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The old Holly Bush public house on the corner of Keelings Road (once Keelings Lane) and Cardwell Street (formerly Victoria Street) in Northwood which sits just outside Hanley, the city centre of Stoke-on-Trent.
The now disused old pub was once the vicarage, dating back to 1868, for the Church of the Holy Trinity on Lower Mayer Street, which remained in use until the early 1960's when it changed use to a licensed premises. It now appears ser to be converted into flats, as many old pubs are as drinking habits change.
This pub sat opposite to the house that I was born and brought up in, in Cardwell Street, and the mustard coloured gable was used as a set of goals for many a game of football, until we were told off by the owners.
© All images Copyright Luke Zeme Photography. Contact for license usage.
Amazing what good design and engineering can accomplish. These bricks were custom made for the Phoenix Gallery in Chippendale Sydney by Krause Bricks.
The idea was initiated by a private patron whereby each element of the space was authored by a different hand. It has 3 main spaces; a gallery, a performance space and and a garden connecting it all together.
The Gallery architects are: John Wardle Architects
The performance space architects: Durbach Block Jaggers
Engineering: TTW Engineers
Brickwork by Krause Bricks
Garden spaces: 360 Degrees Landscape
I can’t wait to explore the various ways the spaces crossover and interact with my camera
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I’m a professional Sydney photographer specialising in Architecture | Commercial | Residential | Aerial. Get a quote or see my portfolio at www.zeme.photography
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This was taken on a mission to check some archaeological site which is found during the construction of a new bridge in Golden Horn.
From the Guardian Newspaper 12 June 2016:
"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree.
It is designed by BIG, or Bjarke Ingels Group, a name that cleverly combines the initials of its 41-year-old founder and leader with the alternative custom of choosing names that carry some sort of meaning (OMA, the late lamented FAT, muf, Assemble). The latter is supposed to deflect attention away from individuals towards something more general: “BIG” is universal and personal at once, none too subtle in its meaning and statement of ambition and has the added attraction that the original Danish practice can call its website big.dk.
The name encapsulates Ingels’s genius, which is to combine the avant-garde trappings of an OMA with a happy-to-be-trashy flagrancy, an embrace of the values of marketing, a celebration of ego. “What I like about architecture,” he says, “is that it is literally the science of turning your fantasy into reality.” His approach has earned BIG the mistrust, awe and envy of fellow professionals, the adulation of many students and a 300-strong practice with offices in Copenhagen, New York and, as revealed in an announcement coinciding with the Serpentine launch, London.
"The pavilion itself, supported by Goldman Sachs, stands, as usual, next to the Serpentine Gallery’s building, a brief walk through Kensington Gardens from the summer houses. It is made of hollow rectangular tubes, open at the ends, made of thin fibreglass sheets, which are then stacked up into a twisting shape that is at different times tent-like, mountainous, anatomical and churchy. It revels in inversion and surprise: its components are brick-like but light; they are straight-lined and right-angled, but generate curves in their stacking. A one-dimensional vertical line at each end grows from a 2D plane into a 3D swelling. From some positions, you can look straight through the boxes to the greenery beyond, such that they almost disappear. From others, they present blank flanks and the building becomes solid. It is mechanical and organic, filtering and editing the surroundings as if through the leaves of a pixellated tree."
Original article at: www.theguardian.com/artanddesign/2016/jun/12/serpentine-p...
The other night I was wondering around downtown looking for my next photo… That sounds so idyllic – really, I was shuffling around in the bitter cold, wearing all the clothes I had with me, trying to stay warm and take photos at the same time, because I just had to get my next photo! Anyway, I walked into a parkade that I had been eyeing up for a while and I suspected would have some interesting features to photograph. I wasn’t disappointed! There were so many neat lines and shapes that I could have spent hours capturing photos. But I was getting cold so I took a few photos and left for the warmth of my vehicle. This is one of the images. I really liked the leading lines and the sign on the end wall. There are plenty of other photos waiting in that building so I’ll be back…when it’s warmer!
This photo is from my iPhone 12. Fixed it up using Snapseed and some of Flickr’s editing tools. The building under construction, at the center left, is going to be a new Kroger store, At the right are stacks of construction materials.
Réalisation d'un centre thermal et aquatique comprenant des espaces de stationnement et une résidence hôtelière dans le cadre du projet Grand Nancy Thermal.
• Réhabilitation et extension de la piscine intérieure.
• Réhabilitation et extension du bâtiment de la piscine ronde.
• Création de nouveaux bassins extérieurs.
• Création d'espaces verts et de stationnements (découverts et souterrains).
