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Awaji Yumebutai Park, Botanical Gardens, Cultural Complex, Hotel and Conference Center, Awaji Island, Hyogo Prefecture, Japan.
Open Air Theatre
Architect: Tadao Ando, 2000
The Awaji Yumebutai complex deserves a few accompanying words, as I found it both highly fascinating (and photogenic), yet at the same time profoundly strange. The development originated in the massive excavation pit left behind from the construction of several artificial islands in the Osaka Bay, including Kansai Airport. The resulting scar in the Awaji hills (which incidentally became the epicentre of the deadly Hanshin Kobe earthquake in 1995) was to be replaced foremost by “new nature”, with the assignment given to architect Tadao Ando, who designed every part of the complex (including some major amendments after the earthquake).
The result is unlike any modern architecture I have seen – a fully abstracted, totally artificial representation of nature, but almost entirely devoid of the real thing. Instead, the vision realized in Yumebutai is best described as a mash-up of the Acropolis, the Alhambra, the Forum Romanum and similar monumental and hyper-geometric sites, combined with elements of cascaded renaissance water gardens such as the Villa d’Este. Nature itself is mostly present in name, such as “Sky Garden” or “Water Garden”, both made entirely of Ando’s signature tie-holed concrete, or “Shell Beach” for the tens of thousands of meticulously arranged and inlaid seashells that line the concrete bottoms of pools and cascades.
But most strange of all is the feeling that all this only exists for architecture’s sake – while the site contains several large functions such as a conference centre, grand hotel, wedding chapel and cultural and gastronomy spaces, all of these don’t even make up 50% of the constructed area, and it seems that first and foremost the expansive concrete structures that fill the hillsides are there because of Ando’s vision, rather than for any functional needs – a quite unique and at the same time unsettling perspective.
This large brick building was constructed in 1888 for prominent Brisbane solicitor Phillip Hardgrave and the South Brisbane Public Hall Company.
Its construction was an entrepreneurial venture responding to the needs of a rapidly expanding South Brisbane, East Brisbane, Woolloongabba, and Thompson Estate population. It provided the newly created Borough of South Brisbane with a central public hall which could be hired for public meetings, lectures, balls, theatrical and musical performances and other public functions.
In 1887 Hardgrave acquired the Boggo Road (later Annerley Road) site, set up the subscription company, and commissioned Brisbane architect John B Nicholson to design the hall. It was erected the following year by builder Blair Cunningham, for a contract price of £5,220.
In the early years, the privately funded hall was known variously as the South Brisbane Public Hall (1888 - 1891) and the Boggo Road Theatre (1892 - 1893).
In 1893 Hardgrave sold the property to his father, John Hardgrave, a former mayor of Brisbane. Renamed the Princess Theatre, the building was used during the 1890s for sporadic productions of live performances and vaudeville, but did not emerge as a major theatrical venue in Brisbane.
Brisbane draper Thomas Finney acquired the property in 1899 and used the theatre as a clothing factory, although the stage was still hired for occasional performances.
With a change of ownership in 1912 the building was rented to clothing manufacturers and Wests Olympia, and from 1914 to 1942 it was leased mainly as a movie-house and performance space for amateur theatre. In the 1930s Brisbane's fledgling amateur theatre companies - Brisbane Repertory Theatre (now La Boite), Brisbane Arts Theatre and the Twelfth Night Theatre Company (later TN! Theatre Co.) - all performed at the Princess.
From 1942 to 1945 the theatre served as the administrative and rehearsal centre for the United States Entertainment Unit. In the years immediately following the war, it was hired to a variety of community groups such as ballet schools, college revues, and scout troops.
From 1949 to 1985 the building lost all association with the performing arts, and was rented to various small businesses, including a paper wholesaler, an engineering firm, a rag merchant, a secondhand dealer and a used appliance retailer. The stage area was leased separately to a printing firm for over thirty years from 1948 to 1979.
In 1985 the property was acquired by REMM Group Ltd, who carried out external restoration, and offered TN! Theatre Company a ten year lease from 1986. Internal restoration and refitting was carried out by TN!.
Source: Queensland Heritage Register.
VAC or Vlaams Administratief Centrum. The building is named after a Flamish writer Virginie Loveling.
