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Architect: atelier PRO
Embassy Consulate (2000 m²)
Photo: Lychin
More information: www.atelierpro.nl/en/projects/46/28
Please only publish the images of atelier PRO in articles related to the context of the projects depicted, with correct use of photographer credits. We appreciate it if you mention the source, and (if possible) we would like to receive a copy or link of the edition.
Beeldmateriaal van atelier PRO alleen gebruiken in context gerelateerde artikelen. Naamsvermelding van fotograaf is verplicht. Wij stellen het op prijs als u de bron vermeldt en ontvangen graag een exemplaar of link naar de uitgave.
Architects; Original buildings by GLC Architects Department and proposals by Feilden Clegg Bradley studios.
You may have gathered from my recent contributions on Flickr that I have virtually grown with the South Bank and have been a frequent user of all the venues in this area from early 60s to now.
I have also admired Fielden Clegg Bradley Studios work for some time. With this background, I would like to express some of my initial views concerning the proposals which are based on fairly sketchy information released to the press.
I was of the view that this complex should not be listed, however appointment of an intelligent architectural practice and a sensible brief was essential to do justice to the site and it was a relief to see FCB appointed.
It is obvious that the client is desperate to cram maximum accommodation on this site to meet their expectations after leading a frustrated existence without having many ‘bells and whistles’ similar recently built projects have in major cities.
Architects seem to be performing a difficult ‘tight-rope’ trick and their initial offerings seem quite an outstanding achievement. This is not a bad time to raise concerns by observers who know this area and its history of growth and have some constructive criticism to offer.
To read all the comments in one place you may like to see my Blog on this subject.
Architect George Olerich (1897-1982) designed the English Tudor Revival style house for real estate broker Harold Vorce in 1926. Olerich, whose occupation was also listed as "actor in silent films" was one of seven children of Antone and Mary Olerich. His older brother, Walter designed the Moorish style Villa Fez for film director Rupert Hughes, the brother of Howard Hughes (1925 in Los Feliz)..
The 5-bedroom, 6-bath home in 6469 sq. ft. is currently (November 2016) on the market listed for sale for $6,350,000 and described in the listing as "Rare and restored 1920's English tennis court estate set on a lush half acre lot and surrounded by mature landscaping; pool/spa, pool house and elevator. Tastefully re-imagined by June Street Architects and celebrity designer Carrie Livingston, this one of a kind English Manor combines modern luxury living with old world charm and character. Grand foyer with sweeping staircase, original stained glass skylight, formal dining area with detailed crown moldings and wainscotting, library, entertainment bar, maids suite and laundry room off kitchen. A true once in a generation property".
Located at 647 South June Street in the historic Hancock Park neighborhood of Los Angeles, California. Please do not use this image in any media without my permission. © All rights reserved.
Architect: Hal Levitt
All images are for educational purposes and are under copyright of creators and owners
View through window on walk to the top, Sagrada Familia temple, architect Antonio Gaudi, Barcelona, Spain © Linda Dawn Hammond/ IndyFoto 2007
Nativity façade, East Side, Sagrada Familia Temple , architect Antonio Gaudi . Barcelona, Spain
Passion façade, West Side
Walk to top, written Sacrifici Oracio Almoina, brilliant, perpetually unfinished building, Latin Catholic.
www.sagradafamilia.cat/sf-eng/
SYMBOLOGY
Christian symbology is to be found in all Gaudí's work, but the most evident example of its application is the church, which tells the life of Jesus and the history of the faith.
To that end the church has been built over the years according to Gaudí's original idea, which expresses the Catholic faith in the architecture: Jesus and the faithful, represented by Mary, the apostles and the saints. That can be seen in the eighteen bell towers, which symbolise Jesus, the Virgin, the four evangelists and the twelve apostles; on the three facades, which represent the human life of Jesus (from birth to death), and in the interior, which suggests the celestial Jerusalem, where a set of columns, dedicated to Christian cities and continents, represent the apostles.
BEGINNINGS: 1883-1913
After undertaking the project in 1883, Gaudí built the crypt, which was finished in 1889. As he started work on the apse (and the cloister), everything went at a good pace thanks to the donations. When he received a large anonymous one, he thought of doing a new, bigger work: he discarded the old neo-Gothic project and proposed a more monumental and innovatory one in terms of both forms and structures and the construction. Gaudí’s project consisted of a large church with a Latin cross ground plan and high towers; it carried a major symbolic load, in both architectural and sculptural form, with the ultimate aim of being a catechistic explanation of the teachings of the Gospels and the Church.
In 1892 he began work on the foundations of the Nativity façade because, as he said himself, “If, instead of making this decorated, ornamented and swollen façade I had begun with the Passion, hard, bare and as if made of bone, people would have stepped back.” In 1894 the apse façade was finished and in 1899 the Roser door, one of the entrances to the Nativity cloister.
