View allAll Photos Tagged architect...
The as one of the most important Art Nouveau buildings of St. Pölten regarded house, was built in 1899 in place of a pre-existing building. The client was the Primar (head of a department) of the hospital Hermann Stöhr, architect Joseph Maria Olbrich. The work was arranged by Ernst Stöhr, the brother of Hermann Stöhr and co-founder of the Vienna Secession, he also designed the facade.
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...(Stadtteil)
(further information is available by clicking on the link at the end of page!)
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
Le Corbusier, architecte
Eléments protégés :
Les façades ; la terrasse et ses aménagements ; l'ensemble du portique et l'espace qu'il abrite ; à l'intérieur, les parties communes suivantes : le hall d'entrée, les espaces de circulation avec équipements (ascenseurs exceptés) , l'appartement destiné à la visite (numéro 643) (cad. C 4) : classement par arrêté du 20 juin 1986 - Appartement numéro 50, y compris l'ensemble des éléments conçus pour la cuisine (cad. C 4) : classement par arrêté du 12 octobre 1995
Le Passage d'Agen,
Jehanne de France.
Ici les bancs n'ont pas été orientés côté jardin pour que les parents puissent regarder leurs enfants jouer dans l'espace de verdure mais côté immeubles !
Mais que se passe-t-il depuis des décennies à Agen?
Pourquoi les architectes sont-ils aussi mauvais?
Encore une histoire de copinage, d'absence de réflexion ou bien l'expression d'un je-m’en-foutisme?
Main tower of the Edward L. Bailey School.
N.W. Overstreet was the lead architect in the firm of Overstreet & Town, which designed the Bailey School. The entry for N.W. Overstreet in the 1962-1963 Who's Who in America reads:
OVERSTREET, Noah Webster, architect, engr. b. Eastabuchie, Miss., July 4, 1888; s. Harvey Hazzard and Bettie (Floore) O.; B.S. in Mech. Engring., Miss. State Coll., 1908; B.S. in Archtl. Engring., U. Ill., 1910; m. Mabel Kinnear, Sept. 18, 1912; children -- Noah Webster, Robert K., Patricia Ann (wife of Rev. Harold T. Kitchings). Practice architecture and engring., Jackson 1912- __, partner, Overstreet & Spencer, 1912-14, N.W. Overstreet, 1914-31, Overstreet & Town, 1931-38, N.W. Overstreet & Assos., 1938-56, Overstreet, Ware & Ware, 1956-__; dir. Plaza Investment Co., Walthall Hotel Co., Flowood Corp. Staff state govs. Fellow A.I.A.; mem. C. of C., Kappa Alpha. Baptist (deacon). Club: Rotary. Home: 940 Bellevue Pl. Office: 414 S. State St., Jackson, Ms.
Cividale del Friuli
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Cividale_del_Friuli
www.comune.cividale-del-friuli.ud.it/
Country
Italy
Region
Friuli-Venezia Giulia
Province
Udine (UD)
Frazioni
Rualis, Grupignano, Rubignacco, Gagliano, Purgessimo, Sanguarzo, Spessa, Carraria, Fornalis, San Giorgio
Government
- Mayor
Stefano Balloch (UDC, Lega Nord, PDL)
Area
- Total
50 km2 (19.3 sq mi)
Elevation
135 m (443 ft)
Population (2007)
- Total
11,547
- Density
230.9/km2 (598.1/sq mi)
Demonym
Cividalesi
Time zone
CET (UTC+1)
- Summer (DST)
CEST (UTC+2)
Postal code
33043
Dialing code
0432
Patron saint
San Donato
Saint day
August 21
Website
Official website
Cividale del Friuli (Friulian: Cividât, Slovene: Čedad) is a town and comune in Friuli-Venezia Giulia, Northern Italy, 15 km by rail from Udine, whose province it belongs to. The town is in the foothills of the eastern Alpsclose to the Slovenian border, 135 m above sea-level. It is situated on the river Natisone, which forms a picturesque ravine here. Formerly an important regional power, it is today a quiet, small town that attracts tourists thanks to its medieval center.