The Holy Trinity Rectory at 141 Brookes Street, Fortitude Valley is a two-storeyed brick building constructed in 1889 to a design prepared by former Queensland Colonial Architect Francis Drummond Greville Stanley.
The Church of England was the first institutional religion established in Queensland, with the parish of Saint John's in Brisbane created in 1849 as part of the Diocese of Newcastle. Land bounded by George, William, and Elizabeth streets was granted to the church and Saint John's Church was consecrated on this site in 1854. This parish encompassed a wide district which extended well beyond the Brisbane town boundary and included Milton, Enoggera, and Sandgate.
By the mid-1850s a village of 100 to 150 houses had been established at Fortitude Valley just north of the Brisbane town boundary and there were more homes scattered through the semi-bush to the north and east. For Valley residents, access to Saint John's Church at the southern end of North Brisbane was difficult. Principal access was via the steep, unformed track of Ann Street over Duncan's Hill, which was not cut down until the 1860s and 1870s. Wickham Street did not exist at this period; in its place was a series of ponds and brickyards.
In recognition of the increasing settlement of the district north of Brisbane, part of Saint John's parish separated in 1856 to form Holy Trinity parish. The new parish encompassed the areas of Fortitude Valley, Bowen Hills, and New Farm and extended west to Enoggera and north to Sandgate. At first, a cottage was rented at the corner of Ann and Ballow Streets for use as a Church of England school on weekdays and as a place of worship on Sundays. In 1857 the New South Wales government granted to the parish two acres of land bounded by Ann, Brookes, Church, and Wickham streets for church purposes (the present site of the Holy Trinity Church, Rectory and Parish Hall). In the same year a long, stone building was erected on this site for use as a school room and temporary church.
The Diocese of Brisbane was formed in 1859, with Bishop Tufnell taking office as the first Bishop of Brisbane in 1860. At this time Saint John's Church was designated as the pro-Cathedral, and Holy Trinity parish was incorporated into the Diocese of Brisbane.
The first Holy Trinity rectory was built for Reverend John Mosely who was appointed in 1861. It was a stone building situated in Leichhardt Street between Quarry and Love streets, on a crown land grant to the Church which extended through to Water Street.
During the 1860s and 1870s Fortitude Valley developed as a commercial and residential centre and population density in the Valley and surrounding areas increased substantially. The 1857 stone building was enlarged in 1862 to accommodate an expanding congregation and by the mid-1870s Holy Trinity parish was committed to the construction of a new, larger church on the Brookes Street site. Designed in 1875 by the then Queensland Colonial Architect, FDG Stanley, the second Holy Trinity church was erected in 1876 - 1877 by contractor James Robinson. The 1857 stone church/school building remained in use as a schoolroom.
As the parish grew, the disadvantages of having the rectory separated from the church eventually led to the construction in 1889 of a new rectory in Brookes Street, adjacent to Holy Trinity Church, at a cost of £1,935. Like the 1876 - 1877 church, the second rectory was designed by FDG Stanley and constructed by builder James Robinson.
Stanley was born in Edinburgh in 1839 and trained in Scotland as an architect. He emigrated to Brisbane in 1862 and practised privately before gaining employment with the Queensland government in the office of the Colonial Architect, Charles Tiffin, in 1863. Following Tiffin's retirement, Stanley was appointed Colonial Architect from the 1st of January 1872, a position he held until 1881. Throughout this period of government employment he accepted a number of private commissions and continued in private practice in Brisbane, Maryborough, and Toowoomba after he left the public service. Stanley was a prolific architect and his work is found throughout Queensland.
Stanley's design for Holy Trinity Rectory was for a substantial brick house of two storeys with broad verandahs on both levels, projecting gables and a corrugated iron roof. Some of the stone from the former rectory in Leichhardt Street was recycled in a retaining wall along the Brookes Street boundary.
The 1889 residence continues to function as Holy Trinity Rectory.
Source: Queensland Heritage Register.
The architect for this part of the world's famous museum is Norman Foster.
The way-too-well-known museum in London, The British Museum. Japanese count this one as one of the "three greatest museum in the world" as Louvre and Palace Museum in Taiwan.
I was dying to go there as well, and it turns out that they were having a manga exhibition back then when we visited.
We did not have too much time to spend in the huge musem like that, but even to see the architecture itself was quite inspiring.
