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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
O Claustro de Sant'Andrea, em Génova, é o único vestígio remanescente do antigo mosteiro beneditino de Sant'Andrea, fundado no século XI e demolido no início do século XX. A estrutura, um exemplar notável da arquitetura românica ligúria dos séculos XII e XIII, foi desmontada em 1905 e reconstruída em 1922 junto à Porta Soprana e à casa de Cristóvão Colombo, por iniciativa do arquiteto Alfredo d'Andrade. O claustro distingue-se pelas colunas geminadas e capitéis, que exibem estilos e temas variados: os lados sul e oeste ostentam capitéis românicos com cenas bíblicas e da vida agrícola, atribuídos a artistas lombardo-emilianos, enquanto os lados norte e este apresentam capitéis góticos tardios com motivos florais. Originalmente um espaço de meditação e circulação para as monjas beneditinas de famílias ilustres, o claustro alberga um poço central e hoje serve como testemunho da história religiosa e artística de Génova, preservando a memória do mosteiro que outrora estruturou a malha urbana medieval.
The Cloister of Sant'Andrea in Genoa is the only remaining vestige of the ancient Benedictine monastery of Sant'Andrea, founded in the 11th century and demolished in the early 20th century. The structure, a remarkable example of 12th- and 13th-century Ligurian Romanesque architecture, was dismantled in 1905 and rebuilt in 1922 next to Porta Soprana and Christopher Columbus' house, on the initiative of architect Alfredo d'Andrade. The cloister is distinguished by its twin columns and capitals, which display varied styles and themes: the south and west sides feature Romanesque capitals with biblical scenes and scenes from agricultural life, attributed to Lombard-Emilian artists, while the north and east sides feature late Gothic capitals with floral motifs. Originally a space for meditation and circulation for Benedictine nuns from illustrious families, the cloister houses a central well and today serves as a testimony to Genoa's religious and artistic history, preserving the memory of the monastery that once structured the medieval urban fabric.
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.
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 that 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 Lake Placid Tower in Lake Placid, Florida, formerly named Placid Tower, Tower of Peace or Happiness Tower, is a closed observation tower 240 feet (73.2 m) tall according to early sources (before 1982) or 270 feet (82.3 m) tall according to late sources (after 1986). However, no physical modification of the tower occurred in the interim that would explain a 30-foot increase in height. It rests on ground 142 feet (43 m) above sea level (NAVD 88). As a warning to aircraft, the top of the tower, including antennae, is stated to be 392 feet (119.5 m) above sea level by the Federal Aviation Administration (FAA). Thus, the height of the tower above ground, including antennae, is 250 feet (76.2 m) (392–142=250), which excludes a 270-foot architectural height, allowing only a 240-foot architectural height. Counting the tower's 8-inch (20.3 cm) courses yields a height above ground of 235–236 feet (71.6–71.9 m), so the lowest few feet of the 240-foot height, those resting on the foundation, are underground, providing space for an elevator pit.
According to early sources the tower has three observation levels, at 192 feet (58.5 m) behind windows, at 200 feet (61.0 m) on an open air balcony, and at 225 feet (68.6 m) in the open air crow's nest, Eagle's Nest, or Birds eye vantage point on top of the elevator shaft but below roof tracery. The apex of the tower is a flashing red aircraft warning light. The tower is 360 feet (110 m) above sea level according to two late sources, the latter stating that that elevation applies to the eagle's nest, which is consistent with the crow's nest elevation of early sources (142+225=367≈360). The tower offered a 40-mile (65 km) panoramic view.
Earnest Oakley Hunt dreamed of building an observation tower when he moved to Orlando in 1938, then moved to Sebring in 1947 and found the perfect location in nearby Lake Placid. He and Robert Gray formed Air View Corporation to build the tower. The tower was designed by architect A. Wynn Howell of Lakeland, built by Ridge Builders of Sebring in 1960 for $350,000 (equivalent to $2,300,000 in 2018), and opened January 1, 1961. Most sources state that it was the tallest concrete block structure in the world when it opened, with 90,000 concrete blocks, but the magazine Florida Architect states that it was built of reinforced concrete. One source states that the tower included 100,000 limestone blocks from Ocala while another states that it was faced with ceramic tile, implying that the tower has a facade of limestone tile.
The tower below the balcony is 25 feet 4 inches (7.72 m) square, with its four vertical corners replaced by grooves (each 8 inches (20 cm) per side). The section above the balcony is 21 feet (6.40 m) square, also with corner grooves. Each wall is divided into vertical thirds. The outer thirds are composed of reinforced concrete blocks with a facade of limestone tile.
