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The Leer Tower. Formerly known as the Cabana and before that, the Thomas Jefferson Hotel.
Opened to the public in 1929, it has been abandoned since 1982.
The Leer Tower features a moorage mast which was designed to tie down zeppelins and balloons at the time of its completion.
Twenty floors of fun, ballrooms, flooded basements, rooftop views, executive suites, offices, and broken televisions.
From: Crown Studios' New South Wales officers and men of the Australian Imperial Force (A.I.F.) and the Australian Naval Forces : portrait collection, 1919
Date of Birth: 5.1.[no year]
Date of Enlistment: [no year]
Trade or Calling:
Born in or near what Town: Wallarabba NSW
Address prior to Enlistment: Wallarabba NSW
Rank, Number, Battalion, Distinctions:
Casualties and where:
Name & Address of Next of Kin: Mr J. Killner Wallarabba NSW
Name and last address of Father: John Killner
acmssearch.sl.nsw.gov.au/search/itemDetailPaged.cgi?itemI...
I was standing on a street corner in downtown Toronto with a group of commuters waiting for a streetcar home at the end of the day. He was next to me and I noticed his St. Marten cap perched above a friendly face. He made eye contact and I told him I liked the hat because St. Marten is a beautiful place. He broke into a smile. “It sure is” he said. “I just got back from a visit there. A beautiful climate, very friendly people, and great food.” I told him my wife and I took our first Caribbean holiday to St. Marten quite a few years ago and greatly enjoyed it too. He told me he was lucky enough to spend a month because he has a friend who is living there. I introduced myself and we shook hands. Meet George.
One thing led to another as we waited for the streetcar and I learned that George is a retired electrician who spent his career doing industrial electrician work – mainly on power plants. When I commented that being an electrician is a great trade he said “It was good to me. I have worked in California, Australia, and Canada.” George is now retired and said he is doing as much travel as he can. “Now is the time, right?” When he told me he is 79 I said that surprised me as he didn’t look 79 to me. I commented that he is only 9 years ahead of me at 70. He quipped “I’ll take your nine years. You look good.” We were acting out the ritual familiar to people our age: complimenting each other on how young we look. We both chuckled at the unspoken fact that neither of us looks 30.
George was wonderfully open and good-natured. He told me he was born and raised in Guyana in South America and came to Canada at age 22. He had some electrician experience in Guyana but realized he needed papers in Canada and attended Ryerson Polytechnic School which is now a university where I take courses myself. When he learned I am a retired social worker he told me that his wife was a social worker employed in the justice system. He told me she died two years ago and I expressed my condolences. Sadness flickered over his face but was quickly brushed aside in exchange for his relaxed, warm smile.
George commented on my camera and I explained if we weren’t waiting for a streetcar, I would be asking him to be part of my Human Family photo project. He said he’d be happy to and invited me to take the portrait since traffic was heavy and there was not yet a streetcar in sight. I took him up on the offer and suggested we escape the crowd and walk around the corner to use a papered-over plywood wall as a simple background. As so often happens, George commented that it was a pretty dingy wall but I asked him to trust me and he did. The photos were rushed as I pictured our both missing the streetcar but when we returned to the crowd at the corner the streetcar was still a block away, impeded by heavy pre rush-hour traffic.
We continued to chat and stood next to each other on the crowded car after boarding and continued the conversation. We were at very close range in a crowd but I was still noticing the warmth in George’s face so I took a couple of quick portraits in the crowd as we talked. George was reflecting on how much Toronto has changed over the years (real estate prices, subway fares, and wages) and I agreed. When I invited him to share a few words for the project he thought for a moment and said “It’s all about people, isn’t it? Too many people spend their lives chasing money instead of enjoying people. I think they miss the whole point of life.” Ten minutes later it was time for him to transfer to the subway and for me to continue east so we parted company with a warm handshake.
Thank you George for making our wait for the streetcar so much more enjoyable. I’m sure we enjoyed it a lot more than the people surrounding us who were lost in thought or frustration at the length of the wait. Time passes quickly when you’re having fun. Thanks also for participating in my photo project.
This is my 373rd submission to The Human Family Group on Flickr.
You can view more street portraits and stories by visiting The Human Family.
Olga Georges-Picot (January 6, 1944 - June 19, 1997) was a French actress.
