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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.
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[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...
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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
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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.
Objects of Desire: Surrealism and Design 1924 – Today
“Moulded Plywood Splint Sculpture, about 1942-43
RAY EAMES
Moulded plywood
Eames Collection LLC. All Rights Reserved”
All text above © The Design Museum, 2022
The name SARO originated in 1929 when A V Roe, AVRO, the aircraft builders took a controlling interest in boat builders S E Saunders largely based on the production of flying boats from their base on the Isle of Wight. One of the required lightweight production materials for such aircraft was laminated timbers and plywood and in 1938 the company underwent a reorganisation that created a separate company - the one advertising here. As can be seen in post-war years they were keen to diversify away from the aircraft industry. They marketed products for building construction at a time when steel for such purposes was highly rationed and in short supply and timber was considered a viable alternative, especially in connection with forms of pre-fabricated construction.
Strobist: Twin Lumpro 120s with full CTO gels, in a Westcott Apollo 28" softbox, camera left. Canon 550 EX with a full CTO gel, shooting through a Buff 42" PLM, camera right. ALien Bees 800 in standard reflector, behind subject, and to the right, about 30 feet away, firing through the window for rim.
This series complements my recently published guidebook, Milwaukee in Stone and Clay: A Guide to the Cream City's Architectural Geology. Henceforth I'll just call it MSC.
The MSC section and page references for the building featured here: 5.11; pp. 74-76.
Facing westward and looking at the Iron Block's ground-floor exterior.
Behold a portion of a prefab modularized construction unit, nineteenth-century style. For more on the significance of that, and for the geologic origins of cast iron, see Part 1 and Part 2 of this series.
On this level, the cast iron facade has been painted a golden-light-brown color at least a little reminiscent of that much costlier architectural metal, bronze.
At the direction of architect George H. Johnson, New York City foundry artisans cast the four-sided columns that march down the facade to resemble rusticated stone ashlar, a popular design conceit of Renaissance palaces. And each of the faux blocks is decorated with vermiculation, a pattern that looks like a tangle of worms, or at any rate a set of worm tracks.
Victorian-era stonemasons also liked to include vermiculation in their ornamental detail. I hope to show one Milwaukee example of that, on another vintage building that stands nearby, later in this series.
This site and many others in Milwaukee County are discussed at greater length in Milwaukee in Stone and Clay (NIU Imprint of Cornell University Press).
The other photos and discussions in this series can be found in my "Milwaukee in Stone and Clay" Companion album. Also, while you're at it, check out my Architectural Geology of Milwaukee album, too. It contains quite a few photos and descriptions of Cream City sites highlighted in other series of mine.
Another day at the Builder Centre with a later lorry. My faithful H516 GHC has been replaced by this flash boy and a tear was shed. Nice action shot taken at the Wimbledon branch with the Pioneer concrete depot in the back ground. As a young lad the concrete depot was the only company on the Durnford Road site, the surrounding area just scrub land with derelict trains resting in the rail sidings. I think it was called Nordecrete back then running Guy Warriors. I used to climb in the cabs and pretend to drive them. I can see the puzzled drivers next morning.. 'I'm sure I left that gear lever in neutral..' I was 10 at the time and took care not to damage anything. Carefree days of youth. Happy days!
The Modular Housing System (MHS) believes the essence of the term ‘modular’ has been lost by conforming to the notion of a modular section (box) design exclusively.
The concept of modularity is far more resourceful and refers to a system of standardized components and dimensions that work together to afford the builder and designer easy assembly, repair and flexibility in arrangement. Today’s modular home as understood by the construction industry is indistinguishable from a conventionally built home. The few distinctions between modular homes and traditional frame homes tend to be the box-like sections that are finished in a factory and connected on site. This really approximates very little of the flexibility and value offered by a truly modular construction system.
The MHS is a genuinely modular aluminum framing system because it enables virtually unlimited configurations. The system further facilitates modularity with a simple selection of components that supports the structure’s frame while also affording access to the connections. An entire structure can be framed by employing only seven components. In addition, any existing materials, finishing or connections can be applied to the system.
Each dimension created produces a space-frame that allows use along the surface area, along the framing members and within the ceiling, producing a complete envelope. This enables use of the entire space within the frame. Dead space, a wasted resource resulting from conventional construction, is no longer an issue. The MHS structure functions more efficiently because it offers more exploitable space. For more information please visit: "http://www.modularhousingsystem.com"
A Tajik worker signals with his hand that a crane driver can lift a platform that had been loaded with bricks. He is helping construct a building. Photo taken on October 11, 2014 in Dushanbe, Tajikistan.
Accompanying notes provided By V&A Mueseum, London. Copyright the V&A Museum.
ELYTRA, Filament Pavilion
18 May - 6 November, 2016
Elytra is a responsive shelter. A robot will build new components of the structure on the site, allowing the canopy to grow over the course of the V&A Engineering Season. Your presnce in the pavilion today will be captured by sensors in the canopy and ultimately will affect how and where the structure grows.
The pavilion tests a possible future for architectural and engineering design, exploring how new robotics technologies might transform how buildings are designed and built. The design draws on research into lighhtweight construction principles found in nature. It is inspired by the filament structures of the shells of flying beetles, know as elytra.
Made of glass and carbon fibre, each component is produced using robotic winding technique developed by the designers. Unlike other fabrication methods, this does not require moulds and can produce an infinite variety of spun shapes, while reducing wate to a minimum. This unique method of fabrication integrates the process of design and making.
