View allAll Photos Tagged building_designer
"Life in harmony with nature
Hundertwasser
Friedensreich Hundertwasser
Life in harmony with nature – this was the vision of the Austrian artist Friedensreich Hundertwasser (*15.12.1928, †19.2.2000). Rogner Bad Blumau was one of the places where he realised this vision in architecture.
Born Friedrich Stowasser, he changed his surname to Hundertwasser in 1950, and 10 years later his first name to Friedensreich.
Friedensreich Hundertwasser began his career as a painter and later also became an ecologist and building designer. On his numerous travels around the world he collected many ideas, experiences and insights which he used to redesign buildings and design new houses. Friedensreich Hundertwasser did not think of himself as an architect, rather as a healer of ailing architecture.
Until his death on February 19th, 2000, Friedensreich Hundertwasser spent most of his time in his adopted home country New Zealand where he was buried in his Garden of the Happy Dead under a tulip tree – in harmony with nature. "
Art Nouveau is much more of an art trend, a world view, than a uniform style. The word itself is of Latin origin (sēcēdō, sēcēdere: to withdraw). It means withdrawal, separation from everything that was represented by the academic art of the time and from historicism, which was considered a lie (neo-renaissance, neo-baroque, neo-gothic, etc. styles). Its first appearance in art is connected with the name of the English writer John Ruskin (1819-1900), who left countless books and writings on literature, painting, architecture, sculpture and aesthetics. The ideas he raised in his books were first realized in the Arts and Crafts movement and became popular among artists. The main motifs of the Art Nouveau style, as well as the rediscovery of the return to nature, were formed based on his writings. Its main characteristics: extensive stylization, wavy ornamentation based on plant or geometric patterns, the use of emphatic, bright colors, "organic" shaping. There are few right angles on Art Nouveau buildings, designers preferred soft, rounded shapes. This apartment building in Budapest is a fine example of the style.
Thank you Designers for making this Xmas filling up with amazing furniture gifts. #FILLMYROOMS continues: shameless blogger requests to all interior design and buildings designers - including exterior decorations and clutter pieces!
.
The Museum of Tomorrow (Portuguese: Museu do Amanhã) is a science museum in the city of Rio de Janeiro, Brazil. It was designed by Spanish neofuturistic architect Santiago Calatrava, and built next to the waterfront at Pier Maua. Its construction was supported by the Roberto Marinho Foundation
The building attempts to set new standards of sustainability in the municipality. Compared with conventional buildings, designers say it uses 40% less energy (including the 9% of its power it derives from the sun), and the cooling system taps deep water from nearby Guanabara Bay. The structure looks set to be one of Rio’s most famous tourist sights. Its solar spines and fan-like skylight have been designed so that the building can adapt to changing environmental conditions.
The museum has partnerships with Brazil’s leading universities, global science institutions and collects real-time data on climate and population from space agencies and the United Nations. It has also hired consultants from a range of related fields, including astronauts, social scientists and climate experts. It sits waterside in a port area that was left abandoned for decades, and is now being renovated with new office blocks, apartments and restaurants. The museum is part of the city's port area renewal for the 2016 Summer Olympics. (wikipedia)
Watch a video of Tomorrow Museum by clicking HERE
Foto: Museu do Amanhã - Praça Mauá - Rio de Janeiro
Conforme a Lei 9.610/98, é proibida a reprodução total ou parcial ou divulgação comercial ou não sem a autorização prévia e expressa do autor (artigo 29). ® Todos os direitos reservados.
According to Law 9.610/98, it is prohibited the partial or total commercial reproduction without the previous written authorization of the author (article 29). ® All rights are reserved.
.
The Museum of Tomorrow (Portuguese: Museu do Amanhã) is a science museum in the city of Rio de Janeiro, Brazil. It was designed by Spanish neofuturistic architect Santiago Calatrava, and built next to the waterfront at Pier Maua. Its construction was supported by the Roberto Marinho Foundation
The building attempts to set new standards of sustainability in the municipality. Compared with conventional buildings, designers say it uses 40% less energy (including the 9% of its power it derives from the sun), and the cooling system taps deep water from nearby Guanabara Bay. The structure looks set to be one of Rio’s most famous tourist sights. Its solar spines and fan-like skylight have been designed so that the building can adapt to changing environmental conditions.