History
Cividale was founded as a Roman municipium by Julius Caesar in 50 BCE on the newly built Via Julia Augusta, with the name of Forum Iulii ("Julius' Forum"; Fréjus had the same Roman name). Archaeological findings have revealed that the area was already settled by Veneti and Celts. After the destruction of Aquileia and Iulium Carnicum (Zuglio), it became the chief town of the district of Friuli and gave its name to it.
In 568 the city was the first major centre occupied by Alboin's Lombard invasion of Italy, then part of the Byzantine Empire. The city was chosen as first capital of the newly-formed Lombard Kingdom, then granted by Alboin to his nephew Gisulf as the capital of a Lombard Duchy of Friuli. After the Lombards were defeated by the Franks, (774), following the last Lombard resistance under Hrodgaud of Friuli (776) Forum Julii changed its name to Civitas Austriae, Charlemagne's Italian "City of the East".
Under the Carolingian settlement with the Papacy, the patriarchs of Aquileia resided here from 773 to 1031, when they returned to Aquileia, and finally in 1238 removed to Udine. This last change of residence was the origin of the antagonism between Cividale and Udine, which was only terminated by their surrender to Venice in 1419 and 1420 respectively. When the Patriarchal State of Friuli was founded in 1077, Cividale was chosen as the capital.
In 1420 Cividale was annexed to the Republic of Venice.
After the Napoleonic Wars parenthesis, Cividale became part of the Lombard-Venetian Kingdom. It was ceded to Kingdom of Italy in 1866.
Main sights
The historical center of the town is dominated by Piazza del Duomo, which is where the National Archeological Museum is located. Close by is the Palazzo dei Provveditori Veneti, constructed in 1565 and designed byAndrea Palladio. The town is split in two by the Natisone River, which is spanned by the impressive Devil's Bridge (15th century, rebuilt in 1918). Also notable is the Celtic Hypogeum, a subterranean series of halls carved in the rock in ancient times, whose destination remains unclear: uses as either Celtic funerary monument or a Roman (Lombard) jail has been proposed.
The Cathedral (Duomo) was built in the 15th century over a pre-existing construction built in the 8th century. It is a Venetian Gothic building, finished in the 16th century by architect Pietro Lombardo, featuring interventions from the 18th century also. The interior houses a notable altar dedicated to the Madonna, in the right aisle, and the Silver Pale (altarpiece) of Pellegrino II, patriarch from 1195 to 1204. The Christian Museum annexed to the Duomo houses outstanding examples of Lombard sculpture. It contains some interesting relics of the art of the 8th century. The cathedral contains an octagonal marble canopy with sculptures in relief, with a font below it belonging to the 8th century, but altered later. The high altar has a fine silver altar front of 1185. The museum contains various Roman and Lombard antiquities, and works of art in gold, silver and ivory formerly belonging to the cathedral chapter. The fine 15th-century Ponte del Diavolo leads to the church of S. Martino, which contains an altar of the 8th century with reliefs executed by order of the Lombard king Ratchis.
The small church of Oratorio di Santa Maria in Valle (also known as Lombard Temple), next to the Natisone river, is a notable example of High Middle Ages art sometimes attributed to the 8th century, but probably later. Included in the old Lombard quarter, it was probably used as Palatine Chapel by the Lombard dukes and king's functionaries. The fine decorations, statues and stuccoes (11th or 12th century) housed in the interior, show a strong Byzantine influence.
In the collegiata, there is a silver retable from the time of patriarch Pelegrinus II (1195−1204) which had been inscribed in Latin by the means of individual letter punches, 250 years before the invention of modern movable type printing by Johannes Gutenberg.[1] According to Lipinsky, the Venetian artisan may have been inspired by Byzantine relic boxes which were decorated by the same technique between the 10th and 12th century.[2]
Other attractions
The town has a number of small osterias which serve distinctive local wines. Of particular note are Tocai friulano, Verduzzo and Refosco dal peduncolo rosso.
