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An advert from the 1934 edition of "Specification", issued annually by the Architectural Press and containing an index of building and construction subjects, relevant specifications along with allied contractors and materials. This rather smartly set out advert is for the Dorking Brick Co Ltd of North Holmwood in Surrey and is a reminder that the area of Surrey had extensive brickworks that supplied brick to many areas of the south east and London.
The advert lists many types of product ranging from kiln-fired facings through to hand made and sand faced bricks in both reds and purples. It also sternly notes that their bricks are all kiln fired and to avoid clamp fired ones! The advert is mostly set in what was then a relatively modern typeface, the German Kabel or anglicised Cable typeface - apart from the extensive list of briquettes to the left that somewhat clashes! The briquettes came in many sizes and shapes to be used in such decorative constructions as fireplaces and mantles.
Widok na zespół szybowych pieców wapiennych od strony południowo - wschodniej. Dwa spośród trzech pieców zostały zabudowane na planie sześciokąta. Wielokątne, foremne kształty pieców są najczęściej spotykanie w rejonie Opolszczyzny. Pośród typologii pieców wapiennych w Polsce można spotkać wiele ich kształtów, począwszy od pieców z trzonem zabudowanym w formie kwadratu, przez sześciokątne, aż po okrągłe. Niektóre piece posiadają kilka szybów, zabudowanych w jednym trzonie, jak np. Wapiennik Bordowicza (tutaj: www.flickr.com/photos/145729545@N04/51140081208/in/datepo... ). U dołu pieców widoczne są otwory, poprzez które wybierany było wypalone wapno.
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View of lime kilns from southeast. Two of three lime kilns were build on hexagonal shaped base. The holes on the base of kilns are a lime out.
Renovation works at the temple. Looks like their building a buddhist dining hall.
© Andy Brandl (2013) // PhotonMix Photography // Andy Brandl @ Getty Images
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ArchesAndAngles - Architectural Photography Architectural Photography
A construction worker takes time out from his work to pose for a photo. Three small children also pose. They are standing outside a school named "Hatam Hindu Madrasasi". Photo taken on July 09, 2012 in Bukhara, Uzbekistan.
Constructing the new boulevard by Spanish landscape architect Manuel De Sola-Morales, Scheveningen, The Hague, the Netherlands.
Kmart ad from Dec 1976 for building materials.
I accidentally deleted this and just reloaded the image.
Iran's Sheikh Lotfollah Mosque is an architectural masterpiece of Safavid architecture. Its construction started in 1603 and was finished in 1618.
Photo taken on August 23, 2007 in Isfahan, Iran.
Last active kiln of this type in Poland.
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Wapiennik w miejscowości Węże stanowi swoistą ciekawostkę, będąc ostatnim czynnym tego typu wapiennikiem w Polsce. Wapiennik ten znajduje się w rejonach Działoszyna, na pograniczu województw Śląskiego i Łódzkiego. Jest to rejon, gdzie występują bogate złoża kamienia wapiennego, a po okolicznych polach, lasach i wzgórzach liczne są zachowane w lepszym lub gorszym stanie nieczynne wapienniki. Tutejsze Zagłębie przemysłu cementowo - wapienniczego rozciąga się w zasadzie od Działoszyna, gdzie znajduje się jedna z największych i najbardziej imponujących cementowni w Polsce - "Warta" aż po Częstochowę. Widoczny tutaj piec został wybudowany w roku 1957 i ma wysokość około 15 metrów. Piec opalany jest koksem (wcześniej paliwem był antracyt), a jego wydajność produkcyjna wynosi około 5000 ton wapna palonego rocznie. Na lewo od pieca widać fragment rampy załadowczej kamienia i koksu, natomiast finalny produkt odbiera się u dołu. Wapiennik zakończony jest charakterystycznym kominem, który nadaje mu wyjątkowy, "butelkowaty" kształt. Piec nieco podobnej konstrukcji, lecz nieczynny, znajduje się w pobliżu Rębielic Królewskich:
Chicago Hydraulic-Press Brick Company's Plant at Porter, Indiana.
Date: 1898
Source Type: Newspaper
Publisher, Printer, Photographer: The Chesterton Tribune
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: The sketch of the Chicago Hydraulic Pressed Brick Company plant at Porter, Porter County, Indiana, was published in the May 21, 1898, issue of The Chesterton Tribune, which also included a summary of the brick facility as prepared by the Indiana state geologist W. S. Blatchley.
