridge.seisch, piteabridge.seängig. SUSI Interkulturelles Frauenzentrum, Berlin. likes · 21 talking about this · were here. S.U.S.I. = piteabridge.seisch, piteabridge.seängig, piteabridge.se
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Beef Bourguignon. Bento Lunch Box. Buffalo mozzarella. Burrito Bowl. Carrot Cake. Cheese fondue. Chicken And Waffles. Chicken dishes.
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Peking Duck. Poke Bowls. Pulled Pork Sandwich. Red Curry. Reuben sandwich. Roast Beef. Roast Chicken. Seafood Paella. Sirloin Steak. Spaghetti with Clams.
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Sie befinden sich hier: Startseite English Museums. His final wish was to be buried there, a desire not granted until after German reunification.
The large landscaped park is dotted with fountains, with faux ruins and classical statues among the many points of interest.
This concept of a grand palace designed to impress has led to the comparison of the palaces of Potsdam to Versailles,  with Sanssouci being thrust into the role of one of the Trianons.
This analogy, though easy to understand, ignores the original merits of the concept behind Sanssouci, the palace for which the whole park and setting were created.
Unlike the Trianons, Sanssouci was not an afterthought to escape the larger palace, for the simple reason that the larger palace did not exist at the time of Sanssouci's conception; and once it did, Frederick almost never stayed in the New Palace except on rare occasions when entertaining diplomats he wished to impress.
It is true, however, that Sanssouci was intended to be a private place of retreat rather than display of power, strength and architectural merit.
Unlike the Trianons, Sanssouci was designed to be a whole unto itself. Sanssouci is small, with the principal block or corps de logis being a narrow single-storey enfilade of just ten rooms, including a service passage and staff rooms behind them.
Frederick's amateur sketch of illustrated above  demonstrates that his architect, Knobelsdorff, was more a draughtsman at Sanssouci than complete architect.
Frederick appears to have accepted no suggestions for alteration to his plans, refusing Knobelsdorff's idea that the palace should have a semi-basement storey, which would not only have provided service areas closer at hand, but would have put the principal rooms on a raised piano nobile.
This would have given the palace not only a more commanding presence, but also would have prevented the problems of dampness to which it has always been prone.
He insisted on a building on the ground level, of which the pedestal was the hill: in short, this was to be a private pleasure house.
His recurring theme and requirement was for a house with close connections between its style and free nature. In the park, east of the palace, is the Sanssouci Picture Gallery , built from to under the supervision of the architect Johann Gottfried Büring.
It stands on the site of a former greenhouse , where Frederick raised tropical fruit. The Picture Gallery is the oldest extant museum built for a ruler in Germany.
Like the palace itself, it is a long, low building, dominated by a central domed bow of three bays.
Following the death of Frederick a new era began, a visible sign of which was the change in architectural styles.
He ordered the construction of a new palace in the new more fashionable style, and stayed at Sanssouci only occasionally.
The reception and bedrooms were renovated and completely altered immediately after Frederick's death. Frederick William von Erdmannsdorff received the commission for the refurbishment.
While Frederick had been constructing the New Palace in the Baroque style between and , Erdmannsdorff, an advocate of the new neo-classical style, had created Schloss Wörlitz in Wörlitz Park , the first neo-classical palace in Germany.
As a result of his influence, Sanssouci became the first of the palaces in Potsdam and Berlin to be remodelled with a neo-classical interior.
It was no coincidence that Frederick selected the Rococo style of architecture for Sanssouci. The light, almost whimsical style then in vogue exactly suited the light-hearted uses for which he required this retreat.
The Rococo style of art emerged in France in the early 18th century as a continuation of the Baroque style, but in contrast with the heavier themes and darker colours of the Baroque, the Rococo was characterized by an opulence, grace, playfulness, and lightness.
Rococo motifs focused on the carefree aristocratic life and on light-hearted romance, rather than on heroic battles and religious figures.
They also revolve around natural and exterior settings; this again suited Frederick's ideal of nature and design being in complete harmony.
The palace was completed much as Frederick had envisaged in his preliminary sketches see illustration above.
The palace has a single-storey principal block with two flanking side wings. The building occupies almost the entire upper terrace.
The secondary side wings on the garden front are screened by two symmetrical rows of trees each terminating in free-standing trellised gazebos , richly decorated with gilded ornaments.
The garden front of the palace is decorated by carved figures of Atlas and Caryatids ; grouped in pairs between the windows, these appear to support the balustrade above.
Executed in sandstone , these figures of both sexes represent Bacchants , the companions of the wine god Bacchus , and originate from the workshop of the sculptor Friedrich Christian Glume.
Segmented colonnades of 88 Corinthian columns—two deep—curve outwards from the palace building to enclose the semicircular cour d'honneur.
As on the south side, a balustrade with sandstone vases decorates the roof of the main corps de logis. Flanking the corps de logis are two secondary wings, providing the large service accommodation and domestic offices necessary to serve an 18th-century monarch, even when in retreat from the world.
In Frederick's time, these single-storey wings were covered with foliage to screen their mundane purpose. The eastern wing housed the secretaries', gardeners' and servants' rooms, while the west wing held the palace kitchen, stables and a remise coach house.
Frederick regularly occupied the palace each summer throughout his lifetime, but after his death in it remained mostly unoccupied and neglected until the midth century.
In , years after Frederick's accession to the throne, his great-grand nephew Frederick William IV and his wife moved into the guest rooms.
The royal couple retained the existing furniture and replaced missing pieces with furniture from Frederick's time.
The room in which Frederick had died was intended to be restored to its original state, but this plan was never executed because of a lack of authentic documents and plans.
However, the armchair in which Frederick had died was returned to the palace in Frederick William IV , a draftsman interested in both architecture and landscape gardening, transformed the palace from the retreat of his reclusive great uncle into a fully functioning and fashionable country house.
The small service wings were enlarged between and This was necessary because, while Frederick philosophised and played music at Sanssouci, he liked to live modestly without splendour.
As he aged, his modesty developed into miserliness. This was ascribed to his wish that Sanssouci should only last his lifetime.
The additions included a mezzanine floor to both wings. The kitchen was moved into the east wing. Frederick the Great's small wine cellar was enlarged to provide ample store rooms for the enlarged household, while the new upper floor provided staff bedrooms.
The west wing became known as "The Ladies' Wing", providing accommodation for ladies-in-waiting and guests. This was a common arrangement in midth-century households, which often had a corresponding "Bachelor's Wing" for unmarried male guests and members of the household.
The rooms were decorated with intricate boiseries , panelling and tapestries. This new accommodation for ladies was vital: entertaining at Sanssouci was minimal during the reign of Frederick the Great, and it is known that women were never entertained there, so there were no facilities for them.
The Queen resided alone at Schönhausen Palace in Berlin after the separation, and Frederick preferred Sanssouci to be "sans femmes" without women.
In the Baroque tradition, the principal rooms including the bedrooms are all on the piano nobile, which at Sanssouci was the ground floor by Frederick's choice.
While the secondary wings have upper floors, the corps de logis occupied by the King occupies the full height of the structure. Comfort was also a priority in the layout of the rooms.
The palace expresses contemporary French architectural theory in its apartement double ideals of courtly comfort, comprising two rows of rooms, one behind the other.
The main rooms face the garden, looking southwards, while the servant's quarters in the row behind are on the north side of the building.
An apartement double thus consists of a main room and a servant's chamber.