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Sud
Adresse : rue du Maréchal Juin
Fonction : Piscine
Construction : 2020 → 2023
• Architecte : Architectures Anne Démians / Chabanne & Partenaires
PC n° 54 395 19 R0043 délivré le 20 septembre 2019
Niveaux : R+3
Hauteur maximale : 26.66 m
Surface de plancher totale : 16 547 m²
Superficie du terrain : 37 248 m²
the layers of development that spill over, and above, the banks of the mekong river are built in the hours of darkness. several generations of family and their friends come together in an act of guerilla construction before they can be noticed by authorities.
because the waterfront property collects no property taxes it can be hard to encourage squatters to move.
Another very 1930s style item of artwork for Turners Asbestos Cement Poilite slates. The 'Poilite' name was acquired from Bell's United Asbestos when they were acquired in 1928.
From the time when asbestos was touted as the 'wonder' material and before the real risks were commonly known.
This series complements my award-winning guidebook, Chicago in Stone and Clay: A Guide to the Windy City's Architectural Geology. Henceforth I'll just call it CSC.
The CSC section and page reference for the building featured here: 8.8; pp. 124-126.
A close-up of the eastern elevation.
One of the most historically significant building stones in Chicago and indeed in the whole world is this one. It's the Aswan Granite, quarried in eastern Egypt for fifty centuries.
Geologists refer to this sort of granite as an A-type. As such, it belongs to a group of granitoids thought to form not in a regime of subduction or compressional tectonics, but rather in extensional settings—mantle plumes or continental stretching and rifting caused by the process known as slab rollback.
Mineralogically speaking, the Aswan Granite is a striking blend of pink to brick-red potassium feldspars, glassy-gray quartz, and black biotite mica. However, plagioclase feldspar, always in short supply in A-type granitoids, is predictably lacking here.
For considerably more on this site, get and read Chicago in Stone and Clay, described at its Cornell University Press webpage.
The other photos and discussions in this series can be found in my "Chicago in Stone and Clay" Companion album. In addition, you'll find other relevant images and descriptions in my Architectural Geology: Chicago album.
(Updated on September 6, 2025)
Looking northwestward at the eastern and southern elevations.
Behold one of the Windy City's most impressive examples of the Grand Art Deco Formula. Nowadays it's officially designated 2 N. Riverside Plaza.
The Grand Art Deco Formula, a term of my own coinage, was a design practice followed by various architects of the 1920s and 1930s in Chicago and other American cities. It involves the use of soaring, uniform external surfaces of buff Salem Limestone offset at the bottom by a plinth of darker and much more decorative igneous or metamorphic rock.
Because it was the Morton Gneiss that was often chosen for the plinth's stone type, it's fitting that I discuss the Formula in this series. And this great skyscraper is the perfect place to start that discussion. Note its basal exterior cladding. This is what the Morton looks like from some distance. It's darkly pink with just a hint of the complex patterning that's so mesmerizing closer at hand.
Architectural treatises call this edifice "thronelike," and for good reason. Situated on the western bank of the Chicago River's South Branch, its great rectangular mass is fronted by a lower section and a wide plaza. The latter offers the public both a well-sited open space and a wonderful view of the vertical cityscape stretching out in all directions. In my recently posted essay on 2 Prudential Plaza, I lamented the lack of ample surrounding open space that hinders true appreciation of its design. That's not a problem here. The majesty of the building is fully revealed.
The pairing of the two stone types on view here is an exposition of jarring contrasts.
The Morton, that chaotic and highly contorted and mineralogically complex migmatite of Paleoarchean to Neoarchean age, offers more insights into the essence of chaos than the human mind can take in.
Its much more extensively used partner, the Salem Limestone, is a grainy-textured and highly workable calcarenite. Better know in the building trades as "Bedford Stone" and "Indiana Limestone," it's a Mississippian-subperiod (Lower Carboniferous) sedimentary rock quarried in southern reaches of the Hoosier State. A mere 340 Ma old, it is only about one-tenth as ancient as the Morton. What it offers the architect and stone mason is bland and unassuming reliability; nothing more and nothing less.
In terms of sheer square footage the Salem is by far the most extensively used. In this shot, the Morton occupies only a tiny portion of the whole surface.
But where it is the key to its importance. As the next post in this album will show, the Morton occupies the most crucial zone of all, from grade up to twice the height of the tallest human pedestrian. To the thousands of commuters who rush by it each work day, the Morton Gneiss is this building.
To see the other photos and descriptions in this set, visit my Magnificent Morton Gneiss album.
Kalon Mosque has 288 domes. A lone tree is in its courtyard. Photo taken on July 08, 2012 in Bukhara, Uzbekistan.