PRESENT: 1986-2010
In 2000 the vaults of the central nave and the transept were built and work began on the foundations of the Glory façade. That year, on the occasion of the new millennium, a mass was held inside the church which provided an opportunity to grasp the grandiosity of the work.
In 2001 the central window of the Passion façade was completed with the installation of a stained glass window dedicated to the resurrection, the work of Joan Vila-Grau. The four columns of the centre of the crossing were also finished.
Wikipedia
Towers
Every part of the design of La Sagrada Família is replete with Christian symbolism, as Gaudí intended the church to be the "last great sanctuary of Christendom". Its most striking aspect is its spindle-shaped towers. A total of eighteen tall towers are called for, representing in ascending order of height the Twelve Apostles, the four Evangelists, the Virgin Mary and, tallest of all, Jesus Christ. (According to the 2005 "Works Report" of the temple's official website, drawings signed by Gaudí found recently in the Municipal Archives indicate that the tower of the Virgin was in fact intended by Gaudí to be shorter than those of the evangelists, and this is the design — which the Works Report states is more compatible with the existing foundations — that will be followed. The same source explains the symbolism in terms of Christ being known through the Evangelists.) The Evangelists' towers will be surmounted by sculptures of their traditional symbols: a bull (St Luke), a winged man (St Matthew), an eagle (St John), and a lion (St Mark). The central tower of Jesus Christ is to be surmounted by a giant cross; the tower's total height (170 m) will be one metre less than that of Montjuïc (a hill in Barcelona), as Gaudí believed that his work should not surpass that of God. Lower towers are surmounted by communion hosts with sheaves of wheat and chalices with bunches of grapes, representing the Eucharist.
Façades
The Church will have three grand façades: the Nativity façade to the East, the Glory façade to the South (yet to be completed) and the Passion façade to the West. The Nativity facade was built before work was interrupted in 1935 and bears the most direct Gaudí influence. The Passion façade is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being flogged and on the crucifix. These controversial designs are the work of Josep Maria Subirachs.
Interior
Tree-like supporting pillars of roof
The church plan is that of a Latin cross with five aisles. The central nave vaults reach forty-five metres while the side nave vaults reach thirty metres. The transept has three aisles. The columns are on a 7.5 metre grid. However, the columns of the apse, resting on del Villar's foundation, do not adhere to the grid, requiring a section of columns of the ambulatory to transition to the grid thus creating a horseshoe pattern to the layout of those columns. The crossing rests on the four central columns of porphyry supporting a great hyperboloid surrounded by two rings of twelve hyperboloids (currently under construction). The central vault reaches sixty metres. The apse will be capped by a hyperboloid vault reaching seventy-five metres. Gaudí intended that a visitor standing at the main entrance be able to see the vaults of the nave, crossing, and apse, thus the graduated increase in vault loftiness.
The columns of the interior are a unique Gaudí design. Besides branching to support their load, their ever-changing surfaces are the result of the intersection of various geometric forms. The simplest example is that of a square base evolving into an octagon as the column rises, then a sixteen-sided form, and eventually to a circle. This effect is the result of a three-dimensional intersection of helicoidal columns (for example a square cross-section column twisting clockwise and a similar one twisting counter-clockwise).
[edit] Geometric details
Alpha and Omega carving at Sagrada Família entrance.
Key to the symbolism of the church.
The towers on the Nativity façade are crowned with geometrically shaped tops that are reminiscent of Cubism (they were finished around 1930), and the intricate decoration is contemporary to the style of Art Nouveau, but Gaudí's unique style drew primarily from nature, not other artists or architects, and resists categorization.
Gaudí used hyperboloid structures in later designs of the Sagrada Família (more obviously after 1914), however there are a few places on the nativity façade—a design not equated with Gaudí's ruled-surface design, where the hyperboloid crops up. For example, all around the scene with the pelican there are numerous examples (including the basket held by one of the figures). There is a hyperboloid adding structural stability to the cypress tree (by connecting it to the bridge). And finally, the "bishop's mitre" spires are capped with hyperboloid structures[3]. In his later designs, ruled surfaces are prominent in the nave's vaults and windows and the surfaces of the Passion facade.
Symbolism
Themes throughout the decoration include words from the liturgy. The towers are decorated with words such as "Hosanna", "Excelsis", and "Sanctus"; the great doors of the Passion façade reproduce words from the Bible in various languages including Catalan; and the Glory façade is to be decorated with the words from the Apostles' Creed.
Areas of the sanctuary will be designated to represent various concepts, such as saints, virtues and sins, and secular concepts such as regions, presumably with decoration to match.
Areas of the sanctuary will be designated to represent various concepts, such as saints, virtues and sins, and secular concepts such as regions, presumably with decoration to match.
