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The circus is in town!
The Museum of Ancient and Modern Art (MONA) in Hobart takes its MONA FOMA festival on the road.
Among the exhibitions travelling to Launceston this year is the spectacular light and colour experience, the "Daedalum Luminarium".
This array of inflatable rooms forming at one level a maze, at another a kind of cathedral, is thoroughly captivating and enchanting. Over the next couple of days I will share the EXPERIENCE with you.
The colours are so enchanting even the camera is affected. I have chosen as titles for most of these shots subjects from either science fiction or the "weird literature" of H.P. Lovecraft.
This photo not only sets the scene, but provides an eerie introduction to what we are about to experience. Can you see the Lenticular cloud form (quite rare in our part of the world) that has broken up. Lenticular clouds in their complete form are sometimes mistaken for UFOs.
Another little thing. I have tagged on the photo an airliner flying to Hobart 200 kms to the south. It is common for us to see planes on final descent to Launceston airport, but on this day I happened to capture a flight headed further south. Maybe even to the land described by Lovecraft as "The Mountains of Madness". Be warned!
Architectes : Jean Balladur, Jacques Ballereau, Pierre-Guillaume Dezeuze, Paul Gineste & Jean-Bernard Tostivint
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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christians kirke (formerly frederiks tydske kirke), christianshavn, copenhagen 1754-1759.
architect: nicolai eigtved (1701-1754). completed by georg david anthon (1714-1781).
I am finding it a little difficult to let go of hans christian hansen and thought I'd take you to a church hansen himself mentioned as an inspiration for his work on tagensbo. christians kirke was the final building by nicolai eigtved, one of the finest architects in copenhagen history - a man who came from nothing, the orphaned son of a serf, to become architect to the crown, a brilliant one at that, even organising the new royal academy of art shortly before his death.
in terms of style eigtved's buildings are best described as tempered, northern rococo, though I suspect a lack of funds was occasionally to blame for their simplicity. in christians kirke, built for the german community, that was certainly the case, but its plain brick walls hide one of the city's more haunting interiors.
this chilly space, in colours so restrained you can barely determine if a photo is black and white, was built according to the protestant church type of the querkirche, which had the congregation facing their preacher across the short side of its rectangular plan - this to break down traditional ecclesiastical hierarchies and to support a liturgy in which the devout were equal to anyone but the example set by the son. significantly, outside hierarchies were still respected as seen in the royal box on axis with the altar.
the grey, wooden boxes, stacked in three galleries along three sides of the church, were sold to wealthy local families to fund construction. they add a sense of the theatre, but also - and, I believe, of equal importance - they make an urban square of the interior, oddly out of scale, but all the more moving for its strangeness.
the pietists, the protestant fundamentalists of the day whose values are reflected in eigtved's ascetic interior, could have gone much further, many of them having lost faith in the role of the church altogether, reformed or not. their resistance to institutions was such that the state deemed it necessary to ban private religious gatherings only a decade before christians kirke was built, the fear of fundies being nothing new.
yet, for a Dane these particular fundies are our parents, our ancestors. they were part of that truth-seeking aspect of christianity which had to question any authority that might stand in the way of truth and the promise of salvation. as nietzsche has taught us, it was this strain of thought which led christianity, after 2000 years, to finally face the godhead itself and for many to dismiss it. our two churches, christians kirke by eigtved and hans christian hansen's tagensbo kirke, are part of this critical tradition in christianity and contain in their very layout and design both the fanaticism of our past and clues to our current godlessness.
hansen took much from eigtved's church - the building type, of course, the intensity of the relationship between preacher and laity, the three floors, the economy of means - and added a measured warmth and an intimacy, I would call almost strict, one you cannot easily turn away from.
no-one would challenge the importance of eigtved's church, but the fact that one of our present architects to the crown has called its 20th century offspring, hans christian hansen's tagensbo church, ordinary and without religious solemnity, advising that a deconsecration would leave nothing worth protecting, still strikes me as wrong. these spaces are, on the contrary, our most profoundly religious, and what they offer by example is to make the play of power and the sentimentality of our more conventional churches plainly and painfully obvious.
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&...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Completed in 1895. Architect: Frank Lloyd Wright (1867-1959), described by the American Institute of Architects as "the greatest American architect of all time".
Rebuilt (after a fire) in 1923.
Roman Catholic Boniface Church Almere NL.
Architects Jurgen Boonstra and Freerk Hoekstra of Royal HaskoningDHV - 2021
Almere was built at a time when church attendance was declining sharply. That is why it was decided to opt for ecumenical places of worship that Protestants and Catholics would make joint use of. Completely against the national trend, however, the number of Catholics in Almere has increased in recent years. This is mainly due to the rapid growth in the number of inhabitants in Almere, as well as to newcomers from countries where the Catholic faith is still widely practiced. Because of this increase, the Boniface parish needed its own church, where its own tradition can be visibly present. After years of preparation, the church is now in use. The architects opted for a classic starting point: a nave with two aisles and an apse at the end. Daylight has been chosen to enter the church from above. This gives a calming, sacred effect. That light also shines on the 72-meter-long artwork by Théodore Stravinsky that the church has purchased. That work was taken from a church in Almelo that has since disappeared. This artwork is incorporated into the top of the facade walls. The materials used for the church are often left unfinished, such as rough concrete, a laminated timber structure, wood paneling and rough masonry walls. The imposing artwork by Stravinksy enriches the art experience in Almere, so that the new church may be included in the art route.