The Chicago Hydraulic Pressed Brick Company operated three separate brick yards in Porter, and this sketch represents their largest facility, which was known as Yard 3. Yard 3 was one of the largest brick manufacturing facilities in the United States.
Chicago Hydraulic Pressed Brick Company, Yard 3, was established in July 1890 through the purchase of the Thomas Moulding’s Brick and Tile Manufactory and land used for grazing sheep owned by Archelaus E. Whitten. The facility was bounded by present day West Beam Street to the north, Sexton Avenue to the east, the Lake Shore & Michigan Southern Railway to the south, and Augsburg Evangelical Lutheran Church Cemetery to the west.
This brickyard, occasionally referred to locally as the Whitten Yard, was enormous, considered one of the largest brick production facilities in the United States, and consisted of fourteen kilns, two clay sheds (one 8,000 square feet in size and the other 49,000 square feet), an engine room, grinding room, pattern shop, and a 33-foot x 710-foot brick stock shed situated parallel to the railroad tracks that served as a warehouse for the shipping of finished product. The total number of bricks used to construct this facility was reported to be 1.8 million.
By May 1891, this brick facility was producing an average of 40,000 bricks per day and, with the production of the other two brick yards in Porter, shipping 125,000 per day on twenty-one railcars. It was reported in January 1892 that the brick company was shipping 40 million bricks per year to Chicago and paying the Lake Shore & Michigan Southern Railway $60,000 a year for hauling the brick. Yard 3 was situated approximately 1,500 feet west of Yard 2.
The Yard 3 facility was destroyed by fire on October 20, 1904, immediately rebuilt, and ceased operations in 1924 when clay became too scarce in the area to make brick manufacturing a profitable venture. The site reverted to woodland with all structures and the railroad siding having been removed; Interstate 94 crosses the western portion of the former Yard 3 property.
Yard 3 specialized in the production of “front bricks” or “face bricks” and was at one point in time the largest producer of this type of brick in the world; these were higher quality bricks with superior appearance characteristics. Nine shades of red and three shades of brown brick were manufactured at this facility. Brown brick was produced by mixing salt of manganese with the clay as it was crushed in rollers prior to the brick forming process. It has been reported that this yard maintained “several millions” of bricks in its inventory. The bricks were sold under the brand name Hy-tex.
Sources:
Anonymous. 1890. Editorial Notes and Clippings. The Clay-Worker 13(2):131.
Anonymous. 1906. A Model Pressed Brick Plant. The Clay-Worker 45(3):475-476.
Ball, Timothy H. 1900. Northwestern Indiana From 1800 to 1900: A View of Our Region Through the Nineteenth Century. Chicago, Illinois: Donohue & Henneberry. 570 p. [see p. 416]
Blatchley, Willis Stanley. 1898. “The Clays and Clay Industries of Northwestern Indiana,” (pp. 105-153) In: Indiana Department of Geology and Natural Resources, 22nd Annual Report. Indianapolis, Indiana: William B. Buford. 1,197 p. [see pp. 135-136]
Blatchley, Willis Stanley. 1905. “The Clays and Clay Industries of Indiana,” (pp. 13-657) In: Indiana Department of Geology and Natural Resources, 29th Annual Report. Indianapolis, Indiana: William B. Buford. 888 p. [see pp. 460-461, 609-610]
Chesterton Retail Merchants' Association. 1949. The Chesterton Retail Merchants' Directory. Chesterton, Indiana: The Coffee Creek Press. 112 p. [see p. 39]
The Chesterton Tribune, Chesterton, Porter County, Indiana; May 21, 1898; Volume 15, Number 6, Page 1, Columns 4-6 and Page 8, Columns 4-5. Column titled “The Clays and Clay Industries of Porter County. Report of W. S. Blatchley, State Geologist of Indiana."
The Chesterton Tribune, Chesterton, Porter County, Indiana; October 21, 1904; Volume 21, Number 29, Page 9, Column 6.
The Chesterton Tribune, Chesterton, Porter County, Indiana; October 28, 1904; Volume 21, Number 30, Page 1, Columns 4-5. Column titled “A Clean Sweep.”