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The new Paramount Miami Worldcenter will rise over 600 feet in the air. The new tower will be 60 stories high and will include a variety of sports, including tennis courts, soccer field, running course, several swimming pools, boxing studio, fitness cetner, spa, and also the jam room, complete with drums, guitars, a piano and a recording studio, all located on the entire 9th floor of the building. In addition, there will be twelve Balinese-style, two-story villas surrounded by pools and other water features will also occupy the same floor.
Daniel Kodsi, developer of Paramount Miami Worldcenter and interior designers IDDI have designed a multi-story cruiseship-like resort amenity, to include an indoor lounge with 180-degree views. Above it will be an outdoor pool area with a yoga deck and firepit. Paramount Miami Worldcenters architects are Boston-based Elkus Manfredi, the firm that designed the retail portion of the Time Warner building in New York.
The towers residences will all have private elevator, third-floor access to the mall, which will be anchored by Bloomingdales and Macys. Among other condo features: private elevators that open directly into residences, 10-foot high ceilings, outdoor living rooms, laundry rooms and convertible dens. Units range from one-bedroom plus den with two bathrooms to three-bedrooms plus den and four bathrooms. Prices for the units, which range from 1,300 square feet to 2,300 square feet, start at $700,000 and go up to $1.5 million. Penthouses and villas will be priced up to $5 million.
Daniel Kodsi, developer of Paramount Miami Worldcenter and an interior designers IDDI have designed a multi-story cruiseship-like resort amenity, to include an indoor lounge with 180-degree views. Above it will be an outdoor pool area with a yoga deck and firepit. Paramount Miami Worldcenters architects are Boston-based Elkus Manfredi, the firm that designed the retail portion of the Time Warner building in New York.
Kodsi, who developed Paramount Bay on Biscayne Boulevard and 20th Street in Miami, is also in the midst of construction on Paramount Fort Lauderdale Beach. Previously, he built other condos and multi-family and single-family communities throughout Florida, after getting his start working construction on his fathers residential projects during summers, beginning at age 10.
The towers residences will all have private elevator, third-floor access to the mall, which will be anchored by Bloomingdales and Macys. Among other condo features: private elevators that open directly into residences, 10-foot high ceilings, outdoor living rooms, laundry rooms and convertible dens. Units range from one-bedroom plus den with two bathrooms to three-bedrooms plus den and four bathrooms. Prices for the units, which range from 1,300 square feet to 2,300 square feet, start at $700,000 and go up to $1.5 million. Penthouses and villas will be priced up to $5 million.
Credit for the data above is given to the following websites:
www.sunnyislesmiamirealestate.com/Downtown-Miami/Paramoun...
www.emporis.com/buildings/1349765/paramount-miami-worldce...
fotografias de trabalhos meus como arquitecto, mais desenvolvido em:
www.facebook.com/pages/Ant%C3%B3nio-Alfarroba-arquitecto/...
photos of my own work as an architect published in :
www.facebook.com/pages/Ant%C3%B3nio-Alfarroba-arquitecto/...
Architect: Charles-Édouard Jeanneret (Le Corbusier) and Pierre Jeanneret
Built in: 1928-1931
Client: Savoye family
Villa Savoye is a modernist villa in Poissy, in the outskirts of Paris, France. It was designed by Swiss architects Le Corbusier and his cousin, Pierre Jeanneret, and built between 1928 and 1931 using reinforced concrete.
Villa Savoye is a manifesto of Le Corbusier's five points of new architecture and the bases of modern architecture It is one of the most easily recognizable and renowned examples of the International style.
The house was originally built as a country retreat for the Savoye family. The villa is an official French historical monument since 1965 (a rare occurrence, as Le Corbusier was still living at the time).
In July 2016, the house and several other works by Le Corbusier were inscribed as UNESCO World Heritage Sites.
Architect: Le Corbusier & Shiv Dutt Sharma
Year: 1997
Location: Sector-10, Chandigarh, India
Style: Brutalist
Dutch Architects Mecanoo have completed Europe's largest public library in Birmingham, England, with a sunken amphitheatre, rooftop gardens and a shimmering facade clad with interlocking metal rings.
Sandwiched between a 1930s building and a 1960s theatre, the new Library of Birmingham fronts one of three piazzas that comprises Centenary Square. The building is made up of a stack of four rectangular volumes, which are staggered to create various canopies and terraces.
