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Beautiful window and seating in Castle , Kasteel de Haar in Utrecht the Nederlands Kasteel de Haar near Vleuten that includes village of Haarzuilen rebuild by architect Pierre Cuyper Project , finished in 1912 took 20 years to finish , Martin’s photographs , Utrecht , the Netherlands , June 5. 2019
Portcullis
Drawbridge
Pulley system for portcullis or drawbridge for the castle , Kasteel de Haar
Pulley system for portcullis or a drawbridge for the castle
Pulley system for portcullis or a drawbridge
Spiral stairway
Central Station in Amsterdam , build by architect Pierre Cuyper
de Rijks Museum in Amsterdam build by architect Pierre Cuyper
de Rijks Museum in Amsterdam
Central Station in Amsterdam
Amsterdam
Lavet bad tub
Lavet bad tub and washing machine
main door
Beautiful staircase
Kasteel de Haar near the suburb of Vleuten that includes village of Haarzuilen
architect Pierre Cuyper
Martin’s photograph
Utrecht
the Netherlands
Nederland
June 2019
Favourites
IPhone 6
Village of Haarzuilen
Kasteel de Haar
Castle the Haar
Kasteel de Haar was rebuild by architect Pierre Cuyper Project was finished in around 1912 took 20 years to be finished
city of Utrecht in the province Utrecht
Beautiful staircase in Kasteel de Haar
Door knocker
Beautiful window and seating
Architectes: Roger Anger [1923-2008], Mario Heymann [1930-2007] et Pierre Puccinelli [1929-1999], (Agence Anger-Heymann-Puccinelli)
Architect Rem Koolhaas designed De Rotterdam. It opened today.
Rem's Giant, people in Rotterdam call it.
More of this building at
Architect: Santiago Calatrava
Cost: $4.5 billion
When fully completed, the Hub will connect 11 different subway lines, serve 200,000 commuters daily and will be almost as big as Grand Central Station.
compare flickrcomments.wordpress.com/2011/04/15/weekly-photo-chal...
...looks something like a glass spiderweb (comment by Mrs. Terry)
Architect: KLEIHUES, town: Muenster, Germany, roof-window (rotunde) in a shopping mall
see ALL SIZES: 1806x1806 or: www.kleihues.com/en/ - photo shot by Barbara
Après avoir travaillé pendant près de trois ans avec des architectes, des ingénieurs et des biologistes, l’artiste a pu débuter la construction de cette toile monumentale suspendue à 25m au dessus de la place du musée K21 Standehaus à Dusseldorf. Les visiteurs les plus téméraires peuvent grimper sur la construction de fils d’acier s’étendant sur trois niveaux. Le filet à mailles pèse à lui seul trois tonnes et il y a une demi-douzaine de ballons gonflés en PVC posés dessus. Pas de blague, pour cette installation, l’artiste a étudié les méthodes de diverses araignées pour voir comment elles construisent leurs toiles complexes.
Gigantesque toile d’araignée suspendue au-dessus du vide, si fine qu’elle en est presque invisible. Extraordinaire hamac partagé avec des bulles de savon et des gouttes d’eau démesurées. L’impression de toucher le ciel, de baigner dans la lumière.
Celui qui rend si poétique cette idée si simple, c’est l’artiste argentin Tomás Saraceno, déjà remarqué à la biennale de Venise 2009 pour son œuvre « Galaxies forming along filaments, like droplets along the strands of a spider’s web », elle aussi toute en légèreté et en utopie. Cette fois-ci, il œuvre au-dessus de la place du pavillon K21 de la Kunstsammlung NRW de Düsseldorf, avec cette résille suspendue à 25m au-dessus du patio et faisant écho à celle de la toiture.
Cette construction métallique en acier enjambe la vaste coupole de verre du musée à trois niveaux différents. Six sphères gonflées, d’un diamètre allant jusqu’à 8,5m sont positionnées au sein de cette structure d’une surface totale de 2’500 m². Outre sa taille et sa beauté, la vraie originalité de cette installation est son accessibilité aux visiteurs qui peuvent se déplacer librement entre les sphères et passer d’un niveau de filet à l’autre en glissant à travers des trous aménagés dans la structure. Cette approche permet de découvrir le bâtiment et l’œuvre autrement tout se donnant à soi-même et aux autres visiteurs, une impression surréaliste de flotter dans les airs.