George A. Ogle and Company. 1906. Standard Atlas of Porter County, Indiana: Including a Plat Book of the Villages, Cities and Townships of the County. Chicago, Illinois: George A. Ogle and Company. 55 p. [see p. 46]
Goodspeed Brothers. 1894. Pictorial and Biographical Record of La Porte, Porter, Lake and Starke Counties, Indiana. Chicago, Illinois: Goodspeed Brothers. 569 p. [see pp. 501-502]
Moore, Powell A. 1959. The Calumet Region: Indiana's Last Frontier. Indianapolis, Indiana: Indiana Historical Bureau. 653 p. [see pp. 125-131]
Sanborn-Perris Map Company. 1893. Porter, Porter County, Indiana. New York, New York: Sanborn-Perris Map Company. 3 p. [see p. 1, mislabeled as Yard No. 1 rather than Yard No. 3]
Sanborn-Perris Map Company. 1899. Porter, Porter County, Indiana. New York, New York: Sanborn-Perris Map Company. 3 p. [see p. 1]
The Tribune, Chesterton, Porter County, Indiana; February 13, 1890; Volume 6, Number 44, Page 1, Column 5. Column titled “Sold to Syndicate. The Wm. E. Hinchcliff and Purington-Kimball Yards Consolidated.”
The Tribune, Chesterton, Porter County, Indiana; February 20, 1890; Volume 6, Number 45, Page 1, Column 4. Column titled “Brick Yard News.”
The Tribune, Chesterton, Porter County, Indiana; April 10, 1890; Volume 6, Number 52, Page 4, Column 1. Column titled “Work Begun On the New Hydraulic Pressed Brick Yards.”
The Tribune, Chesterton, Porter County, Indiana; May 1, 1891; Volume 8, Number 3, Page 1, Column 6.
The Tribune, Chesterton, Porter County, Indiana; January 29, 1892; Volume 8, Number 42, Page 5, Column 3. Column titled “Talk of the Town.”
The Tribune, Chesterton, Porter County, Indiana; November 25, 1892; Volume 9, Number 33, Page 4, Column 6. Column titled “The Chicago Hydraulic Pressed Brick Company.”
Copyright 2023. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
A close-up of the same roadcut featured in the four previous posts of this series. It's situated on the southwestern edge of the Morton Outcrops Scientific and Natural Area, and near the northern end of the access drive leading from US Route 71 to the gas station at the corner of 71 and Minnesota 19.
To get an overall view of this outcrop, see Part 12 of this series.
After meditation and intense self-scrutiny I have decided to reveal an awful truth about myself. I am decidedly maficentric. I know it isn't right, but I have trouble treating felsic igneous rocks (granitoids, etc.) with the same level of respect that I shamelessly lavish upon mafics and ultramafics of all sorts—your gabbros, your basalts, your komatiites and peridotites, and their metamorphic derivatives, the amphibolites.
There. It's out in the open. I'm not proud of it, but it's who I am.
Still, now you can understand why I took this photo. Of course it wasn't all the light-colored granitoid gneiss or pegmatite I wanted to capture. It was that black and weakly foliated amphibolite clast, which at some point in its immensely long existence has been split by a vein of felsic magma during some now long-forgotten bit of crustal compression and mountain-building.
To my knowledge, the amphibolite, unlike the other components of the Paleoarchean-to-Neoarchean Morton Gneiss migmatite, has not been assigned an age (or ages) of origin. Could it be that geochronologists are felsicentrists? Perhaps, but one source, Goldich and Wooden 1980, mentions that the rock contains radiometric markers indicating that "the [already extant] amphibolites were involved in a high-grade metamorphic event approximately 3,000 m.y. ago as well as in the 2,600-m.y. B.P. [before present]"
The implication in that and other papers I've read is that the amphibolite is either somewhat older, the same age, or somewhat younger than the oldest tonalitic gneiss assigned an age of 3,524 ± 9 Ma = 3.524 Ga. Or it may have had more than one origin, and hence more than one age. Accordingly, I just call it "very old."
To see the other photos and descriptions in this set, visit my Magnificent Morton Gneiss album.
I had to use my Cell phone camera to take this shot as my other camera was out of shots. It was unexpected to see this beaver dam here; it seemed not yet completed. At bottom can be seen a dead fish. The shot was taken on the bridge connecting North and West Vancouver just at the end of the Burrard Inlet waters.
