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We renewed our tickets to Leeds Castle in Kent yesterday after nearly a couple of years and it was nice to go round and get a few shots. This is one of my favourite rooms and is the library.
Please view on black.
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Libraries are wonderful places! Our local branch library is closed for renovation, so I payed a visit to the central library. Came out with four big books! So many more I wanted, but my arms didn't want to carry them, and I wouldn't have time to peruse them by their due date.
Central Library is a public library in Blackpool, Lancashire, England. The building that contains the library and the Grundy Art Gallery has been designated a Grade II listed building by English Heritage.
In 1908, a site was picked for a new library and art gallery on Queen Street. It was partly financed by Bury artists Cuthbert and John Grundy. Construction started on the building in 1909, and it was completed in 1911. It was designed by Scottish architecture firm Cullen, Lochhead and Brown, who had won a competition for the project. In August 2010, the library closed to the public to undergo a year-long renovation that cost £3 million. It reopened on 26 September 2011. The Library celebrated its centenary on 26 October 2011.
The library is in the Edwardian Baroque style. It is on two storeys and is constructed of red brick with stone dressings and striped pilasters. The library occupies the corner part of the building; the west and south walls have flanking pylons on plinths made of stone. The corner entrance is flanked by three ionic columns on each side. Over the doorway is a large, rectangular window, and above that, a frieze carved with the words "Central Public Library". At the top, there is an octaonal leaded dome, which has a finial shaped like an urn.
On 20 October 1983 the building that contains the library, and the adjacent Grundy Art Gallery, was designated a Grade II listed building by Historic England. The Grade II listing—the lowest of the three grades—is for buildings that are "nationally important and of special interest".
As part of the centenary renovation of the building in 2011, 8 new stained glass windows were commissioned. Designed by Nick Robertson with a brief from the staff of the Library and input from Library users which were made by Rainbow Glass Studios based in London.
en.wikipedia.org/wiki/Central_Library_(Blackpool)
Jefferson Hall, completed in August 2008, reflects the Academy’s ongoing commitment to academic excellence. The Cadet Library, the Center for Enhanced Performance and the Center for Teaching Excellence, all providers of student-centered information services, are now consolidated in one central location, directly along the path from the barracks to Thayer Hall.
Modern in design and composition, Jefferson Hall yet incorporates many of the characteristics of Central Area architecture, such as entry arches, limestone window surrounds and multi-paned windows. Special features include 8,000 amber-colored glass blocks on the north exterior wall of the ground floor and terracotta bricks on interior walls. New Hampshire granite, used on the exterior, is also incorporated in the interior walls of the lobby and sixth floor. The upholstered furniture was manufactured in North Carolina, and the wooden tables and chairs in Wisconsin.
Complete Tour Book available at: www.library.usma.edu/documents/JeffersonHallTourBook.pdf
View of the exterior of the Louis Round Wilson Library on the campus of the University
of North Carolina at Chapel Hill.
Digital Collection:
North Carolina Postcards
Publisher:
North Carolina News Company, Durham, N.C.;
Date:
1930; 1931; 1932; 1933; 1934; 1935; 1936; 1937; 1938; 1939; 1940; 1941; 1942; 1943;
1944; 1945
Location:
Chapel Hill (N.C.); Orange County (N.C.);
Collection in Repository
North Carolina Postcard Collection (P052), North Carolina Collection Photographic
Archives, Wilson Library, UNC-Chapel Hill
The Liverpool Central Library has recently had a 55 million pound refurbishment and has just re-opened to the public again after 3 years. I went down this morning but it was shut for the bank holiday. I will try again tomorrow as I believe the interior is spectacular. A recent quote described it as 'It's like going to meet your gran and finding she's turned into Beyoncé' :))
And here we peek past the trophy books and into the library proper, which is home to 4 of the 9 bookcases in the house. I thought I had a lot of books until KAK and I put our libraries together, and he has a lot more than I do! It was a little dismaying, but who cares when the library looks so kickass?