Born in Shanghai, China, she was the daughter of Guillaume Georges-Picot, the French Ambassador to China, and a Russian mother. Olga studied acting at the Actor’s Studio in Paris. Her acting career covered many diverse French and English films and television roles. She was featured in Playboy Magazine’s Sex in the Cinema and also on the front cover of the periodical Adam.
She played important roles in three classic mainstream films: Denise, the OAS mole, in The Day of the Jackal (1973); Countess Alexandrovna in Woody Allen’s Love and Death (1975); and Julie Anderson in Basil Dearden’s The Man Who Haunted Himself (1970). Her break-through role in the movies was as Catrine in the Alain Resnais’ film Je t'aime, je t'aime (1968). Earlier that year, she had appeared in the French television movie Thibaud the Crusader (1968).
Biographical information on her life and career leading to her apparent suicide on Thursday, 19 June 1997 is very limited and often incomplete. However, apparently Olga suffered from severe depression for unknown or unpublished reasons. Her bouts with depression apparently led to her suicide jump from the 5th floor of an apartment building that overlooked the river Seine, in Paris, France. (Wikipedia)
George has got to nine years of age and has now decided to sneak up on the back of the settee and watch the world go by !
Panasonic Lumix G3 ~ f4.2 @ 67MM , on camera flash, 1/160, iso 160 ~ lens ~ 45-200 Lumix f3.5
Dutch postcard by P.F. Cladder, Amsterdam, no. 49-62 kk. Photo: HABÉ Film.
George Formby (1904–1961) was Britain's most popular film comedian between 1934 and 1945, and one of the highest-paid stars. He appeared in 21 hit films, cut over 230 records, and entertained an estimated three million Allied Servicemen during World War II. His trademark was the ukulele - along with his buck-toothed grin.
George Formby was born in Wigan, Lancashire, as George Hoy Booth , the eldest of seven children. His father, George Formby Senior (real name James Booth), was a famous stage actor and comedian. He never wanted any of his family to enter show business and so George, Jr., was apprenticed as a jockey when he was seven and rode his first professional race at ten. On the death of his father in 1921, Formby abandoned his career as a jockey and started his own music hall career using his father's material. In 1924 he married dancer Beryl Ingham, who managed his career until her death in 1960. He allegedly took up the ukulele, for which he was later famous, as a hobby; he first played it on stage for a bet. In film and on stage, he generally adopted the character of an honest, good-hearted but accident-prone innocent who used the phrases: "It's turned out nice again!" as an opening line; "Ooh, mother!" when escaping from trouble; and a timid "Never touched me!" after losing a fistfight. What made him stand out, however, was his unique and often mimicked musical style. He sang comic songs, full of double entendre, to his own accompaniment on the ukelele. Some of his songs were considered too rude for broadcasting. His 1937 song, With my little stick of Blackpool Rock was banned by the BBC because of the lyrics, but Formby's cheerful, innocent demeanor and nasal, high-pitched Lancashire accent neutralized the shock value of the lyrics.
George Formby appeared in a sole silent film, By the Shortest of Heads (1915, Bert Haldane), and in 1934 he made his first sound film Boots! Boots! (1934, Bert Tracy). The film was successful and he signed a contract to make a further 11 with Associated Talking Pictures, which earned him a then-astronomical income of £100,000 per year. In his films he played essentially gormless incompetents, aspiring to various kinds of professional success (as cyclist or jockey) and even more improbably to a middle-class girlfriend, usually in the clutches of some caddish type with a moustache. Invariably he scored on both counts, in such films as No Limit (1935, Monty Banks), Keep Fit (1937, Anthony Kimmins), and Trouble Brewing (1939, Anthony Kimmins). Between 1934 and 1945 Formby was the top comedian in British cinema, and at the height of his film popularity, Let George Do It (1940, Marcel Varnel) with Phyllis Calvert, was exported to America.. This espionage comedy is still regarded as probably his best. He is a member of a concert party, who takes the wrong ship by mistake during a blackout, and finds himself in Norway (mistaking Bergen for Blackpool) as a secret agent. A dream sequence in which he punches Hitler on the nose and addresses him as a ”windbag" is one of the most enduring moments in film comedy. In the post-war years, the Formbys toured Australia and New Zealand, Scandinavia and Canada, and in 1951 George took the West End by storm in the new musical Zip Goes A Million. A weak heart led to his official retirement in 1952 although he had since occasionally appeared on the stage and in pantomimes. His final heart attack occurred at the home of his fiancée, Patricia Howson, 36. The announcement of their engagement was a surprise to many, coming as it did just two months after the death of Beryl. An estimated 100,000 mourners lined the route as his coffin was driven to the cemetary.
