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Dedicated to St Leonard, the church stands on the site of an earlier 12th century church, which similar to many others was demolished during the Victorian period. The present church standing on the edge of Charlecote Park was instigated and paid for by Mrs Mary Elizabeth Lucy, whom’s family resided at Charlecote Park. The church contains the Lucy family vault.
John Gibson designed the church and Mrs Lucy laid the foundation stone during April 1850. Erected from blocks of ashlar stone, a large rectangular dressed stone with even faces and square edges the church remains much the same as when Mrs Lucy planned it.
200 Clarendon Street, (previously John Hancock Tower) and colloquially known as The Hancock, is a 60-story, 790-foot (240 m) skyscraper in Boston. The tower was designed by Henry N. Cobb of the firm I. M. Pei & Partners and was completed in 1976. In 1977, the American Institute of Architects presented the firm with a National Honor Award for the building, and in 2011 conferred on it the Twenty-five Year Award. It has been the tallest building in Boston for more than 40 years, and is also the tallest building in New England. The street address is 200 Clarendon Street, but occupants use both "Hancock Place" and "200 Clarendon Street" as mailing addresses for offices in the building. John Hancock Insurance was the main tenant of the building when it opened, but the company announced in 2004 that some offices would relocate to a new building at 601 Congress Street, in Fort Point, Boston. The tower was originally named for the insurance company that occupied it. The insurance company, in turn, was named for John Hancock, whose large and conspicuous signature on the Declaration of Independence made his name so famous in the U.S. that a colloquialism for a signature is "a John Hancock." Tall, narrow glass structures were a goal of modernist architecture since Mies Van Der Rohe proposed a glass skyscraper for Berlin. Such buildings as Gordon Bunshaft's Lever House, Mies' Seagram Building in New York City, and Frank Lloyd Wright's Johnson Wax Headquarters attempted this goal, but many of these designs retained structural artifacts that prevented a consistent, monolithic look. In 1972, Cobb's design of the 200 Clarendon Tower took the glass monolith skyscraper concept to new heights. The tower is an achievement in minimalist, modernist skyscraper design. Minimalism was the design principle behind the tower. The largest possible panes of glass were used. There are no spandrel panels, and the mullions are minimal. Cobb added a geometric modernist twist by using a parallelogram shape for the tower floor plan. From the most common views, this design makes the corners of the tower appear very sharp. The highly reflective window glass is tinted slightly blue, which results in the tower having only a slight contrast with the sky on a clear day. As a final modernist touch, the short sides of the parallelogram are marked with a deep vertical notch, breaking up the tower's mass and emphasizing its verticality. In late evening, the vertical notch to the northwest catches the last light of the sky, while the larger portions of glass reflect the darkening sky. A major concern of the architects while designing the tower was its proximity to Boston's Trinity Church, a prominent National Historic Landmark. Their concern led them to redesign the tower's plans, as there was a public outcry when it was revealed that the Hancock Tower would cast its shadow on the church.
[Source: en.wikipedia.org/wiki/John_Hancock_Tower]
A stunning vision of architectural color and urban life unfolds on this sunlit corner in a Portuguese city, most likely Porto, given the intense use of tiles and the streetscape. The centerpiece is the curved, multi-story building entirely clad in deep, shimmering emerald green azulejo tiles. This is not the typical blue and white; the intense green glaze catches the light dramatically, creating a smooth, reflective surface that dominates the scene and speaks to a period of daring, colorful architectural expression.
The effect of the tiling is immediately mesmerizing. The green façade is elegantly punctuated by framed windows and small wrought iron balconies, all featuring trim painted in a rich, complementary burgundy or crimson hue. This color combination—vibrant green tiles paired with deep red window frames—is bold, luxurious, and classically European. The curved nature of the building seamlessly transitions the street corner, a subtle piece of urban design that softens the intersection.
At ground level, the space is activated by a café or restaurant, identifiable by its burgundy entrance doors and matching tables and chairs set out on the wide cobblestone pavement. This immediately adds a layer of human scale and activity to the grand structure. The scene is further framed and softened by the presence of large, mature green trees on both the left and right, creating a natural canopy that provides shade and a picturesque setting for the outdoor seating area. The dense foliage on the left partially obscures the building, adding depth and a sense of discovery.
The overall composition contrasts the permanence and vibrancy of the historic architecture with the transient activity of city life—people walking, cars parked, and residents enjoying a sunny day outdoors. The light is bright and clear, emphasizing the texture of the cobblestones underfoot and the reflective quality of the glazed tiles above. This image successfully captures a quintessential Portuguese moment, celebrating the country's love for azulejo and the way history remains seamlessly integrated into the daily rhythms of the modern street. It’s an immersion into the colorful, textural heart of a beautiful European port city.
The frog is approximately 2 inches long. It lives among the ferns in a pot on the porch, and is a frequent visitor.