Like beetle elytra, the structure is both strong and very light. The pavilion's entire filament stutcure weighs less than 2.5 tonnes - equivalent to 1.4 by 1.4 m squared prortion of the V&A's wall around you.
Part of the V&A Engineering Season.
Colorful exterior view from the garden to the historic Landmark of Fonthill Castle home to Henry Chapman Mercer more than a century ago.
This image is also available as a black and white.
To view additional images please visit www.susancandelario.com
Thank You,
Susan Candelario
Congratulations to Her Majesty, Queen Elizabeth II
To celebrate the Queens Diamond Jubilee CEMEX UK, building materials provider, has decorated an Aggregate Tipper, Concrete Mixer, Cement Tanker and Curtain sider with the Union Jack. The fleet of over 1000 vehicles travel thousands of miles every week to deliver essential building materials for construction projects, helping to build a Greater Britain.
These Union Jack vehicles will be travelling around the country visiting CEMEX sites and delivering loads to key customers.
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[This set has 7 images] Built 1921-1922 in Spanish Mission style, St. Agnes Catholic Church in Mena, Arkansas, uses fieldstone as its primary building material, the entire structure on a continuous cast concrete foundation. The locally obtained stone enhances the architectural style well. All the roofs are clad with green ceramic tile, from the gable roof on the front (eastern) facade to the hipped roof surfaces over the asymmetrical towers flanking the front entrance. My bad knee prevented taking photographs of the 3-sided apse on the western facade and other facades. The church is a single story. In the central gable above the entrance is a monumental symmetrically placed Gothic window of leaded glass and a trim of bricks as its surround. Stone simulates quoins on either side of this window. Below is a large entrance that mimics the shape of the window above. There is a double-leaf door with large single-pane sidelights. Just above the door is a rectangular stained glass pane and above this a single pane of an exaggerated triangle. Brick surrounds the door frame on 3 sides. The shorter tower at the entrance has a low hipped roof and two lancet windows, a short one at the lowest part and a taller one above (again with the brick at the outer edges). There are corner buttresses to this tower. The taller tower has the two lancet windows plus an open belfry in addition to the corner buttresses. On each tower is a cross. The National Register of Historic Places nomination form (link below) provides more information on the other facades and details of the interior, which I was unable to photograph. The dimensions of the church and 85x50 feet, the walls being 1 1/2 feet thick. The final cost in the early 1920s was about $25,000. St. Agnes was added to the National Register of Historic Places June 5, 1991 with ID#91000696.
The nomination form in .pdf format is found at www.arkansaspreservation.com/National-Register-Listings/P...
The church website is at www.stagneschurchmena.org/
The photos in this series:
1) front facade
2) front facade and a partial view of the north facade
3) a portion of the tall tower at the entrance
4) the shorter tower at the entrance
5) the entrance
6) the monumental window above the entrance
7) a close-up of the building material used throughout
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On Polipel for the Ruinism workshop with Matt Hill and Gabe Biderman. Light painting backlight by me, moonlight and star trails by physics.
10 minutes at f8, ISO 100
Construction de l'ensemble immobilier LIFE - INITIAL comprenant 42 logements ainsi que des bureaux.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Centre
Adresse : rue Edmonde Charles-Roux / rue Cyfflé
Fonction : Logements / Bureaux
Construction : 2021 → 2024
► Architecte : DRLW Architectes
► Gros œuvre : Groupe Demathieu Bard
PC n° 54 395 19 R0068 délivré le 28/11/2019
PC modificatif n° 54 395 19 R0068 M01 délivré le 18/08/2021
Niveaux : R+7
Hauteur : 25.95 m
Surface de plancher totale : 6 234,68 m²
Superficie du terrain : 1 305 m²
Construction d'un magasin d'alimentation à Seichamps.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Seichamps (54280)
Adresse : rue des Grands Prés
Fonction : Commerces
Construction : 2021 → 2023
Hauteur : 11,00 m
Surface de plancher : 2 936 m²
Superficie du terrain : 10 269,19 m²
Objects of Desire: Surrealism and Design 1924 – Today
“'Miss Blanche' chair, 1988
SHIRO KURAMATA
Roses floating in transparent resin give this chair a dream-like, insubstantial appearance. It is named after the fragile character of Blanche DuBois, from Tennessee Williams play A Streetcar Named Desire.
Shiro Kuramata's design expresses Blanche's increasingly unstable sense of reality in a tragic story shot through with beauty and delusion, seduction and violence.
Manufactured by Ishimaru Co. Ltd
Acrylic resin, plastic roses, anodised tubular aluminium
Vitra Design Museum”
All text above © The Design Museum, 2022
An Anglo-Saxon doorway at the foot of the tower of Holy Trinity, Colchester. Colchester was, of course, a Roman town (Camulodunum), dating from very soon after the invasion of A. D. 43. Before that there had been an Iron Age settlement, the capital of Cunobelinus, who died about A. D. 40. Many of the bricks in this tower are re-used Roman bricks quarried from buildings which, I suppose, must have been ruinous in Anglo-Saxon times. These must be the flattish, rather tile-like ones used around the door and at the corners. There are many of them to be seen in old walls around the town. The remainder of the tower is mostly flint, but with a fair admixture of other stones. The church has not been used since 1953.
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...
Lumber sits on top of a black DiamondBack HD on a Ford Super Duty pickup truck belonging to Joey C. of California.