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Architect: Sir James Pennethorne (1801–1871), although unrealized in his time. Finally completed during C21 improvements to the park. London Borough of Tower Hamlets.
Architect: Jim Brown & Jim Gates for Public Architecture and Planning (2007)
Location: La Jolla (San Diego), CA
The living room of this home is light and open with glass walls, but at the same time is warm and intimate.
Architect (for latest renovation): Frank Gehry (2004)
Location: Toronto, Ontario, Canada
Native son Frank Gehry was commissioned for injecting a bit of cohesion into what was a bit of a hodgepodge of successive additions and remodels to this gallery over the past century or so. In stark contrast to the ROM and Libeskind's effort there, this one is fairly muted from the street. But the interior is more successful, I think.
This spiral staircase that passes up through and continues above the enclosed glass ceiling of the atrium is one of the defining features of Gehry's remodel.
A human needs years of study to learn how to create a building. Wasps and bees just need their DNA.
Luigi Masella
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Some one has spilt a beverage over this print but it is still of interest. The LNER, formed as part of the 'Grouping' of Britain's mainline railways in 1923, like the other three 'Big' railways took some time to find its feet 'architecturally' and indeed, partly due to funding being perennially tight, for the first few years of its existance sort of 'made do and mend'. However by the 1930s the company was starting to look at adopting 'standard' designs for built infrastructure to bring a stronger corporate identity to the public's view as well as being able to afford economies of scale. The other railways were also starting to explore similar schemes, the Southern Railway possibly getting further down the line (they liked concrete so much they had their own works) but the LMSR were also starting to move towards a more 'streamlined' architectural look.
In some ways the Big Four were following in the footsteps of London Transport who, through their consultant architect Charles Holden, and access to more money, had developed a house style of srchitecture that by the 1930s was utilising reinforced concrete and brick - in a style that leans towards a North European 'modernism' as found in the Dutch 'De Stijl' or the German 'Bauhaus'. There's a wee flavour of that here at Brunthill, a box that was sitiated on the now closed Waverley Route, just north of Carlisle and close to Harker. Sadly, the war intervened before any real strides could be made in widespread application of the 'Standard' and this box has gone. However, I believe that the Scottish Region of British Railways, the nationalised organisation into which the LNER was taken, adopted this design as 'their' standard for both ex-LNER and LMSR lines north of the Border. Anyhow, it is possible someone 'out there' knows a bit more. The box certainly has a 'moderne' feel about it - no sign of traditional timber here - it is difficult to know if there is a prefabricated concrete frame and then a brick skin or of it was of 'traditional' wet trades construction. However, the large concrete lintels, the flat roof and the steel framed windows' are very contemporary - I wonder of those windows warped, a frequent issue with units of such size at the time!
Using their technology of transfering one's mind into new body, the alien race of Architects created menacing battlesuits in order to oppose advancing interstellar army of aggressive invaders.
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This MOC was too fragile - mostly because of used connections - and I was unable to finish it, as I accidentally broke it and had to disassemble the whole model. Nevertheless, I liked even the unfinished battlesuit and decided to upload it here.
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This image is, actually, an attempt to create scheme which is to explain battlesuit's features.
Obituary of another 60s Housing Scheme.
Kidbrooke Housing Scheme (later known as Ferrier Estate).
Architects: GLC Architects Department, 1967-72.
It saddens me to write the first chapter of this mostly visual obituary of a failed scheme now facing demolition. I feel honour bound to say some words to defend some very hardworking architects, with whom I had the honour to work with as a young student. These people, most of them no longer with us, were hard working, sincere and conscientious and gave their best to a scheme they seriously believed would house generations of happy and satisfied residents.
The subject of disastrous housing schemes of this period has been endlessly discussed and dissected by some very able writers and critics and I don’t feel this is right place to repeat various views which are already well known.
However, I would like to address a few words to Flickr viewers who often write vitriolic comments about this and similar estates, when they see some sad and depressing photographs of these decaying estates facing demolition and immediately start attacking ‘Planners and Architects’ for committing these atrocities against the human race.
Again, this is an understandable first reaction and with the benefit of the hindsight it is easy to say and admit that some very serious mistakes were made in the housing development of this period.
