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Built in 1971, this courthouse is located in the small town of Fort Pierre, which is just across the Missouri River from South Dakota's state capital. The building was designed by the firm of Meese, Peterson, & Foss.
The name of the town is pronounced FORT PEER.
That is your esteemed photographer staring at some graffiti on the wall. Obviously I didn't take this picture.
Tanjore Bragadeeshwara temple. This temple is famous for its architecture. It is said that the platform is built in such a way that the shadow of the gopura falls within the platform throughout the year
Rex House (Robert Cromie, completed 1938), Lower Regent Street SW1, St James's, London. The Paris Cinema, also by Robert Cromie, was located in the basement of this building and accessed through an entrance on Carlton Street. After WWII, the cinema was converted into a radio studio, and, as the BBC Paris Studios, it was a venue for live music recordings for the next 50 years.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and the massive scale gives it a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the shape of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century (mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration an sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
shelburne, nova scotia
1973
dock street
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
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The Hampden Branch (at 3641 Falls Road, Baltimore, MD 21211) is located one block north of 36th St, a.k.a. "the Avenue", within a short walk of restaurants and shops, the Hampden Family Center, and Roosevelt Park. The historic building is small but inviting for all ages. www.prattlibrary.org/locations/hampden/
Atlanta est. 1847, pop. 5.5MM • Sweet Auburn Avenue: A History 1880-1960
• Sweet Auburn Historic District, National Register # 76000631, 1976 • designated National Historic Landmark, 1976 • the name Sweet Auburn was coined by African-American civic/political leader John Wesley Dobbs (1882-1961), referring to the "richest Negro street in the world"
This building, completed in 1928, witnessed the Great Depression, a World War, and other tumultuous times, but it cannot endure the ravages of a cannibalistic commercial real estate market in Manhattan.
This sturdy fixture at the iconic intersection of two of the city's major streets, Broadway and West 57th Street, is known to many as the Newsweek Building after the magazine moved its headquarters here in the early 1990s. Originally it was called the Columbus Tower, soon it will have part of than name restored to it when it is renamed 3 Columbus Circle, but everything else will be about this building will be left only to fond memories and photographs.
The buildings columns, cornices, bricks, and windows are being hidden (or removed, no one is sure which) behind another curtain of reflective glass. Gone will be the sense that here stands a rugged old friend who has weathered good times and bad and still stands guard at the head of the street. Instead, another shiny, slick, featureless clone of every other post-modern edifice churned out by the hundreds these days. The new building's website states, "Enduring Location, Modern Vision." Odd that it doesn't boast an "Enduring Vision," or perhaps, "Enduring Edifice." I suppose the developers realize that nothing is enduring except an address.
Notice how the waning sunlight strikes the varied surfaces of the building. Note too, the warm afternoon glow on the brick facade. The varying shapes of the shadows cast on its surface. Never again will that play of light be enjoyed here, instead only cold reflections of the surrounding buildings. The building will have shape, but no sense of a tangible surface.
How long must American cities be wrapped in what amounts to shrink-wrap and aluminum foil? If the old techniques which constructed this building are a lost art, then why must we destroy the remaining relics of a bygone age? Do we knowingly destroy a Michelangelo because there are no more Michelangelo's sculpting? This building's exterior hasn't been cleaned in decades, what would it look like if it was given a good scrubbing? We'll never know. It wasn't given a chance to spruce itself up.
For more information about the demise of 1775 Broadway, check these links:
curbed.com/archives/2008/01/28/meanwhile_in_architectural...
Detail of Clow farmhouse at Riverview Farmstead, Naperville, IL. 1/125s at F11, +1/2 stop EC, 50mm with hood, mostly sunny day, 4/15/17.
Designed by Morris Lapidus, and constructed in 1962. It was originally constructed for the International Inn chain.
First I intended to tell you something about the traces of urbanism we are looking at here. Something about an upswing in the end of the 19th century that enabled builders to decorate their houses like the 'big ones' in the city. This must have been pretty expensive, but the desire for keeping up with the bourgeoisie was big. Stuff like this, because it interests me.
But when I was looking for the exact name of this street in Google Maps, I switched on StreetView and easily found that place in the photo again. Thanks to my imagination, not due to the incredible image quality of StreetView. See for yourself.
Oh, folks at Königswinterer Straße made their houses blurred away in StreetView. What did happen?
Months ago Google officially announced the introduction of StreetView in Germany. This caused some stir, as many house owners didn't want to get their buildings photographed. There were as many reasons for this as there were buildings: many feared loss of their privacy, others felt in danger of burglars who would be able to use StreetView as sort of an 'atlas' in order to choose from 'profitable' objects, others didn't like Google anyway, and many didn't want photos of their house not under any circumstances. Civil protest groups were founded, the mass media were seconding them, and suddenly Google became sort of photographic Al Quaeda. Some people even demanded that photographing private buildings should be made indictable. Street photographers = criminals.
