View allAll Photos Tagged ArchitecturalContrast
This image captures a juxtaposition of historical and modern elements in Barcelona’s cityscape. The ancient Gothic tower, likely part of a medieval church, rises between modern buildings, framed by contemporary architecture. The contrast between the stone tower and the sleek, minimalist design of the newer structures creates a striking visual narrative that reflects the city’s blend of old and new.
The photograph frames the meeting of old and new architecture in Brentford, with a red-painted balustrade and brick chimney stacks set against the glass balconies and geometric façades of contemporary residential towers. The composition uses a compressed perspective to layer these elements closely, enhanced by golden hour light that enriches the brick’s warmth and draws subtle reflections from the glass. The result is a study in architectural contrast, where material texture, light direction, and repeated forms create a visual dialogue between the district’s past and present.
Layers of architectural eras across London as seen from the Westminster Cathedral.
Westminster Cathedral in London is the mother church of the Catholic community in England and Wales. It is the largest Catholic church in England. John Betjeman called it "a masterpiece in striped brick and stone in an intricate pattern of bonding, the domes being all-brick in order to prove that the good craftsman has no need of steel or concrete."
n the labyrinth of palma’s streets, this image captures the surreal intersection of time and reality. a window display filled with clocks reflects the passersby, blending their fleeting presence with the perpetual tick of timepieces. the metal grid creates a visual barrier, adding a layer of complexity and confinement to the scene. the juxtaposition of the solid stone walls and the transparent glass speaks to the coexistence of permanence and transience in urban life. this black-and-white composition highlights the ever-present, often unnoticed, dialogue between the momentary and the eternal.
Found in the Augusta Downtown Historic District, which is on the National Register of Historic Places #04000515.
Many of Trondheim’s old alleys, known locally as smug, were originally built for easy access between the busy waterfront and merchant houses. Some of them still follow the same paths laid out in the Middle Ages.
The Smallpox Hospital was designed by James Renwick, Jr in 1856 and is located on Roosevelt Island. The hospital closed in the 1950s and it fell into ruins. It is on the National Register of Historic Places #72000881.
Em destaque a combinação da arquitetura industrial da antiga Central Tejo com a moderna instalação do MAAT — Museu de Arte, Arquitetura e Tecnologia, em Lisboa. A estrutura em tijolo vermelho contrasta com o letreiro branco contemporâneo, refletindo a fusão entre passado e presente. Este espaço, gerido pela Fundação EDP, simboliza a revitalização cultural e tecnológica da zona ribeirinha da cidade.
These three rowhouses and the brick apartment building are In the Greater Fourteenth Street Historic District National Register #94000992; however, the new apartment tower is just outside the boundary.
At approximately 800,000 square feet, the Hub (transportation center), was designed by Santiago Calatrava for the eastern side of the new World Trade Center.
Passengers board the Prague tram in front of the Dancing House.
The Dancing House is the nickname given to the Nationale-Nederlanden building in Prague, Czech Republic. It was designed by the Croatian-Czech architect Vlado Milunić in co-operation with the renowned Canadian-American architect Frank Gehry. The house stands out among the Baroque, Gothic and Art Nouveau buildings for which Prague is famous.
CITY, China — Contrast between the traditional Chinese architecture of the Mingjiao Buddhist temple in downtown Hefei and newer commercial buildings nearby including a KTV karaoke bar.
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©2018 Germán Vogel - All rights reserved - No usage allowed in any form without the written consent of the photographer.
Quartermile is the marketing name given to the mixed use redevelopment of the former Royal Infirmary of Edinburgh. It's a mixture of new build apartments, apartments converted from the existing hospital buildings, new build offices, affordable housing, and retail/leisure uses. The former main hospital buildings, primarily by architect David Bryce, are being converted by Comprehensive Design Architects (CDA). Foster and Partners are the architects for the new build apartments and offices. The Royal Infirmary is a Category A Listed Building.
An excellent example of Mid-century Modernism turning its back on the street as compared to the earlier department stores.
This was the former Donaldson's/Golden Rule Department Store, then Carson Pirie Scott, then Dayton's, then Marshall Field's, and now finally (maybe?) Macy's. This was connected to the St Paul Town Center, a failed downtown shopping which has been converted to office space.
The curving design of More London leads to the London City Hall near Tower Bridge in London.
City Hall is the headquarters of the Greater London Authority. It is located in Southwark, on the south bank of the River Thames near Tower Bridge. It was designed by Norman Foster and opened in July 2002, two years after the Greater London Authority was created.
