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our post fire work digs in westby, wisconsin are in the building behind this sign for ole & lena kaffe hus ( fresh lefse! ). across the street you can see the uff-da mart and dregne's scandinavian gifts.
IOWA CITY, IA - OCTOBER 23: Quarterback Scott Tolzien #16 of the Wisconsin Badgers throws under pressure from Defensive lineman Karl Klug #95 of the University of Iowa Hawkeyes during the first half of play at Kinnick Stadium on October 23, 2010 in Iowa City, Iowa. Wisconsin won 31-30 over Iowa. (Photo by David Purdy/Getty Images).
Inside the Wisconsin Automotive Museum in Hartford.
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Im Inneren des Wisconsin Automotive Museum in Hartford.
Built in 1937, this Streamline Moderne or Art Moderne-style building was designed by Lawrence Monberg for Dr. Abraham Quisling, and is known as Quisling Towers. The building is one of three notable Art Moderne-style buildings designed by Monberg for the Quisling family, whom were prominent physicians of Norwegian descent in Madison during the mid-20th Century. The building originally housed twenty-six apartment units, and despite a few systems and features being modernized, the building retains most of its historic character-defining elements. The building was built of fire resistant hollow clay tile, a common building material at the time, with plaster on the interior and buff brick cladding with terra cotta and bedford limestone trim on the exterior obscuring the structural material. The building sits on a sloped site, being six stories in height in the rear, along a private drive off of Wisconsin Avenue, and five stories in the front, along Gilman Street.
The building features a buff brick exterior with corner bands of windows featuring horizontal fins that create strong visual horizontal emphasis at the building’s corners, with casement, one-over-one double-hung, and fixed windows being present on various parts of the building. The building’s front entrance is along Gilman Avenue, flanked by low stone walls and featuring a suspended semi-circular aluminum canopy above, with semi-circular door handles and sidelights. The building’s facade is broken by thin belt coursing at the top and bottom of the windows on most of the floors, which features soldier brick courses between the second and third floors. At the base of the building and at the terraces, there are thick bands of trim with flutes that are aligned horizontally, further de-emphasizing the building’s verticality, with a stepped retaining wall at the basement light well along Wisconsin Avenue also featuring the same trim cap. On the fifth floor, the building has corner setbacks, which are home to rooftop terraces, two-story “tower” sections with curved brick piers flanking curved brick balconies with large fixed storefronts and french doors at the balconies, and stacked bond and soldier brick framing the storefronts. The fifth floor is the smallest, consisting of the “tower” with the curved brick piers and balconies on the floor below, as well as a setback section to the northeast, with two large roof terraces on the rooftop of the building’s fourth floor at the northeast end of the building. The rooftop terrace is enclosed by a modern wire safety railing, and features curved corners, following the curved corners of the fourth floor below. The rear of the building features recessed balconies enclosed by low brick walls on the exterior, which have had their views of the State Capitol blocked by an adjacent building constructed several decades later.
The building’s interior features plaster walls with a lobby featuring curved walls and a linoleum floor, recessed radiators, simple stone fireplace surrounds, curved staircases with metal handrails, art deco-style pendant and sconce light fixtures, and kitchens with the original cabinets, subway tile wall cladding, built-in cutting boards, and tile countertops. The building was listed on the National Register of Historic Places in 1984, owing to its architectural significance. The building today is one of the most distinctive buildings on the Downtown Madison isthmus, and is an excellent example of Art Moderne architecture, and is the best preserved of the three significant Monberg-designed buildings from the time period in the Mansion Hill district. The building remains in use as a rental apartment building.