Mecanoo designed the exterior of the building to reference the city's jewellery quarter, adding a filigree pattern of metal rings over golden, silver and glass facades.
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Groundbreaking for Miami-Dade College's Wolfson Building 1 occurred in 1971, and the building was completed in 1973. The campus itself first opened in 1970, with classes initially held in downtown storefronts while its permanent facility was being constructed.
Hilario Candela was the architect of Miami-Dade College's Wolfson Building 1. As a Cuban-born American architect, he designed key Brutalist-style buildings for several of the college's campuses, including Wolfson.
Candela was a key member of the architectural firm Pancoast, Ferendino, Grafton & Skeels, which designed the initial buildings for the North and Kendall campuses in the 1960s.
His signature "tropical Brutalist" style, with its use of raw concrete, is a defining feature of the Wolfson Campus architecture.
In addition to his work for Miami-Dade College, Candela is also known for designing the iconic Miami Marine Stadium.
Miami-Dade College's Wolfson Building 1 was designed in the Brutalist style, specifically a regional variant referred to as "tropical Brutalism".
Elements of this architectural style as seen in the Wolfson Campus include:
Raw concrete: The buildings prominently feature exposed concrete, emphasizing the material's raw, unadorned nature.
Massive, geometric forms: Brutalist buildings are known for their blocky and monolithic appearance. Architect Hilario Candela, who designed the Wolfson Campus, referred to his vision as "a small city of interconnected geometric masses".
Function over form: In keeping with Brutalist ethos, the building's design emphasizes its function as a modern educational institution.
Adaptation to the Miami climate: In this "tropical Brutalist" interpretation, the buildings use covered walkways and strategically placed open spaces to provide constant shade and cover from the rain.
Credit for the data above is given to the following websites:
apps.miamidadepa.gov/PropertySearch/#/?address=300%20ne%2...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
www.google.com/search?q=who+was+the+architect+of+the+miam...
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Bar, Restaurant and Hotel
Hotel Website
"In the early 1780s James Wingate, a Stirling business man, commissioned the famous Scottish architect Gideon Gray to build a hotel on the site of The Gibb’s Inn Tavern and Lodgings, located in Quality Street Stirling.
The Gibb’s Inn was according to antiquity, “The principal hotel in Stirling catering for coaches going north to Perth – ‘The Difiance’ 4 horse coach leaving at 8.50am – and south to Glasgow – ‘The Rapide’ leaving for Glasgow at 8.30am, both from the pend behind the Inn.”
The Hotel known as Wingate’s Inn opened to much “fanfare and anticipation” in 1786 to “provide a valuable service to visitors and travellers to and from Stirling alike.”
On the 26th August 1787 Robert Burns then aged 28 and his travelling companion Willie Nicol, who was a Master at Edinburgh High School, Latin scholar and student of literature visited Stirling Castle. They stayed at The Golden Lion and in the evening they were joined for dinner in the Hotel by local businessman Mr. Christopher Bell. At the time the Castle was in a very rundown condition and this inspired him to write the famous “Stirling Lines” and etched the following verse on a pane of glass in his second floor bedroom.
“Here Stuarts once in glory reign’d, And laws for Scotland’s weal ordain’d ; But now unroof ‘d their palace stands, Their sceptre’s sway’d by other hands. The injur’d Stuart line is gone, A race outlandish fills their throne An idiot race, to honour lost : Who know them best despise them most.”
Realising his lament for the deposed Stuart line and shock at the dilapidated state of The Castle had caused offence, Burns returned to the hotel in October of that year and smashed the pane of glass with the butt of his riding crop.
James Macdonald the Hebridean diarist recorded in his journal of the 2nd June 1796 that he had enjoyed dinner with Burns the evening previous in Sanquhar Dumfrieshire where, Burns discussed at length his stay at the Golden Lion Hotel. This was only two months before Burns died at the age of 37.
Macdonald who was a 24 year old licensed Kirk Minister wrote,
“He looks consumptive, but was in excellent spirits, and displayed as much wit and humour in 3 hours time as any man I ever knew. He told me that being once in Stirling when we he was a young lad, heated with drink, he had nigh got himself into a dreadful scrape by writing the (Stirling) lines on the pane of a glass window at the inn.”
These lines were to almost cut short his career as an Excise man before it had even started for he records in a letter that a “great person” had visited him and interrogated him “like a child about my matters, and blamed and schooled for my inscription on a Stirling window.”