If you were living in the middle of ‘Jerusalem’ when it was being built and the new, spacious houses were being occupied by happy people delighted by these new estates, you would have found it difficult to believe that in not so distant a future such a sad outcome could have been remotely possible.
All I would like to say here is that there are a huge number of factors which influenced the outcome of these large housing schemes, a very dubious concept in its own right. The factors like political and social environment at the time of inception and occupation, financial controls with ‘sticks’ and ‘carrots’, the importance of choosing the appropriate residents, day to day management and maintenance, sufficient finances for maintaining and if necessary, eliminating the ‘failure’ as they become apparent and encouraging residents to actively take over the management of their own environments, were hardly understood by most of the bureaucracies involved in the whole process.
The examples exist of identical or near identical schemes where one has turned out to be a winner in most respects and the ‘identical twin’ had to be demolished because it was considered to be a complete failure and intensely hated by the occupants.
It would be nice to think that some understanding of these issues is available and grasped before ‘off the cuff’ insults are scattered at only one or two parties concerned.
The photographs I have shown above were taken during construction and early occupation period. The current state of this scheme is well illustrated by Flickr member ‘Waterford Man’. Please see his set on the following link for the current situation;
www.flickr.com/photos/waterford_man/sets/72157604073276791/
There is another very informative site covering the background of this scheme at this link:
www.jacobcarter.co.uk/Ferrier Estate Project 2.htm
Demolition started;
www.flickr.com/photos/waterford_man/3390406178/in/photost...
NRHP Reference#: 73001187
Prudential (Guaranty) Building
U.S. National Register of Historic Places
U.S. National Historic Landmark
Prudential (Guaranty) Building. The three zones of Sullivan's design are visible in the large open windows of the ground zone, the thin vertical elements of the office zone and the arches and curves of the terminating zone at the top of the building.
Location: Church and Pearl Sts.
Buffalo, NY
Built/Founded: 1894
Architect: Louis H. Sullivan and Dankmar Adler
Governing body: Private
Added to NRHP: March 20, 1973[1]
Designated NHL: May 15, 1975[2]
NRHP Reference#: 73001187
The Guaranty Building, which is now called the Prudential Building, was designed by Louis Sullivan and Dankmar Adler, and built in Buffalo, New York.
Sullivan's design for the building was based on his belief that "form follows function". He and Adler divided the building into four zones. The basement was the mechanical and utility area. Since this level was below ground, it did not show on the face of the building. The next zone was the ground-floor zone which was the public areas for street-facing shops, public entrances and lobbies. The third zone was the office floors with identical office cells clustered around the central elevator shafts. The final zone was the terminating zone, consisting of elevator equipment, utilities and a few offices.
The supporting steel structure of the building was embellished with terra cotta blocks. Different styles of block delineated the three visible zones of the building. Sullivan was quoted as saying, "It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line."
NRHP Reference#: 73001187
Architects; Herzog & de Meuron. Under construction, as seen in early April 2014.
The precast concrete structure is going to be covered in brickwork to match the building it is attached to.
The composite photo below gives some idea of context and cladding of brick panels over concrete structure.
The brick cladding is not dissimilar to LSE project illustrated earlier. Some notes comparing brick elevation to LSE Student Cente on LSE phot 3.
This is a design I copied - quite blatantly - from an Argentinian builder, frogstudio, after he presented his house in a thread on Eurobricks almost three years ago.
According to the designer, the original wasn't modular, so I thought that would be a good place to start when modifying it.
C.F. Møller Architects, 2016
In conjunction with the Port of Aarhus' new port centre, designed by C.F. Møller, one of the tenants - the Samskip shipping company - required a new and larger warehouse. The warehouse has been created with references to other C.F. Møller warehouses at the Port of Aarhus.
The project is the first stage of constructing a new type of warehouse in the port, created to facilitate future expansion, and with reference to the Port's other warehouse buildings. The building is based on a rational steel construction, with a highly flexible structure comprising two variable frames. While one frame is constant, the other is determined by receiving goods requirements and the building's welfare and office unit. With its used of sinusoidal aluminium profiled panels, translucent polycarbonate, black-white fibre cement boards and various galvanised items, the materials are in harmony with the Port of Aarhus' new port centre. The warehouse also has orange gates, as a reference to other C.F. Møller warehouses at the Port of Aarhus.
