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For projects needing an understated stone finish this is the perfect colour. This unique neutral coloured filament is one that you will be hard-pressed to find anywhere else. From technical models to creative decor, Architect’s Stone looks at home in the boardroom and the sitting room alike.
Faberdashery Ltd. - Supplying tools, materials and ideas for the digital craft community.
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The Bronze Pig Restaurant at 4 & 6 Burton Road, in Lincoln, Lincolnshire.
4 Burton Road, a house and shop built for E Swaby of Scampton in 1877, designed by architects Drury and Mortimer. R Dawkins tailor's shop in early 20th century.
6 Burton Road was built along with 8 as two houses by Messrs Cliffe and Robinson, designed by architect J T Drury. There was a central cobbled way between with double gates originally.
Burton road was laid out in 1803 as a road to Burton village at the time of the Enclosure of the open fields in the area. It replaced the already existent Bradegate/Burtongate. Named Kirton Road in 1803 by the Enclosure Commissioners. Named Burton Road by 1820.
Information Source:
www.heritageconnectlincoln.com/character-area/burton-road...
Architect: Álvaro Siza Vieira (2005)
This paviliion is part of a large complex of public art projects from various artists and architects. I had a free hour after my meeting so I went down to take some pictures of it.
A Montecito, Calif., home known as the Glass Pavilion has sold for $12.9 million, according to people familiar with the deal. The home was listed in 2010 for $35 million, and most recently sought $15.9 million.
The Glass Pavilion is a redefining structure within modernism. It is a benchmark building that sets the bar as to what modernism is and can be. Throughout the last century there has been a few great buildings that defined modernism and inspired a generation to imagine what is possible not only within architecture but as a society as a whole. Mies Van Der Roh’s Barcelona Pavilion and Farnsworth house, as well as Phillip Johnson’s glass house were these type of defining structures. Now, Steve Hermann’s Glass Pavilion takes the architectural tenants of these greats and catapults these concepts into the new millennium.
Set within a 3.5+/- acre estate of oak groves in Montecito and boasting 14,000+/- sq. ft. under roof, this home is impressive beyond words. An almost entirely glass home it allows occupants to be comfortably inside while completely enveloped within nature. As you drive down the long gated driveway, it slowly comes into view. You are immediately confronted with a large all glass home, floating above gently rolling lawns. The site of it is awe-inspiring.
Through the use of massive structural steel beams, the home is able to appear weightless as it hovers above an expansive lawn. No expense has been spared during the six years that it took to complete this groundbreaking structure. All of the large glass panels are Star Fire glass, an incredibly clear glass usually reserved for jewelry displays. It s kitchen and baths are by such famous names as Varena, Poliform and Antonio Lupi. In each category the best and most exciting products from around the world were sourced to make this home flawless in each category. The home has five bedrooms, five and a half baths, grand hallway and large wine room. The glass pavilion includes an art gallery where the owner currently displays their vintage car collection. The space is so generous that it is capable of holding up to 32 cars within its walnut lined walls.
This is a home with possibly no equal. The combination of architectural groundbreaking style and extreme detail in finish quality make it a home without compare. It is the pinnacle of architecture for this generation and will define the era in which it was built.
– List price: $35 million USD (sold for $12.9)
– Location: Montecito, California
– Lot: 3.5 acres
– Size: 13,875 square feet (1,290 sq meters)
– 5 Bedrooms
– 5.5 Bathrooms
– Project duration: 6 years
DJ, fashion designer, graphic designer etc. Just a talented freak :)
Strobist info: wireless 550EX approx 1m above the camera in manual.
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Copyright © 2009 Ihor Vorotnov
Any non-commercial / non-profit usage in small or medium sizes linked to this page and with copyright notice allowed. For larger sizes, commercial usage, buying or licensing my images please contact me at ihor.vorotnov at gmail.com
By the eminent architect/engineer James Smith, dated 1697. Symmetrical former Surgeons’ Hall (now offices). Random rubble with raised ashlar margins. Central pedimented moulded doorpiece with 2-leaf timber entrance door.