Sources: Brian McFarlane (Encyclopedia of British Film), Wikipedia, BBC On This Day, The George Formby Society, and IMDb.
(Edited to add answer key)
I shot the same scene with eight different imaging devices. Which device shot George best?
Each photo was shot in full-auto mode and I made no adjustments to the image afterward. All I did was crop and scale each one to a size of 2048 pixels to facilitate your side-by-side comparison. Go ahead and click through to the full-size version if y'like.
To give you some idea of the detail in the image, I've also compiled a lightbox of thumbnails, clipped from the same region of the image at the file's full original resolution (and then scaled to common dimensions).
What to you think? Leave your comments in the comments. I'll post the "answer key" after these have been online for a bit.
Frame 2/3
George Garton of Sussex CCC bowling against Glamorgan CCC at the SSE SWALEC Stadium in Cardiff last Friday. How he didn't fall over I don't know.
French postcard by Agfa. Photo: Studio Harcourt.
Handsome and athletic Georges Marchal (1920-1997) was one of the main lead actors in the French cinema of the 1950s, together with Jean Marais. He starred in several costume dramas and Swashbucklers and later appeared in films of Luis Buñuel.
Georges Marchal was born as Georges Louis Lucot in Nancy, France, in 1920. In Paris, he followed secondary school, and then took classes in ballet and acrobatics. Many odd jobs followed, like courier, docker at the Les Halles market, and assistant at the Medrano circus. He enrolled in the course of Ms. Calvi, and was hired at the Théâtre du Palais-Royal for the play 'Permission de détente' (Permission to relax) by Yves Mirande. At 20, he joined the Comédie-Française to play in 'Iphigénie et Psyché' (Iphigenia and Psyche). He soon also played in boulevard comedies. His film career started with the comedy Fausse alerte/The French Way (Jacques de Baroncelli, Bernard Dalban, 1940) starring Josephine Baker, which was only released in 1945. During the Occupation days, he was noted in Lumière d'été/Summer Light (Jean Grémillon, 1943) opposite Madeleine Renaud, Vautrin/Vautrin The Thief (Pierre Billon, 1943) with Michel Simon, and after the war, in Au grand balcon/The Grand Terrace (Henri Decoin, 1949) with Pierre Fresnay, about the heroic pilots who struggled, suffered and often died to carry the mail. He became the typical Jeune Premier of the French post-war cinema and posed as a rival of Jean Marais although he didn’t reach the same level. In 1951, he assumed the title role in Il naufrago del Pacifico/Robinson Crusoe (Jeff Musso, 1951), and for Sacha Guitry, he played the young Louis XIV in the star-studded Si Versailles m'était conté/Affairs of Versailles (Sacha Guitry, 1953). In 1951, he married actress Dany Robin. They were both young, beautiful, adored, and preserved their privacy in a house of Montfort l'Amaury. They made six films together, including La Voyageuse Inattendue/The Unexpected Voyager (Jean Stelli, 1949), based on an old script by Billy Wilder, and the comedy Jupiter (Gilles Grangier, 1952). Georges’ talent as a stuntman did wonders for his parts in costume films and swashbucklers such as Messalina (Carmine Gallone, 1952) with Maria Félix, Teodora, imperatrice di Bisanzio/Theodora, Slave Empress (Riccardo Freda, 1954) with Gianna Maria Canale, and Les trois mousquetaires/The Three Musketeers (André Hunebelle, 1953) in which he featured as D'Artagnan.
