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Research the history of your house: www.publications.qld.gov.au/dataset/brief-guides-at-qsa/r...
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Museum Mile Festival 2011. Solomon R. Guggenheim Museum.
Architecture design: Frank Lloyd Wright.
Upper East Side, New York City
"One day a year, for the past 32 years, nine of the country's finest museums, all ones that call Fifth Avenue home, collectively open their doors from 6pm - 9pm for free to New Yorkers and visitors for a mile-long block party and visual art celebration. This traffic-free, music- and art-filled celebration fills the street and sidewalks of Fifth Avenue from 82nd to 105th street, the mile now officially designated asMuseum Mile. Over 50,000 visitors attend the festival annually." - Source
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Loreto College Ballarat, a Catholic school for girls was established in 1875 by Mother Gonzaga Barry (1834 – 1915) a member of the order of the Institute of the Blessed Virgin Mary whose members are commonly known as the Sisters of Loreto; a courageous woman with a truly visionary approach that saw her create educational opportunities for girls never before considered in the society of that day. The Loreto Sisters arrived in Australia in response to a request by the Bishop of Ballarat, Bishop O'Connell. The group of ten sisters from Ireland, led by Mother Gonzaga Barry, set up a convent in Ballarat, Victoria and their first girls school, known as Mary's Mount, which today is known as Loreto College.
The Loreto Chapel, or Children’s Chapel as it is known, was built between 1898 and 1902. The architect was William Tappin and the builder George Lorimer. It is built in an English Gothic style with French influences. The stone from which it is constructed is Barrabool Hills sandstone taken from a quarry near Geelong. It also features white stone detailing from Oamaru in New Zealand. Building was interrupted through lack of funds, but the project was finally completed with a large bequest from the German Countess Elizabeth Wolff-Metternich, who had arrived at Ballarat unannounced in 1898, was captivated by the post Gold Rush city and decided to teach German to the Loreto students. A direct descendent of St Elizabeth of Hungary, Countess Elizabeth later found that she loved the peace and simplicity of the Mary's Mount cloister, and informed Mother Gonzaga that she wished to be accepted as a novice. The Mother Superior urged the young woman to return to Germany to discuss her future with her family prior to making a decision. Sadly, Countess Elizabeth was never to return to Ballarat: tragedy struck the RMS India, in the Straits of Messina en route Europe, when Countess Elizabeth died suddenly in April 1899, possibly from cholera, as she was nursing sick passengers on board the ship during its journey. When her will was read, it was found that Countess Elizabeth had left a generous 16,000 pounds to the astonished Mother Gonzaga to `be used as she thought fit'. Funds were once again available to finish the Children's Chapel, but there was to be another, seemingly impenetrable, obstacle: Germany had instituted a law forbidding money to be sent out of the country, so the funds remained frozen in Germany indefinitely. However, Countess Elizabeth's relatives contacted their distant relative, Kaiser Wilhelm of Germany (eldest grandson of England's Queen Victoria and Prince Albert) to petition that the funds be released for the Australian convent. It was only through the direct intervention of the Kaiser that the law was waived in this particular case. The Children’s Chapel was officially opened in December 1902.
The inside of the Children’s Chapel is decorated in soft pastel colours with artwork and statuary donated to the Sisters of Loreto by families in Ballarat and back in Ireland. The Rose Window over the Organ Gallery depicts Saint Cecilia the patron saint of music, surrounded by symbols of the four Evangelists, Matthew Mark Luke and John. The windows over the alter depict the instruments of the Passion of Christ. The marble alter features the Nativity scene as was requested by the girls attending Loreto at the time.
These were initial sketches of various design ideas for a low-rise building (and logo for the project), to be shown to my client for my Design and Technology project. I believe they communicate my ideas well.
William Smith Building by Pick Everard. Visit www.pickeverard.co.uk. For details visit www.nhit-shis.org/william-smith-building-modern-architect...
Located at number 4. Murray Street, Colac's former post office is in a prime location at the gateway into the historical centre of the town.
