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Tony Shalhoub (Monk) speaks to the crowd. He is from Green Bay and his sister Amy is a special education teacher in Wisconsin.
This barn was shot by my niece, Leann. She and her husband live somewhere between Eau Claire and Rice Lake. She took it with her cell phone and sent it to mine, so of course, I posted it to Flickr. I couldn't just keep it in my phone's photo gallery since that was 3 phones ago.
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.
This place was a little seedy but cheap. I had a good's night's sleep here on the evening of August 9, 2006, while on a road trip through Durand, Wisconsin.
Posing for a photo before the ceremony are, from left, Interim Provosit Faith Hensrud, Chancellor Renée Wachter and Interim Associate Vice Chancellor Peter Nordgren. (Photo by Ivy Vainio)
3/19/11
Madison, WI
Each Saturday, artists from UW create protest art; sculptures made from the detritus of tens of thousands of voices. Today's allows those at the rally to tie a string around their home town.
While a show of solidarity, this is also a stand against statements that those here do not represent their state; that they are largely outside agitators, or a handful of loud students, or union activists bussed in from out of state.
I can't speak to numbers, because I couldn't talk to everyone. I can only say that the majority of those I did speak to, those I recognized as I walked past, were from Wisconsin - and the few that weren't, the iron worker from Detroit, the grandfather retired to Arizona, were there to support those they knew in Wisconsin, or to protest a law that might affect them just as strongly at home.
Yes, I saw Jesse Jackson; I saw Susan Sarandon, Tony Shaloub; I saw national union leaders. But I did not go to their rally - they came to mine.
Wisconsin Badgers talk with the thousands at the welcome home party upon their return home from their West Regional Championship Sunday, March 29, 2014 in Madison, Wisc. (Photo by David Stluka)
Copyright (C) 2013 Delia O Unson
(7933)
Canon EOS 7D with Canon EF 100-400 zoom at 400 mm; 1/2000 sec; f/5.6; ISO 1000; Manual mode; hand-held
Junior defensive tackle Jerel Worthy closes in on Wisconsin quarterback Russell Wilson Saturday at Spartan Stadium. The Spartans defeated the Wisconsin Badgers 37-31. Matt Radick/The State News
Red-tailed Hawk executing a 180 turn on its perch above the shore of Lake Wingra in Madison, Wisconsin
Dr. Dean Hussong of Tomahawk, Wis. presents Sarah Peronto of Mishicot, Wis. with a $100 Visa gift card. Sarah was one of two dental team members to win this prize held during the 2011 Jewel of the Great Lakes Wisconsin Dental Meeting in Madison, Wis.
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.
[irony] Support Scott Walker--make the Koch Brothers even filthier rich! [/irony]
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It's called Picnic Point. It's right behind the UW Hospital and Clinics and Veteran's Hospital complex in Madtown. Kind of reminds me of Big Hill Park only with beaches and boulders. Oh, yeah, and a metropolitan skyline. It's a good place for a walk.
Staff Sgt. Brenda Hahn, of the Wisconsin Air National Guard's 115th Fighter Wing Force Support Squadron Services, helps decorate the "Tribute to Our Troops" Tree Nov. 18 at the Executive Residence in Maple Bluff, Wis. The tree, which features donated ornaments honoring deployed and fallen Wisconsin service members, can be seen during public tours held from noon-2 p.m. Dec. 3, 4, 10 and 11, and from 9 a.m.-2 p.m. Dec 6 and 13. Wisconsin Department of Military Affairs photo by Vaughn R. Larson
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 1903, this Prairie-style house was designed by Frank Lloyd Wright for his friend, Robert “Robie” M. Lamp, being considered Wright’s first true “Prairie School” building, and his first major departure from his Shingle-style roots towards the more radical and organic designs he would come to be known for. The house still has some overtures to Wright’s earlier work with leaded glass diamond pane casement windows, but features a painted brick exterior rather than wooden shingle cladding, and a low-slope roof enclosed by a parapet, much more common at the time on commercial buildings than residential ones. The house’s original owner, Robert “Robie” M. Lamp, was one year older than Wright, and the two had become friends, evidently following a fight stemming from their differing ethnic backgrounds, in 1879 at the ages of 12 and 13, respectively, with both of them sharing the same birthday in June. Lamp was a realtor, insurance agent, and the Treasurer for the city of Madison, and he enjoyed boating on Lake Mendota, with Wright having designed an earlier lake cottage and boathouse on an island in the lake for Lamp known as “Rocky Roost”, combining several structures into a single building in 1901-1903, with the Shingle-style building being destroyed by a fire sometime in late 1934. The house was the residence of Lamp, and he remained friends with Wright, until he died at the age of 49 in 1916, likely a result of his multiple chronic health conditions that made walking difficult. The house was designed and built with Lamp’s love of boating on the lakes in mind.
The two-story house features a painted brick exterior with brick piers at the corners, “English-style” leaded glass diamond pane casement windows, a low-slope roof enclosed by a parapet with a penthouse addition featuring ribbon windows and a stucco-clad parapet, brick corbeling, a terrace wrapping around the house to the north and west, enclosed by a low brick wall, an enclosed one-story sun porch on the facade facing Lake Mendota, and a fire escape mounted on the facade above the sun porch. The house was built rather rapidly, so the attention to detail on the exterior facade treatment is less evident than in other Wright projects, yet it does still demonstrate several characteristics that came to define his Prairie School style. The interior of the house features a square “open” floor plan without walls between the living room and dining room, which was devised by Walter Burley Griffin, and was a feature reused in many of Wright’s Prairie School houses. The interior also features a triangular-shaped fireplace in the middle of the house, and a staircase located between the dining room and kitchen, leading to four bedrooms and a bathroom arranged around a central hallway. The roof originally was an open terrace with a roof garden and pergola, which afforded sweeping views of the Wisconsin State Capitol, the Downtown Madison Isthmus, Lake Mendota, and Lake Monona, though this was enclosed during the 1960s by a later owner to create additional interior living space, and the views from the house are now blocked by mid-rise development that has been constructed to the house’s west, south, and east, leaving only the view towards Lake Mendota to the north unimpeded. The house sits far back from the street in the middle of the block, surrounded on all sides by other buildings, and is hard to view from most angles, made even more apparent by the construction of large buildings around the periphery of the yard in recent decades. The house was listed on the National Register of Historic Places in 1978, and is one of Wright’s most significant early works in that it shows the transition between his earlier Shingle and Chicago School work to his more abstract Prairie School work. The house today remains a private residence, and sits in an area that has been zoned for denser, taller development, though the house is protected by local historic landmark designation.