Travaux d'aménagement de l’Esplanade Jacques Chirac au Havre.
Pays : France 🇫🇷
Région : Normandie
Département : Seine-Maritime (76)
Ville : Le Havre (76600)
Quartier : Le Havre Centre Ouest
Philly Spring 2011 Shoot - Graffiti Underground Burned Out Car Frame (infrared and hdr) - large view click here
On the college's North Campus. Facing eastward.
To see this building's entire western elevation, check out Part 33 of this series. The photo shown here is a detail shot featuring some of the building's central section, which is more fully displayed in Part 34. Both of these posts also discuss the geologic origins of the rock type described below.
Over the years I've seen various examples of carved detail in Lake Superior Brownstone (LSB). But nothing matches this. Of course there are those wise old owls, clutching painters' palettes in their talons. And the flamboyantly styled lettering of the inscription, which swims in a thicket of foliar detail. Add to those the repeating botanical-geometric patterns of the nested arch voussoirs. What turns this efflorescence of fancy sculpting into a tour de force is its context—a rugged mass of rock-faced ashlar.
But, truth to tell, the LSB is not an optimal choice for filigreed carved decoration. Whether it's the Chequamegon Sandstone from Wisconsin's Apostle Islands region or the Jacobsville Sandstone from Michigan's Upper Peninsula—and in this case we're not sure which it is—there are various things about the rock that can cause problems.
For example, LSB varieties may be blotched with pale reduction zones. Or they can be ridged with ripple marks or crossbedding. Worst of all, they're often rather poorly sorted, and can contain larger pebbles amid the sand grains that pop out easily when weathered.
However, I suspect that for the Durand Institute's carved sections only premium and very well-graded sandstone of uniform grain size was selected.
It was known in architect Henry Ives Cobb's time, as it still is now, that the best American carving stone in most situations is the light-gray Salem ("Bedford," "Indiana") Limestone, quarried in the southern portion of the Hoosier State. But here I'm glad that Cobb decided to go all in on the brooding, brownstony, Richardsonian-Romanesque look. Obviously great care was taken to ensure that the ornament engraved in this temperamental rock would survive intact through many icy winters and broiling summers.
To see the other photos and descriptions of this series, visit
Poids en ordre de marche CE : 21 215 kg
Largeur de fraisage : 1 000 mm
Profondeur de fraisage max. : 330 mm
Travaux de développement et d'interconnexion des réseaux de chauffage urbain de la Métropole du Grand Nancy sur le quartier Mon Désert - Jeanne d'Arc - Saurupt – Clemenceau.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Mon Désert - Jeanne d'Arc - Saurupt – Clemenceau
Dates : juin 2025 → novembre 2025
Constructing the new boulevard by Spanish landscape architect Manuel De Sola-Morales, Scheveningen, the Netherlands.
Wolfgang Buttress's UK pavilion for the World Expo 2015 in Milan, relocated to Kew Gardens in June 2016
From Information provided by Kew Gardens:
"Opened on International Biodiversity Day 2008, the Treetop Walkway stands in the Arboretum, between the Temperate House and the lake. It was designed by Marks Barfield Architects, who also designed the London Eye. The 18-metre high, 200-metre walkway enables visitors to walk around the crowns of lime, sweet chestnut and oak trees. Supported by rusted steel columns that blend in with the natural environment, it provides opportunities for inspecting birds, insects, lichen and fungi at close quarters, as well as seeing blossom emerging and seed pods bursting open in spring. The walkway’s structure is based on a Fibonacci numerical sequence, which is often present in nature’s growth patterns."