Built in 1997, this Modern building was designed by Frank Lloyd Wright between 1938 and 1959, but had its construction overseen by Anthony Puttnam of Taliesin Associated Architects, whom had worked under Wright. It serves as the convention center for the city of Madison, and features a public plaza on the roof, as well as a liner park connecting the building to the nearby intersection of Martin Luther King, Jr. Drive and Wilson Street, providing a clear line of sight of the Wisconsin State Capitol a few blocks to the northwest. The design underwent many iterations during Wright’s later career, though it was heavily influenced by his focus on organic geometric forms that defined his work in the latter portion of his career, departing from the ornamentation of the earlier Prairie style and being more organic than his geometric designs for the Usonian houses built during the same time period. The building’s overall form is very true to Wright’s original concept, though it was made taller and the interior layout and programming are distinctly postmodern or contemporary, making some overtures to Wright’s later work, but featuring materials, details, and elements that make the building very clearly one from 1997, rather than from Wright’s lifetime. Nevertheless, the building is a graceful and spectacular addition to Downtown Madison and the shore of Lake Monona. The convention center came at a high cost in terms of finances, but also in terms of historical relics, with several ancient Ho-Chunk nation burial mounds on the site of the building being disturbed by the construction of its foundation, and the original view from Capitol Square to Lake Monona being forever blocked by the building’s height and rooftop fountain. Nevertheless, the addition of a large public terrace on the roof, a modern convention center, low-profile parking garage, and public restrooms have been a benefit to Downtown Madison and the public.
The building’s exterior facade is relatively simple on the side facing Downtown Madison, with a long linear park and walkway featuring distinctive sculptural lamps designed by Wright, which also are present at the entrance to Martin Luther King, Jr. Drive from Capitol Square, draw visitors to the building. The walkway expands into circular and semi-circular sections and contracts into narrower sections, crossing a bridge over the parking garage and a railroad line below before arriving at the building’s entrance. The entrance features modern storefronts, with a curved concrete parapet and soffit above, which supports a stylish modern fountain above, and is ringed by a semi-circular terrace that wraps around the semi-circular facade, which continues to ramps on either side that provide access to the rooftop terrace above and the parking garage below via elevator and stair towers, which sit at either end of the building and are clad in glass curtain walls. On the rooftop terrace, there are planters with trees, bushes, grasses, and flowers, two food service counters with outdoor seating and their kitchens in circular pavilions, circular pavilions housing restrooms, as well as stairs and elevators to the convention center below, and more sculptural lampposts. The building overall is a large half-cylinder massing with two cylindrical massings partially embedded into the sides, which have two smaller cylindrical massings at the point where the cylinders intersect with the half-cylinder facing the lake, with long wings on the flat side of the building that narrow before terminating at semi-circular ends. The side of the building facing Lake Monona features seven arched curtain walls separated by slender columns, which are recessed from the face of the facade above, and feature a planter at the base of the windows, a long curved storefront at the base that is recessed below the planter with the two circular massings embedded into the sides of the building’s semi-circular main massing being largely blank with cutaway arches at the base that expose the building’s structural columns. Part of the building sits over Lake Monona, and rests on concrete piers that are embedded into the lake bed below, which also support the Capital City Trail, a multi-use path that passes on the lake side of the building. The parking garage sits above John Nolen Drive and a railroad line, and is made of concrete, featuring arched openings and two spiral ramps, which harmonize with the design of the rest of the building. Inside, the building features multiple floors of convention and meeting space, with windows featuring curved bulkheads and soffits, large open atriums between various floors that are semi-circular in shape, which have staircases cascading down to lower levels and feature planters and half-height walls with gracefully curved tops, vaulted ceilings in some areas, red carpeting, decorative cove light fixtures, and large spaces with modern systems and amenities, which manage to embody the spirit of Wright’s design philosophy.
The building is a significant landmark in Madison, dominating the shore of Lake Monona and being a significant feature of the Downtown Madison skyline and cityscape when viewed from almost any angle from the lakeshore. It is the most unique public convention center in the United States, also offering one of the best views and most distinctive interiors of any convention center in the country. The building provided the city with a modern convention center while realizing the design of Frank Lloyd Wright, one of the most notable architects of all time, whom spent much of his life in the vicinity of the city, and symbolizing Wright’s deep connections to the area. The public terrace on the roof of the building added a breathtaking new outdoor space to the city, making the shores of Lake Mendota far more accessible than they had been for generations, creatively bridging the barrier of a large roadway and railroad line that had previously separated Downtown from the lake, and allowing pedestrians to nearly seamlessly walk from the State Capitol to the edge of the lake.