The middle thirds are composed of decorative breeze or fence concrete blocks. The tower has a foundation made from 520 cubic yards (400 m3) of concrete reinforced with 80,000 pounds (36,000 kg) of steel. The tracery atop the tower is made of gold anodized aluminum.
Because of low ticket sales, the tower closed in 1982 when the owner would not pay their Internal Revenue Service taxes, but it was re-opened in 1986. The small group of owners still faced sluggish sales, and the tower and its restaurant continued to struggle, despite features such as a petting zoo in its plaza, and a pay phone at the top billed as the "highest pay phone in Florida."The last owner who operated the tower as a tourist attraction was Lake Placid Tower Group owned by Mark Cambell since 1992. He sold it to CHL Tower Group on November 6, 2003 which has operated it as a cell phone tower ever since. Even though the tower closed about 2003, it still has two red "OPEN" signs at its top, facing north and south
Originally, the tower above the balcony had the same basic design scheme as that below it. But after the tower closed, the portion of the tower from the balcony up was redesigned with a white and cyan (blue-green) color scheme. The limestone tile of the outer thirds of the walls was covered with white stucco, and the middle thirds were covered with thin cyan-colored panels which blocked the bird's eye view. These panels covered the two opposing triangular openings in the middle third of each wall and the breeze or fence blocks between them. The roof tracery above and the balcony below them were also painted cyan.
The Tower View restaurant at the base of the tower closed in 2015. The tower is among 35 designated Lake Placid historic structures. It is one of three towers in Central Florida, including the Citrus Tower, built in 1956, 100 miles (160 km) to the north in Clermont, and Bok Tower, built in 1929, 50 miles (80 km) to the north in Lake Wales.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Lake_Placid_Tower
© All Rights Reserved - you may not use this image in any form without my prior permission.
Excerpt from torontoplaques.com:
Designed by Toronto architects Strickland and Symons, this charming example of Gothic Revival church architecture was constructed for an Anglican congregation founded in 1874. Growing quickly after the 1884 annexation of Riverdale into the City of Toronto, the congregation moved to this site from its first church building (since demolished) at today's DeGrassi and Cumming Streets. The present St. Matthew's, which originally seated 600, is constructed of red brick - donated by 11 east-end brickmakers - and Credit Valley and Ohio stone. Its exterior is distinguished by a hexagonal tower that rises with a chimney from a square base, and by buttresses, pinnacles, and richly detailed brickwork. Inside the church, a long, narrow nave rises to a steeply pitched, open timber roof. The attached Church Hall was opened in 1907 on the site of the congregation's lawn bowling club, which has relocated to St. Matthew's Road.
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.
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.
To view more images, of Henley-on-Thames , click "here"
From the Achieves, re-processed using Photoshop CC 2025.
I would be most grateful if you would refrain from inserting images, and/or group invites!?
Henley-on-Thames is a town and civil parish on the River Thames in Oxfordshire, England, about 10 miles (16 km) downstream and 7 miles (11 km) northeast of Reading, 10 miles upstream and 7 miles west from Maidenhead. One of its boundaries has the tripoint of Oxfordshire, Berkshire and Buckinghamshire. The first record of Henley is from 1179, when it is recorded that King Henry II "had bought land for the making of buildings". King John granted the manor of Benson and the town and manor of Henley to Robert Harcourt in 1199. A church at Henley is first mentioned in 1204. In 1205 the town received a paviage grant, and in 1234 the bridge is first mentioned. In 1278 Henley is described as a hamlet of Benson with a chapel. The street plan was probably established by the end of the 13th century. As a demesne of the crown it was granted in 1337 to John de Molyns, whose family held it for about 250 years. It is said that members for Henley sat in parliaments of Edward I and Edward III, but no writs have been found to substantiate this. The existing Thursday market, it is believed, was granted by a charter of King John. A market was certainly in existence by 1269; however, the jurors of the assize of 1284 said that they did not know by what warrant the earl of Cornwall held a market and fair in the town of Henley. The existing Corpus Christi fair was granted by a charter of Henry VI. During the Black Death pandemic that swept through England in the 14th century, Henley lost 60% of its population. By the beginning of the 16th century the town extended along the west bank of the Thames from Friday Street in the south to the Manor, now Phyllis Court, in the north and took in Hart Street and New Street. To the west it included Bell Street and the Market Place. Henry VIII granted