After working for nearly three years with architects, engineers and biologists, the artist was able to begin the construction of this monumental canvas suspended 25m above the K21 Standehaus museum square in Dusseldorf. The more daring visitors can climb on the construction of steel wires extending over three levels. The mesh net alone weighs three tons and there are half a dozen inflated PVC balloons on top. No kidding, for this installation the artist studied the methods of various spiders to see how they build their intricate webs.
A gigantic spider's web suspended above the void, so thin that it is almost invisible. Extraordinary shared hammock with soap bubbles and excessive water drops. The impression of touching the sky, of bathing in light.
The one who makes this simple idea so poetic is the Argentinian artist Tomás Saraceno, already noticed at the 2009 Venice Biennale for his work "Galaxies forming along filaments, like droplets along the strands of a spider's web", also all in lightness and in utopia. This time, he works above the square of the K21 pavilion of the Kunstsammlung NRW in Düsseldorf, with this fishnet suspended 25m above the patio and echoing that of the roof.
This metallic steel construction spans the vast glass dome of the museum on three different levels. Six inflated spheres with a diameter of up to 8.5m are positioned within this structure with a total surface area of 2,500 m². Besides its size and beauty, the real originality of this installation is its accessibility to visitors who can move freely between the spheres and pass from one level of net to another by sliding through holes made in the structure. This approach allows you to discover the building and the work differently while giving yourself and other visitors a surreal impression of floating in the air.
Fort Lauderdale station is an inter-city rail station located in Fort Lauderdale, Florida. It is served by Brightline, which connects Miami, West Palm Beach, and Orlando International Airport. The station is located in downtown Fort Lauderdale, on NW 2nd Avenue between Broward Boulevard and NW 4th Street, adjacent to the Broward County Transit's Central Terminal.
Construction for the station began in October 2014 with the demolition of existing structures on the site. The complex consists of an elevated concourse above an 800-foot-long (240 m), 35-foot-wide (11 m) island platform for the trains. The station is a modern-style structure with illuminated V-shaped columns supporting the upper concourse, echoing the designs of the Miami and West Palm Beach stations on the line. It was planned and designed by Skidmore, Owings & Merrill in association with Zyscovich Architects, and was completed in January 2018.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Fort_Lauderdale_station_(Brightline)
www.gobrightline.com/fort-lauderdale
www.tripadvisor.com/Attraction_Review-g34227-d13396562-Re...
en.wikipedia.org/wiki/Brightline
© All Rights Reserved - you may not use this image in any form without my prior permission.
Taken using my phone for Cell Phone Photo class. This is my neighbor's garden statue of an ancient architect. I thought he would look better on an Italian hillside and came up with this composite.
In Explore Mar 24, 2024 #339
Henry M. Flagler's Florida East Coast Railroad Line reached Palm Beach in 1894. The Seaboard Airline Railroad Line laid tracks to Palm Beach as late as 1921-1924. It was after 1921 that the Seaboard Airline tracks reached West Palm Beach. Reference to the Seaboard Airline Railroad Station appears in a book printed in 1926.
S. Davis Warfield was president of Seaboard Air Line and in 1924 Warfield built a cross-state line which serviced West Palm Beach and Miami and Homestead in 1926, making a direct rail connection from one coast to the other, across the state. In 1938 the Atlantic Coast Line and the Seaboard Airline Railroad Line formed a network over Florida. Trains were air-conditioned and streamlined, and power was generated by Diesel-electric locomotives.
Stockholders in the railroad were important Palm Beach residents, and this station combined their taste in architecture, and their desire for service and convenience, for the community related to their vacation and retirement residences.
L. Phillips Clarke, who designed all of the Seaboard Railroad stations, built his first station at Auburndale. The West Palm Beach station appeared in 1924-1925.
