View allAll Photos Tagged Structures
HomePlace Structures
Winter is coming to Lancaster, PA. The beauty of our fair county is enhanced by the traditional Amish among whom we live and work. HomePlace Structures is delighted to offer many fine products crafted by these excellent artisans from the Amish community. www.homeplacestructures.com
Cooper Arms is a twelve-story steel-reinforced concrete building[2] with exterior walls of brick finished with stucco. Located on Ocean Boulevard (at the corner of Linden Avenue) in the East Village near downtown Long Beach, the structure was designed by Los Angeles architects Curlett & Beelman.[3] The design of the L-shaped apartment building has been described as Renaissance Revival and "Adam Revival" with neo-classical and neo-Egyptian ornamentation.[2]
Cooper Arms was originally developed as a housing cooperative with 159 apartments (and 406 rooms) which were offered for sale on "the own-your-own apartment plan,"[3][2] an idea that was promoted by Canadian born real estate developer Lionel Vincent Mayell (who also served as secretary of the Cooper Arms Building Company).
With a construction budget of $1,350,000, the Cooper Arms was the most expensive development in Long Beach history to that time. The construction was handled by Scofield Engineering and Construction Company,[4] the same company that built the Los Angeles Biltmore.[3] Demand for the new apartments was brisk, and in the six months before construction began, more than $1,250,000 in apartments had already been sold.[3]
The building's 12th floor solarium and ballroom, occupying a major portion of the top floor, were among its most notable features. The ballroom included a domed ceiling and ornate moldings and lanterns.[2] Another popular feature was the ground-level garden along Ocean Boulevard which opened onto a Spanish loggia extending through the structure to Linden Avenue.[5]
A promotional brochure published in 1922 noted that the Cooper Arms would have the latest amenities, including steam heating, high-speed elevators, "instantaneous hot water at all times," "Iceless Frigidors," "Disappearing beds," and "Dustless roller screens."[5] The Cooper Arms property was developed by Larkin Cooper. It was built on a portion of Ocean Boulevard that had previously been "given over to fine homes."[3] There were originally eight houses on the site, all owned by Cooper. Cooper came to Long Beach from Emporia, Kansas, where he had been in the feed and grain business.[6]
In April 1922, the Long Beach Daily Telegram announced the plan to build a luxury apartment building on the site. The planned development was billed as follows: "Long Beach to Have Finest Apartments in Whole Southland."[2]
The building was constructed from 1923-1924 when Long Beach was undergoing a building and population boom. When construction started in March 1923, the Los Angeles Times published a drawing of the Cooper Arms and described it as "an apartment-house which when completed, will be one of the most imposing structures of its kind west of Chicago."[3] At the time, Long Beach's skyline lacked other skyscrapers, and the Times predicted that "this magnificent building will become a landmark that may be seen from ocean vessels miles away."[3] In 1933, the Cooper Arms survived the Long Beach earthquake without major damage. One long-time resident recalled standing on the roof of the building when the earthquake struck:
I was tinkering with an old radio when the earthquake hit. It knocked me flat on my face. I watched the old Edgewater Building topple down. This building [Cooper Arms] is built out of steel and concrete. It just swayed from east to west — but it held together. We heard there was going to be a tidal wave after the earthquake, so I gathered my camping gear and fishing pole, got into my Franklin automobile and drove to Lake Henshaw to do a little fishing until the excitement died down.[6]
In 1974, the building celebrated its 50th anniversary with three of the original occupants still in residence. At the time, the Long Beach Independent Press-Telegram wrote that some of the excitement and luster had faded: "Party days at the Cooper Arms, along with the festive zest which once was the order of the day, have waned with the passage of years. The downtown lounge, with its plush oriental carpeting and ornate baroque ceilings, is now quiet and empty . The building is currently operated as condominiums by the Cooper Arms Homeowners Association. In 1980, the Long Beach Cultural Heritage Committee designated Cooper Arms a Long Beach Historic Landmark. It was among the first group of seven structures to receive the designation. The other structures included in the first group were Villa Riviera, First Congregational Church, Rancho Los Cerritos, Rancho Los Alamitos, Jergins Trust Building and the Pacific Coast Club.[8]
Cooper Arms was also listed on the National Register of Historic Places in October 2000.
Moonbase Alpha, sitting just above Euston station. I love the way the facade is decaying on the right of this pic.
“Wind turbines turning steadily in the breeze, the mighty Delta Works standing tall along the Oosterschelde, and the stunning Zeeland Bridge stretching toward Zierikzee — a perfect afternoon in the Netherlands.”