The arrival of the Nouvelle Vague (New Wave) sounded like the death knell for Georges Marchal. He moved to Italy to continue his career. With his muscular body, he was an ideal hero for the Peplum films (the Italian sword and sandal epics). He appeared in a dozen of them, including Nel Segno Di Roma/Sheba and the Gladiator (Guido Brignone - and uncredited Riccardo Freda and Michelangelo Antonioni, 1958) with Anita Ekberg, Le legioni di Cleopatra/Legions of the Nile (Vittorio Cottafavi, 1959) with Linda Cristal, and Sergio Leone's first solo directorial effort, Il colosso di Rodi/The Colossus of Rhodes (Sergio Leone, 1961) with Rory Calhoun. Marchal was a close friend of Luis Buñuel and also one of his preferred actors. Marchal starred in four of his films: Cela s'appelle l'aurore/That is the Dawn (1955) with Lucia Bosé, La mort en ce jardin/Death in the Garden (1956) with Simone Signoret, Belle de jour/Beauty of the Day (1967) with Catherine Deneuve, and La voie lactee/The Milky Way (1969) with Laurent Terzieff. Other interesting films he appeared in were the anthology film Guerre secrète/The Dirty Game (Terence Young, Christian Jaque, Carlo Lizzani, Werner Klinger, 1965) with Robert Ryan, the Romanian historical epic Dacii/The Dacians (Sergiu Nicolaescu, 1967) with Pierre Brice, Faustine et le bel été/Faustine and the Beautiful Summer (Nina Companeez, 1972) and Les Enfants du placard/The Closet Children (Benoît Jacquot, 1977) with Lou Castel. During the 1970s, he focussed on television and appeared in Quentin Durward (Gilles Grangier, 1971), as Philip IV the Fair in Les rois maudits/The Accursed Kings (Claude Barma, 1972), Gaston Phébus (Bernard Borderie, 1977), and Les grandes familles/The Great Families (Edouard Molinaro, 1988) with Michel Piccoli. He played a seductive older man in three TV-films based on the legendary Claudine novels by Colette, Claudine à Paris/Claudine in Paris (1978), Claudine en ménage/Pauline Engaged (1978) and Claudine s'en va/Claudine Goes (1978), all starring Marie-Hélène Breillat and directed by Edouard Molinaro. He also played Claude Jade's father in the fine TV Mini-series L'Île aux trente cercueils/The Island of Thirty Coffins (Marcel Cravenne, 1979). He retired in 1989. His last film appearance had been as General Keller in L'Honneur d'un capitaine/A Captain’s Honour (Pierre Schoendoerffer, 1982) about the French army's behaviour in Algeria. Georges Marchal died in 1997 in Maurens, France, following a long illness. He was married to Dany Robin from 1951 till their much-publicised divorce in 1969. He remarried in 1983 to Michele Heyberger.
Sources: Hal Erickson (AllMovie), Pablo Montoya (IMDb), Ciné-Ressources, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
This was one of two very peculiar gravestones in which someone has placed a marker at the base of proporting an unusual statement.
I wrote the South park historical society concerning this, and this was their reply:
"McCurdy and Wyatt were school board members with a school that was on the Tarryall road out of Jefferson. In 1895 Ben Ratcliff, a local rancher, shot and killed them because he felt that they and others were spreading rumors about him and his children. Also, the school board would not allow him to borrow textbooks for his children. Ben was tried and hung in 1896. I have no idea who put the plaques on the tombstones."
George Skeris, a 36-year-old man from Redondo Beach, CA, swam in the two-mile Dwight Crum Pier-to-Pier Swim, Individual Swimsuit race. Skeris ranked 70th in the M35-39 class, 601st by gender, and 919th overall, with a finishing time of 01:34:48. His race number was 287.
Manhattan Beach's International Surf Festival hosted the event on Sunday, August 6, 2023. Swimmers traverse the ocean between Hermosa Beach Pier and Manhattan Beach Pier.
VQW_2682
Portait of George Müller (1805-1898) of Kroppenstaedt, Prussia, and Bristol, England, the founder of the once famous Orphanages in Ashley Down, Bristol, from George Müller of Bristol and his Witness to a Prayer-hearing God by Arthur T Pierson (c1899).
Countless Bristol orphans owed a great dept of gratitude to George Müller but, in his early years, he was far from virtuous. The spoilt son of a tax collector, he became – even before he was ten years old – a habitual thief and fraudster. He would even purloin government funds which were entrusted to his father. His father wanted him to enter the Church and sent him to the Cathedral School in Halberstadt. Later he attended a school at Nordhausen and finally the Martin Luther University of Halle-Wittenberg. But, during his adolescence, he became a compulsive gambler and drunkard. And his behaviour gradually worsened until the Christmas period of 1821 when, aged 16, he spent 24 days in prison. Yet, at the age of 20, not only was he a student at a Lutheran university but – still as decadent as ever – he was accepted as a candidate for holy orders with permission to preach.
