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Built between 1908 and 1910, this Prairie and Sullivanesque-style house was designed by George Grant Elmslie and Louis Sullivan for Josephine Crane Bradley, and her husband, Harold C. Bradley, a Biotechnology professor at the University of Wisconsin - Madison. The house is not only one the most significant of the many houses designed during Sullivan’s career, but is one of only a few houses designed under Sullivan of such a substantial size to be located in a suburban setting. It is the most notable large surviving residential commission of Sullivan’s career, given that the most comparable building, the Babson House in Riverside, Illinois (1907-1909), was demolished in 1960 to make way for a residential subdivision. The Bradley House is universally considered to have been very successful in connecting the exterior with the interior, with cantilevered sleeping porches at the ends of the gabled south wing on the second floor, wrapped by casement windows, making the house appear to be floating above the surrounding landscape, while bay windows on the first floor create cozy interior spaces surrounded on three sides by the outdoors. The house’s interior, however, is more controversial - it did not feature an interior layout or design befitting the Bradley family, instead, being far better suited to the needs of the fraternity that has occupied the house for the vast majority of its existence. In addition to being unsatisfactory to the client, the house was also designed at a time when Sullivan’s professional and personal lives were beginning to fall apart, making it difficult for him to get any commissions for work, or maintain interpersonal relationships. Sullivan was also descending into alcoholism, with this downward trend continuing for the rest of his life. Sullivan’s career in 1908 was a far cry from where it had been a decade and a half prior when he was one of several architects selected to design buildings for the 1893 Columbian Exposition (World’s Fair) in Chicago. Due to how turbulent Sullivan’s life was at the time, historical sources state matter-of-factly that most of the house’s design felt to George Elmslie, with Sullivan only giving occasional input. Others claim profusely that Sullivan was the main designer, and that Elmslie’s role was overstated. However, Elmslie did leave Sullivan’s firm before the house was completed, in 1909, to partner with William Gray Purcell and form the firm of Purcell and Elmslie. Elmslie’s new firm would go on to design another house for the Bradley family less than five years after this house was completed. Despite the context surrounding its creation and the controversial debate over who should receive credit for designing it, the house is a notable work of architecture and quite significant, and was done under Louis Sullivan’s leadership.
The house is T-shaped with two wings, the north wing being wider and featuring a double-gable roof, while the smaller south wing featuring a gabled roof. The first floor of the house and the base are clad in red brick, with several hipped roof sections that extend out past the footprint of the second floor, including one-story bay windows on the east and south facades. The house features art glass casement windows, a porch at the entrance on the north side of the building, and a porch on the first floor at the western end of the south wing, which is tucked underneath the second floor of the house. Above the brick base, the house is clad in wood board and batten siding oriented horizontally and wooden shingles, all of which is painted black. Decorative wooden panels with Sullivanesque ornament are present at the cantilevered east and west ends of the south wing, which form spandrels below the windows of the sleeping porches and long beams that terminate at vertical trim pieces, echoing the motifs found on Sullivan’s other work. The cantilevered ends of the south wing are supported by four brick piers, which contrast with the dark wooden cladding around them. The interior of the house features beautiful decorative woodwork, wooden floors, coffered ceilings with wooden beams, decorative bronze sconce and pendant light fixtures, a staircase screened by a row of wooden slats, decorative Sullivanesque wooden railings, built-in furniture, and brick fireplaces with mosaic tile inlay panels.
Shortly after moving into the house, the Bradleys found that it was too big and expensive to maintain, hiring the firm of Purcell and Elmslie to design a smaller house in nearby Shorewood Hills, Wisconsin, which was completed around 1915. They subsequently sold the larger house to the Sigma Phi Fraternity Chapter affiliated with the University of Wisconsin - Madison, who have owned the house ever since. The house suffered a devastating fire in 1972 that destroyed the roof and heavily damaged the second floor, but was rebuilt faithfully and carefully to its original design. The house was listed on the National Register of Historic Places in 1972, and was designated as a National Historic Landmark in 1976. It is also a contributing structure in the University Heights Historic District, listed on the National Register of Historic Places in 1982. The house today continues to serve as a fraternity house, and has been wonderfully maintained and preserved under their generational stewardship.
In 1836 there were 6 buildings but now only 2 are left on a county road surrounded by corn fields. Legislators complained that there weren't enough "comforts" in the area to have a capital here. Not much has changed either at this site or with politicians.
nrhp # 79000063- The Sherman House is a historic former hotel in Alma, Wisconsin. The hotel was built in 1866 and originally owned by William Kraft. It was named for Civil War general William Tecumseh Sherman. John Buehler, the first sheriff of Buffalo County, bought the hotel in 1872. The hotel is now a private residence.[2]
The Sherman House was added to the National Register of Historic Places on August 14, 1979.[1] It is also part of the Alma Historic District, which was added to the National Register in 1982.
from Wikipedia
Wisconsin River Grand Rapids isn't as grand as a century ago before the dam.
Kite cam flight over water.
The photograph dates back to 2004, capturing the barn mid-renovation. A 2024 examination of Google Maps through Street View shows the barn had been completely restored and serves as a residential unit.
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.
University of Wisconsin-Parkside Spring Commencement Morning Ceremony.
© UW-Parkside/Alyssa Nepper 2017
Brian Tyler's crew calms their driver after last lap contact with Aaron Pierce in the USAC 100 in Milwaukee, Wisconsin.
Hung Throttle Podcast - show #10
Wisconsin Sheep and Wool Festival, Jefferson, Wi.
Sept. 8-10, 2006
Had a lot of fun. Took about 10 pics at higher resolution.
It's amazing to see the variety of kinds of sheep, types of wool. The riot of colors in the finished dyed yarn is a delight to the eye!
I was excited at the opportunity to be able to sketch a view in the state capitol. Unfortunately after walking the entire capitol that was open for public access, the snack room in the basement was THE only place I could find a chair. I learned the basement of the WI state capitol is a popular place for the homeless on a rainy day.
-Wisconsin State Capitol
-Madison WI.
These tidal pools (the Great Lakes do not have true tides; large freshwater bodies experience small tides from 1 to 4 cm), contain interesting life: lift up a crusty rock and watch a crayfish scuttle away, firing it's tail to shoot backwards. You also might be lucky enough to see a water snake slithering to hide amongst the larger boulders. June 29, 2007; Toft Point, Liberty Grove, Door County, Wisconsin; Nikon Coolpix L5.