View allAll Photos Tagged ArchitecturalContrast
The Vaillancourt Fountain, also known as "Quebec Libre!," is one of San Francisco’s most controversial and intriguing public art pieces, located in Justin Herman Plaza at the Embarcadero. Designed by Armand Vaillancourt in 1971, the massive, raw concrete fountain is a bold example of Brutalist architecture, standing in stark contrast to the waterfront’s more polished and modern surroundings. Its jagged, geometric blocks of cement rise into the air, creating a visual puzzle that draws you in for a closer look.
At night, the fountain takes on a new character. The harsh edges of the concrete blocks soften under the glow of the plaza’s lights, casting long shadows that emphasize the structure’s abstract forms. Originally designed to have water flowing through it, the fountain was intended to evoke nature’s raw power, with water cascading through its maze-like structure. However, it’s the interplay of light and shadow after dark that makes Vaillancourt Fountain a must-see for those exploring San Francisco at night.
Vaillancourt created this piece as a statement of artistic freedom, and its controversial nature—some have loved it, others have called for its removal—only enhances its mystique. Over the years, it has become a symbol of San Francisco's rebellious and avant-garde spirit, standing defiantly amid its critics. Whether you’re an admirer of Brutalism or not, the Vaillancourt Fountain continues to captivate as a piece of art that refuses to fade into the background.
Jean Dubuffet’s La Chiffonnière sculpture, located in the bustling heart of San Francisco, is an extraordinary example of public art that captures the city’s eclectic energy. Part of Dubuffet's renowned Hourloupe series, this abstract sculpture was created in 1972 and stands as a striking monument to the artist’s fascination with texture, spontaneity, and playful forms. The towering piece, crafted from painted fiberglass and resin, features bold, irregular shapes that almost seem to defy the traditional rules of balance and form.
Dubuffet, a French painter and sculptor, was a central figure in the post-war avant-garde movement. His works often embraced a rejection of classical aesthetics in favor of raw, expressive designs. La Chiffonnière—meaning “the rag-picker”—perfectly embodies Dubuffet’s ethos, drawing inspiration from discarded materials and transforming them into something dynamic and thought-provoking.
This striking sculpture is located near the Financial District of San Francisco, where its abstract and whimsical design creates a fascinating contrast against the sleek, modern architecture of the surrounding buildings. As day turns into night, the lighting enhances its shimmering metallic hues, making it an even more captivating sight under the city’s glow.
For those interested in public art, La Chiffonnière offers a perfect example of how sculpture can enliven and reshape urban spaces. It’s not just a piece of art but a conversation starter, challenging viewers to engage with its playful forms and reconsider the boundaries of modern sculpture.
St John Church was built by German and Swiss immigrant farmers in northwest Harris County. It was moved to Sam Houston Park in 1968.
The cupola of the New York Central Building (constructed in 1929) contasted against the side of the PanAm Building (fininshed in 1963). New York Central was designed by Warren & Wetmore, while PanAm was designed by Emery Roth & Sons with the assistance of Walter Gropius and Pietro Belluschi. The New York Central Building is named the Helmsley Building and PanAm is the MetLife Building.
The Smithsonian Castle was designed by James Renwick, Jr in 1855 for a design competition. The building is in the Norman Revival style and constructed out of Seneca red sandstone. The building is on the National Register of Historic Places #66000867 and is also a National Historic Landmark.
The Landmark @ One Market, an iconic gateway to one of San Francisco’s most distinguished business addresses, showcases a seamless blend of modern sophistication and historic charm. Located in the heart of the Financial District, this stunning entryway serves as a portal to a timeless piece of architecture. The building dates back to the early 20th century, when it was a hub of commerce and innovation, contributing to the economic boom that shaped San Francisco into the global city it is today.
The entry’s sleek glass façade creates an airy and welcoming space, highlighted by ambient blue lighting that enhances its contemporary appeal. Above, subtle classical architectural elements from the original building remain visible, serving as a nod to its rich history. The ornamental stonework surrounding the glass, with delicate scroll patterns and intricate carvings, provides a striking contrast to the clean, minimalist design of the lobby.
Once inside, visitors are greeted by a spacious corridor lined with towering indoor plants, which soften the industrial materials with a touch of nature. The symmetry and polished marble floors add to the grandeur of the space. This contrast between modern minimalism and historic detail exemplifies San Francisco's spirit—where innovation meets tradition in the most unexpected ways. Whether you're working at a tech startup or heading to a business lunch, The Landmark @ One Market makes a powerful impression.
Perfectly situated near the waterfront, with easy access to public transit and renowned dining spots, The Landmark @ One Market continues to be a prestigious address, merging the past and present with architectural finesse.
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.
Traffic streaks past Saint Mary Somerset Tower in the City of London.
St. Mary Somerset was a church in the City of London first recorded in the twelfth century. Destroyed in the Great Fire of 1666, it was one of the 51 churches rebuilt by the office of Sir Christopher Wren. The tower is located in Upper Thames Street, the body of the church being demolished in 1871.
A striking nighttime view of the Museum of Liverpool, showcasing its modern architectural design with illuminated windows against a dark sky. The museum’s sharp angles and contemporary structure stand out along the waterfront, highlighting Liverpool’s blend of history and innovation
420-ft (128 m) Brooks Tower, 1968
325-ft (99 m) Daniels & Fisher Tower, 1910
565-ft (172/195 m) Four Seasons Tower, 2010
Construction started on 28 Liberty Street (originally the Chase Manhattan Building) started in 1957 and was completed in 1961. It was designed by Skidmore, Owings, and Merrill. 40 Wall Street (Manhattan Company Building) was designed by H. Craig Severance in 1929 and is on the National Register of Historic Places #00000577.