Built in 1876 by the Public Works Department, it was extended in 1888 to reflect the Victorian Free Classical building that is seen today. It features a classical colonnade entrance, windows with attenuated vertical proportions, aedicules using prominent pillar detailing and a classically inspired clock over the entranceway.
The building has seen many changes over the years, as has its usage. The Colac telephone exchange commenced on the premises in 1904 with twenty-five subscribers.
Times have changed in Twentieth Century Colac, and the post office with a capacious dwelling for the postmaster became too large for the practicalities of the modern day business that Australia Post is, and they relocated to smaller, more modern and more central promises. Now the former Colac post office has found new life as a Chinese restaurant. However, because it is protected by the National Heritage Committee, no exterior advertising is permitted to be attached to the classical facade, which is why there are discreet signs in the upper floor windows and dainty Chinese lanterns hanging from the colonnade's arches. At night the clock, which still keeps good time, is illuminated by a violet coloured neon light that encircles the face.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
Critic Sean Griffiths discusses student work during the Open Crits
Photo credit: Stonehouse Photographic
St James Old Cathedral was originally constructed on five acres of Crown land bounded by Collins, William and Bourke Streets with the foundation stone being laid on 9 November 1839 by Charles Joseph La Trobe (1801 – 1875), Superintendent of the District of Port Phillip. A simple timber pioneer church which preceded it was built with funds largely subscribed by Presbyterians and other denominations that made up the small community. Charles La Trobe brought a gift from Queen Victoria to the new colony, a baptismal font from St Katherine's Abbey, London, which remains the font at St James' today.
Opened on 11 February 1837, St James was designed by Robert Russell (1808 – 1900), a London architect and surveyor who had arrived in Melbourne from Sydney on 5 October 1836. The Colonial Georgian building is inspired by Francis Greenway's work at St James' King Street in Sydney. The foundations are of bluestone, and the main walls of a sandstone found in various local quarries. The unfinished building was opened for worship on the 2nd October 1842 and completed in 1847.
The Anglican Diocese of Melbourne was founded in 1847, and on 29 June 1847 Charles Perry was consecrated in Westminster Abbey as Melbourne's first Bishop. He was enthroned in St James on 28 January 1848, and St James became the first Cathedral church of the new diocese, although it was not consecrated until 1853.
When St Paul's Cathedral opened for worship on 22 January 1891 St James reverted to the status of a parish church. The diminished congregation, pressure of occupying valuable city land, and maintenance problems resulted in the church narrowly escaping demolition. It was relocated stone by numbered stone to its present site under the direction of Messrs Thomas Watts and Son, architects, re-consecrated by Archbishop Lowther Clark, and re-opened for worship on 19 April 1914 at its current site on the corner of Batman and King Streets, West Melbourne – opposite the Flagstaff Gardens. Changes made to the original design at the time of relocation include reorientation from east west to north south, the tower shortened by one stage, the main ceiling lowered a little, the sanctuary shortened by a few inches, the space between the main gallery remodelled to form a lobby and two vestries with passage and gallery stairs behind them and most noticeably to the third level of the belltower which became square instead of octagonal. Two side entrances were constructed to serve the new passage.
St James Old Cathedral is of historical importance as the first Cathedral in Melbourne, the earliest surviving church in Victoria, and one of Melbourne's earliest surviving buildings. It is of architectural importance as a rare example in Melbourne of a Colonial Georgian style building of simple design and pleasing proportions with Greek detailing at the doorways, and the only known surviving work of architect Robert Russell. Although he worked in London with eminent English architect John Nash, the style reflects his experiences in Sydney, especially the work of his contemporary Francis Clarke as well as of Francis Greenway.