The Manhattan Municipal Building with the New York by Gehry.
The Manhattan Municipal Building was designed by William M. Kendall of McKim, Mead and White and opened in 1914 and houses municipal offices for New York City. It is on the National Register, #72000879.
New York by Gehry (8 Spruce Street) is an apartment building designed by Frank Gehry which opened in 2011.
captured on plaça de la quartera in palma, this image reveals a layered scene where the café window acts almost like a portal into another world. in the foreground, a motorcycle’s reflection merges with the bustling street, while the illuminated circular mirror adds a captivating frame to the calm café setting beyond. the weathered facades tell stories of the past, contrasting with the everyday flow of people passing through. it’s a moment suspended in time—modern life wrapped in a timeless cityscape.
This corner building in San Francisco’s Marina District showcases mid-century architectural design, characterized by clean lines, large picture windows, and a functional yet stylish aesthetic. The prominent red brick chimney provides a striking contrast to the otherwise muted gray facade, hinting at the era’s penchant for combining materials to balance texture and color. The wraparound balcony on the second floor speaks to the building’s thoughtful integration of outdoor living spaces, a hallmark of coastal-inspired design.
Set against a backdrop of quintessential Marina-style homes, including Spanish Revival and Edwardian influences, this structure stands out for its minimalist approach. Its large windows flood the interiors with natural light, while the elevated corner location offers unobstructed views of the surrounding neighborhood. Landscaping around the property softens the angular design, blending the structure seamlessly into the residential streetscape.
The Marina District, built on reclaimed land after the 1915 Panama-Pacific International Exposition, is known for its flat streets, proximity to the waterfront, and carefully maintained homes. This building likely dates to the post-WWII housing boom when efficient and practical designs flourished. While not attributed to a specific architect, its thoughtful proportions and understated elegance reflect the priorities of mid-20th-century design.
A striking Victorian-era corner building clad in rich red brick stands tall over a busy intersection in Washington, D.C.’s Dupont Circle neighborhood. Topped by a dramatic slate mansard roof and ornate dormer windows, the building exhibits the defining characteristics of Second Empire architecture—a style that gained popularity in the late 19th century for its grandeur and Parisian flair.
Architectural drama abounds in this imposing structure: elaborate corbels, cast-iron cresting, paired chimneys, and tall sash windows arranged symmetrically across the façade. The sharply defined verticality of the building is further emphasized by projecting bays, turret-like roof features, and recessed brickwork patterns. This is a showpiece of urban Victorian design, built to impress and built to last.
At street level, the past meets the present. A contemporary Le Pain Quotidien café has seamlessly integrated into the historic ground floor, creating a bustling corner spot that invites locals and visitors alike. With outdoor seating, a warm glow through its windows, and signage that is tasteful and subdued, the café enhances rather than disrupts the historic fabric of the building. This fusion of preservation and commerce is a hallmark of Dupont Circle’s success as a dynamic, livable neighborhood.
Modern life bustles in the foreground: a cyclist zips through the crosswalk, a red and white taxi catches motion blur at the intersection, and pedestrians stroll past on their way to meetings or brunch. The juxtaposition between the ornate Victorian architecture and the clean lines of the neighboring mid-century and contemporary buildings illustrates D.C.’s evolving skyline—an architectural dialogue between old and new.
The photo, taken during a calm, overcast day, softens the textures and balances the exposure, allowing the fine details of the brickwork, cornices, and slate to emerge clearly. The overall mood is one of timeless charm in an ever-moving city.
What makes this corner particularly photogenic is not just the architecture, but the life it holds. It’s a living building—still in use, still loved, still part of the neighborhood’s daily rhythm. Its commanding presence stands as a reminder that historic preservation isn’t about freezing the past; it’s about integrating heritage into the present and future of urban living.
The First Chinese Baptist Church of San Francisco, founded in 1880, occupies a striking brick building at the corner of Waverly Place and Sacramento Street in the heart of Chinatown. Completed in 1942, the structure’s textured brickwork and arched fenestration evoke a sense of permanence and spiritual grounding, standing in contrast to the ornamental pagoda styles typical of neighboring buildings. Red lanterns suspended overhead signal the vibrancy of the surrounding community, while the angular fire escapes and punched window openings reinforce the church’s urban context. This architectural landmark embodies the enduring role of Chinese American faith institutions in San Francisco’s cultural fabric.