Auguste Chouteau and John Lucas donated land to St. Louis County for a courthouse in 1816. The original courthouse was constructed of brick in the Federal style of architecture and completed in 1828. A second courthouse was designed by architect Henry Singleton, which incorporated the original courthouse as the east wing of the building. The second courthouse was designed with four wings and a dome in the center of its axis. The Old Courthouse underwent a second period of construction beginning in 1851. Due to the extensive remodeling, the original dome, a classic revival style, was replaced. The new dome was of wrought and cast iron with a copper exterior in an Italian Renaissance style, and was designed by William Rumbold. Carl Wimar was commissioned to paint the murals on the interior of the dome. The Old Courthouse was abandoned by the City of St. Louis in 1930. In 1935, St Louis voted a bond issue to raze nearly 40 blocks around the courthouse in the center of St. Louis for the new Jefferson National Expansion Memorial. The courthouse was deeded to the Federal Government in 1940 by the city of St. Louis.
In 1846, slave Dred Scott sued for his freedom in the St Louis County Courthouse based on the fact that he and his wife had lived in the free state of Illinois and the free territory of Wisconsin. The case was ultimately decided by the U.S. Supreme Court in the 1856 case Dred Scott v. Sandford which ruled against Scott. The decision In effect, ruled that slaves had no claim to freedom; they were property and not citizens; and they could not bring suit in federal court.
The Jefferson National Expansion Memorial (including the Arch, Old Cathedral, and Old Courthouse) is on the National Register #87001423, and is also a National Historic Landmark.
A quiet, symmetrical view of St. James Street in Old City, Philadelphia, framed by historic stone buildings and bathed in soft golden hour light. The cobblestone alley and architectural details create a timeless urban scene.
Jonathan Williams began construction of Castle Williams in 1807 and was completed in 1811 - It's a three level 100 gun casemate. It was the first casemated fort in North America. It was part of a larger system of forts such as Fort Wood, Fort Hamilton,and Castle Clinton protecting New York Harbor and New York City.
The northern half of Governor's Island is a National Register historic district #85002435. It's also a National Historic Landmark. The National Park Service runs Castle Williams and Fort Jay as a National Monument.
A penthouse designed by I.M. Pei in 1975 added to the 17-story Lamar Building which was completed in 1917. The building is on the National Register #79000744, and is also located in the Augusta Downtown Historic District #04000515.
Quality prints, greeting cards and products can be purchased at >> kaye-menner.artistwebsites.com/featured/architectural-con...
My street photography of some colorful terraced houses with red roofs in The Rocks area of Sydney city situated before a large block or building of modern apartments.
It is amazing to view the old against the new.
Many terraced house owners have to battle against Council in order to be able to keep their homes, rather than them being torn down for larger developments. I will keep this image as I do think the time will eventually come to tear them down which will be very sad for the owners and the heritage of Sydney.
Terraced houses in Australia refers almost exclusively to Victorian and Edwardian era terrace houses or replicas almost always found in the older, inner city areas of the major cities, mainly Sydney and Melbourne.
Terraced housing was introduced to Australia in the 19th century. Their architectural work was based on those in London and Paris, which had the style a century earlier.
Large numbers of terraced houses were built in the inner suburbs of large Australian cities, particularly Sydney and Melbourne, mainly between the 1850s and the 1890s. The beginning of this period coincided with a population boom caused by the Victorian and New South Wales Gold Rushes of the 1850s and finished with an economic depression in the early 1890s. Detached housing became the popular style of housing in Australia following Federation in 1901.
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.
A six-story residential tower was added on to an existing two-story building. The residential tower was designed by Campani and Schwarting Architects.
The Smithsonian Castle was designed by James Renwick, Jr in 1855 for a design competition. The building is in the Norman Revival style and constructed out of Seneca red sandstone. The building is on the National Register of Historic Places #66000867 and is also a National Historic Landmark.
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.
Henry Hobson Richardson designed Trinity Church on Copley Square in 1872 and it was finished in 1877. It is on the National Register of Historic Places #73001948 and also a National Historic Landmark and resides in the Back Bay Historic District which is also on the National Register of Historic Places #73001948.
The penthouse on top of the Lamar Building was designed by I.M. Pei in 1975. The building is on the National Register #79000744, and is also located in the Augusta Downtown Historic District #04000515.
From here:
The penthouse costs more than $2 million; Augustans call it "Holley's Folly" and the "giant toaster." B. Kelley New, the Lamar Building's interior designer and a former employee of Mr. Holley, said the misunderstood penthouse was supposed to resemble a pyramid to go along with the Egyptian influences in the building's architecture.
JPMorgan Chase Tower designed by I.M. Pei in 1981 is on the left while 609 Main at Texas designed by Pickard Chilton in 2017 is on the right.
I caught these moments and was granted permission to take photos of a beautiful girl showcasing luxurious, elegant, and noble fashion styles on a street sidewalk, blending ancient and modern elements in the dawn light of the bustling city.
The Allen County Courthouse in Fort Wayne, Indiana was designed by Brentwood S. Tolan and opened in 1902. The Beaux-Arts style courthouse includes murals by Charles Holloway, and a copper-clad dome topped by a 14-foot statue wind vane of Lady Liberty. The courthouse is on the National Register #76000031, and also is a National Historic Landmark.
The penthouse was designed by I.M. Pei in 1975. The Lamar Building is on the National Register #79000744, and is also found in the Augusta Downtown Historic District, which is on the National Register of Historic Places #04000515.