View allAll Photos Tagged WindowDesign
Here comes the sun
Here comes the sun, and I say
It's alright
The porthole view from an Iberia A350, some magic from mother nature.
A window into the past.
Two generations of Alexander buses which were once the backbone for Dubliners in their daily commute.
Going back to green, former Dublin Bus Leyland Olympian RH 125, through the 90's the main double decker in Dublin, RH 125 is seen recreating a 46A on the last day of the route 25th January 2025.
Memories
One of the many great restaurants in Little Italy on Preston Street. Love how it all lights up at night with these pretty, inviting colours.
Best viewed large =)
A decorative window adorning a room for rent at a coastal retreat in Pagudpud, Philippines in the Ilocos Norte province of Luzon Island.
Looking out, did not work out as XPAN
A calm, minimal frame of the Filmhochschule München. Clean lines, soft light, and just enough contrast to make the geometry pop — a quiet take on contemporary German architecture.
Locked in, but who's complaining.
Onboard "Berlin " looking out the nearside door & what a view, Lufthansa Boeing 787 Dreamliner.
Its certainly #GutenFlug
First class seat, what a view.
Seen at London City Airport, the home of the CityFlyer fleet of Embraer's, ideal for the short runway & steep landing/ take offs required.
As well as the convenience of London City Airport with quicker access to London itself, the airport provides amazing views for departing passengers, you can almost touch the wings from the gates, plus all boarding is done by walkway, there are no airbridges.
As evening light softens the streets of Washington, D.C., the Embassy of Argentina stands stately and serene at the corner of Q Street and New Hampshire Avenue NW in the Dupont Circle neighborhood. Draped in warm golden tones, the Beaux-Arts façade glows with elegance. Its signature mansard roof, embellished dormers, and iron balconies evoke a Parisian sensibility—fitting for the refined diplomacy that occurs within.
The Argentine flag flutters gently above the building’s central entryway, framed by decorative stonework and wrought-iron gates. A tall cornice adorned with dentil molding and classical detailing crowns the structure, while symmetrical windows march rhythmically across the façade. The street is quiet, with trees bare and traffic light catching just a touch of glow, allowing the embassy's architectural beauty to take center stage.
Built in the early 20th century, this former private mansion now hosts diplomatic events, art exhibitions, and cultural celebrations that bridge continents. Its location along Embassy Row places it among some of the most storied architecture in the capital, yet it retains a distinct identity—welcoming, formal, and unmistakably proud.
This image captures more than architectural splendor. It offers a moment of stillness in a city of power, and a glimpse into the enduring relationship between elegance and international presence. Whether approached as a photographer, a diplomat, or simply a passerby, the Argentine Embassy leaves a lasting impression.
Architectural Survey Appendix (Historic Documentation Format):
Name: Embassy of Argentina
Address: 1600 New Hampshire Avenue NW, Washington, D.C.
Date of Construction: Circa 1913
Style: Beaux-Arts
Architectural Features: Mansard roof, dormer windows, symmetrical façade, stone cartouche, ironwork balconies, heavy cornice, central entry with decorative relief
Building Material: Limestone and masonry with iron detailing
Number of Stories: 3.5 (including mansard)
Historic Integrity: Excellent; largely intact original exterior
Current Use: Diplomatic mission (Embassy)
Contributing Structure: Yes (part of the Massachusetts Avenue Historic District / Embassy Row)
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
Brunswick Wharf, otherwise known as Blackwall power station, was situated on the north bank of the River Thames in east London and was constructed on the site of the old Brunswick Dock. It had been planned pre-WW2 by the Poplar Borough Council's municipal electricity department but work did not commence until 1947 just before the undertaking was nationalised. The first section was commissioned in 1952 and this photo shows it still under construction - a massive brick clad structure that would eventually have two fluted reinforced concrete chimneys and that was designed by architects Farmer and Dark FFRIBA. The consulting engineers were Sir John Bruce & Partners. The station was decommissioned in 1984 and demolished in 1989.
At the corner of Independence Avenue and 3rd Street SW in Washington, D.C., the Hubert H. Humphrey Building stands as one of the most distinctive—and polarizing—examples of federal Brutalist architecture. Designed by Hungarian-born modernist architect Marcel Breuer, the building was completed in 1977 and named in honor of Vice President Hubert H. Humphrey, a champion of civil rights and public health. It houses the U.S. Department of Health and Human Services (HHS), an agency that evolved from the original Department of Health, Education, and Welfare.