The north-south dimension, paralleling the tracks, is approximately 178 feet. It is 43 feet deep, not including (at the sides) a 13-foot platform on the west. The building is mainly one story high, with a single office on a two-story level near the center and a three-stage tower on the south corner of the east or entrance facade on Tamarind Avenue.
The plan is rectangular, divided essentially in half, with express room and baggage room to the left or south, and behind the loggia the two waiting rooms, now one, separated on the east by restrooms and on the west by the ticket office. The loggia surrounds most of the front and ends, and the shed—roofed passenger platform on the rear or trackside.
The City of West Palm Beach, following a purchase of the building in 1988, tapped local architecture firm Oliver Glidden & Partners to head a $4.3 million restoration of the structure. The project was completed and the station rededicated in a ceremony attended by the Florida Governor in April 1991. Architect Robert D. Brown directed the restoration of ornamental cast stone elements, exterior masonry, doors, windows, and iron and tile work. The red clay tile roof was replaced, as were the electrical, lighting, plumbing and heating, ventilation, and air conditioning systems. Abatement of lead and asbestos was further required to bring the historic structure up to modern building code standards. The restoration effort earned the Florida Trust Award for Historic Preservation in 1994.
In summer 2012, the city finished an improvement project that included the installation of new sidewalks and more than five dozen trees around the building. The improvements were funded with a $750,000 Transportation Enhancement grant from the Federal Highway Administration, to which the city provided a $150,000 local match.
The station has two side platforms, with access to the station on both sides. West of the southbound platform is a long loop of bus bays serving Palm Tran routes. East of the northbound platform is the station house, a small parking lot, and bus stops for Greyhound Lines buses and Tri-Rail shuttles.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/West_Palm_Beach_Seaboard_Coastline_...
historic-structures.com/fl/west_palm_beach/seaboard_railr....
© All Rights Reserved - you may not use this image in any form without my prior permission.
The Millau Viaduct is a multi-span cable-stayed bridge completed in 2004 across the gorge valley of the Tarn near Millau in Southern France. In an Anglo-French partnership, it was designed by the French structural engineer Michel Virlogeux and English architect Norman Foster. As of November 2018, it is the tallest bridge in the world, having a structural height of 336.4 metres.
Nach dem Großen Brand von 1842 wurde das bis dahin weitgehend überbaute Areal des heutigen Rathausmarktes völlig neu geplant. In diesem Zusammenhang entstand am Mündungsfleet der Alster, dem Alsterfleet, vor dem Stau der ebenfalls neuen Schleusenbrücke ein Bassin, die Kleine Alster. Chateauneuf entwarf für die Nordwestseite einen Arkadengang im italienischen Stil, dessen ursprünglicher Anstrich nach neuen Befunden ockergelb war, später aber weiß verputzt wurde und dieses charakteristische Aussehen bis heute bewahrt hat. Nach verschiedenen Veränderungen wurde 1951 der ursprüngliche Zustand wiederhergestellt, die Farbe blieb weiß. Die Alsterarkaden gelten zusammen mit den dahinterliegenden Häusern als prominentes Beispiel für die sogenannte Nachbrandarchitektur.
Der Bau wurde bis 1843 im Verlauf des vormaligen Vogelswalls ausgeführt, die dahinter liegenden fünfstöckigen Häuser entstanden in den Folgejahren bis 1846. Lediglich das direkt am Jungfernstieg gelegene Eckhaus entstand erst um die Wende vom 19. zum 20. Jahrhundert.
de.wikipedia.org/wiki/Alsterarkaden
After the Great Fire of 1842, the area of today's Rathausmarkt (City Hall Market), which had been largely built over until then, was completely redesigned. In this context, a basin, the Kleine Alster (Small Alster), was created at the mouth of the Alster, the Alsterfleet (Alster Canal), in front of the dam of the Schleusenbrücke (Lock Bridge), which was also new. The architect Chateauneuf, commissioned with the planning of the city’s rebuilding, designed an arcade in the Italianate style for the northwest side, whose original painting was ochre yellow according to new findings, but was later plastered white and has retained this characteristic appearance to this day. After various changes, the original state was restored in 1951, the color remained white. The Alster Arcades, together with the houses behind them, are considered a prominent example of so-called post-fire architecture.