In 1820 the name Quality Street was changed to its present name of King Street in honour of King George IV, who ascended to the throne in that year.
In King Street the position of the “New” Port Gate is marked in the road immediately outside the Hotel. The original Port or Burgh Gate played a crucial role in Stirling’s history, because it was here in or around the year 900 that a wolf’s growl alerted guards to the approach of Danish Viking raiders. The raiders were seen off, the town survived, and to this day there’s a wolf on Stirling’s heraldic Coat of Arms.
For nearly two centuries, the Golden Lion Statue has looked down on the “New” Port Gate and King Street, acting as a symbol of protection, strength and confidence. It has presided over many changes in the city of Stirling, the ups and downs, the comings and goings."
Architects: Richard Meier & Partners, Michael Palladino (2012)
Location: San Diego, CA
San Diego's first building by Richard Meier is the new courthouse, just completed downtown.
Yes, that's me in the shot again. I took this with a timer because I thought it needed somebody for scale and there was nobody else around to ask...
axelborg, bank and office building, copenhagen 1920
architects: arthur wittmaack 1878-1965 og vilhelm hvalsøe 1883-1958
wittmaack and hvalsøe built a lot in copenhagen, but little of notice. they have their moments rather than masterpieces, such as this space in axelborg and the monumental facade of østerbro svømmehal, but on the whole they were a couple of heavyhanded architects.
/iphone
Architect Eižens Laube. Romanovs Bazaar is a residential complex in Riga, Latvia. Located between Avotu, Lāčplēša, and Ernesta Birznieka-Upīša Street. The Romanovs' Bazaar is named the Romanovs' Street which was the oldest name of Lāčplēša Street. Built in the style of National Romanticism and is considered a harbinger of Functionalism.
Memorial Hall was erected in honor of Harvard graduates who fought for the Union in the American Civil War. From 1865 to 1868, a fund-raising committee gathered $370,000, then equal to one-twelfth of Harvard's total endowment, which was augmented by an additional $40,000 bequest from Charles Sanders, class of 1802 and college steward 1827-1831, for "a hall or theatre to be used on Commencement days, Class days, Exhibition days, days of the meetings of the society of Alumni, or any other public occasion connected with the College, whether literary or festive."
An architectural competition began in December 1865, with the winning designs submitted by William Robert Ware, class of 1852, and Henry Van Brunt, class of 1854. (These initial designs were altered as plans proceeded.) In 1870 the building was named Memorial Hall and its cornerstone laid; Oliver Wendell Holmes, Sr., composed a hymn for the occasion. The hall was dedicated for use in 1874, with Sanders Theatre substantially complete in 1875, and the tower completed in 1877. The tower was subsequently destroyed in a 1956 fire but rebuilt in 1999.
Built:
1870-1877
Architect:
William Robert Ware; Henry Van Brunt
Architectural style:
Neo-Gothic
Governing body:
Harvard University
NRHP Reference#:
70000685[1]
Significant dates
Added to NRHP:
December 30, 1970
Designated NHL:
December 30, 1970
www.brunningandprice.co.uk/architect/
I believe the tractor is a Ferguson TE20 these were
Launched in 1946, built in Coventry.
Nicknamed the ‘grey Fergie’.
This beautiful church was incorporated in 1923. Work was started the same year toward a new edifice and was completed in 1924. The rectory was moved north to parallel the construction, facing the lake.
L. Phillips Clarke, of Harvey and Clarke, was the architect for the new church, as he was later for the new parish hall in 1929 and for the new rectory and Sunday School rooms built later. Wilcox Bros. Inc., the contractor, built the church and also did repair work after it suffered hurricane damage in 1928.
The marble and mosaic work was done by craftsmen from Italy, who brought much of the material with them. Louis S. Clarke (whose father, C. J. Clarke, had donated the community building in which the original church group met, and whose son was the architect for the present building) made the chandeliers for the church by hand, together with the chains by which they hang, all of which he forged himself. The marble altar and the original Skinner organ were made possible by generous donations.
On February 24, 1924, the first service was held in the new church. The old church building was then used as a parish hall until it was destroyed in the hurricane of September 1928.
Some features that identify it as the original church building are the arch detail over the entrance, the screen doors, and one of the small front windows.