The Incorporation of Edinburgh Surgeons had until 1695 only been allowed to practise in the city and suburbs of Edinburgh. After 1695, they could practise in all of the South East of Scotland but this meant they were required to teach more students anatomy. In order to do this, the Surgeons asked the Town Council for more bodies for dissection, which was agreed on condition that they built an anatomical theatre. This theatre was situated within this Hall. The Edinburgh Surgeons moved to here in 1697 from their previous quarters in Dickson's Close and the first public dissection took place here in 1703. In 1832, the surgeons moved out their New Surgeon's Hall in Nicolson Street and this building became a fever hospital attached to the Royal Infirmary, which at that time was based in Infirmary Street. More recently, it was the Faculty of Dentistry for Edinburgh University. It is now the Faculty of Social Sciences Graduate School at the University of Edinburgh.
James Smith was a renowned architect of considerable importance in the history of Scottish architecture. He enrolled at the Scots College in Rome where he studied rhetoric, philosophy and theology. During his stay in Rome he would have had the opportunity to study contemporary Italian buildings. By the time he returned to Edinburgh he would have a first-hand knowledge of Italian architecture which distinguishes him from his fellow Scots and is paralleled in England only by architect Roger Pratt. He was involved in some of the most important building projects at the turn of the 18th century and he became the Surveyor of Royal Works in 1683. His work includes Dalkeith House, Queensberry House and the Canongate Kirk in Edinburgh. He also designed Sir George Mackenzie’s mausoleum in Greyfriars Kirkyard. Smith died in Edinburgh on 6 November 1731 at the considerable age of 86.
Baxter, Clark & Paul (Architects) & Babtie, Shaw and Morton (Engineers) for East of Scotland Water Board, 1964-1969.
'Backwater Reservoir is a reservoir in north west Angus, Scotland.
The project was initiated by the Dundee Corporation Waterworks in 1964 and absorbed into the newly created East of Scotland Water Board in 1968, before final completion and the official opening by Queen Elizabeth II on October 9, 1969. The reservoir's only purpose is to provide drinking water, and as such, it supplies Angus, Dundee, and parts of Perth and Kinross. Backwater, together with the smaller Lintrathen Reservoir 4 kilometres to the south, is capable of supplying some 300,000 people with drinking water.
Scottish Water are the present owners and operators of the reservoir, following the amalgamation of the East of Scotland Water Authority with the West of Scotland and North of Scotland Water Authorities to form a single company. Scottish Water is owned by the Scottish Government.
The dam is an embankment type, measuring 42.6 metres high by 570 metres long. The reservoir extends for 3 kilometres behind the dam and has a peak capacity of 24.55 million cubic metres. An unclassified road runs across the spillway and embankment before following the east bank of the reservoir. This road runs for a further 2 kilometres before coming to an end. The dam was the first in Britain to use chemical grouting to create a waterproof barrier below the embankment.
Balfour Beatty constructed the embankment and ancillary works. Soil Mechanics and Bachy Soletanche were responsible for the chemical grouting and for tunnelling work. Consulting engineer was Babtie, Shaw and Morton.
Backwater Reservoir can be reached by taking the B951 turn-off from the A93 (around 5 miles south of Spittal of Glenshee) to the north-west, or from the A926 at Kirriemuir to the south-east.'
WIKIPEDIA
Library, developed in the 1980s from Aalto sketches. Pretty convincing, actually.
Introductory text here.
Harold Washington Library Center
400 South State Street
Construction finished: 1991
Architects: Hammond, Beeby and Babka
Stories: 10
View from the Van Buren Street side of the library.
The Harold Washington Library Center is the largest public library in the United States in collection volume - with more than 70 miles of shelving. It opened October 1991 and was named in honor of the late mayor Harold Washington (aka "the people's mayor") - the city's first Black mayor, who died in 1987, and was a strong advocate for the new building.
In 1993, the roof of the library was ornamented with seven large, painted aluminum acroteria designed by Kent Bloomer with owl figures (symbolizing knowledge) by Raymond Kaskey. The acroteria on the Congress Parkway and on the Van Buren sides contain seed pods (representing the natural bounty of the Midwest).
www.chicagoarchitecture.info/Building/1029/Harold-Washing...
www.chicagotraveler.com/attractions/harold-washington-lib...
www.blackhistoryheroes.com/2010/02/harold-washington-chic...