Pio IX. Pont. Max. Feliciter regnanti / Effigiem B. V. Mariæ / Josepho Bertini Mediol auotore, Cæsar Ponti Mediol / an. МСМХХII / D.D.D. (Dono Degit Dedicavit) / Vatican Museums
Giuseppe Bertini (1825–1898) was an Italian painter, active in his native Milan. Between 1848 and 1860 he was occasionally employed as an instructor in the Brera Academy, and upon the reorganization of that institution in 1860 he was placed permanently in charge of one of the two schools of painting, (Hayez being in charge of the other), and continued to hold his professorship until the end of the 19th century.
Пию ХI Великому Понтифику на счастливое правление картина Пресвятой Девы Марии. Йозеф Бертини миланец автор. Цезарь Понти миланец в год 1922. Данный и освящённый как подарок! Джузеппе Бертини (итал. Giuseppe Bertini; род. 11 декабря 1825 года Милан, Ломбардо-Венецианское королевство — 24 ноября 1898 года, Милан, Королевство Италия) — миланский художник и историк искусства, профессор и директор Академии Брера. Первый руководитель музея Польди-Пеццоли.
Thanks to our architecture expert, Wizum, here on Flickr!
Link:
www.emporis.com/en/wm/bu/?id=2midtownplaza-atlanta-ga-usa
architect: Smallwood, Reynolds, Stewart, Stewart & Associates, Inc.
4 examples of the beautiful window frames that can be seen everywhere in Bhutan, these were all taken in Thimphu the capital.
Amo i colori, tempi di un anelito inquieto, irresolvibile, vitale, spiegazione umilissima e sovrana dei cosmici "perché" del mio respiro. (Alda Merini)
I love clouds, both the real one and the one in reflection.
Taken at Waterfront Centre downtown Vancouver.
Happy Thursday my friends!
200 Clarendon Street, (previously John Hancock Tower) and colloquially known as The Hancock, is a 60-story, 790-foot (240 m) skyscraper in Boston. The tower was designed by Henry N. Cobb of the firm I. M. Pei & Partners and was completed in 1976. In 1977, the American Institute of Architects presented the firm with a National Honor Award for the building, and in 2011 conferred on it the Twenty-five Year Award. It has been the tallest building in Boston for more than 40 years, and is also the tallest building in New England. The street address is 200 Clarendon Street, but occupants use both "Hancock Place" and "200 Clarendon Street" as mailing addresses for offices in the building. John Hancock Insurance was the main tenant of the building when it opened, but the company announced in 2004 that some offices would relocate to a new building at 601 Congress Street, in Fort Point, Boston. The tower was originally named for the insurance company that occupied it. The insurance company, in turn, was named for John Hancock, whose large and conspicuous signature on the Declaration of Independence made his name so famous in the U.S. that a colloquialism for a signature is "a John Hancock." Tall, narrow glass structures were a goal of modernist architecture since Mies Van Der Rohe proposed a glass skyscraper for Berlin. Such buildings as Gordon Bunshaft's Lever House, Mies' Seagram Building in New York City, and Frank Lloyd Wright's Johnson Wax Headquarters attempted this goal, but many of these designs retained structural artifacts that prevented a consistent, monolithic look. In 1972, Cobb's design of the 200 Clarendon Tower took the glass monolith skyscraper concept to new heights. The tower is an achievement in minimalist, modernist skyscraper design. Minimalism was the design principle behind the tower. The largest possible panes of glass were used. There are no spandrel panels, and the mullions are minimal. Cobb added a geometric modernist twist by using a parallelogram shape for the tower floor plan. From the most common views, this design makes the corners of the tower appear very sharp. The highly reflective window glass is tinted slightly blue, which results in the tower having only a slight contrast with the sky on a clear day. As a final modernist touch, the short sides of the parallelogram are marked with a deep vertical notch, breaking up the tower's mass and emphasizing its verticality. In late evening, the vertical notch to the northwest catches the last light of the sky, while the larger portions of glass reflect the darkening sky. A major concern of the architects while designing the tower was its proximity to Boston's Trinity Church, a prominent National Historic Landmark. Their concern led them to redesign the tower's plans, as there was a public outcry when it was revealed that the Hancock Tower would cast its shadow on the church.
[Source: en.wikipedia.org/wiki/John_Hancock_Tower]
Image info: 54 exposures, 6 angles, 9 shots per angle, used Photomatix - Exposure Fusion (Natural Setting), and then stitched the 6 images together using Microsoft ICE.
research.microsoft.com/en-us/um/redmond/projects/ice/
The Central Waterfront of Seattle, in the state of Washington, US, is the most urbanized portion of the Elliott Bay shore. It runs from the Pioneer Square shore roughly northwest past Downtown Seattle and Belltown, ending at the Broad Street site of the Olympic Sculpture Park.
The Central Waterfront (waterfrontseattle.org/) was once the hub of Seattle's maritime activity. Since the construction of a container port to its south in the 1960s, the area has increasingly been converted to recreational and retail uses. As of 2008, several century-old piers are devoted to shops and restaurants. There are several parks, a Ferris wheel, an aquarium, and one over-water hotel.