However, after a pleasure-seeking visit to Switzerland, a change came over George Müller. He made a full confession to his father and attended a prayer meeting led by an unsophisticated tradesman called Johann Wagner. The debauched but educated George Müller was well accustomed to high-flown religious services – and they left him cold – but Wagner's lowly prayer meeting was life changing. Müller put his years of decadence behind him. He determined to live a life of active Godliness and, therafter, attended Wagner's weekly prayer meeting whenever he could.
For a while his principal preoccupation was to convert Jews to Christianity but, in 1827, he spent two months in free lodgings provided in the orphan houses in Halle established a century earlier by August Hermann Francke. While there he learnt about how Francke had, starting from a single small house, set up network of orphanages in Halle. Later the same year he was urged to serve as with the London Missionary Society, to convert Jews to Christianity. In 1928 he made the move to London. Subsequently he worked in Devon where he met and soon married Mary Groves. Whilst in Devon he also met the evangelist, Henry Craik, who became his life-long friend and helper.
In 1832 the Müllers came to Bristol where George became joint pastor of Bethesda Chapel which was then in Great George Street. In 1836 they adapted their home to care for 30 orphaned girls. More room was soon required so they purchased houses in Wilson Street, St Pauls (now demolished). They housed 130 children, but that was still nothing like enough to house the many hundreds of orphans in the Bristol area. The Müllers response in 1849 was to open the first of five purpose-built orphanages on the hill at Ashley Down. Although they soon became known as the Muller Orphanages or, more often, the Muller Homes, that was never a name favoured by Müller himself. By 1870, 2,000 children were housed on the site. George Müller never went into debt, and never made a public appeal for donations, working on the principle that, if he had faith, God would provide.
One of the principal benefactors was another strongly religious German who had settled in Bristol. Conrad Finzel was a farmer’s son born in about 1790 in a village near Frankfurt. While still in his teens he fled to Britain to avoid being drafted into Napoleon’s army. He made his way to Bristol and started work in a in a sugar refinery. By 1830 he had founded his own refinery in the city. It was very lucrative but, in 1846, it was destroyed by fire. Many would have merely thought 'What have I done to do deserve this'. But Finzel reflected more deeply.:
" 'I then asked myself'; he said some time afterwards, in terms eminently characteristic of the man, 'what Conrad Finzel had done to call for this chastening stroke from God; and after thinking for some time, the truth flashed upon me.The Almighty had punished me because I had not given to His uses as He had blessed me. He had greatly increased my store, and I had only helped the poor in the same proportion as when I had little. Thus I deserved punishment, and God sent me this affliction to remind me of my duty, so, instead of giving so and so, I said, I will give one-third of my gains, for the future. I have given them, and God has gone on blessing me.'
"He gave freely to all sorts of charitable institutions, but most freely of all to the remarkable Orphan House established on Ashley Hill, by his countryman, the Rev. George Müller. During some years it was reckoned, his gifts thereto amounted to £10,000 a year. When near his end, a friend once spoke to him of the misfortune that his death would prove to the institution. 'What has the life of George Miller, or Conrad F inrel, or any one else,' he answered, 'to do with the Orphan House? It is God's work, and God will take care of it when there is not one of us left.' In that temper Conrad Finzel lived and worked in Bristol for nearly forty years. He died at Wiesbaden, while on a visit to his native land, on the 21st of October, 1859." (The Christian Remembrancer, Volume 55, William Scott, Francis Garden, James Bowling Mozley, 1868). Paul Townsend has written more about Finzel's Refinery here.
The five houses of the orphanage were constructed to designs by John Foster & Son during the 25 years that followed 1845. At the time of their construction they were designated by numbers that reflected the order in which they were built. Only later were they assigned the names by which they are known today. Number one, now Allen House, was constructed between 1847 and 1849. Brunel House followed in 1857 and Muller House itself in 1862. The two remaining houses, Davy and Cabot were built in 1868. There's an artist's impression of how the site looked at the time here in which Muller House is front centre. And there's a recent plan of the site here – though it has Cabot and Davy houses the wrong way round!
The decade following 1865 saw many changes in George Müller's life. In 1866 his life-long friend, Henry Craik died and, early in 1870, his wife Mary also died. Later the same year his daughter Lydia married his assistant James Wright. Then late in 1871 George himself re-married. His bride was Susannah Grace Sangar, whom he had known for 25 years. Finally, in 1875 George Müller handed over full responsibility to Wright and started a programme of preaching first in Britain, Europe and America and later in countries such as Australia, China, Japan, New Zealand, Ceylon and India.