Scranton Library sign in use from the expansion in 1989 to the renovation which began in 2018. Long rectangular brown sign made of wood with large routed-in letters reading, "Scranton Library". Letters are painted gold in the imprints, and they have faded outlines painted in blue around them. Square cutouts at each of the four corners. Imprinted tan border along the edges of the sign. Eight screws going through the sign in total, with four spaced out in a row near the top edge and and four similarly near the bottom edge. 11' long x 16" tall x 1 1/4" thick.
ACC# 2020.087.001
See flic.kr/s/aHsm5dTDVz for additional items in the Annex
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums).
[Unidentified soldier in Union uniform with rifleman's hat]
[between 1861 and 1865]
1 photograph : sixth-plate ambrotype, hand-colored ; 9.3 x 8.1 cm (case)
Notes:
Title devised by Library staff.
Case: leather quatrefoil design.
Additional information in collections file.
Gift; Tom Liljenquist; 2010; (DLC/PP-2010:105).
Purchased from: Shiloh Civil War Relics, Shiloh, Tennessee, 2007.
Subjects:
United States.--Army--People--1860-1870.
Soldiers--Union--1860-1870.
Military uniforms--Union--1860-1870.
United States--History--Civil War, 1861-1865--Military personnel--Union.
Format: Portrait photographs--1860-1870.
Ambrotypes--Hand-colored--1860-1870.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Ambrotype/Tintype filing series (Library of Congress) (DLC) 2010650518
Liljenquist Family collection (Library of Congress) (DLC) 2010650519
More information about this collection is available at hdl.loc.gov/loc.pnp/pp.lilj
Persistent URL: hdl.loc.gov/loc.pnp/ppmsca.26918
Call Number: AMB/TIN no. 2065
the library in the mackintosh building.
location: glasgow, renfrew street
architect: charles rennie mackintosh
year: 1907-1909
Monastiraki Athens (Greece)
Hadrian's Library
The impressive complex of Hadrian’s library is located in Plaka, a few meters north of the Roman Agora, not far from the train stop of the same name. It is the work of Emperor Hadrian, the great benefactor of Athens, who wanted to create a peaceful spot near the bustling bazaar, a place for reflection and pondering. The ground plan of the library complex was very similar to that of the Roman Agora, making one wonder whether it was Hadrian‘s intention to juxtapose the social character of Augustus’ creation with a structure that addressed the inner man.
done with Thank You Mario, the animated Super Mario Brothers text screen generator, wigflip.com/thankyoumario/
My photo journey through the Hegeler Carus Mansion in LaSalle, Illinois.
Equipped with a roll of 400, and my trusty Nikon F2, I shot a series of photos with the intent to bring out the dark beauty of The Mansion. Unfortunately, most of these photos came out very soft, but I do think they have a certain film noir appeal to them.
I often wondered why Victorian mansions were always the centerpiece of haunted house stories, and now I know why. They're naturally ominous... even with light coming through. But they're beautiful nevertheless.
The library of Celsus is an ancient Roman building in Ephesus, Anatolia, now part of Selçuk, Turkey. It was built in honour of the Roman Senator Tiberius Julius Celsus Polemaeanus (completed in 135 AD) by Celsus' son, Gaius Julius Aquila (consul, 110 AD). Celsus had been consul in 92 AD, governor of Asia in 115 AD, and a wealthy and popular local citizen. He was a native of nearby Sardis and amongst the earliest men of purely Greek origin[4] to become a consul in the Roman Empire and is honoured both as a Greek and a Roman on the library itself. Celsus paid for the construction of the library with his own personal wealth.
The library was built to store 12,000 scrolls and to serve as a monumental tomb for Celsus. Celsus is buried in a sarcophagus beneath the library, in the main entrance which is both a crypt containing his sarcophagus and a sepulchral monument to him. It was unusual to be buried within a library or even within city limits, so this was a special honour for Celsus.
In the Library the Librarian rules.
The place where all the knowledge of the (un)known universe is accesable via L-space.