Architect: Jaenecke & Samuelson - Fritz Jaenecke and Sten Samuelson
Built in: 1967
Client: AB Hälsingborgshem
Hamilton House is actually the name of the farm that formerly stood at the site, built by Count Hamilton. The Danish architect Ferdinand Meldahl should have been responsible for the design in 1851-52. The original Hamilton House burned to the ground in 1868. A new building was built the same year with Mauritz Frohm as an architect and Count De la Gardie as project contractor. In the early 1960s Hamilton House was sold and in the beginning of 1965 it was torn down.
On the site it was decided to build the giant complex Hamilton 3 in 1967. It includes both commercial and service buildings and a long six-storey residential building. The designs and drawings came from the consulting firm Jaenecke-Samuelson AB.
The brutalist concrete building stretches out its about 180-meter long façade and is, to say the least, eye catching. The Building has clear references to Le Corbusier's Unité d'Habitation, with its rough concrete and thick pilotis. The property also includes an underground garage.
The building is currently classified as an especially valuable building in the conservation program (in Swedish) for the city of Helsingborg and is considered a good example of prefabricated buildings at the time.
More designs by Jaenecke & Samuelson . Here you find pictures of Architect Sten Samuelson’s and Architect Fritz Jaenecke’s own work
My Architect commercial Video Rating: / 5 New book features the Judaic work of renown architect and artist Kenneth Treister Internationally recognized architect and artist Ken Treister's touch can be found all over his hometown of Miami, but until recently his soaring, daring designs had not
videogalleria.net/my-architect-vo-rv-042110-wmv/
Visit videogalleria.net to template videos for your business
www.landandshelter.com/ - The architect will put the designs on paper and see to it that they are fully implemented while construction.
Our landscape feasibility study to see if this quiet dead end street would be suitable for converting into a shared type space. Please see our website for more information on our Liverpool Grove project
Designed by Wheeling architects Frederick F. Faris and Millard F. Giesey, St. John's Evangelical Protestant Church, on Chapline and 22nd Streets, was built in 1907-1908 after the B&O won the right to purchase the church property on 17th and Market in a 1906 court case. The former church was demolished by the B&O - under some controversy - to make way for the new B&O Terminus Building (now West Virginia Northern Community College’s main campus building).
- image from “Ninety-fifth anniversary of St. John's Evangelical Protestant Church, Wheeling, W. Va., Sunday, October 25, 1931.” 1931. Ohio County Public Library, Wheeling Room
▶ Visit the Library's Wheeling History website
The photos on the Ohio County Public Library's Flickr site may be freely used by non-commercial entities for educational and/or research purposes as long as credit is given to the "Ohio County Public Library, Wheeling WV." These photos may not be reproduced in any format for profit or other presentation without the permission of The Ohio County Public Library.
'The Architect in Society' (1958) by Keith Godwin which can be found set in a wall at Hallgate, a block of Span flats in Blackheath Park, SE3. This sculpture represents the architect Eric Lyons being crushed by public opinion, oppresive bye-laws and the constraints of planners.
Vans Warped Tour 2013
Gexa Energy Pavilion
Dallas, TX
8.2.13
© Rebekah Stearns Photography
Do not use without permission- rebekahs.photogrphy@gmail.com
Architect: Sigurd Lewerentz and Gunnar Asplund
Built in: 1917-
Client:
Almhöjden – The meditation grove was built by Lewerentz. In 1940, at the opening of The Woodland Crematorium, the landscape around the granite cross and meditation grove was completed. The meditation grove is accessed via a long stairway. Its steps gradually lowering in height to ease the climb.
World Heritage
In 1994, the Woodland Cemetery (Skogskyrkogården) was inscribed on UNESCO’s World Heritage List of cultural and natural heritage of outstanding universal value. UNESCO’s decision was based on Skogskyrkogården’s qualities as a prominent example of architecture and a twentieth-century cultural landscape being formed into a cemetery. The inscription ensures the preservation and protection of Skogskyrkogården for future generations.
Architects : L Architects Ltd www.l-ark.fi/
Developer : SRV Group www.srvrussia.ru/en
Client : SRV Group
Location : Saint Petersburg, Russia.
Project Year : 2012 - 2016
Photographs : DeReForma
Official site : okhtamall.ru/
Architects from the U.S. National Park Service's Historic American Building Survey (HABS) embark on a ground-breaking project to fully document the towers. Using high definition surveying, also known as laser scanning, Dana Lockett and Paul Davidson captured the elaborate terracotta details of each façade as well as the brickwork of their exposed foundations to a level of accuracy never previously achieved. Their work, sponsored by the U.S. Department of State's Cultural Heritage Center, is an effort to help cultural heritage professionals in Afghanistan preserve the towers by providing baseline documentation that will underpin future conservation and preservation activities. [U.S. National Park Service, Historic American Building Survey, photo]