In 1894, after 23 years of marriage, Müller's second wife, Susannah died. By then George himself was 89 and was living in House Number 3 – the building that's closest in the drawing below – now known as Muller house. He preached his last sermon on 6 March, 1898 at Alma Road Chapel in Clifton and, four days later was found by his maid dead on the floor by the side of his bed. His funeral on 14 March was Bristol's largest by far. Tens of thousands of mourners lined the streets – among them thousands of the orphans who had owed their start in life to George Müller. He was buried by the side of his two wives. He had never sought money for its own sake and died a poor man with few possessions.
In 1958 the Orphanages were relocated and the buildings became the home of a succession of colleges: Bristol Technical College, Brunel Technical College, various faculties of Bristol Polytechnic and finally the Ashley Down Centre of the City of Bristol College . Some of the buildings – including Muller House itself, were converted to flats when they were no longer required by the College.
One of my favourite picture since the old man still radiates a very special kind of strength. I saw him two days in a row, so I'm assuming he is there everyday, doing the same work everyday.
George Bush as a Chimp chuckling while tearing up the Constitution.
The source image for the chimp in this image is a Creative Commons licensed photo from lightmatter's flickr photostream.
I was interviewed by the Daily Dot. In the interview I talked about this image. The article that came out of that abbreviated what I said about this image I first published in 2009.
Here is the some context:
...If a lot of people commented on an image I would take that to mean that I had done something right. I also had some negative feedback that was helpful. I did an image of Hillary Clinton in an asbestos pants suit. I believe Hillary had used that imagery herself in a debate in Las Vegas.
I showed Hillary in the asbestos pants suit and I had flames lapping around her. I got a lot of negative comments about that image. Women in particular compared it to burning witches and thought the image was out of bounds. There were similar reactions to an image of Diane Feinstein wearing adult dipers with logos of defense contractors. At the time I was concerned about Feinstein's participation in passing the Patriot Act.
There were other images that caused negative reactions for similar reasons. I took this criticism to heart. It lead me to conclude that certain imagery can be perceived to promote stereotypes. If I want to use them, I should have a really good reason and be prepared to defend them. If use of a stereotype blinds the viewer from my message then I am not successfully communicating. I received a lot of negative reaction in other places to an image of George Bush as a chimp.
People who want to justify posting images of Obama as a monkey like to point to that image as an example of a double standard. I would take that image down because it is not something I would create today, but I leave it up to make a point. There is no equivalence between portraying Bush as a chimp vs. Obama. If you don't understand why then you are ignorant of how those images have been used to justify slavery in America.
Also this
...I really it felt like every day there was more news revealing how the Bush team practiced crony capitalism and would sacrifice anyone or anything to achieve their ends. Some of the most galling acts were the Iraq War, the Bush Tax Cuts and the gutting of regulations. There is a great list at In These Times that chronicles the actions of the Bush Administration titled, “A Timeline of Failure.”
Photo by Gregory Peterson.
AIA New Mexico Recognizes George Pearl Hall
George Pearl Hall, home to the University of New Mexico School of Architecture and Planning and the Fine Arts and Design Library, received an Honor Award in the 2011 Design Awards Program sponsored biannually by the American Institute of Architects/New Mexico.
Designed by AIA Gold Medal recipient Antoine Predock, FAIA, the 108,000 square foot, five level facility occupies a gateway site on the UNM campus, flanking the primary pedestrian entrance adjacent to Central Avenue, Historic Route 66.
The school includes accredited professional degree programs in architecture, landscape architecture and community & regional planning. Executive Architect for $29 million project was Jon Anderson and Associates, also of Albuquerque.
Jury Chair for the statewide competition was John Kane, FAIA, principal of Architekton in Tempe, Ariz. The selection jury commented that the project is "a wonderful example of a subtractive process that carves the urban block into an amazing composition. It is urban, reinforcing the pedestrian experience, while at the same time, having a strong iconic presence that sophistically re-interprets its Southwest regional design heritage," and provides "a connection to the community through a wonderfully articulated façade," and in section establishes a "great weaving of spaces and interaction of internal programs."
news.unm.edu/news/aia-new-mexico-recognizes-george-pearl-...