Also the place where the Octavo is being kept.
Bain News Service,, publisher.
4th July
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from data provided by the Bain News Service on the negative.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.27394
Call Number: LC-B2- 4676-2
May 12, 2019 - Frank Lloyd Wright Home and Studio located at 951 Chicago Ave., Oak Park, IL.
"In 1889 Wright completed the construction of a small two-story residence in Oak Park on the Western edges of Chicago. The building was the first over which Wright exerted complete artistic control. Designed as a home for his family, the Oak Park residence was a site of experimentation for the young architect during the twenty-year period he lived there. Wright revised the design of the building multiple times, continually refining ideas that would shape his work for decades to come.
The semi-rural village of Oak Park, where Wright built his home, offered a retreat from the hurried pace of city life. Named “Saint’s Rest” for its abundance of churches, Oak Park was originally settled in the 1830s by pioneering East Coast families. In its early years farming was the principal business of the village, however its proximity to Chicago soon attracted professional men and their families. Along its unpaved dirt streets sheltered by mature oaks and elms, prosperous families erected elaborate homes. Beyond the borders of the village farmland and open prairie stretched as far as the eye could see.
The Oak Park Home was the product of the nineteenth century culture from which Wright emerged. For its design, Wright drew upon many inspirational sources prevalent in the waning years of the nineteenth century. From his family background in Unitarianism Wright absorbed the ideas of the Transcendentalists, Ralph Waldo Emerson and Henry David Thoreau, who encouraged an honest life inspired by nature. The English Arts and Crafts movement, which promoted craftsmanship, simplicity and integrity in art, architecture and design, provided a powerful impetus to Wright’s principles. The household art movement, a distinct movement in middle-class home decoration, informed Wright’s earliest interiors. It aimed, as the name implies, to bring art into the home, and was primarily disseminated through books and articles written by tastemakers who believed that the home interior could exert moral influences upon its inhabitants. These various sources were tempered by the lessons and practices Wright learned under his mentors, Joseph Lyman Silsbee and Louis Sullivan.
For the exterior of his home, Wright adapted the picturesque Shingle style, fashionable for the vacation homes of wealthy East Coast families and favored by his previous employer, Silsbee. The stamp of Sullivan’s influence is apparent in the simplification and abstraction of the building and its plan. In contrast to what Wright described as “candle-snuffer roofs, turnip domes [and] corkscrew spires” of the surrounding houses, his home’s façade is defined by bold geometric shapes—a substantial triangular gable set upon a rectangular base, polygonal window bays, and the circular wall of the wide veranda.
Despite its modest scale, the interior of the home is an early indication of Wright’s desire to liberate space. On the ground floor Wright created a suite of rooms arranged around a central hearth and inglenook, a common feature of the Shingle style. The rooms flow together, connected by wide, open doorways hung with portieres that can be drawn for privacy. To compensate for the modest scale of the house, and to create an inspiring environment for his family, Wright incorporated artwork and objects that brought warmth and richness to the interiors. Unique furniture, Oriental rugs, potted palms, statues, paintings and Japanese prints filled the rooms, infusing them with a sense of the foreign, the exotic and the antique.
In 1895, to accommodate his growing family, Wright undertook his first major renovation of the Home. A new dining room and children’s playroom doubled the floor space. The design innovations pioneered by Wright at this time marked a significant development in the evolution of his style, bringing him closer to his ideal for the new American home.
The original dining room was converted into a study, and a new dining room replaced the former kitchen. The dining room is unified around a central oak table lit through a decorative panel above and with an alcove of leaded glass windows in patterns of conventionalized lotus flowers. The walls and ceiling are covered with honey-toned burlap; the floor and fireplace are lined with red terracotta tile.
The new dining room is a warm and intimate space to gather with family and friends. The Wrights entertained frequently, and were joined at their table by clients, artists, authors and international visitors. Such festive occasions, according to Wright’s son, John, gave the house the air of a “jolly carnival.”