One of the many examples of modern, contemporary architecture in the Rotterman Quarter in Tallinn, Estonia. The area is one of the most attractive quarters in the city, where old industrial buildings that have been given new functions stand next to modern architecture.
The design is attributed to Thomas Walter and it was constructed in 1852. It is part of the Downtown Historic District which is on the National Register of the Historic Places #84003901.
San Francisco’s skyline is a dynamic blend of old and new, and this cityscape showcases that in full force. Anchoring the scene is the futuristic Salesforce Tower, completed in 2018, which stands as the tallest building in San Francisco at 1,070 feet. Its sleek, tapering design is a symbol of the city’s modern tech boom, representing a significant shift in San Francisco’s architectural narrative. Its glass curtain wall, reflecting the sky and surrounding structures, gives it a lightweight and almost ethereal appearance amidst the more traditional buildings nearby.
In contrast, we see the Bank of America Center, a hallmark of Brutalist architecture from the 1960s, which offers a stark, geometric contrast to the curving form of the Salesforce Tower. The Heuristic architecture seen in some of the mid-century modern buildings reflects a period when function met form in the most utilitarian of ways.
The reflected glass of the 50 Fremont Center foregrounds this view, showing the intricate dance of light and shadow as it plays across its surface. This building, completed in the 1980s, carries a postmodern flair, combining reflective glass with polished stone. In the background, some of San Francisco’s older Classical Revival structures also make their presence felt, with arched windows and ornate details that remind onlookers of the city’s long-standing commitment to blending history with innovation.
As the city continues to grow and evolve, this juxtaposition of past and future in its skyline highlights San Francisco’s unique identity as a hub for both cutting-edge technology and timeless architecture.
The Second Empire building on the left is the Metropolitan Savings Bank (now First Ukrainian Evangelical Pentecostal Church) which was designed by Carl Pfeiffer and opened in 1867. The building on the right is Cooper Union's 41 Cooper Square was designed by architect Thom Mayne of Morphosis, and opened in 2009. It is part of the Cooper Union for the Advancement of Science and Art campus. It houses the Albert Nerken School of Engineering with additional spaces for the humanities, art and architecture departments. The Metropolitan Savings Bank is on the National Register #76001243.
The old Tudor houses at the tower of London house the Yeomen Warders. The Yeomen Warders are ceremonial guardians of the Tower of London. In principle they are responsible for looking after any prisoners in the Tower and safeguarding the British crown jewels, but in practice they act as tour guides and are a tourist attraction in their own right.
The First Chinese Baptist Church of San Francisco anchors this Chinatown streetscape with its deeply textured brick façade and arched fenestration, standing proudly on the corner of Waverly Place and Sacramento Street. From this angle, the iconic Transamerica Pyramid rises in the distance, creating a powerful architectural juxtaposition between a historic faith-based institution and a symbol of San Francisco’s modern skyline. A colorful mural facing Willie “Woo Woo” Wong Playground further ties the building to the community it serves. The church’s architectural strength, combined with the cultural heartbeat of Chinatown, captures the spirit of perseverance and transformation in San Francisco.
Twentieth century Detroit (the Millender Center) keeps a watchful and perhaps an envious eye on the Beaux-Arts architecture of the Old Wayne County Building.
Listen my children and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.
He said to his friend, "If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light,--
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm."
Then he said "Good-night!" and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.
Meanwhile, his friend through alley and street
Wanders and watches, with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.
Then he climbed the tower of the Old North Church,
By the wooden stairs, with stealthy tread,
To the belfry chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,--
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town
And the moonlight flowing over all.
Beneath, in the churchyard, lay the dead,
In their night encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel's tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, "All is well!"
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,--
A line of black that bends and floats
On the rising tide like a bridge of boats.
Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride
On the opposite shore walked Paul Revere.
Now he patted his horse's side,
Now he gazed at the landscape far and near,
Then, impetuous, stamped the earth,
And turned and tightened his saddle girth;
But mostly he watched with eager search
The belfry tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry's height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns.
A hurry of hoofs in a village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark
Struck out by a steed flying fearless and fleet;
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.
It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer's dog,
And felt the damp of the river fog,
That rises after the sun goes down.
It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, black and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.
It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadow brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket ball.
You know the rest. In the books you have read
How the British Regulars fired and fled,---
How the farmers gave them ball for ball,
From behind each fence and farmyard wall,
Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.
So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,---
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo for evermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.