In May 1929 work was started on the first two units of a new parish hall. The cornerstone was laid on July 14th and work was completed in September. A choir room, kitchen quarters, and a new rectory were added in 1939. Funding for and work on the Sunday school rooms which frame the current courtyard commenced in 1948.
The collapse of the land boom in 1926, the killer hurricane in 1928, and the stock market crash of 1929 brought development to a halt in the region. Holy Trinity, holding a large debt for the new building, endured a very difficult struggle and at one point foreclosure was threatened. However, in 1938 as the depression waned, the debt was restructured and disaster was averted.
The formal consecration of the church was held on April 29, 1945, after the mortgage was retired. The event was hailed in the press as "the high point in the history of the Episcopal congregation in West Palm Beach." The consecration services were conducted by Bishop John D. Wing of the Diocese of South Florida, before a congregation that packed the building. The Rev. William S. Turner was rector at that time.
Memorials and gifts throughout the years, too numerous to detail in this limited space, have enhanced the beauty of the church. A large Skinner organ was added to the original organ in 1939, and other additions were subsequently made. The stained glass windows were installed over a period spanning sixty years, with the first window, the large rose window over the altar, being installed in 1924. The most ambitious window addition program occurred in the 1950s with the Rev. James Stirling as Rector. The most recently installed windows, in the south wall of the Baptistry, were installed in 1984.
Having originally been started with the help of Bethesda-by-the-Sea, Holy Trinity has in turn through the years helped start five other Episcopal churches in the area: St. Andrews Church, Lake Worth, St. Georges, Riviera Beach, St. Marks, Palm Beach Gardens, The Church of the Holy Spirit, West Palm Beach, and Grace Episcopal Church, West Palm Beach.
Credit for the data above is given to the following people and websites:
www.flickr.com/photos/59081381@N03/https://en.wikipedia.o...www.holytrinitywpb.org/our-history
www.flickr.com/photos/59081381@N03/
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Holy Trinity Episcopal Church Columbarium
A horizontal layout of www.flickr.com/photos/digefxgrp/5178034898/in/photostream/
Copyright © 2010 by Craig Paup. All rights reserved.
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The Thomas County Historic Courthouse is a government building built in 1858 and located on North Broad Street in Thomasville, Georgia, the seat of Thomas County. It was designed by architect John Wind.
It was added to the National Register of Historic Places on June 22, 1970.
It is also a contributing building in the NRHP-listed Thomasville Commercial Historic District.
Thomas County was created in 1825 from portions of Decatur and Irwin counties. Georgia's 63rd county, and its county seat, Thomasville, were named for a hero of the War of 1812, General Jett Thomas. In addition to his military career, General Thomas built the first university building in Athens.
The county has seven municipalities, the largest is Thomasville. Others include Barwick, Boston, Coolidge, Meigs, Ochlocknee, and Pavo. Ochlocknee is named for the river flowing through Thomas County. Meigs was named for several Meigs families who came from Marlboro County, South Carolina. Pavo is Latin for Peacock, which was the name of the first postmaster in the area.
Thomasville was a popular, turn-of-the-century, winter resort for wealthy northern families. Non-residents still maintain many large estates and hunting preserves. Many of these estates are listed on the National Register of Historic Places including the Susina Plantation Inn and the Lapham-Patterson House. The latter is a large, Victorian house, that was built by a survivor of the great fire of Chicago. He designed the house with 45 doors, 26 of which were exterior. Every room had its own fire extinguisher.
Thomasville is known for its annual Rose Festival; for the "Big Oak," which has a limb spread of 175 feet; and for the McKinley Memorial Tree planted in 1896 as a salute to candidate William McKinley, who became the 25th President of the United States.
Bailey White, a National Public Radio essayist and author of Mama Makes Up Her Mind, is from Thomas County.
Limestone sinks are common in this section which was once part of the ocean floor. A great limestone aquifer in subterranean South Georgia offers a nearly limitless fresh water supply.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Thomas_County_Courthouse_(Georgia)
thomascountyboc.org/about-us/our-history
en.wikipedia.org/wiki/National_Register_of_Historic_Place...
npgallery.nps.gov/AssetDetail/e2205cdb-ec9c-4b7a-8723-05b...
qpublic.schneidercorp.com/Application.aspx?AppID=682&...