Brooke made a second larger structure that experienced gumdrop fatigue and failure. It was neat to figure out which shapes were most stable and to try to balance/counterbalance the structures.
Josèfa Ntjam
Metal structure, Plexiglas, clay, neons, 2 screens
Unknown Aquazone draws upon water-related mythologies, from Mami Wata, voodoo figures and fish-woman divinities, to imagine speculative futures.
The work is named after Detroit techno duo Drexciya’s fourth EP (1994), which built upon the musicians’ imagined technological universe comprising an underwater society formed by the offspring of pregnant African women who were thrown overboard from the ships that traversed the Atlantic during the slave trade.Ntjam combines imagery relating to this and other aquatic mythologies with archival materials that depict revolutionaries who fought for Cameroonian independence, creating large photomontages that are printed on the sides of an ‘aquarium’.*
From the exhibition
RE/SISTERS: A Lens on Gender and Ecology
(October 2023 — January 2024)
A major group exhibition that explored the relationship between gender and ecology, and highlighted the systemic links between the oppression of women and the degradation of the planet.
Featuring around 50 international women and gender non-conforming artists, RE/SISTERS featured work from emerging and established artists across photography and film.
Works in the exhibition explored how women’s understanding of our environment has often resisted the logic of capitalist economies which place the exploitation of the planet at its centre. They were presented alongside works of an activist nature that demonstrated how women are regularly at the forefront of advocating and caring for the planet.
Reflecting on a range of themes, from extractive industries to the politics of care, RE/SISTERS viewed environmental and gender justice as indivisible parts of a global struggle. It addressed existing power structures that threaten our increasingly precarious ecosystem.
...RE/SISTERS surveys the relationship between gender and ecology to highlight the systemic links between the oppression of women and Black, trans, and Indigenous communities, and the degradation of the planet. It comes at a time when gendered and racialised bodies are bending and mutating under the stresses and strains of planetary toxicity, rampant deforestation, species extinction, the privatisation of our common wealth, and the colonisation of the deep seas. RE/SISTERS shines a light on these harmful activities and underscores how, since the late 1960s, women and gendernonconforming artists have resisted and protested the destruction of life on earth by recognising their planetary interconnectedness.
Emerging in the 1970s and 1980s, ecofeminism joined the dots between the intertwined oppressions of sexism, racism, colonialism, capitalism, and a relationship with nature shaped by science. Ecofeminist scholars have long critiqued feminised constructions of ‘nature’ while challenging patriarchal and colonial abuses against our planet, women, and marginalised communities. Increasingly, feminist theorists recognise that there can be no gender justice without environmental justice, and ecofeminism is being reclaimed as a unifying platform that all women can rally behind.
Uniting film and photography by over 50 women and gendernonconforming artists from across different decades, geographies, and aesthetic strategies, the exhibition reveals how a woman-centred vision of nature has been replaced by a mechanistic, patriarchal order organised around the exploitation of natural resources, alongside work of an activist nature that underscores how women are often at the forefront of advocating for and maintaining our shared earth.
Exploring the connections between gender and environmental justice as indivisible parts of a global struggle to address the power structures that threaten our ecosphere, the exhibition addresses the violent politics of extraction, creative acts of protest and resistance, the labour of ecological care, the entangled relationship between bodies and land, environmental racism and exclusion, and queerness and fluidity in the face of rigid social structures and hierarchies. Ultimately, RE/SISTERS acknowledges that women and other oppressed communities are at the core of these battlegrounds, not only as victims of dispossession, but also as comrades, as protagonists of the resistance.
[*Barbican Centre]
Taken in Barbican Centre
This is the fourth of seven photos in the Feb 2nd-Feb8th, 2009 "Photo-a-day" series. Each week, project participants contribute 1 photo per day based on the week's theme. This week's theme is "structure."
Gigaom Structure Connect conference at Mission Bay Conference Center in San Francisco, CA on Tuesday & Wednesday October 21-22, 2014.
Gigaom Structure Connect conference at Mission Bay Conference Center in San Francisco, CA on Tuesday & Wednesday October 21-22, 2014.
HomePlace Structures
Winter is coming to Lancaster, PA. The beauty of our fair county is enhanced by the traditional Amish among whom we live and work. HomePlace Structures is delighted to offer many fine products crafted by these excellent artisans from the Amish community. www.homeplacestructures.com
Structure Data conference at the Mission Bay Conference Center in San Francisco on Wednesday & Thursday, March 9-10, 2016