Kumu is an art museum in Tallinn, Estonia. The museum is the largest one in the Baltics and one of the largest art museums in Northern Europe.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
[This is a series of 10 photos about Red Fox Farm) Approximately 2 miles north of Skipwith, Mecklenburg County, Virginia is Red Fox Farm, part of which is visible from the highway. All images were taken from the shoulder of the road and restricted me to the beautifully maintained tobacco barns. The farm is an excellent example of late 19th and early 20th centuries tobacco farm in Southside Virginia. Robert Jeffreys acquired the property about 1887-1888 and introduced the flue-curing technique of curing tobacco to the region. He focused on growing bright-leaf tobacco, used mainly in cigarettes. The dark-leaf previously grown in the area was used for chewing tobacco. There are five tobacco or curing barns on the property, dates unknown, all are about 18' square with a single opening where tobacco was hung to dry inside. Four barns also have an open shed. Unskinned logs were the building material, approximately 8 inches in diameter. The gaps between the logs were chinked with clay and sticks (see image 6 in this series). The gable roofs have metal roofs. The setting is picturesque with many standing trees contributing to the aesthetics. The farms economic and historical significance and the well-preserved outbuildings typical of the times justified inclusion on the National Register of Historical Places June 10, 1993 with ID #93000508
See the National Register nomination form (in pdf format) for an informative discussion of tobacco growing and curing at the Virginia Department of Historic Resources
www.dhr.virginia.gov/VLR_to_transfer/PDFNoms/058-0131_Red...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
The A. G. Heins Co. is a Hardware Store in Knoxville. The carried products from the Phillip Carey Manufacturing Co., hence the Carey on the sign. You can read a brief history of their company here: www.agheins.com/
From Information provided by Kew Gardens:
"Opened on International Biodiversity Day 2008, the Treetop Walkway stands in the Arboretum, between the Temperate House and the lake. It was designed by Marks Barfield Architects, who also designed the London Eye. The 18-metre high, 200-metre walkway enables visitors to walk around the crowns of lime, sweet chestnut and oak trees. Supported by rusted steel columns that blend in with the natural environment, it provides opportunities for inspecting birds, insects, lichen and fungi at close quarters, as well as seeing blossom emerging and seed pods bursting open in spring. The walkway’s structure is based on a Fibonacci numerical sequence, which is often present in nature’s growth patterns."
This is one of 6 images in the set. This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
Today part of the Hinkle House is the Andrews Funeral Home www.andrewsfuneralservices.com/fh/home/home.cfm?fh_id=14468 just south of Gloucester Court House in Gloucester County, Virginia. It was built around 1910 of structural terracotta (also spelled terra cotta) blocks and stucco covering. This information came from a phone conversation with the home owner. In the last quarter of the 19th century, stucco and hollow terracotta bricks had become more common as building materials but never reached tremendous popularity in home construction. Terracotta is clay based and is notable for widespread use as roof tiles and in sculpture (when glazed) as well. Homes of this construction were advertised as having fire resistant properties. Use of terracotta and stucco helped create homes with quiet interiors, sound effectively diminished by the structural properties. The hollow tiles were used as foundation and walls, the latter often covered by plaster generally on exterior walls. Structural terracotta has gone by many names—hollow tile, building tile, structural clay tile, terracotta blocks, terracotta bricks, etc.
The spacious 2 1/2 storied home has steep-pitched red-shingled roofs and prominent gables. Visible on the front façade is a gabled dormer with two windows. This pattern of paired windows is prominent as well on the front façade. The fenestration is mostly 9/1 sash. The ground level has an addition to the left, a slight bay construction and an entry porch. The porch is small and covered with a sloping roof, a small gable and underneath that a partial arch, which matches the arched transom of the door; four slender Tuscan columns support the roof. The entrance is single-leaf with 10 glass panes; the sidelights consist of 5 panes each. It seems the transom consists of irregularly shaped panes, possibly of a sun-burst pattern. The photos were taken around 7:30 on an early May morning in 2011; the light was not the best at that time.
For additional information on terra cotta see
en.wikipedia.org/wiki/Structural_clay_tile
en.wikipedia.org/wiki/Terra_cotta
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
From Information provided by Kew Gardens:
"Opened on International Biodiversity Day 2008, the Treetop Walkway stands in the Arboretum, between the Temperate House and the lake. It was designed by Marks Barfield Architects, who also designed the London Eye. The 18-metre high, 200-metre walkway enables visitors to walk around the crowns of lime, sweet chestnut and oak trees. Supported by rusted steel columns that blend in with the natural environment, it provides opportunities for inspecting birds, insects, lichen and fungi at close quarters, as well as seeing blossom emerging and seed pods bursting open in spring. The walkway’s structure is based on a Fibonacci numerical sequence, which is often present in nature’s growth patterns."
Cast-iron kerb edging is said to be unique to Bristol. I have kept an eye open for it in other places and once saw something similar ...but I can't remember where. It is still found fairly commonly around the centre of Bristol and some of its older suburbs.
There are plenty of interesting textures here to give harmless pleasure to the eye. The road is surfaced with setts, nicely uneven and of varied size, with grass sprouting between them. The iron kerb undulates pleasingly as a result of uneven settlement. In the bottom right-hand corner is a flagstone of local pennant, tooled with little grooves which, as well as being decorative, give extra purchase to the tread of the incautious pedestrian in slippery conditions. Pennant (Welsh Pen-nant), the sandstone found between the upper and lower coal measures of the Bristol district, is delightfully varied in colour. This example is of a pale mauve. The pavement is of 20th-century date and without interest.