The interior is important for rare and unusual features for Victoria, such as the traditional box pews of cedar, side galleries or Vice-Regal boxes originally for the use of Governor La Trobe and the Chief Justice, Baptismal font with the white marble bowl probably dating from the 17th century and coming from St Katherine's Abbey on the banks of the Thames, two mahogany pulpits presented by the ladies of the congregation in 1847. The World War I honour board carved by well known master wood carver Robert Prenzel and the World War II honour board which was copied from the earlier honour board. The stained glass windows are also of note with the 'east window' being possibly by the Melbourne firm of Ferguson and Urie, and the five windows by Christian Waller, wife of artist Napier Waller.
The former State Government offices building in Ballarat's Camp Street was designed by Chief Government Architect Percy Everett (1888 - 1967) and opened in 1941 to house the local state government offices and courthouse. A commemorative plaque announcing that building was opened by the then Premier of Victoria, the Honourable A. A. Dunstan M. L.A. appears to the right of the main entranceway. Created of clinker brick and concrete in Art Deco style, it is remarkably similar in design to the Russell Street Police Station in Melbourne (also designed by Percy Everett), and a good example of the era. It features Functionalist Moderne windows and doors, hexagonal Art Deco lamps and very stripped back detailing. The main entranceway is crowned by Dieu et Mon Droit emblem on the King George VI which is painted and gilt.
It's curious that this beautiful building sits in Camp Street given its contrasting architectural style to the otherwise Victorian-influenced street. The building faces Sturt Street rather than Camp Street, and has been beautifully maintained.
The State Government Offices are now located in Mair Street, and the city's court house has moved to the corner of Albert and Dana Streets. This building is now part of the University of Ballarat's Arts Academy.
Percy Everett is also known for having designed Heatherton hospital (1945), the Fairfield Golf Clubhouse (1934),
Essendon Technical School (1939), the State Accident Insurance Office in Melbourne (1941), the William Angliss Food Trades in Melbourne(1941), the Russel Street Police Headquarters in Melbourne (1942–1943), F.G.Scholes Block (Wards) Fa Hospital in Fairfield(1949) and the RMIT Building 5&9 in Melbourne(1938).
The Pittock Mansion was home to Portland pioneers Henry and Georgiana Pittock from 1914 to 1919. During the late 1800s and the early 1900s, their lives and work paralleled the growth of Portland from a small Northwest town site to a thriving city with a quarter million population. With its eclectic architectural design and richly decorated interior, including family artifacts, the Pittock Mansion stands today as a living memorial of this family’s contributions to the blossoming of Portland and its people.
English-born Henry Lewis Pittock journeyed on a wagon train from Pennsylvania to Oregon in 1853 where, at the young age of 19, and in his own words, “barefoot and penniless,” he began working for Thomas Jefferson Dryer’s Weekly Oregonian newspaper. In 1860, at the age of 26, he married 15-year-old Georgiana Martin Burton of Missouri. Six years prior, Georgiana had crossed the plains from Keokuk, Iowa to Oregon Territory with her parents. Georgiana’s father E.M. Burton was a flour mill owner and one of early Portland’s well known building contractors.
Together, Henry and Georgiana began a long life of work, community service, and devotion to family, which would last 58 years and celebrate six children and eighteen grandchildren.
A consummate businessman, Henry Pittock took ownership of the Weekly Oregonian in 1860, changing its format to the daily paper we read today. He went on to build an empire incorporating real estate, banking, railroads, steamboats, sheep ranching, silver mining, and the pulp and paper industry.
Georgiana dedicated herself to improving the lives of the community’s women and children. She helped found the Ladies Relief Society in 1867, whose Children’s Home provided care, food, and shelter for needy children. Georgiana also worked with the Woman’s Union, and played a key role in building the Martha Washington Home for single, working women.
The couple was known for their quiet reserve, helpful demeanor, and love for the outdoors. Georgiana cherished gardening, and kept a terraced flower garden at the mansion covered with every kind of flower imaginable. She frequently adorned her house with cut flowers, and is recognized for originating the tradition of Portland’s annual Rose Festival.