the use of the titles "mayor" and "burgess", and the town was incorporated in 1568 in the name of the warden, portreeves, burgesses and commonalty. The original charter was issued by Elizabeth I but replaced by one from George I in 1722. Henley suffered at the hands of both parties in the Civil War. Later, William III rested here on his march to London in 1688, at the nearby recently rebuilt Fawley Court, and received a deputation from the Lords. The town's period of prosperity in the 17th and 18th centuries was due to manufactures of glass and malt, and trade in corn and wool. Henley-on-Thames supplied London with timber and grain. A workhouse to accommodate 150 people was built at West Hill in Henley in 1790, and was later enlarged to accommodate 250 as the Henley Poor Law Union workhouse. Henley Bridge is a five arched bridge across the river built in 1786. It is a Grade I listed building. During 2011 the bridge underwent a £200,000 repair programme after being hit by the boat Crazy Love in August 2010. About a mile upstream of the bridge is Marsh Lock. Chantry House is the second Grade I listed building in the town. It is unusual in having more storeys on one side than on the other. Chantry House, next to the church. The Church of England parish church of St Mary the Virgin is nearby, and has a 16th-century tower. The Old Bell is a pub in the centre of Henley. The building has been dated from 1325: the oldest-dated building in the town. To celebrate Queen Victoria's Jubilee, 60 oak trees were planted in the shape of a Victoria Cross near Fair Mile. Two notable buildings just outside Henley, in Buckinghamshire, are:- Fawley Court, a red-brick building designed by Christopher Wren for William Freeman (1684) with subsequent interior remodelling by James Wyatt and landscaping by Lancelot "Capability" Brown. Greenlands, which took its present form when owned by W. H. Smith and is now home to Henley Business School The River and Rowing Museum, located in Mill Meadows, is the town's one museum. It was established in 1998, and officially opened by Queen Elizabeth II. The museum, designed by the architect David Chipperfield, features information on the River Thames, the sport of rowing, and the town of Henley itself. The University of Reading's Henley Business School is near Henley, as is Henley College. Henley is a world-renowned centre for rowing. Each summer the Henley Royal Regatta is held on Henley Reach, a naturally straight stretch of the river just north of the town. It was extended artificially. The event became "Royal" in 1851, when Prince Albert became patron of the regatta. Other regattas and rowing races are held on the same reach, including Henley Women's Regatta, the Henley Boat Races for women's and lightweight teams between Oxford and Cambridge University, Henley Town and Visitors Regatta, Henley Veteran Regatta, Upper Thames Small Boats Head, Henley Fours and Eights Head, and Henley Sculls. These "Heads" often attract strong crews that have won medals at National Championships.
From Wikipedia, the free encyclopedia
Kundig + Olsen Architects
(not my PHOTO - only here for Educational Purposes and to highlight these great Architects work!- although- I did edit, this image to bring out some details.)
Architectes:
Jean-Jacques Binoux [1925-2002] -
Michel Folliasson [1925-2011] -
Henri Kandjian [1942-]
Architects: Chamberlin, Powell, and Bon, 1976. Grade II listed tower of 44 storeys, along with the low-rise Defoe House (1973) and the Barbican Centre (1982). Barbican Estate, City of London.
(CC BY-NC-ND - credit: Images George Rex)
Architects - Miller & Steiner and Wurster, Bernardi & Emmons. The murals were designed by Bay Area artist Louis Macouillard and implemented by Alphonso Purdinas of Byzantine Mosaics. The murals tell the story of A.P. Giannini and the beginnings of B of A.
The building dates to 1963.
The Columbia Center, formerly named the Bank of America Tower and Columbia Seafirst Center, is a skyscraper in downtown Seattle, Washington, United States. The 76-story structure is the tallest building in Seattle and the state of Washington, reaching a height of 933 ft (284 m). At the time of its completion, the Columbia Center was the tallest structure on the West Coast; as of 2017 it is the fourth-tallest, behind buildings in Los Angeles and San Francisco.
The Columbia Center, developed by Martin Selig and designed by Chester L. Lindsey Architects, began construction in 1982 and was completed in 1985. The building is primarily leased for class-A office spaces by various companies, with the lower floors including retail space and the upper floors featuring a public observatory and private club lounge. The tower has the highest public viewing area west of the Mississippi River. It occupies most of the block bounded by Fourth and Fifth Avenues and Cherry and Columbia Streets.
Columbia Center was designed by Washington architect Chester L. Lindsey. The base of the building is clad in Rosa Purino Carnelian granite. The building's structure is composed of three geometric concave facades with two setbacks, causing the building to appear like three towers standing side by side.