Architect: Proctor and Mathews, 2009, competition-winning 64-unit apartment block built on an old industrial site previously owned by The Carpenters Company. Brick and metal cladding over concrete frame. Lett Road is close to the 2012 Olympic Park. Two flats remain unsold: perhaps they have a view of the Orbit Tower. London Borough of Newham.
The Elmer Holmes Bobst Library at NYU's main campus (Philip Johnson & Richard Foster, 1967-73). Inverted half-columns and sandstone. Later, more thorough coverage begins here.
Farnsworth House (1945-1951)
architect: Mies van der Rohe
14520 River Road
Plano, IL 60545
en.wikipedia.org/wiki/Farnsworth_House_(Plano,_Illinois)
The Farnsworth House was designed and constructed by Ludwig Mies van der Rohe between 1945-51. It is a one-room weekend retreat in a once-rural setting, located 55 miles (89 km) southwest of Chicago's downtown on a 60-acre (24 ha) estate site, adjoining the Fox River, south of the city of Plano, Illinois. The steel and glass house was commissioned by Dr. Edith Farnsworth, a prominent Chicago nephrologist, as a place where she could engage in her hobbies: playing the violin, translating poetry, and enjoying nature. Mies created a 1,500-square-foot (140 m2) house that is widely recognized as an iconic masterpiece of International Style of architecture. The home was designated a National Historic Landmark in 2006, after joining the National Register of Historic Places in 2004. The house is currently owned and operated as a house museum by the historic preservation group, National Trust for Historic Preservation.
Architects; Michael Scott & Partners. Partner In charge, Robin Walker. 1961.
Just a reminder to UK architects that people like Robin Walker after working with le Corbusier, SOM and taught by Mies imported a brand of Miesian Modernism to Ireland using concrete frame and brick infill panels which still retains all its freshness and restraint which following generations were not prepared to use.
The majestic entrance steps attributable to Mies may look sad but the building has been unoccupied for a while and I am certain listed as a potential redevelopment site.
Photogrpher
Seibert
Lake Fork, O
Bennett F Seibert seems to have been quite flexible in his choice of work and actually could have had photography as a sideline at most any time between about 1885 and 1906. It appears he was most active in photography from about 1897 to April of 1901 and then again from 1904 to about 1906.
The rest of the time he was an inventor, architect, postal clerk, money lender, cartoonist and artist.
Kirchner Museum Davos by Gigon / Guyer Architects. Velux Stiftung Tageslicht-Award Daylight-Award Winner Preisträger 2012. Video at VernissageTV: vernissage.tv/blog/2012/01/23/kirchner-museum-davos-by-gi... Photo: Geoff Gilmore
Moscow. Club Factory «Burevestnik» Union of kozhevennikov, street 3rd Rybinsk (former Ogorodny Street), emblem 1927-1929
Vans Warped Tour 2013
Gexa Energy Pavilion
Dallas, TX
8.2.13
© Rebekah Stearns Photography
Do not use without permission- rebekahs.photogrphy@gmail.com
`What is significant?
Como House, a large white mansion prominently sited on a South Yarra hill overlooking the Yarra River, consists of a central block built c. 1855, flanked on the west by a kitchen wing dating from the 1840s, and on the east by a ballroom wing, added in the early 1870s to a design by Arthur Johnson. The house was constructed of stuccoed brick. The internal wood work is cedar and the floors of the central block are teak. The house now serves as a Museum House run by the National Trust of Australia (Victoria).
How is it significant?
Como House is of historical and architectural significance to the State of Victoria.
Why is it significant?