The warehouse type has special focus on a safe and pleasant working environment, with ample daylight conditions and welfare facilities.
www.cfmoller.com/p/Port-of-Aarhus-Warehouse-404-Samskip-i...
Written by Tom Alphin and published by no starch press, 2015.
This just arrived in the mail today, with an unexpected engraved brick as a bonus!
I had the pleasure of hanging out with Tom earlier in the year along with the opportunity to contribute an image to his absolutely wonderful book. It's beautifully designed and thoroughly researched, with fantastic real world and LEGO examples of various architectural styles, plus diagrams that really get at the essence of each. I can't recommend it highly enough, and I promise I don't get any cut of the profits to say so.
Rietveld Day 2023
On Sunday, June 25, 2023, we celebrated Gerrit Rietveld's 135th birthday. This year, the theme of Rietveld Day is museum homes; designed by three Utrecht architects who were far ahead of their time and who have been of great importance to the city. On this Sunday we opened the Rietveld Schröder House (1924), the House Van Ravesteyn (1933) and the Van Schijndel House (1992) for a flash visit. On this day, the thematic film Pioneers of the Dutch Modern House (Iconic Houses, 2021) was screened in the garden room of the Centraal Museum.
Van Schijndel House - Utrecht - The Netherlands
Mart van Schijndel (1943-1999) is one of the few architects in the Netherlands who easily managed to combine the innovative industrial production based modernism with distinctive postmodernist projects. Van Schijndel harboured a keen interest in technical innovations and possessed a talent for making the most of light and space as architectural components.
In 1987, Mart van Schijndel undertook the difficult task of designing a home for himself. He worked six years on this project, searching for the ideal design. In 1993, the house was completed. This is where he put into practice many of his ideas about architecture and design. The house at the Pieterskerkhof in Utrecht is as it were an autobiography of his ideas. The modern house is situated in the old centre of Utrecht. From the street, the dwelling is only partially visible. Hidden behind other buildings and sheltered from the bustling city, the house breathes an atmosphere of tranquillity. All the rooms open out onto the hall, which is also the living room and the central space of the house. The space is triangular and has two patios on either side. The large glass façades let in plenty of light, but show little of the environment as they are partly made of sandblasted glass.
For the design of the house he received the Rietveld Prize in 1995.
University of California at San Diego (UCSD)
Muir College
Architect: Robert Mosher (1964-69)
Location: San Diego (La Jolla), CA
Architect by Mitsubishi Estate (設計：三菱地所).
Completed in February 1984 (竣工：1984年02月).
Location at Kaigan 1-5-20, Minato-ku, Tokyo, Japan (所在地：日本国東京都港区海岸1-5-20).
viewing building with junction from aerial is my loving compo. Maybe because it looks like SimCity's view.
double sculpture on the principle of industrial production with the freedom of handicraft.
prototype of "new angle" display case for fritz hansen, both 1960s
architect: jørn utzon 1918-2008
much has been made of the sculptural qualities of utzon's architecture despite the way his works focus almost entirely on archetypes like the courtyard, the column, the vault, the cave etc.
here is one model, however, which simply is a sculpture. the white half was built using unique, hand-shaped pieces, whereas the yellow part was assembled from three or four different smaller pieces that fit together at different angles - all to demonstrate the potential of industrial prefabrication.
the model/sculpture was produced when utzon was working on the sydney opera house.
fans of contemporary Danish architecture should find parallels to current projects from BIG, bjarke ingels group, not least their serpentine gallery pavilion which strikes me as something of a tribute to the older master and a very good one too.
the "new angle" display case shows more of the discipline of utzon's actual work with modular design.
more utzon here
please name photographer "SEIER+SEIER".
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Revisit to this earlier upload from 2013.
Architects; MKDC Architects asked Helmut Jacoby to do this memorable perspective possibly in 1973-74. It is worth observing the original intention of keeping the building heights within 2-3 floors.
As the next photograph clearly shows this approach has changed. The rigid grid road pattern has also been interrupted and pressure to break these original intentions is constantly increasing.
At the time of this drawing the only building designs available to Jacoby were possibly Loyds Court and MK Borough Offices. The Shopping Centre must have been on the drawing board at that time.