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Whitehall is a 75-room, 100,000 square foot Gilded Age mansion open to the public in Palm Beach, Florida in the United States. Completed in 1902, it is a major example of neoclassical Beaux Arts architecture designed by Carrère and Hastings for Henry Flagler, a leading captain of industry in the late 19th century, and a leading developer of Florida as a tourist destination. The building is listed as a National Historic Landmark. It now houses the Henry Morrison Flagler Museum, named after its builder.
The site of the home was purchased for $50,000 in 1893 (as of 2010 that would be $1,197,562.39) by Flagler. The site was later surveyed for construction in July 1900 and the home was completed in time for Flagler and his wife to move in on February 6, 1902. The architects were John Carrère and Thomas Hastings, who had earlier designed the Ponce de Leon Hotel and several other buildings in St. Augustine for Flagler. Whitehall was to be a winter residence, and Henry gave it to Mary Lily as a wedding present. They would travel to Palm Beach each year in one of their own private railcars, one of which was No. 91.
In 1959, the site was saved from demolition by one of Henry Flagler's granddaughters Jean Flagler Matthews. She established the Henry Morrison Flagler Museum non-profit corporation, which purchased the building in 1959, opening it as a museum in 1960. The upper ten stories of the hotel addition were demolished in 1963 in preparing the museum for the public.
Today, Whitehall is a National Historic Landmark and is open to the public as the Henry Morrison Flagler Museum, featuring guided tours, exhibits, and special programs. The museum offers several programs, many of which are seasonal, lasting only from October to January. In addition to an annual chamber music series, the Flagler hosts the Whitehall lecture series, which brings “experts and best-selling authors to discuss Gilded Age topics, events, and local history.” Past lecture series include historical talks about the dawn of the Progressive Era, World War I, Gilded Age presidents, engineering feats, and Metaphysical America: Spirituality and Health Movements During the Gilded Age. The Flagler also holds a special exhibition each year, often showcasing Gilded Age paintings, sculptures, glamour photography, or material culture, such as board games, jewelry, cartoons, Tiffany & Co. silver pieces (including ones displayed at the 1893 Chicago World's Columbian Exposition), and women's fashion. It also hosts a variety of local galas and balls throughout the year. The Museum is located at Cocoanut Row and Whitehall Way in Palm Beach.
Flagler died of injuries sustained in falling down a flight of marble stairs at Whitehall in 1913, at the age of 83. Mary Lily died four years later, and the home was devised to her niece Louise Clisby Wise Lewis, who sold the property to investors. They constructed a 300-room, ten-story addition to the west side of the building, obliterating Mr. Flagler's offices and the housekeeper's apartment, and altering the original kitchen and pantry area. Carrere and Hastings were the architects of the 1925 reconstruction. In 1939 it was described as a $4,000,000 building and Palm Beach's second-largest hotel.
When it was completed in 1902, Whitehall was hailed by the New York Herald as "more wonderful than any palace in Europe, grander and more magnificent than any other private dwelling in the world." It was designed in the Beaux Arts style, meant to rival the extravagant mansions in Newport, Rhode Island.
Distinct from these northern homes, Whitehall had no outbuildings or subsidiary structures. Nor had it elaborately planned or cultivated gardens. Plants, flowers, trees and shrubs were allowed to grow unaided.
The mansion is built around a large open-air central courtyard and is modeled after palaces in Spain and Italy. Three stories tall with several wings, the mansion has fifty-five fully restored rooms furnished with period pieces. These rooms are large with marble floors, walls and columns, murals on the ceilings, and heavy gilding.
Officially opened February 4, 2005, the $4.5-million Flagler Kenan Pavilion is the first addition to the property since 1925. The 8,100-square-foot (750 m2) pavilion is named after the mogul and William R. Kenan Jr., Flagler's engineer, friend and brother-in-law. It was designed in the Beaux-Arts manner by Jeffery W. Smith of Palm Beach-based Smith Architectural Group, Inc. and took almost four years to build. The featured display in this pavilion is Railcar No. 91, Flagler's private railcar built in Delaware in 1886. According to the museum, the car was restored using “documentation from the National Museum of American History, the Smithsonian, the Delaware State Archives, and the Hagley Museum and Library in Delaware.” It also houses the seasonal Pavilion Café and tea service.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Whitehall_(Henry_M._Flagler_House)
© All Rights Reserved - you may not use this image in any form without my prior permission.