Como House is of historical significance as an illustration of the lifestyle of Victoria's 19th century elite. Built on land purchased in the first land sales held south of the Yarra, the house and outbuildings have been subject to few alterations since the 1870s extensions. Although the estate has been greatly reduced from its original 54.5 acres, the general garden layout and vistas from and around the house have changed little since the 19th century. The maintenance of the house's integrity was facilitated by the fact that it was owned by the same family, the Armytage family, from 1864 to 1959, when it was donated to the National Trust. The house contains many of the Armytage family's original furnishings. This remarkably complete fabric provides a wonderful illustration of the lifestyle of Melbourne's colonial elite, of which the Armytage family was a notable member. The Armytages' prosperity, as with many of the early colony's prominent families, was built on a pastoral empire, and Como is a striking reminder of the wealth that this brought to the landed elite. The family's status in the colony was reinforced by the house's grandeur, and, after the addition of the ballroom, it served as the social centre of Melbourne's elite. An interesting manifestation of this social and entertainment function is the ballroom floor, which was sprung on chains for easier dancing.
The hierarchical social relationships that characterised 19th century society can be clearly detected in the configuration of the house, with its original outbuildings and other features designed to keep servants and the prosaic functions of the house separate from its occupants.
Como House's remnant gardens are of historical significance for their associations with William Sangster, a prominent early Melbourne gardener, landscape designer and nurseryman, who is known to have been responsible for the design of the grounds between 1857 and 1866, and with Baron von Mueller, a friend of the Armytage family and for many years Director of the Melbourne's Royal Botanic Gardens, who appears to have had some role in their development after 1864.
Como House is of architectural significance as perhaps Victoria's most intact and complete example of a 19th century estate mansion. The house is a most unusual combination of the Australian Regency style with details normally used on Italianate buildings later in the century. These include the verandahs with cast iron balustrading and the parapeted tower at the rear. The timber arcading on the ground floor verandah is unusual and, in combination with the early application of cast-iron pickets, creates a most atypical verandah. The grandeur and hill-top siting of the house reinforce the Armytage family's elevated social status.
Como House is of architectural significance for its associations with Arthur Johnson, the designer of the 1870s additions. Johnson was one of Melbourne's most talented architects and at one stage was employed by the Public Works Department. Other buildings for which he was responsible include the Melbourne General Post Office, Melbourne Church of England Grammar School and the Melbourne Law Courts.(VHD)
Architect: Artur von Schmalensee and Eskil Sundahl, Kooperativa Förbundets Arkitekt- och Ingenjörsbyrå (KFAI)
Built in: 1929-30
Client:
The Luma factory was built to manufacture light bulbs and is currently considered one of functionalism most important buildings in Stockholm. The first bulb was manufactured in 1931. In 1947 the Luma factory had expanded to 48,000 m² and employed 1350 workers. Every day it produced 50,000 bulbs of 4000 different models. In 1970 production was moved to a factory in Karlskrona and in 1991 the company was sold and goes now by the name of Aura Light AB. The factory has been carefully rebuilt to include housing and offices. The buildings are listed in Sweden and that means they enjoy the strongest legal cultural and historical protection available.
The building's glass-enclosed tower was used for testing light bulbs which made the factory to a lighthouse and a landmark. Today, the aquarium-like glass tower has become a conference room with a "bright" view of Stockholm.
More pictures of Artur von Schmalensee’s work
Architects, Hevy Fest 2011, for the full Hevy Fest Album check out
issuu.com/andyford/docs/hevyeyes
afpmusic.foliopic.com
architects at work - Three architects at work discussing blueprint.. To Download this image without watermarks for Free, visit: www.sourcepics.com/free-stock-photography/24719049-archit...
Fraser Brown MacKenna Architects have won planning permission for a development of 234 student rooms and a nursery in a sensitive location on the edge of two conservation areas in Hammersmith. The site on Paddenswick Road lies within the mainly residential Ravenscourt Park area of Hammersmith and adjoins two conservation areas. The existing building dates from the early twentieth century and was used as a police section house until 1996 and since that time as a hostel.