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Indigo Slam is a privately owned gallery and residence for an art collector in the heart of Sydney and it was conceived and built by
architects: Smart Design Studio Architect: William Smart
This is actually the rear of the building and it sits in a very narrow alleyway. When I was there photographing it yesterday there was still a lot of construction going on inside along with plastic sheeting covering the roof. I’d really love to see it’s interiors so I could understand how it’s exterior relates to the spaces within. I did art school at uni majoring in painting, drawing and photography… so I have a strong grasp on design like this. Conceptually the building has references to constructivism and abstraction, but I think a lot of the shapes and curves on the exteriors are clever ways to shape the light entering the building. One of the architects said that the light also changes from season to season in Indigo Slam which would be fascinating to see.
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Exterior of the Ismail Samani Mausoleum, which is a historic building in Bukhara, Uzbekistan. It was completed in 905. Its walls are two meters thick. Ismail Samani founded the Samanid dynasty, which was a Persian empire that flourished in Central Asia for a century. It produced luminaries like Abu Ali Ibn-Sina (Avicenna), the medieval world's great medical genius; court poet Rudaki, who founded modern literary Persian; Khorezm, the great astronomer; and Al-Khorezmi, who founded algebra. Photo taken on July 10, 2012.
Emerging from the quiet of the pre-dawn hours, this historic building at the corner of 20th and Georgia in San Francisco's Pier 70 district possesses a powerful sense of permanence and history. The photograph captures the scene during the early morning blue hour, where the remaining darkness of the night sky provides a deep, dramatic backdrop to the warmly lit structure. The building, constructed primarily of rich, red-orange brick, is brought to life by strategically placed exterior lighting.
The architecture is impressive, featuring two stories of monumental, repeating arched windows framed with subtle green trim and dark, heavy sills. This design reflects the building’s original use as a grand, utilitarian headquarters or workshop within the Union Iron Works complex. The ground-level uplighting washes the lower half of the walls, highlighting the texture and color of the aged brickwork.
At the corner, the transition to the modern era is visible. A low, tiled overhang covers a contemporary entrance featuring glass and metal, indicating its current use as commercial or office space. This addition is directly beneath the historic street sign prominently marking the intersection. The foreground is dominated by the wide, empty intersection, where the dark asphalt meets the classic brick paving of the sidewalk, contrasted sharply by the bright, white lines of the crosswalk. The stillness of the empty street is palpable, emphasizing the brief moment of solitude before the city's daytime activity begins. This striking view is a testament to the preservation and revitalization of San Francisco's industrial landmarks against the cool, crisp light of a new day.
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: 5.9; pp. 51-53.
Standing on the southern side of E. Randolph Street and looking northwestward.
Behold the lower half, approximately, of the 83-story Aon Center, formerly known as the Standard Oil Building and the Amoco Building. Completed in 1973, it was originally clad in slabs of Italian Carrara Marble sliced too thin to bear the rigors of Chicago's continental climate.
By the time I took this photo, the Carrara's replacement, Mount Airy Granodiorite, had been doing its job for about a decade. While it is no means as lustrous as the original, its monumental paleness nevertheless conveys the building's "Look on my Works, ye Mighty, and despair!" messaging quite adequately. The spire-topped Two Prudential Plaza snuggling next to it provides a nice contrast, too, with its darker, pinkish-gray Mondariz Granite exterior.
As noted in previous posts, I love the Aon, that great hulking beast, all the more for its problems and its detractors. It's good that we have been able to construct such breathtaking structures before our time to do such things runs out.
Quarried in North Carolina, the Mount Airy has been radiometrically dated to 334 ± 3 Ma ago, which places its origin in the Mississippian subperiod (Lower Carboniferous period). As a granodiorite, it's a granitoid rock whose feldspar content is mostly in the form of plagioclase. True granites, on the other hand, contain a higher proportion of alkali feldspars. Such petrologic distinctions are lost on architects, builders, and quarry operators, however. So they call this rock selection the Mount Airy Granite instead.
As is duly noted in CSC, the Mount Airy Granodiorite can also be found and scrutinized at two other Windy City sites—the Congress Plaza Hotel and Graceland Cemetery's Lehmann Mausoleum.
For much more on the site touched upon here, 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.
The Tamworth based company of Gibbs & Canning are little recalled now but they were one of the more important manufacturers of faience terracotta finishes that, int he early decades of the Twentieth century was much in vogue. One company whose architect, mentioned here, used their specific products extensively was the Metropolitan Railway in London.