The construction was carried out until 1843 in the course of the former Vogelswall, the five-story houses behind it were built in the following years until 1846. Only the corner house located directly on the Jungfernstieg was built only at the turn of the 19th and 20th centuries.
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Architect: Sauerbruch Hutton
Built in: 2020
Builder: Skanska Fastigheter Stockholm AB
Sthlm 01 in not a classical skyscraper. At a closer look you will see how extra ordinary this newcomer actually is. The emblematic geometry of the tower – a conical star that gradually extends its perimeter as it rises into the sky – minimises its footprint on this limited site. On the two different ground levels of this office building there are commercial units while a restaurant and sky bar on the top level of the high-rise offer spectacular views of the city.
The façade of the tower presents a striking chromotope that gives identity to the new district and provides a landmark for orientation.
Architect: Kohn Pedersen Fox
Height: 1,414 feet (431 m) (Roof)
Floors: 65
Type: Office
Tenant: TD Bank
City block (5 buildings) under demolition to make way for the future New York tallest (roof) office tower next to Grand Central Station.
Completed 2011
Architect: Henning Larsen Architects (Denmark) in cooperation with Batteríið Architects (Iceland)
Danish architectural firm Henning Larsen Architects and the Icelandic architectural firm Batteríið Architects.
The article below originated from:
Traditional Building Magazine
Updated: Jan 6, 2020
Original: Feb 2, 2016
Originally built in 1916, the Palm Beach courthouse was a tour de force of Neoclassical architecture. The architect Wilber Burt Talley designed a granite base, brick and stone façades, soaring Indiana limestone columns and Corinthian capitals that held up triangle pediments, and a dentil molding below the cornice. The four-story, 40,000-sq.ft. the building housed the county government offices and records, as well as the jail.
Almost immediately the courthouse ran out of space, and 11 years later an addition was constructed 25 feet to the east. Talley again served as the courthouse architect, and the 1927 addition was similar in appearance and used many of the same materials as the original building. In 1955, the two buildings were connected with usable rooms to accommodate the growing county.
Yet another addition was required in the late ’60s; it was completed in 1969. The architecture firm Edge & Powell delivered a brick building that nearly doubled the square footage to 180,000 sq. ft. This time, the addition was less than sympathetic. In fact, the 1916 and 1927 buildings were lost in the center of the new construction, which wrapped around them completely.
The building was utilized for 36 years in this configuration, until 1995, when a new courthouse opened across the street. Expansions had plagued the 1916 courthouse almost as soon as it was built, and this was no exception. “After the new courthouse opened, the old one was slated for demolition,” says Rick Gonzales, Jr., AIA, CEO and principal at REG Architects. “Since I knew about the 1916 courthouse, I recognized the potential of the site and got in touch with preservation specialists in the area. It took some time, but a group of us eventually convinced the county to fund a feasibility study, which we conducted in 2002.”
Gonzales talks about stimulating interest in the project: “We would go to the new courthouse to sell our idea and walk people up to the windows to look at the old site,” he says.
“‘Believe it or not, there’s a building inside that building,’ I’d say. That really piqued people’s interest.”
The county agreed to fund the project, and demolition of the additions began in January 2004 and was completed two years later. “It took a long time because it was a selective demolition,” says Gonzales. “We needed to be careful to salvage many of the materials from the 1927 building to use in the restoration of the 1916 structure. It resembled the original, so we took everything we could for reuse.” A number of materials were recovered, including limestone, granite, wood windows, doors, marble wainscot, mosaic floor tiles, wood flooring, trim, and hardware.
While a majority of the materials were the same from building to building, the detailing was not identical. “We were working from the drawings of the 1927 building because we couldn’t find drawings for the earlier structure,” says Gonzales. “We had thought the detailing was the same, but when we put our studies together we saw that the rhythm, proportion, and cornices were different.”