A vigorous outdoorsman, Henry rode horses in the Rose Festival parades, and was a member of the first party to climb Mt. Hood, one of the spectacular peaks visible from the mansion. On one of his climbing expeditions, someone suggested that the group sit down and rest, at which point Henry responded, “The man who sits down never reaches the top.”
Henry and Georgiana were at the pinnacle of their successful lives when they commissioned architect Edward Foulkes to design and build their new home overlooking Portland, the city they loved.
They began planning and designing their new home in 1909. The mansion was completed in 1914, replete with stunningly progressive features including a central vacuum system, intercoms, and indirect lighting. The house also creatively incorporated Turkish, English, and French designs. In keeping with their loyalty to their home state, the Pittocks hired Oregon craftsmen and artisans, and used Northwest materials to build the house. The final estate included the mansion, a three-car garage, a greenhouse, and the Italianate gate lodge servants’ residence, all situated on 46 acres of land almost 1,000 feet above downtown Portland.
At 80 and 68 respectively, Henry and Georgiana moved to their new home. The hard-working couple who had lived in the heart of Portland as it developed from a forest clearing to a bustling business center, now resided high in the hills, with a breathtaking vista of their beloved Portland. It was a warm and gracious house for both the adults and children of the family.
Georgiana died in 1918 at the age of 72, and Henry in 1919 at 84. The Pittock family remained in residence at the mansion until 1958, when Peter Gantenbein, a Pittock grandson who had been born in the house, put the estate on the market.
The threat of demolition at the hands of land developers, and the extensive damage caused by a storm in 1962, brought concerned citizens together to raise funds to preserve the site. Seeing this popular support, and agreeing that the house had tremendous value as a unique historic resource, the City of Portland purchased the estate in 1964 for $225,000. Fifteen months were spent restoring it. The mansion opened to the public in 1965, and has been a community landmark ever since.
A house of historical significance and visual magnificence, the Pittock Mansion today offers us a uniquely personal opportunity to peek into the past, and study our world as it was - from the viewpoint of one Portland family
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On my quest for a restroom i now look down the corridor to my left, it is pretty dark, but there is a cool looking Fiat hiding down there. I have a passion for small cars, so I walk towards it, and as I pass the first door on the left, I see the international sign of all bladderemptying establishments, the universal man and woman symbols on the door. Whoohoo!
I am beginning to think that the architects behind the school of architecture WANT to make it hard to find the way. You can't see the small man/woman icons in this badly litt corridor until you are just a few feet away. If you are seeing impaird, you will NEVER find them.
I hope the students that study architecture here learns what NOT to do by watching their own building, because being a first time user of this facility really sucks.
Cities are not attractive because they are large sprawling places, but because they turn into poles of culture, administration, and production.Principles of the Quartier des Arts: it's a crescent"s place with market, shops ,cultural center and housing.
Home Exterior Architecture Design
Home Exterior Architecture Design, 1600 x 1097, 417 KB, www.interiordev.com/ideas/warna-cat-exterior-rumah.html
Built in 1905, this former ten room dental surgery and residence was erected for Dr. F. W. Kiel who set up his practice at the more affluent end of Sydney Road in the Melbourne suburb of Coburg.
Between the 1890s and 1914, Federation Queen Anne style was a very popular architectural design in Melbourne, and this surgery and residence was built in just such a style. The red brick is very Arts and Crafts inspired, as is the shingling both above and below the upper bay window of Dr. Kiel's drawing room. So too is the half timbered bargeboard below the eave with its Mock Tudor latticework and rough cast stucco. The wonderful stained glass upper panes with stylised tulips in them are Art Nouveau influenced.
The Queen Anne style, was mostly a residential style inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. Queen Anne style was most popular around the time of Federation. With complex roofline structures and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.
Built next to the Coburg Anglican Church and opposite The Avenue, Coburg's most prestigious residential street, Dr. Kiel for many years gained the custom of some very wealthy upper and upper-middle class families and his business florished.
At the time of photographing, the former dental surgery and residence were for sale, which explains why geraniums choke the front garden almost to the point that the gate leading to the surgery is immobilised. The property has since been sold, and the new owners have given the geraniums a good trim!