Two extraordinary works by British photographer Frederick H. Evans are captured in this image from an exhibition at The Phillips Collection in Washington, D.C. Displayed side-by-side, the silver bromide print Albi Cathedral France – Choir Ambulatory and the photogravure La Maison Bourgtheroulde offer a poetic meditation on architecture, light, and time.
Frederick H. Evans (1853–1943) is widely recognized as one of the foremost architectural photographers of the Pictorialist movement. His work is marked by a deep sensitivity to natural light and a spiritual reverence for sacred spaces. Here, the left photograph—Albi Cathedral France – Choir Ambulatory—draws the viewer into the tranquil hush of a gothic interior. Shafts of sunlight stream across the stone floor, illuminating carved columns and gothic arches in a study of divine geometry. The composition is masterful: Evans frames the space in such a way that it feels both expansive and intimate, inviting the eye to wander quietly through shadow and glow.
To the right, La Maison Bourgtheroulde shifts the focus to the exterior of a Renaissance mansion in Rouen, France. In contrast to the soft interior of the cathedral, this image presents a proud and intricate façade with sculpted ornamentation, turrets, and finely carved details. Evans’ use of photogravure—a process prized for its tonal richness—renders the textures of the stone and the layers of architectural history with clarity and gravitas. This is not just a document of a building; it is a portrait of place and permanence.
Together, these two prints represent Evans’ dual interest in the spiritual interior and the civic exterior—spaces built for different forms of reverence. The gallery’s lighting and neutral gray walls accentuate the tonal subtleties of the black-and-white prints, allowing Evans’ mastery of light and shadow to take center stage. The labels below the frames identify both works as gifts from Kent and Marcia Minichiello in 2015, a generous donation that enriches The Phillips Collection's holdings of early photography.
Evans, who abandoned commercial photography in favor of artistic pursuit, was a pioneer in advocating for photography as a legitimate art form. His refusal to retouch negatives and his meticulous printing process speak to his dedication to truth and clarity in his work. He famously declared he wanted his images to be "a record of the spirit of the place," and both pieces here live up to that ambition.
Photographing these two prints together honors Evans' legacy and invites reflection on how photography captures more than architecture—it captures atmosphere, intention, and emotion. Whether you're a fan of early photography, architectural detail, or the quiet resonance of historic places, this pairing offers a glimpse into the meditative beauty of Evans’ vision.
The Dallas County Courthouse was constructed in 1892 in the Richardsonian Romanesque style. It is on the National Register of Historic Places #76002019.
The Gulf Building (front) was constructed in 1929 and was designed by Alfred C. Finn, Kenneth Franzheim, and J. E. R. Carpenter. The Pennzoil Place was constructed in 1975 and was designed by esigned by Philip Johnson and John Burgee. The Gulf Building is on the National Register of Historic Places #83004436.
The old Maricopa County Courthouse was constructed in 1925 and was designed by Lescher and Mahoney. The Maricopa County Courthouse is on the National Register #88003237.
This golden-hour view down Massachusetts Avenue NW in Washington, D.C.’s Embassy Row offers a striking contrast between eras: on the left, ornate Gilded Age mansions with turrets and stone façades; on the right, the minimalist glass-and-brick geometry of a mid-century modern federal building. It’s a visual dialogue that defines the city’s architectural DNA—where historic preservation and civic functionality meet face-to-face.
In the foreground, late 19th-century Romanesque Revival and Beaux-Arts townhouses exude character with arched windows, rusticated stone bases, and detailed brickwork. Many of these buildings now serve as embassies, think tanks, or private cultural institutions. Their craftsmanship remains evident, even under the bare branches of winter trees. The turreted structure with dark stone is especially notable for its depth and texture, anchoring this block with timeless presence.
Further down the avenue, the sleek lines of a modernist government or office building reflect the sunset in warm amber tones, amplifying the street’s golden warmth and hinting at Washington’s balance between heritage and functionality. Streetlights are just starting to glow, and a few pedestrians add life to the corridor—an everyday snapshot of one of the city's most prestigious boulevards.
This stretch of Massachusetts Avenue captures the architectural and civic soul of the nation's capital, where history is literally built into the street.