When REG Architects couldn’t apply the 1927 documentation to the restoration, the firm examined what was remaining of the building and the few images that had survived. “For a while, we had no cornice pieces, because all of the exterior ornamentations had been destroyed when the façades were smoothed for the addition,” says Gonzales. “Then a contractor found a 16-in. piece, which we used to re-create the cornice line.”
Other elements that needed to be re-created, such as the granite and limestone porticos on the north, south, and west façades, were designed using historic photographs. “We found limestone with the same vein from the same Indiana quarry that was originally used,” says Gonzales. “We were extremely lucky in that the quarry ran out of that vein right after our order.” REG Architects was also able to match the granite.
Many components of the building were salvaged and restored. The cornerstones were restored and placed in their original locations at the northwest corner. The 12 Corinthian capitals and the load-bearing limestone columns – each of which weighs 30,600 lbs. – were pieced back together and repaired. “Placement of the capitals was especially tedious,” says Gonzales, “because it needed to be precise. They were then secured with pegs and glue.”
On the north, south, and west elevations, the brick was restored and, when necessary, replaced. “We couldn’t locate replacement brick with the same hues as the existing brick hues,” says Gonzales, “so we hired artists to stain it so that it blended with the original brick.” On the east elevation, REG Architects specified new brick so the new façade clearly stood out from the old ones.
To the same point, new hurricane-proof wood windows were chosen for the east elevation, while REG Architects was careful to preserve as many old windows as possible on the other elevations. Hedrick Brothers repaired 76 original wood windows as well as the window hardware. “We found a local manufacturer, Coastal Millwork of Riviera Beach, FL, to get the original windows tested for hurricane-preparedness,” says Gonzales. “The company reinforced and laminated the windows, so we were able to reinstall them.”
The crowning achievement of the exterior work was the re-creation of an eagle crest on the west pediment.
Based on a small postcard and images of other eagle crests, Ontario, Canada-based Traditional Cut Stone designed the crest for Palm Beach. “They created a small scale model and then a full-scale model in clay,” says Gonzales. “The final piece, which took five months to produce, was hand-carved from five pieces of Indiana limestone.” Traditional Cut Stone was also responsible for all of the limestone work on the building. REG Architects based much of its interior design on the Desoto County Courthouse in Arcadia, FL, which was built by Talley in 1913.
“The dilemma about the interiors was that there was little archival material and few original photographs to give a precise vision for the interiors,” says Gonzales. “Emphasis was placed on trying to restore the character of the main courtroom and the main interior public spaces.” The main courtroom on the third and fourth floors was especially aided by the Desoto research. The millwork was re-created and the plaster ceiling and moldings, maple flooring, doors, and door hardware were restored. Replica lighting was fabricated.
Architectural elements in the corridors and staircases received similar treatment. Hendrick Brothers uncovered the original mosaic flooring and had it repaired. Only five percent of the tile needed to be replaced; in these cases, matching tile from the 1927 building was used. About 80 percent of the marble wainscoting was salvaged, while the other 20 percent was replaced with matching marble from the original quarry. Wood doors and door hardware were salvaged and reused.
All of the building code upgrades – including efficient HVAC, fire protection, and hurricane protection – were hidden as much as possible with historic finishes. The alley elevation provided an ADA-accessible entrance and space for elevators.
The newly restored Palm Beach County Court House now accommodates a museum for the historical society, as well as offices for the County’s Public Affairs Department and County Attorney. “People say this project was an alignment of the stars,” says Gonzales. “It was. We were lucky to have the opportunity to save this building, we worked with a lot of great people, and it turned out well. It was a great labor of love.” TB
Credit for the data above is given to the following websites:
www.traditionalbuilding.com/projects/courthouse-unwrapped
downtownwpb.com/things-to-do/history-museum-and-restored-...
en.wikipedia.org/wiki/Richard_and_Pat_Johnson_Palm_Beach_...
© All Rights Reserved - you may not use this image in any form without my prior permission.