Thorncrown Chapel was designed by world renowned architect E. Fay Jones. Fay was born in Pine Bluff, Arkansas in 1921. He studied at the University of Arkansas, Rice University, the University of Oklahoma, and finally under his mentor Frank Lloyd Wright at the Taliesin Fellowship.
Jones’ awards include the 1981 American Institute of Architecture National Honor Award for Thorncrown Chapel and the AIA Gold Medal (1990). Thorncrown was listed fourth on the AIA’s top ten buildings of the 20th century. When alive, Mr. Jones was recognized as one of the top ten living architects of the 20th century.
The inspiration for Thorncrown Chapel was Sainte Chappelle, Paris’ light filled gothic chapel. Fay affectionately labeled Thorncrown’s style as “Ozark Gothic.” The chapel rises 48 feet into the sky with over 6,000 square feet of glass and 425 windows. Its dimensions are 24 feet by 60 feet. The chapel is made with all organic materials to fit its natural setting. The only steel in the structure forms a diamond shaped pattern in its wooden trusses. The building has a native flagstone floor surrounded with a rock wall which gives the feeling that the chapel is part of its Ozark hillside.
In order to preserve Thorncrown’s natural setting, Fay decided that no structural element could be larger than what two men could carry through the woods. The building materials are primarily pressure treated pine 2x4s, 2x6s, and 2x12s. The larger elements of the building such as the trusses were assembled on the floor and raised into place.
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
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’.
ECHO Brickell is a modern, residential condo tower spanning 57 stories and offering 171 luxury condo residences. ECHO Brickell condo residences boast SubZero and Wolf appliances, a highly-innovative Apple® Home Technology system, advance lighting system and oversized terraces with spectacular views of the Miami skyline and Biscayne Bay. Located in the heart of Brickell, ECHO Brickell offers residents opulent living with the ease of extraordinary convenience.
ECHO Brickell Features & Amenities:
*Conceptual design by acclaimed architect Carlos Ott
*State-of-the-art fitness center and spa brilliantly suspended over pool
*Infinity-edge pool and deck with exquisite views of *Downtown Miami, Brickell and Biscayne Bay
*Food and beverage services
*Concierge services
*24/7 valet services and security
ECHO Brickell Condo Residences:
*Interiors magnificently designed by Carlos Ott and YOO
*9’–14’-high ceilings with floor-to-ceiling windows
*6’-8’ deep, oversized terraces featuring outdoor barbeque space and stunning, panoramic bay and city views
*Kitchens feature Italian cabinetry, stone countertops and built-in SubZero and Wolf appliances
*Custom, advanced lighting system including recessed lighting, dimmers and lighting control
*Residence feature Apple® Home Technology – smart IHome system with integrated video, audio and lighting systems all controlled by Apple devices®
*Select Penthouse Residences occupy an entire floor and boast a private pool on a spacious terrace complimented by exquisite bay and city views
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Echo_Brickell
www.emporis.com/buildings/1211315/echo-brickell-miami-fl-usa
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/
© All Rights Reserved - you may not use this image in any form without my prior permission.
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.
Any use, printed or digital, in whole or edited, requires my written permission.
Architect: Harry Seidler (1950)
Location: Wahroonga, New South Wales, Australia
Harry Seidler was born in Austria but left after the Nazis took over, emigrating to England, where he studied architecture until he was interned by the British at the start of WWII and sent to a camp in Quebec. He was released and allowed to study architecture in Canada. He then went to Harvard to study under Gropius and Breuer, with an internship under Alvar Aalto during the summer. He also attended Black Mountain College to study under Albers. He later returned to Boston to work for Breuer. Seidler also worked in Rio de Janeiro with Niemeyer, who heavily influenced some of his early residential works, including this one for his mother, Rose Siedler.
He initially came to Australia temporarily, at the request of his parents, to build them a home in Sydney, where they had immigrated after the war. Modernism was unheard of in Australia in the late 40s, but this home was widely accepted and very popular. It led to many other commissions, which convinced Seidler to remain in Australia, where he established a practice and stayed throughout his career. He is largely credited as the father of modernist architecture in Australia.
The mural here was painted by Seidler, himself.
Looking up in the Sagrada Familia, or rather the temple expiatori de la Sagrada Família. Designed by Antoni Gaudí, and not expected to be complete until at least 2026.
torpedohallen, conversion of naval shipyard building to housing, holmen copenhagen, 1953 / 2000-2003.
architects: tegnestuen vandkunsten.
after 14 years as an architect at vandkunsten, I recently decided to quit my job and thought these february photos of the torpedo boat hall conversion, the very first project I worked on, would be a good way to mark that rather momentous decision.
for now, I am going to be spending some time with my children, but if anyone hears of a job for an experienced architect in greater copenhagen, let me know :)
The Thiepval memorial commemorates 72,000 British and South African forces who died in the Battle of the Somme, and have no known grave.
The memorial is the largest Commonwealth war memorial in the world, and was designed by architect Sir Edwin Lutyens. It was unveiled in August 1932 by Edward, Prince of Wales, who a few years later abdicated his right to inherit the English throne..
The Anglo-French cemetery, adjacent to the monument, contains the graves of 300 soldiers.
Architect: Alex Camp (2012)
Location: San Diego (Golden Hill), CA
I took some photos of this project for the annual San Diego architecture awards, called Orchids & Onions (www.orchidsandonions.org).
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.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1qRkDQr
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