apartments. The sixth and seventh floors house the transmitting technology. There is a specially developed laminated cladding in the shape of a revolving hyperboloid shielding against extreme weather conditions. On the eighth and ninth floors the architect placed drinking water tanks and a backup battery power supply. There is an elevator engine room on the tenth floor. Above it a special pendulum is installed, movement of which absorb cross vibrations caused by the wind. Exterior At the third to the fifth floor levels (i.e. the restaurant and hotel floors) the outer shell takes on the shape of a conical rotating surface. It consists of 64 conically placed panels. The panel surface is made of anodized aluminium sheets. At the restaurant level, these panels are glazed over the entire width and complemented by a low window sill, while at the hotel level there are smaller windows with rounded corners. Parabolic antennas of microwave transmitters are located on the seventh and eighth floors. The building cover is made of trapezoid-shaped laminated panels, which are not joined by any metal elements, as these would prevent the passage of electromagnetic waves. The upper side of the elevator machine room on the tenth floor is fitted with a welded steel tube, which forms a 48 meter high antenna mast. Its surface is covered with metallized aluminum and a spiral staircase leads up inside the tube. At the top of the mast there is a self-supporting laminate extension of 18 meters attached. During the 1997 transmitter reconstruction it was extended by another 3 meters. The extension is there to protect the TV broadcast antennas against the elements. On top of the extension there is a steel lid, on which an annular pendulum weighing 800 kg is suspended by means of dampers. Interior design The interior design including its furniture comes from Otakar Binar. Cookware and some textile accessories were based on Karl Wünsch designs. Glass makers Stanislav Libenský and his partner Jaroslava Brychtová also participated in the interior furnishing. They originally planned inserting a tall glass pendulum in the publicly accessible space. The pendulum would consist of two lenses representing the eternal movement. Instead, they decided to drill eight glass emblems into the concrete transmitter shaft. According to the artists, the shaft and its modification suggested the tower was growing up from the rock. On the other hand, for Karel Hubáček the glass emblems embodied fallen