Okay, it was not nice that Google has also scanned open W-LANs. And of course Google wants to make money with services like StreetView. And certainly there are many reasons for not wanting one's building made publicly available. But: from my point of view this protest was a generational conflict.
Here's an article in one of our local newspapers about some protesters. House owners living nearby my street, typical protesters. Enlarge the photo by clicking on it: as you can see, these people are standing in front of their houses and their names were made public, they obviously agreed to this. You note the irony?
Then there's this ineradicable ignorance: the Internet is somehow bad, child molesters and other criminals have taken over, you only can protect yourself by pulling the plug. Most people in Germany are online now, but the greatest part of elder people isn't interested or feels uneasy about the Internet. They trust in traditional media, and these media were supporting their fears in various campaigns against Google which lasted for weeks. Whatever was hitting the news in the first place, the next news would be about Google. A public local radio station published posters: "Thanks, Google, but we're already street-smart."
What was almost completely ignored: there are several other StreetView-like services, take Bing for example. The same spot can be seen from all directions (switch to bird's eye view, then click on the compass). But everybody was claiming about Google only. Anyway, the campaigns were very successful, and Google offered blurring away buildings on demand. Lawyers and house owners' associations got a lot of attention, and when StreetView went online, everybody was surprised that the photos taken were three years old. Within a few weeks the spook was over then, and the protest disappeared from the headlines. Actually Germany has bigger problems than street views.
Only some annoying guys started taking photographs and refill StreetView's gaps, presenting the blurred buildings. I'm now one of these guys, as I learned yesterday. And it's completely legal: this photo was taken from public space. And I don't even make money with it. That's the story behind this shot.
The Toronto Jail was built between 1862 and 1865 with most of the current jail facilities being built in the 1950s, although a jail has stood on the site since 1858. Designed by architect William Thomas (also designed St. Lawrence Hall and St. Michael's Cathedral) in 1852, its distinctive façade in the Italianate style with a pedimented central pavilion and vermiculated columns flanking the main entrance portico is one of the architectural treasures of the city and one of very few pre-Confederation (1867) structures that remains intact in Toronto. Owing to its sturdy construction, its interior has gone largely unchanged in the last fifty years as renovations would be both difficult and expensive, even in an empty facility; as such, it is considered badly outdated as a prison facility. The old Jail was closed in 1977.
A Romanesque basilica dedicated to Saint Nicholas had existed at the southeastern corner of the Dresden market since the early twelfth century, documented about 1168. A Side-chapel of the Cross, named after a relic bequeathed by the Meissen margravine Constance of Babenberg (1212–1243), was first mentioned in 1319. Over the decades, it became the name of the whole church, which was officially dedicated on 10 June 1388 to the Holy Cross.
From 1401 it was rebuilt as a hall church with a prominent westwork in the German Sondergotik style. Based on the architectural works by Peter Parler (1330–1399), the construction later served as a model for numerous church buildings in Upper Saxony such as St. Anne's Church, Annaberg-Buchholz or St. Wolfgang's Church, Schneeberg. Finished about 1447/49, the church burned down in 1491, the first of five blazes over the next centuries. The Wettin electors of Saxony, residing at Dresden since 1464, had the Gothic hall church rebuilt, from 1499 under the architectural direction of Conrad Pflüger. From 1579 until 1584 the westwork was restored in a Renaissance style.
The church was heavily damaged by Prussian cannonade during the Seven Years' War, with its Late Gothic choir almost completely destroyed. After the war, the Dresden master builder Johann George Schmidt (1707-1774) set up plans for a Baroque reconstruction, which however were opposed by contemporary architects of the Neoclassicist school following Zacharias Longuelune (1669-1748). Prince Francis Xavier of Saxony backed Schmidt and laid the foundation stone in 1764, nevertheless, after the preserved westwork collapsed in 1765, Schmidt had to accept the Neoclassicist chief architect Friedrich August Krubsacius (1718-1789) as adviser. Choir and steeple were accomplished in 1788, the new church was consecrated in 1792 and construction works finished in 1800.
Interior
After the building was gutted by a fire in 1897, the church interior was reshaped with Art Nouveau (Jugendstil) elements according to plans designed by the Dresden architects Schilling & Graebner including works by Hans Hartmann-MacLean. The Church of the Cross was again set on fire during the Bombing of Dresden on 13 February 1945. In its current form with its sober scratch coat interior, it was re-opened in 1955. In the course of the reconstruction of the nearby Frauenkirche a debate arose over a restoration of the pre-war design, however, from 2000 to 2004, the interior was refurbished in its 1955 condition.
The director of the choir is known as the Kreuzkantor. Roderich Kreile is the twenty-eighth Kreuzkantor since the Reformation.