Initially a retrofit option was explored, however the number of internal level changes would be costly to resolve and the poor thermal quality of the building envelope meant retaining the façade was unviable. It was decided that in the long-term, the more sustainable option would be to redevelop the site; however the existing buildings remained a key design driver.
Ravenscourt House provided an obvious starting point; the volume and articulation of the hostel was an established and admired feature of the townscape and while the façade could not be retained, we were keen to carry through the relevant and positive attributes to inform the language of the new buildings, particularly through the detailing of the brickwork.
Our proposals are arranged into three volumes of reducing height, the tallest on the principal frontage to Paddenswick Road, linked together at ground floor level. This simplified plan responds to the surrounding grain and creates a slender profile to each of the buildings, with landscaped courtyards between that enhance views and maximize natural light. Whilst the overall height of the new building is lower than the existing hostel, the new development offers more accommodation; 234 self-contained studio bedrooms together with communal facilities and a nursery for the adjoining John Betts Primary School.
The design of the new buildings is a contextual response. We developed an architectural language that draws on recognizable characteristics of the surrounding Victorian and Edwardian buildings but does not seek to imitate particular styles. Brick is the principal material, with changes in tone and different bonds used to create subtle variations between the three volumes.
The principal frontage to Paddenswick Road is the most dynamic. A white ground floor plinth gives way to three floors of highly modelled brickwork with projected headers within the Flemish Bond. This energy is enhanced through chamfered window surrounds and two storey projecting bays. The double height windows provide a strong vertical emphasis; an echo of the former Section House. The fourth and fifth storeys are less heavily modelled and capped by a band of intricately detailed brickwork with the headers removed, announcing the material change to the uppermost storeys which are clad in zinc and recessed from the main footprint.
The frontage to John Betts Primary School provides a new nursery on the ground floor, accessible from the school grounds; its entrance announced by a slender canopy. Two storeys of highly modelled buff London Stock brick are set under the uppermost storey, clad in zinc – the proportions and material treatment respecting the neighbouring building, a former school house. High level windows allow natural light into the corridors but avoid overlooking the playground.
Appointed by Abanar LLP and South Street Asset Management, Fraser Brown MacKenna secured a resolution to grant planning permission from the London Borough of Hammersmith and Fulham in August 2011
INFO & CONTACTO EN: www.photo2riff.com
No te pierdas ninguna novedad de Photo2Riff! Siguenos en Facebook!
House of Culture , Helsinki – architect Alvar Aalto, 1955 to 1958
The House of Culture in Helsinki is Aalto in his 'red brick period'. He achieves the free-form curves of the concert hall walls using wedge-shaped bricks, arranged variously with their shorter edge facing inside or outside the wall. The impact of the solid brick walls must be seen in the context of what had gone before. In Finland, the National-Romantics had used wood and granite to show closeness to Finnish nature, while the modern movement, as elsewhere, used more abstract white plaster surfaces, which did not wear well particularly in the Finnish climate. Aalto's red brick was therefore a bigger statement than it now seems: a man-made material that keeps its individuality and local personality. The House of Culture combines a concert hall in curved red brick, an office building, a conventional rectangle in form, but with a visually striking facade brought alive by greening copper, and a lecture-theatre block connecting the two.
The House of Culture (Kulttuuritalo) serves as a centre for the cultural work of various trade-union organizations. The office part has five storey’s with 110 offices, meeting rooms and two flats. In the lecture and conference room section, in the middle of the U-shaped complex, are a lecture hall, study rooms, discussion rooms, a library and a records room. The concert and congress hall is the main feature of the group. The hall, with 1500 seats and a stage 200 sq m, is primarily intended for concerts, but is also used for lectures. The various parts of the building are linked together along the street by a canopy 60m long, under which are the main entrances. The free asymmetrical form of the hall entailed the development of a new facing element, a wedge-shaped brick, with which all the curves of the irregular exterior could be realized.
The office wing is dressed in the iconography of a modernist office block, the theatre is crowned with the copper pitch roof of the traditional civic monument, while the porch oscillates between being a private entry or a public arcade.