THE LOOP:
Chicago's "Loop" is the city's official downtown area. The second largest downtown business district in the United States, the Loop's boundaries are the Chicago River on the west, Michigan Avenue on the east, Wacker Drive on the north and Congress Parkway on the south. The Loop is known for its famous skyscrapers and historic buildings; it has been the site of architectural creativity and experimentation for years.
Villa Cavrois, Croix, France, 1932
Architect Robert Mallet Stevens (1886-1945)
Built between 1929 and 1932, the villa was the result of an order placed by Paul Cavrois with the architect Robert Mallet-Stevens to house his family of seven children and his domestic servants. Covered in yellow facing bricks set on a concrete frame and double brick walls, the villa was thought out as a total work of art comprising an exemplary case of homogenous construction between architecture, decoration and furniture. It is the architect’s technical and aesthetic manifesto in terms of the care given to its materials and equipment. Clear guidelines governed the design of the building: “air, light, work, sports, hygiene, comfort and efficiency”.
The Villa Cavrois is a masterpiece of modern architecture and a unique example in the North of France. The villa is 60 meters long, it has 3.800 m² including 1.840 m² habitables and 830 m² of terraces and a garden of 17.600 m² (originally 5 ha). The Villa Cavrois is a testimony to the modernist vision of the 1920s as it was conceived by designers such as Le Corbusier, Pierre Chareau and the Bauhaus school. Luminosity, hygiene and comfort are the keywords that underlie such buildings. Villa Cavrois illustrates this concept with simplicity and elegance. The large modern mansion was organized to offer the best possible lifestyle to the nine members of the family and to facilitate the daily work of the household staff. Mallet-Stevens' work was not limited to the design of the building. He also designed the interior decoration and the gardens which surround the house. The choice of materials, concrete ceiling, metal, steel, glass, green Swedish marble in the main dining room, yellow Sienna marble in the fireplace alcove of the hall-salon, parquets of oak, iroko, zebrawood, Cuban mahogany, and the furniture of the rooms echoed the hierarchy of space: everything was conceived and adapted for use in place. Simplicity and functionality of the furniture prevail in all parts. The luxury of this house does not lie in carved detailing or gilding, it unfolds in the richness of the materials used, such as unadorned marble, metal and wood. The Villa Cavrois provided for its occupants a large number of amenities especially rare for the time, even in luxury houses. Use of the latest modern technology, especially electricity meant each room was provided with electric lighting, a radio loudspeaker, an electric clock and telephones enabled people to communicate between rooms or with the outside world. The villa was equipped with a modern boiler room and a wine cellar. The water system provided hot and cold water, as well as softened water for cooking and drinking. Lighting was the object of special care. The lighting, both direct and indirect, is very delicate and elegant. In collaboration with the lighting engineer André Salomon, Mallet-Stevens conceived an indirect lighting which fit in the architecture and he has provided most of the rooms of the villa of a lighting device system which direct the light towards the ceiling to obtain an unchanging light closer at the natural one. Hygiene was very important in the conception of the Villa Cavrois, as it is shown by the clinical aspect of the kitchen of metal and white paint and also by the presence of a swimming pool of 27 metres long and 4 metres depth at the diving boards.
The villa was occupied by German troops between 1940 and 1944 and was damaged at the end of the war. When he returned in 1947, Paul Cavrois called upon architect Pierre Barbe to add two apartments for his elder sons. The family lived in the villa until 1985. The following year, it was sold to a real estate firm that wanted to subdivide the park. Despite its automatic classification as a historic monument in 1990, the villa was no longer maintained by its owner. The State bought the property, which was in serious danger, in 2001, and undertook a major restoration project to its original historic condition as when it was inaugurated in 1932. The lighting, the furnishings attached to the decorations, as well as the bookcases and benches have all been restored using the original materials. The parquet floorings, metal doorframes and marbles have been restored or returned. The restoration of the park has returned it to the original land’s very subtle gradient with the precise layout of the alleyways, while replanting plant species identified from old photographs. The reflecting pool, which had been filled in during the war, and the swimming pool have been restored to their original state. The restoration was carried out between 2009 and 2015. Since 2012, the villa has been part of a worldwide conservation programme for emblematic houses of the 20th century, “Iconic Houses”.