Under their long serving architect Charles W Clark FRIBA the Met underook a series of developments on their Central London sites in the 1920s and '30s. These were mostly station reconstructions such as at Aldgate, Farringdon, Great Portland Street and others and they still display the pale marble/white faience manufactured by Gibbs and Canning. One other major reconstruction was the railway's headquarters buildings, shown here, that are actually on the east side of the Baker Street station 'island' at 13 Allsop Place. These, that form part of the long jigsaw of reconstruction at Baker St, were completed in 1912/13 so Gibbs & Canning were showing a building that was nearly two decades old here. The advert is of interest in that it promotes two products - Faience Terra Cotta and Unglazed Terra Cotta - the latter must have relied on the fireskin formed by kilning rather than the fusing of glazes.
The Metropolitan, in 1931, had less than two years of independence left. Having used the "London" excuse to avoid Grouping of main line railways in 1923, they could not escape the net of London Transport when the LPTB was formed in 1933. The building, now Listed at Grade 2, is still in use as London Underground offices.
Hasselblad 501CM with Zeiss Distagon f3.5 60mm CF, Kodak Portra 400, developed in Tetenal Rapid C41
I've published a scanning guide. Check it out on Amazon.com:
Exterior of Mir-i-Arab Medressa and Kalon Minaret. Two tourists are sitting at the entrance to Kalon Mosque. Photo taken on July 08, 2012 in Bukhara, Uzbekistan.
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: 5.10; pp. 53-58.
Looking at the western wall of the Grand Army of the Republic Hall.
The highly polished, sea-green and white-veined stone adorning the walls of this sumptuously ornate chamber is the Vermont Serpentinite. It's known to stone dealers and architects by the amusingly trilingual name of "Vermont Verde Antique"—to which either "Marble" or "Serpentine" is frequently suffixed.
Vermont Serpentinite is quarried in the Green Mountain State town of Rochester. The origin of this metamorphic rock type is overtly exotic: it began in the late Neoproterozoic or early Cambrian as dunite, an ultramafic igneous rock in the Earth's upper mantle beneath a now-vanished ocean basin or in a forearc zone. Then, in the succeeding Ordovician period, it was chemically altered by its contact with water, scraped up by an advancing volcanic island arc, and then thrust up onto Laurentia, the early-Paleozoic incarnation of North America.
Serpentinites and related brecciated forms called ophicalcites are quarried in various locations around the world and are prized for their rich green color and dramatic veining. While they're often best employed indoors where they will not degrade through weathering, the Vermont variety is, in my experience, more resistant in the American Midwest's challenging continental climate. Perhaps that's because its veins are mostly composed of the mineral magnesite, which is less chemically reactive than the more usual calcite.
For 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.
from atop, i see the calm sea stretching beyond, a gentle contrast to the raw, unfinished textures at my feet. the mediterranean sun spills its silver light over a landscape of construction materials scattered carelessly—a reminder of the human touch altering natural serenity. the breeze carries the salty whispers of the sea, intertwining with the clatter of tiles and metal, singing a melody of transformation. here, in cala mayor, where the old gives way to the new, each day moulds the horizon a bit further, crafting a vista that marries the rugged charm of labor with the elegant expanse of the ocean. in this snapshot, the story of progress hums quietly—a testament to the unseen efforts that shape our views.
Part of the courtyard of the Kalon mosque basks in the soft warm glow of the late afternoon / early evening sun. A lone tree is in the courtyard. Photo taken on July 08, 2012 in Bukhara, Uzbekistan.
Accompanying notes provided By V&A Mueseum, London
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.
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.
Agnieszka Radwańska (born 6 March 1989 in Kraków) is a WTA Tour Polish tennis player.
Her career high singles ranking is World No. 8, which she achieved on 22 February 2010. Radwańska has also reached four Grand Slam Quarterfinals, becoming the first Polish woman in WTA to reach that far in a Grand Slam. She is also called "The Ice Princess" due to her calm and collected demeanor on-court.
An interesting book produced in 1922 at a time when the post-WW1 slogan "Homes for Heroes" was still valid and many schemes for the more economic construction of houses, either by size, scale or construction methodolgy were being proposed. This was also the time when many municipal authorities were first seriously involved in the provision of social or council housing. This book, with a foreword by Sir Charles Ruthen, Director-General of Housing in the Ministry of Health, has a series of articles both on types and plans of 'modern cottages' but also looks at various contemporary construction methodology including 'modern methods of building' that involved either a decree of prefabrication or the use of 'labour' and cost saving materials such as concrete blocks. and the production of concrete. Many of these methods, similar to those considered in similar post-WW2 years, where not widely adopted and properties using such novel methods often displayed defects. In many ways the 'traditional' construction methods of brick and wet trades won out.