Ground level elevation on the Fifth Avenue side of the building is higher than on the Fourth Avenue side; the part of Cherry Street it faces was identified as one of the steepest streets in the Central Business District with a slope of 17.1%. The tower was originally designed to be about 306.5 m (1,006 ft), but federal regulations by the Federal Aviation Administration (FAA) would not allow it to be that tall so close to the nearby Sea-Tac Airport. Although city land use regulations at the time were intended to limit skyscrapers to about 50 stories, the developer, Martin Selig, obtained the necessary permits for a 76-story skyscraper due to a part of the law that allowed bonus height for providing retail space with street access. Because three separate stories could access the street on the sloped site, the developers were allowed a bonus for each of the three stories they set aside for retail, which was reportedly an unintended loophole in the law. There is an observation deck on the 73rd floor which offers views of Seattle and environs. The top two floors of the building (75th and 76th) are occupied by the private Columbia Tower Club, which houses a restaurant, bar, library, and meeting rooms. The 40th floor is accessible to the public and features a Starbucks cafe. An underground concourse connects the building to the nearby Seattle Municipal Tower and Bank of America Fifth Avenue Plaza.
The tower, originally proposed as Columbia Center, opened under the name Columbia Seafirst Center after its largest tenant and financier, Seafirst Bank, and then changed to the Bank of America Tower, when Seafirst, which had been owned by Bank of America since 1983, was fully integrated into Bank of America. That name gave it the nickname "BOAT" (Bank of America Tower). In November 2005, the building's name was changed back to Columbia Center after the bank reduced its presence in the building. Bank of America still maintains office space within the building, but has since closed the bank branch at the base of the tower.
Development and construction
Martin Selig, a local real estate developer who had recently opened the Fourth and Blanchard Building, announced plans for a 75-story office building at 4th Avenue and Columbia Street in October 1980. The $120 million project, named the "Columbia Center", would be funded by the Seafirst Mortgage Company and constructed by Howard S. Wright. Selig borrowed $205 million in 1981 to develop the property. The Columbia Seafirst Center, as it came to be known, was constructed by Howard S. Wright starting in 1982 with a 120-foot (37 m) deep excavation hole that required 225,000-cubic-yards of dirt and soil to be removed. This was one of the largest foundations for a building in Seattle along with concrete footings extending 134 feet (41 m) below street level. While the structural steel of the building was built at a rate of 2 floors per week, the building itself was completed on January 12, 1985,[10] and opened on March 2 of that same year. U.S. Steel Corporation was contracted to provide 16,000 short tons (15,000 t) of steel for construction. It was approximately 50% taller than the previous tallest skyscraper in Seattle, the 630-foot (190 m) Seattle First National Bank Building (now Safeco Plaza) that opened in 1969.
Financial issues and height controversy
Selig continued to own and manage the building until 1989, when financial problems forced him to sell it to Seafirst Corporation for $354 million. Management was taken over by the Tishman West Company of Los Angeles.
Controversy regarding the skyscraper's size contributed to the passage of a 1989 law called the Citizen's Alternative Plan (CAP) that enforced more stringent restrictions on the size of buildings in Downtown Seattle. In 1990, after rejecting earlier plans for 300-foot (91 m) antennas, Seattle and the FAA granted permission to erect two 192-foot (59 m) antennas on top of Columbia Center, which were expected to be used for broadcasting radio and television throughout the region. Though the FAA was originally worried about the tower's height encroaching the airspace, they deemed the addition of the antennas not problematic. The antennas were not built before the permits expired in 1994, however.
Ownership changes
EQ Office bought Columbia Center from Seafirst in 1998 for $404 million. The New York State Common Retirement Fund bought a 49.9% stake in the building and then several years later sold its share back to EQ Office. In 2007, Columbia Center was sold by EQ Office to Boston-based Beacon Capital Partners for $621 million; Beacon later defaulted on a loan in 2010, the height of the Great Recession, at a time when vacancies reached 40%. On August 7, 2015, Hong Kong-based Gaw Capital Partners purchased the building for $711 million.
Renovations
On July 1, 2013, the Columbia Center's observation deck, known as the Sky View, was remodeled from 270 degrees to a 360 degree viewing area. The observation deck underwent further renovations in 2018, adding two express elevators and a new lounge. The 4th Avenue entrance was also renovated.
(Wikipedia)
Das Columbia Center ist das höchste Gebäude in Seattle und im US-Bundesstaat Washington. Mit einer Gesamthöhe von 285 Metern war es bei der Fertigstellung 1985 der höchste Wolkenkratzer westlich des Mississippi, wurde allerdings 1989 durch den U.S. Bank Tower in Los Angeles mit 310 Metern übertroffen. Die Höhe des Columbia Centers beträgt einschließlich einer Antennenkonstruktion auf dem Dach 295 Meter. Diese wird jedoch nicht als Teil des Gebäudearchitektur angesehen, und somit nicht zur formalen Höhe gewertet.