This hulking concrete structure embodies the Brutalist ethos: raw concrete (béton brut), dramatic geometry, and fortress-like massing. The repetitive modular façade—composed of sculptural precast concrete window hoods—casts deeply recessed shadows that change throughout the day, creating an ever-evolving play of light and form. Breuer’s distinctive use of triangulated surfaces and exaggerated cantilevers gives the building a sense of heavy monumentality while allowing for unexpected nuance and rhythm in the fenestration.
While often criticized for its austere and imposing aesthetic, the Humphrey Building remains an enduring representation of the era’s civic architectural ambition—meant to project governmental strength and permanence during a time of post-Watergate disillusionment. Breuer, best known for his contributions to the Bauhaus and his design of the Whitney Museum in New York, brought a humanist touch to Brutalism. The building's pilotis—elevating it above the ground—were intended to create openness and flow at street level, though tight security measures today limit public access.
Located within the heart of the Capitol complex, the building’s design has become a flashpoint in debates over the future of federal architecture. While some advocate for its preservation as a masterwork of late modernism, others view it as a relic best replaced with more "classically inspired" forms.
Regardless of aesthetic preference, the Hubert H. Humphrey Building is a significant artifact in the narrative of 20th-century American government architecture. It’s a monument to a particular moment in U.S. history—one shaped by the Great Society, by expanding social programs, and by bold (if controversial) ideas about what government buildings should look like.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
Ocker Hill power station was, for many years, a prominent landmark in the landscape around Tipton in the heart of the Black Country. The station was originally opened for the Midland Electric Corporation in 1902 and the station passed into the control of the West Midlands Joint Electricity Authority in 1927 before nationalisation. This shows a section of 1940s reconstruction that was carried out to plans by L G Mouchel & Partners. The station was decommissioned in 1977 and demolished.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
Skelton Grange had been planned by Leeds City Council's municipal electricity undertaking in pre-WW2 days but construction of the coal fired "A" station did not begin until 1946 and the undertaking was nationalised in 1948 with the incomplete station passing to the British Electricity Authority. It was commissioned between 1951 and 1956 and was joinend on the site by the "B" station in 1960/62. The A station was decommissioned in 1983 followed by the B station in 1994. This photo shows the station under construction in the late 1940s to designs by the consulting engineers, Sir Alexander Gibb & Partners.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
The cover is finished in a Curwen pattern paper (Colourway No. 130B) and is a design by Edward Bawden. The title is a pasted slip.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
The title page with the Hope's logotype and in two colours.
This design was my interpretation of one of the bedroom windows in Frank Lloyd Wright's Darwin Martin House in Buffalo. The couple who chose this as their wedding cake were extreme minimalists, and getting this to work was a challenge.
A traditional window design in the Bhumia tribal village of Ganiput, near Boipariguda, in SW Orissa.
Henry Hope & Sons Ltd were a long established manufacturer of architectural metalware and glazing systems based in Smethwick. Their publications and advertising always met high standards of typography and publishing and this wonderful and substantial book is no exception as it was printed at The Curwen Press in London and demonstrates much of their acknowledged skill.
The catalogue - Publication No. 260, issued in December 1951 - was for drawing office use giving details of specifications, sections and other information and covers a vast number of building types and architectural styles. Needless to say, although Hope's windows were sold for 'older styles' their galvanised steel glazing systems fitted well into modern architectural styles and they produced special systems for large scale projects such as office blocks, factories and power stations.
In post-war Britain the newly nationalised electricity industry was keen to catch up with the replacement of generating stations that wartime delays and use had marked down as in urgent need to replacement as well as carrying on with the move to modern, larger generating stations able to cope with increasing demand for electricity. The British Electricity Authority (later the CEA and then CEGB) inherited schemes planned by pre-nationalisation undertakings as well as designing new stations themselves. The catalogue has a extensive section on power stations as glazing, for light and ventilation as well as for aesthetic reasons, played an increasing role in their designs. Hope's not only specialised in window frames but also the many geared opening and ventilation systems.
The frontispiece takes the form of this extract from Charles Dicken's The Pickwick Papers that describes the arrival in the industrial city of Birmingham and the Black Country, where Smethwick was to be found, in Victorian times. The splendid illustration is by J O'C.