St James Old Cathedral was originally constructed on five acres of Crown land bounded by Collins, William and Bourke Streets with the foundation stone being laid on 9 November 1839 by Charles Joseph La Trobe (1801 – 1875), Superintendent of the District of Port Phillip. A simple timber pioneer church which preceded it was built with funds largely subscribed by Presbyterians and other denominations that made up the small community. Charles La Trobe brought a gift from Queen Victoria to the new colony, a baptismal font from St Katherine's Abbey, London, which remains the font at St James' today.
Opened on 11 February 1837, St James was designed by Robert Russell (1808 – 1900), a London architect and surveyor who had arrived in Melbourne from Sydney on 5 October 1836. The Colonial Georgian building is inspired by Francis Greenway's work at St James' King Street in Sydney. The foundations are of bluestone, and the main walls of a sandstone found in various local quarries. The unfinished building was opened for worship on the 2nd October 1842 and completed in 1847.
The Anglican Diocese of Melbourne was founded in 1847, and on 29 June 1847 Charles Perry was consecrated in Westminster Abbey as Melbourne's first Bishop. He was enthroned in St James on 28 January 1848, and St James became the first Cathedral church of the new diocese, although it was not consecrated until 1853.
When St Paul's Cathedral opened for worship on 22 January 1891 St James reverted to the status of a parish church. The diminished congregation, pressure of occupying valuable city land, and maintenance problems resulted in the church narrowly escaping demolition. It was relocated stone by numbered stone to its present site under the direction of Messrs Thomas Watts and Son, architects, re-consecrated by Archbishop Lowther Clark, and re-opened for worship on 19 April 1914 at its current site on the corner of Batman and King Streets, West Melbourne – opposite the Flagstaff Gardens. Changes made to the original design at the time of relocation include reorientation from east west to north south, the tower shortened by one stage, the main ceiling lowered a little, the sanctuary shortened by a few inches, the space between the main gallery remodelled to form a lobby and two vestries with passage and gallery stairs behind them and most noticeably to the third level of the belltower which became square instead of octagonal. Two side entrances were constructed to serve the new passage.
St James Old Cathedral is of historical importance as the first Cathedral in Melbourne, the earliest surviving church in Victoria, and one of Melbourne's earliest surviving buildings. It is of architectural importance as a rare example in Melbourne of a Colonial Georgian style building of simple design and pleasing proportions with Greek detailing at the doorways, and the only known surviving work of architect Robert Russell. Although he worked in London with eminent English architect John Nash, the style reflects his experiences in Sydney, especially the work of his contemporary Francis Clarke as well as of Francis Greenway.
The interior is important for rare and unusual features for Victoria, such as the traditional box pews of cedar, side galleries or Vice-Regal boxes originally for the use of Governor La Trobe and the Chief Justice, Baptismal font with the white marble bowl probably dating from the 17th century and coming from St Katherine's Abbey on the banks of the Thames, two mahogany pulpits presented by the ladies of the congregation in 1847. The World War I honour board carved by well known master wood carver Robert Prenzel and the World War II honour board which was copied from the earlier honour board. The stained glass windows are also of note with the 'east window' being possibly by the Melbourne firm of Ferguson and Urie, and the five windows by Christian Waller, wife of artist Napier Waller.
Student Housing in Epinay, France by ECDM. Visit www.combarel-marrec.com. Photography by Benoit Fougeirol. Visit www.benoitfougeirol.com
model which we did during the competetion time: scale 1: 200
detail: the big upper plaza over the main entrance. over it the library with cladded perforated copper.
Competetion 2007 for the chinese university of hong kong. received 1 st prize, never built.
for the whole explanation go to : cuhk set.
to understand this complex building please feel free to have a look at the HONG KONG UNIVERSITY WORKING MODEL SET. there you can watch the idea layer by layer (floor by floor - 15 of it!)
main designer for Urbanus (beijing/shenzhen)