The 1895 playroom on the second floor of the Home is one of the great spaces of Wright’s early career. Designed to inspire and nurture his six children, the room is a physical expression of Wright’s belief that, “For the same reason that we teach our children to speak the truth, or better still live the truth, their environment ought to be as truly beautiful as we are capable of making it.” Architectural details pioneered by Wright in this room would be developed and enhanced in numerous commissions throughout his career.
The high, barrel-vaulted ceiling rests on walls of Roman brick. At the center of the vault’s arc a skylight, shielded by wood grilles displaying stylized blossoms and seedpods, provides illumination. Striking cantilevered light fixtures of oak and glass, added after Wright’s 1905 trip to Japan, bathe the room in a warm ambient glow. On either side of the room, window bays of leaded glass with built-in window seats are at the height of the mature trees that surround the lot, placing Wright’s children in the leafy canopy of the trees outside.
Above the fireplace of Roman brick, a mural depicting the story of the Fisherman and the Genie from The Arabian Nights is painted on the plastered wall. An integral architectural feature within the room, the mural was designed by Wright and executed by his colleague, the artist Charles Corwin. It is a fascinating blend of decorative motifs; forms from exotic cultures—such as Egyptian winged scarabs—are combined with flat, geometric designs that echo the work of Wright’s international contemporaries, Charles Rennie Mackintosh and the Vienna Secessionists.
In 1898 Wright built a new Studio wing with funds secured through a commission with the Luxfer Prism Company. The Studio faced Chicago Avenue and was connected to his residence by a corridor. Clad in wood shingles and brick, the Studio exterior is consistent with the earlier home. However, the long, horizontal profile, a key feature of Wright’s mature Prairie buildings, sets it apart. Adjacent to the entrance, a stone plaque announces to the world, “Frank Lloyd Wright, Architect.” Decorative embellishments and figural sculptures set off the building’s artistic character and impressed arriving clients.
The reception hall serves as the entrance to the Studio. A waiting room for clients and a place for Wright to review architectural plans with contractors, this low-ceilinged space connects the main areas of the Studio—a library, a small office, and the dramatic two-story drafting room, the creative heart of the building.
The studio staff worked on drafting tables and stools designed by Wright in rooms decorated with eclectic displays of artwork and objects. Japanese prints, casts of classical sculptures, as well as models and drawings executed in the drafting room, filled the interiors of the Studio. In Wright’s home the integration of art and architecture served to nurture and intellectually sustain his family. In the Studio, these same elements served a further purpose, the marketing of Wright’s artistic identity to his clients and the public at large.
In September of 1909, Wright left America for Europe to work on the publication of a substantial monograph of his buildings and projects, the majority of which had been designed in his Oak Park Studio. The result was the Wasmuth Portfolio (Berlin, 1910), which introduced Wright's work to Europe and influenced a generation of international architects. Wright remained abroad for a year, returning to Oak Park in the fall of 1910. He immediately began plans for a new home and studio, Taliesin, which he would build in the verdant hills of Spring Green, Wisconsin. Wright’s Oak Park Studio closed in 1910, though Wright himself returned occasionally to meet with his wife Catherine who remained with the couple's youngest children at the Oak Park Home and Studio until 1918. The Home and Studio was the birthplace of Wright's vision for a new American architecture. Wright designed over 150 projects in his Oak Park Studio, establishing his legacy as a great and visionary architect.
Previous text from the following website: flwright.org/researchexplore/homeandstudio
One place I always love to visit is the library. Next to photography I also love reading! I know that in some cultures borrowing books is a sign of poverty, but in Holland it is not :-) And if I had bought all the books I read, I need to extend our house. So hurray for the library!!
Our main library, called DOK Centrum, can best be described as a media center that combines three unique collections: Music and Film, Literature, and Art.
From the internet 'In December 2009 DOK won the 'Best library of the Netherlands' award and was voted to be the 'most modern library in the world' by USA research.'
ODC2 - YOUR CORNER OF THE WORLD