Framed by the cool blue of the Bay and a sky streaked with summer fog, the iconic Ferry Building stands proudly at the edge of San Francisco’s Embarcadero. Its recognizable clocktower rises above a bustling terminal that has served the city since 1898, a Beaux-Arts gem that once greeted arriving ferry passengers before the bridges came. Today, it anchors a modern culinary marketplace while remaining a symbol of civic resilience and waterfront revival. Behind it, the layered skyline of the Financial District looms with architectural diversity—from the sleek Salesforce Tower and angular 181 Fremont to the pointed spire of the Transamerica Pyramid, peeking through like a familiar friend. The juxtaposition of historic and modern speaks to San Francisco’s ever-shifting identity—rooted in history, yet driven by innovation. A seagull glides through the frame overhead, adding motion and life to a scene that is quintessentially San Francisco. Whether seen from a ferry or from across the water, this view evokes a feeling of arrival, of being at the gateway to a city that’s both beautiful and unpredictable.
Rikugien Gardens stands as an oasis of tranquility amid the modern Tokyo skyline. Designed during the Edo period (1700s) under the patronage of Tokugawa shogun Tsunayoshi, this exquisite garden reflects the poetic spirit of its era. Its name, “Rikugien,” refers to the "six divisions of poetry," as it artfully recreates 88 scenic spots from classic waka poems. Surrounded by the urban energy of Tokyo, the garden offers a unique juxtaposition of lush greenery and contemporary architecture visible in the background.
The centerpiece of Rikugien is its expansive central pond, bordered by meticulously trimmed pines and ornamental stones. Meandering pathways guide visitors through verdant landscapes, unveiling hidden teahouses, serene bridges, and dramatic viewpoints of the garden’s natural and architectural elements. Notable features include the man-made hills, symbolizing Japan's mountainous terrain, and reflective ponds that mirror both the traditional garden and the striking modern skyline beyond.
This garden masterfully balances Edo-period principles of design—embracing asymmetry, subtlety, and seasonal change—with a timeless aesthetic that continues to inspire. Seasonal highlights include delicate cherry blossoms in spring and vibrant red maples in autumn, drawing locals and travelers alike.
Rikugien’s appeal is not just its beauty but also its ability to transport visitors into a historic moment while surrounded by the rhythm of a modern city. This dynamic blend of past and present makes it a must-visit for nature lovers, photographers, and history enthusiasts exploring Tokyo.
The Tokyo skyline is a breathtaking mix of modern skyscrapers, traditional architecture, and lush green spaces, embodying the dynamic essence of Japan’s capital city. This panoramic view showcases the city's architectural marvels, including the iconic NTT Docomo Yoyogi Building. Towering at 240 meters, this neo-Gothic skyscraper evokes a timeless grandeur, serving as a focal point amidst Tokyo's cutting-edge urban design. Built in 2000, it stands as one of the tallest structures in Japan, housing communication hubs and a clock tower that adds character to its sleek profile.
In the distance, the skyline highlights Shinjuku, one of Tokyo’s busiest and most vibrant districts, renowned for its mix of towering office buildings and entertainment hubs. On the horizon, you can spot Roppongi Hills and Tokyo Midtown, exemplifying the city’s commitment to integrating modernity with green spaces and public amenities. The lush expanse of Yoyogi Park punctuates the view, offering a serene contrast to the bustling cityscape—a perfect retreat for residents and visitors alike.
Tokyo’s skyline is a testament to the city’s post-war resurgence and its evolution into a global powerhouse. From the meticulously designed urban grids to the awe-inspiring skyscrapers, the view reflects Tokyo's harmonious blend of tradition, innovation, and resilience. Whether you're an architecture enthusiast, a history buff, or a casual observer, the Tokyo skyline provides a unique perspective on one of the world’s most fascinating metropolises.
The Customhouse and Post Office was designed by Alfred Mullett in 1873. It is one of two surviving Federal buildings by Mullett. The other one is the Old Executive Office Building next to the White House. You can't see it from this perspective, but there is a large domed portion on the other side of the building.
This building's adaptive reuse was part of a huge controversy between the Landmarks Association of St Louis and the National Trust for Historic Preservation. Basically the developers interested in the adaptive reuse of the Old Post Office wanted to demolish the historic Century Building for a parking structure (which is what eventually happened). The National Trust sided with the developers horror, and the Century Building came tumbling down.
The Customhouse and Post Office (Old Post Office) is on the National Register #68000053, and it is also a National Historic Landmark.
The Philadelphia City Hall was designed by John McArthur, Jr. in the Second Empire style. Construction began in 1871 and finished in 1901. It is on the National Register #76001666, and also a National Historic Landmark and is contrasted by the Municipal Services Building was designed by Vincent G. Kling and Associates in 1962.