Naples Fire Station No. 1 is a 22,600-SF, two-story station housing city-provided fire response, as well as county-provided EMS rescue response. It includes fire department administration, Station No. 1, EMS, emergency operations center managed by the fire department, three-apparatus bays and associated apparatus support spaces, battalion chief office, bunk room, and locker room. General facility functions such as kitchen, dining, report writing, physical agility, dormitories, restrooms and showers, and equipment / utility support spaces are also included.
The facility is designed to promote the family unit by creating an open shared space in the kitchen, dining, and dayroom. The Naples Fire Station No. 1 and Administration Building continues to support its surrounding community in a variety of ways with the building’s efficient design, implementation of technology, and alerting systems, the facility was able to reduce fire and medical response times within the city limits. An (Insurance Services Organization) ISO fire rating is a score provided to fire departments and insurance companies by the Insurance Services Office. The score reflects how prepared a community and area is for fires. Due to its completion, Naples Fire-Rescue recently achieved the ISO rating of Class 1. This improvement provides assurances to the Naples residents and businesses that the Fire-Rescue Department meets the highest national benchmarks and can even potentially reduce hazard insurance for buildings located in Naples, Florida.
The building is organized with the community in mind, first and foremost. Even though the majority of the building is built six feet above the street level for flooding protection purposes, the public lobby is designed and engineered at ground level in order to provide ease of access, as well as promote a sense of trust and transparency to the public.
The building utilizes a community space adjacent to the main lobby enabling Naples Fire Rescue Community Outreach department to offer programs such as: free CPR and AED training, home safety inspection program, smoke detector program, child safety, and Youth Academy. Unlike most fire station apparatus bays, the Naples Fire Station 1 is able to serve as an educational space and an additional venue for community events. It was designed to directly capture exhaust fumes from fire apparatus vehicles and utilizes sensors for CO2 & NO2 gasses to exhaust air as required. With the garage doors open and the oversized high volume low sped fans on, the apparatus bay was able to be utilized as a vaccination site during the Covid-19 pandemic when vaccines first became available, and people were lining up in the hot Florida sun at other facilities."
Credit for the data above is given to the following websites:
floridapeopleschoice.org/building.cfm/0354/#:~:text=Naple....
www.countyoffice.org/city-of-naples-fire-department-stati...
www.naplesgov.com/firerescue/page/fire-stationsapparatus
© All Rights Reserved - you may not use this image in any form without my prior permission.
St. Paul's Cathedral (1675-1711). Architect: Sir Christopher Wren.
St. Paul's Churchyard. City of London, London, England, United Kingdom.
Technical data:
Nikon D800 | PC-E Nikkor 24 mm f/3.5D ED | B+W ND 110 E | Induro AT213 tripod + BHL2 ballhead
361s (6min 01s) | f/11 | ISO 100
The atrium of the Henning Larsen Architects / Olafur Eliasson designed Harpa Concert Hall is full of great angles. I would've liked longer to explore it but on this trip I only had one full day in Reykjavik so couldn't hang around too long.
You can see more of my Iceland photos here : www.flickr.com/photos/darrellg/sets/72157650886963062
From Wikipedia : "Harpa is a concert hall and conference centre in Reykjavík, Iceland. The opening concert was held on May 4, 2011.
Harpa was designed by the Danish firm Henning Larsen Architects in co-operation with Danish-Icelandic artist Olafur Eliasson. The structure consists of a steel framework clad with geometric shaped glass panels of different colours. The building was originally part of a redevelopment of the Austurhöfn area dubbed World Trade Center Reykjavík, which was partially abandoned when the financial crisis took hold. The development was intended to include a 400-room hotel, luxury apartments, retail units, restaurants, a car park and the new headquarters of Icelandic bank Landsbanki.
The completion of the structure was uncertain until the government decided in 2008 to fully fund the rest of the construction costs for the half-built concert hall. For several years it was the only construction project in existence in Iceland. The building was given its name on the Day of Icelandic Music on 11 December 2009, prior to which it was called The Reykjavík Concert Hall and Conference Centre (Icelandic: Tónlistar- og ráðstefnuhúsið í Reykjavík). The building is the first purpose-built concert hall in Reykjavík. It houses the Iceland Symphony Orchestra and the offices of The Icelandic Opera."
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