Built in phases between 1911 and 1959, this Prairie and Organic Modern-style house and office were designed by Frank Lloyd Wright to serve as his family residence and studio, with two fires leading to substantial reconstruction of the house in 1914 and 1925. The house, which is named “Taliesin”, Welsh for “Shining Brow” or “Radiant Brow”, referring to the hill upon which it is situated, is a long and rambling structure with multiple sections built at different times, with the building serving as a living laboratory for Wright’s organic design philosophy, as well as growing with Wright’s family, wealth, and business. The house sits on a hill surrounded by fields, but is notably located below the top of the hill, which Wright saw as being such a significant feature of the landscape that it should remain untouched by the house’s presence. The house’s westernmost wings served as the home of livestock and farm equipment, as well as a garage, later becoming housing for the Taliesin Fellowship, where aspiring architects apprenticed with Frank Lloyd Wright. The central wing served as the Frank Lloyd Wright studio, where Wright and his apprentices and employees worked on projects for clients, as well as where Wright often met with clients. The eastern wing served as the Wright family’s residence, and was rebuilt twice, in 1914 and 1925, after being destroyed by fire, and is overall the newest section of the complex, though some portions of the west and central wings were added after the main phase of construction of the residence was complete.
The house is clad in stucco with a wooden shingle hipped and gabled roof, with stone cladding at the base and on piers that often flank window openings, large casement windows, clerestory windows, outdoor terraces and balconies, stone chimneys, and glass french doors, all of which connect the interior of the building to the surrounding landscape. The interior of the buildings feature vaulted ceilings in common areas, stone floors, stone and plaster walls, decorative woodwork, custom-built furniture, and multiple decorative objects collected by Wright during his life. The exterior of the house has a few areas distinctive from the rest of the structure, with a cantilevered balcony extending off the east facade drawing the eye towards the surrounding landscape from the living room of the residence, next to a large set of glass doors that enclose the living room and adjacent bedroom from a shallower cantilevered terrace, while to the west of the residence, and south of the central wing, is a landscaped garden, which rests just below the crest of the hill.
The building was the full-time home of Wright from 1911 until 1937, when Wright began to spend his winters at Taliesin West in Phoenix, Arizona, due to the effects of the Wisconsin winters on his health. For the rest of Wright’s life, the house was the summer home of Wright and the Taliesin Fellowship, and following his death, the house was deeded to the Frank Lloyd Wright Foundation, which operated and maintained the house as a museum and the home of multiple programs until 1990. Since 1990, the house has been under the stewardship of the nonprofit Taliesin Preservation Inc., which operates the house in conjunction with the Frank Lloyd Wright Foundation. The building is a contributing structure in the Taliesin Historic District, listed on the National Register of Historic Places in 1973, and designated a National Historic Landmark in 1976. Taliesin was one of eight Frank Lloyd Wright buildings listed as The 20th-Century Architecture of Frank Lloyd Wright World Heritage Site by UNESCO in 2019. Today, Taliesin is utilized as a museum, offering tours and interpretation of Frank Lloyd Wright’s life and work.
Much like an IMAX, a 280 degree screen brings to life real world scenarios designed to put a four-person fire team made up of a driver, gunner, rifleman and troop commander through the paces of an actual convoy mission. (U.S. Air Force photo by Master Sgt. Dan Richardson.)
Photos of the completed Wisconsin Energy Institute building during the last building tour before staff, faculty, researchers and students began moving in.
Photo by Matthew Wisniewski, Wisconsin Energy Institute
Photos of the completed Wisconsin Energy Institute building during the last building tour before staff, faculty, researchers and students began moving in.
Photo by Matthew Wisniewski, Wisconsin Energy Institute