Architect: Eric G Boughton 1957, who also designed the stainless steel-clad tower added 1974. Silver Street, Enfield Town, London Borough of Enfield.
Architect: Amerigo Marchesin, 1964. This is my favorite, with the Japanese pavilion
It appears as though the pavilions are essentially abandoned during the period between Biennales. The vegetation is overgrown. Windows are broken or boarded up. There is trash and construction debris everywhere. Walls are crumbling. Even electric utility junction boxes have been ripped from the walls, and trash cans and light posts are dented and turned over. It's quite depressing, and it all looks a bit post-apocalyptic.
The Cathedral Church of St Marie is a Grade II Listed Building and the Roman Catholic Cathedral in Sheffield, England.
Before the English Reformation the Church of England was part of the Roman Catholic Church, and Sheffield's medieval parish church of St. Peter (now the Cathedral Church of Saint Peter and Saint Paul) was the principal Catholic Church in the district. In 1534, during the reign of Henry VIII, the Church of England split from Rome, and Catholic worship was outlawed. Until the 18th century, Catholics faced fines, loss of property and social exclusion, and Catholic Priests were hunted down, imprisoned and martyred.
The Catholic Emancipation of the late 18th and early 19th century allowed Catholics to worship more openly. Sheffield's Catholics bought an ageing house and converted it into a Chapel. By 1846 the Chapel was too small and the young priest, Fr. Pratt, was keen to build a church for the expanding town. A leading local architect called Matthew Ellison Hadfield designed St Marie’s, based on a 14th century church at Heckington in Lincolnshire. The church was expensively decorated with the aid of generous donations from the Duke of Norfolk, his mother and parishioners.
St Marie’s was completed in 1850 and opened on September 11. Building the church cost more than £10,500 – a huge sum in those days – and it was not until 1889 that the church was free from debt.
On the May 30, 1980, the new diocese of Hallam was created and St. Marie’s became a Cathedral. Bishop Moverley was installed as its first bishop and served until his death in 1996, after which Bishop John Rawsthorne became the second Bishop of Hallam.
Foundation stone (of Macclesfield marble) 25 Nov 1922 by G S Wright & James Shearing, architect C W Rutt, opened 5 Aug 1923 as Congregational & named “The Temple”, became Uniting 1977, merger of Fulham, Temple and Wesley congregations 31 Oct 1999. First chapel opened 4 Nov 1883, used as Sunday school when new church built.
“a resident in the neighbourhood kindly offering the necessary accommodation, and the Rev. J. C. McMichael opened the services, and since then public worship has been carried on once each Sunday by members of the Lay Preachers' Association. In the meantime efforts were made for the erection of a Chapel, and three friends kindly undertook the responsibility of securing an allotment fronting the Military-road, and on Sunday, November 4, the chapel was opened for public worship . . . The building is of sandstone, with brick and cement dressings, is seated for 120, and is intended ultimately as the schoolroom, sufficient room being left in front for a larger building as the Church. The plans and specifications were supplied gratuitously by Mr. Thomas Frost.” [Evening Journal 10 Nov 1883]
“At Henley Beach the large increase in the population during the past two years has necessitated an enlargement of the church there, and consequently an addition has been made, to the building, making it two-thirds longer.” [Chronicle 23 Oct 1897]
“the Congregational Church at Henley Beach was the first church in the district, having been started over 40 years ago by the late Rev. J. C. McMichael, in a room in the house of Mr. Thomas Fabian, who was then the treasurer for the Adelaide Corporation. After a few weeks the services were transferred to the house of Miss Emma Wyatt, on the Henley Beach-road. In May, 1883, a block of land was purchased, and a small church built at a cost of £640, which was opened in November of the same year.” [Advertiser 27 Nov 1922]
“The new edifice, which is octagonal and of Gothic architecture, is joined to the older structure, and there are folding doors between them. The original portion will be used for the Sunday school and the additions for church services.” [Register 6 Aug 1923]