The book also has many pages of adverts for builders and suppliers, many of which allude to the construction methods discussed in the articles. This double page spread is for the Sheffield based builders Henry Boot & Sons Ltd, who had branches almost nationwide. As noted they had constructed many 'working class' houses, the 'Homes for Heroes', to the value of £1.9 million for numerous municipalities. Pictured are schemes in Birmingham, Montgomery County Council's rurual smallholdings, for Uttoxeter and at Atcham in Shropshire. Boot's had been formed in 1882 and by 1900 had become a limited company. They did well in Sheffield and became a national contractor and developer surviving intact until 1987 when the housing development division was sold off.
Hasselblad 501CM with Zeiss Distagon f3.5 60mm CF, Kodak Portra 400, developed in Tetenal Rapid C41
I've published a scanning guide. Check it out on Amazon.com:
An interesting book produced in 1922 at a time when the post-WW1 slogan "Homes for Heroes" was still valid and many schemes for the more economic construction of houses, either by size, scale or construction methodolgy were being proposed. This was also the time when many municipal authorities were first seriously involved in the provision of social or council housing. This book, with a foreword by Sir Charles Ruthen, Director-General of Housing in the Ministry of Health, has a series of articles both on types and plans of 'modern cottages' but also looks at various contemporary construction methodology including 'modern methods of building' that involved either a decree of prefabrication or the use of 'labour' and cost saving materials such as concrete blocks. and the production of concrete. Many of these methods, similar to those considered in similar post-WW2 years, where not widely adopted and properties using such novel methods often displayed defects. In many ways the 'traditional' construction methods of brick and wet trades won out.
The book also has many pages of adverts for builders and suppliers, many of which allude to the construction methods discussed in the articles. This advert is for a proprietary concrete block sold by McCreath, Taylor & Co of Glasgow - the St Mungo concrete block that allowed the formation of walls 'ready equipped' for lath and plastering thanks to an in-built clip. The blocks also formed a cavity wall when constructed. The advert mentions the use of "Winget" concrete machinery that is advertised elsewhere in the book. Various construction methods using pre-formed concrete blocks have been tried over time with varying success. In theory the construction of concrete in a workshop environment rather than on site should bring benefits in terms of production and quality - sadly, often, it was a case of cost winning out over durability. Interestingly the advert notes that these blocks have been sued in the housing schemes for the Corporation of Glasgow - I wonder which ones? Glasgow, with real housing pressures over decades, would become one of Europe's largest 'landlords' and with a massive housing construction programme over decades.
A building's rear on the main street of Neerim South. The backyard a storage area of building materials old and new - particularly of stacked pallets of new bricks.
OLYMPUS DIGITAL CAMERA
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: 5.9; pp. 51-53.
Facing northeastward from Millennium Park. Standing just south of Anish Kapoor's "Cloud Gate" sculpture, better known as the Bean.
The focal point of this post's discussion is that glorious monster, the 83-story Aon Center, once known instead as the Standard Oil Building, and then as the Amoco Building. It was completed in 1973.
The two Prudential Plaza skyscrapers, partially visible at left, were cursorily described in Part 1 and will be featured again. As far as our beloved Bean goes, I have already showcased that stainless-steel tourist magnet in this post and its sequel. Check 'em out.
And so I now return to the title's import. The exact time of sunset is of course dependent on your latitude and longitude. But this photo seems to suggest that it's also a matter of your altitude as well.
As the Michigan Avenue streetlights captured on the Bean's mirrorlike surface indicate, we're a few minutes past sunset down at ground level. But up there on the Aon, starting at about the fortieth floor, Old Sol's rosy fingertips are still touching the off-white Mount Airy Granodiorite that replaced the original Carrara Marble cladding. So, if one is up that high, our favorite star has not yet quite slipped under the horizon.
The result is a remarkable pinkification of the mighty structure's upper portion. The same coloration effect on the Aon can be seen in both of the Bean images linked three paragraphs above.
In the comments section of Part 1 I mentioned that the dearly departed Carrara gave off a roseate glow at sunset. But obviously so can the flatter-toned Mount Airy, at least on such beautiful late-October evenings as this.
For much more on the sites touched upon here, 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.