76 oberirdische Etagen dienen als Büroraum, die sieben Kellergeschosse werden vielseitig genutzt. Der Wolkenkratzer sollte ursprünglich etwa 306,5 Meter hoch werden. Die FAA erlaubte die Höhe nicht, da sich das Gebäude dafür zu nah am Flughafen Seattle/Tacoma befände, wodurch ein höheres Sicherheitsrisiko entstünde. Es wurde in das Projekt Raum für die Öffentlichkeit und Einzelhandel einbezogen, damit die zulässige Höhe nicht zu sehr eingeschränkt werden kann. Das 73. Stockwerk dient nun teilweise als Aussichtspunkt, von dem sich Seattle und seine Umgebung überblicken lässt. Der Columbia Tower Club verteilt sich auf die beiden obersten Stockwerke (75 und 76) und besteht aus einem Restaurant, einer Bar, einer Bibliothek und einigen Tagungsräumen. Ein unterirdischer Gang verbindet das Columbia Center mit dem nahegelegenen Seattle Municipal Tower und dem Bank of America Fifth Avenue Plaza.
Mehrere größere Unternehmen mieten Büros im Columbia Center. Dazu zählen vor allem die Bank of America, Heller Ehrman LLP und Amazon.com.
Ursprünglich trug der Wolkenkratzer seinen heutigen Namen. Später wurde er nach der dort ansässigen Seafirst Bank als Columbia Seafirst Center bezeichnet. Diese gehörte seit 1983 zur Bank of America, wurde im Laufe der 1980er Jahre jedoch vollständig integriert. Daher bekam das Gebäude den Namen Bank of America Tower mit dem Spitznamen BOAT. Im November 2005 wurde es wieder in The Columbia Center (TCC) umbenannt.
Am 16. Juni 2004, noch vor Herausgabe ihres 9/11 Commission Report, machte die Untersuchungskommission zum 11. September 2001 nicht in die Tat umgesetzte Pläne der Terroristen bekannt, die vorsahen mit zehn entführten Passagierflugzeugen die höchsten Gebäude in Kalifornien und im Staate Washington zu beschädigen bzw. zu zerstören. Neben dem Columbia Center in Seattle habe auch der U.S. Bank Tower in Los Angeles zu den Zielen gehört.
(Wikipedia)
Here is The Architect, the trophy for the best use of structure in the Castle theme at Bricks Cascade 2016.
Below, we see the architect's workshop, featuring his work desk and plans, as well as a model of the cathedral he has designed.
Above, we see the architect on the construction site reviewing plans and comparing measurements with the cathedral going up in the distance behind him.
Here is The Architect, the trophy for the best use of structure in the Castle theme at Bricks Cascade 2016.
Below, we see the architect's workshop, featuring his work desk and plans, as well as a model of the cathedral he has designed.
Above, we see the architect on the construction site reviewing plans and comparing measurements with the cathedral going up in the distance behind him.
sgmacro.blogspot.com/2016/01/5-mysterious-structures-worl...
The rainforest is a giant trove of mysteries. When zooming into the micro world, I saw natural creations which appear so man-made, that they have to be showcased here as nature's smallest architects. This post will showcase the log cabin, jungle tent, cage fortress, poop barricade, and the mysterious web tower.
View the full series here: bit.ly/1ZD5NHR
The Plymouth Congregational Church is a historic church located at 3429 Devon Road corner of Main Highway in the Coconut Grove neighborhood of Miami, Florida, United States. The land was donated by George Spalding and George E. Merrick. The architect was Clinton MacKenzie. The Edifice Religious was founded in the 1897, and completed in the 1917, the church was built by a single man, Felix Rebom, using only a hatchet, a trowel, a plumb line, and a T-square. Its architecture was modeled after the old Spanish missions of Mexico. On April 18, 2012, the AIA's Florida Chapter placed Plymouth Congregational Church on its list of Florida Architecture: 100 Years. 100 Places. On July 23, 1974, it was added to the U.S. National Register of Historic Places.
Circa 1941, the WPA-sponsored American Guide Series book about Miami and environs described the church: "PLYMOUTH CONGREGATIONAL CHURCH, at Ingraham Hwy. and Devon Rd. is a reproduction of a Mexican mission. The interior of the vine-covered stone building is constructed on the lines of a basilica and the doors are said to have come from a Spanish mission in Mexico. In one of the doors is a round cat-hole, now covered with screen. Many outdoor weddings have been performed at the pulpit in the walled garden."
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Plymouth_Congregational_Church_(Miami)
www.yelp.com/biz/plymouth-congregational-church-miami
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