“the old church was left standing and an octagonal structure to contain the pulpit and choir and seating accommodation for several hundred worshippers was built on to the front. The old building was then utilised as a nave. . . The church is built on the lines of Byzantine architecture, with Gothic adornments on the exterior.” [News 11 May 1927]
“A handsome memorial clock has been placed in ‘The Temple’, Henley Beach, by the relatives of the late Mr. James Shearing, who for nearly fifty years was a deacon of the Hindmarsh and Henley Beach Churches, and was never known to be late for a service.” [Advertiser 26 Jan 1929]
“Services were first held at Henley Beach in the home of the late Mr. Thomas Fabian, formerly City Treasurer of Adelaide. Rev. J. C. McMichael conducted the first service, and Mr. Fabian was the first Sunday school superintendent. On land bought in May, 1883, the first church, erected at a cost of £640, was opened in the following November. This church was enlarged during the pastoral oversight of Rev. Thomas Hope. . . The honor roll contains 57 names. . . Of the larger memorial windows one is a soldiers' memorial erected by public subscription; a second to Mr. J. B. Burden, a well-known member; a third to Rev. Frederick Priest, a former pastor; a fourth to T. Gyles; and a fifth to D. E. Cayley Smith. Kindergarten children erected a smaller window to their leader, Miss Lilian Jemison, who died a few days before the day fixed for her marriage.” [News 19 Feb 1929]
“The illness of the Rev. J. W. Jones, of the Congregational Union of Victoria, has proved more serious than his friends anticipated, and he will be unable to come to this State to take part in the jubilee services at the Henley Beach Congregational Church, which he established 50 years ago.” [Chronicle 16 Nov 1933]
Fothergill Watson built this bank in Thurland Street, Nottingham. In 1892 he changed his name to Watson Fothergill so his mother's name continued.
There are three Portland Stone friezes on the bank representing local industry in 1882. This frieze is Farming, the others are Farming & Mining.
By Wilkinson Eyre Architects
Installed at Canary Wharf, this egg was lit with a rotating colour display.
Part of the The Big Egg Hunt:
"The Big Egg Hunt is a plan hatched by Elephant Family and Action for Children for a record-breaking egg hunt across Central London to raise money for these two egg-cellent causes!
Over 200 uniquely crafted eggs, created by leading artists, designers, architects and jewellers, are be hidden across the capital"
[website]
Construction date: 1905 - Architect: J Currie
The original foundation stone for The Carnegie Free Library was laid in 1905 by James McGowan, the Minister of Mines and Justice. Andrew Carnegie was a United States steel magnate and philanthropist who contributed £2000 to build a library for the people of Thames. The contractor, J Fyfe and Sons built the Library for £1964. It was one of only three remaining Carnegie Libraries in New Zealand when it last closed its doors in 1990.
Est. 2004 as THE TREASURY
The Coromandel Heritage Trust was formed in 2003 to establish THE TREASURY, a purpose-built archive and family history centre in Thames, New Zealand. The Treasury will preserve and promote the history and stories of the people in this region - a region which played such a big part in the early development of New Zealand.
Cet immeuble d’angle situé au n° 210 de l'avenue Milière à Ixelles (Bruxelles) a été dessiné en 1930 par le jeune architecte Joe Ramaekers. Fortement influencé par le style de l’Ecole d’Amsterdam, il se développe sur 7 étages de part et d’autre de la tour d’angle polygonale, avec une façade de briques très élaborée. Les chassis des multiples fenêtres étaient peints en vert, noir et or à l’origine. Par contre, les portes de garages et les balustrades entourant le jardinet ont conservé cette couleur verte. Le hall d’entrée exceptionnel est fait de jeux de briques, de céramiques vertes et de marbres variés au sol, avec des luminaires en verre d’époque. L’architecte a pris grand soin de dessiner le panneau des sonnettes, les boîtes aux lettres et même la fenêtre de la loge de concierge (cf. www.admirable-facades.brussels et merci pour la photo).