The museum has partnerships with Brazil’s leading universities, global science institutions and collects real-time data on climate and population from space agencies and the United Nations. It has also hired consultants from a range of related fields, including astronauts, social scientists and climate experts. It sits waterside in a port area that was left abandoned for decades, and is now being renovated with new office blocks, apartments and restaurants. The museum is part of the city's port area renewal for the 2016 Summer Olympics. (wikipedia)
Watch a video of Tomorrow Museum by clicking HERE
.
There are 193 days until the Olympics Rio 2016
Faltam 193 dias para a Rio 2016
Foto: Museu do Amanhã - Praça Mauá - Rio de Janeiro
Conforme a Lei 9.610/98, é proibida a reprodução total ou parcial ou divulgação comercial ou não sem a autorização prévia e expressa do autor (artigo 29). ® Todos os direitos reservados.
According to Law 9.610/98, it is prohibited the partial or total commercial reproduction without the previous written authorization of the author (article 29). ® All rights are reserved.
The twenty-one-story Railway Exchange Building is located at 600 Locust Street in downtown St. Louis, Missouri and occupies the entirety of city block 128, bounded by Sixth Street on the east, Locust Street on the north, Seventh Street on the west, and Olive Street on the south. The building was designed by the St. Louis architectural firm Mauran, Russell & Crowell in 1912. The design & construction of the Railway Exchange Building was met with great fanfare and claims that the building would be "the most spacious office building in the world" and a "perfectly fireproof building." Though these claims cannot be easily verified, the building designers took pains to incorporate the latest fireproof technologies and safety measures into the design. The proposed safety features even convinced the city to allow a variance to the ordinance that limited height of downtown buildings. The result was the construction of St. Louis's largest commercial & office building with more than 31 acres of floor space in its 21 floors.
The Railway Exchange Building was designed as a home for the newly merged Famous-Barr Company. By the time Famous and Barr were merged, each had established themselves as a prominent department store in St. Louis. William Barr & Company opened as a dry goods store in 1850 on Fourth Street while one of St. Louis's most recognized retail names, Famous Shoe and Clothing Company began on Franklin Avenue in 1873. In addition, many local businesses operated on the upper floors of the building, and the building's official name derived from the abundance of railroad company tenants occupying these spaces when it opened. Because of the architectural requisites necessary for a department store of this scale, new technologies had to be incorporated into the building designs. These included heating & cooling devices as well as lighting and inter-level customer moving mechanisms like elevators & escalators. The company moved into its impressive new home in the late summer of 1913 which included two restaurants, three level escalators, four elevator shafts for public use, and seven stories of retail commercial space that incorporated all elements of a department store that any retail company owner would marvel at, and which made Famous-Barr the largest department store in the city. The new building enticed shoppers to explore the many levels of goods & services, with the most sought after items placed strategically at the center of the store and on different levels, encouraging customers to browse other merchandise in the store and buy on impulse. Within four years the company found itself with so much business that it reconfigured the store for ease of shopping, and did the same again in 1923 & 1927. Famous-Barr became the largest retailer in the city, and remained in the downtown store until 2006, when Federated Department Stores bought out the business and replaced Famous with Macy's.
On June 11, 2009, the Railway Exchange Building was determined to be locally significant under the National Register of Historic Places (NRHP) under criterion A in the area of Commerce, and criterion C in the areas of Engineering & Architecture. All of the information and much, much more is located on the original documents submitted to the NRHP for listing consideration found here:
catalog.archives.gov/id/63820955
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
This house plan includes 1992 Square Foot of living space, 3 bedrooms, 2.5 bathrooms, and a Country Architectural Style. View this plan online at www.houseplangallery.com/index_files/house-plans-prod_det...
The Museum of Tomorrow (Portuguese: Museu do Amanhã) is a science museum in the city of Rio de Janeiro, Brazil. It was designed by Spanish neofuturistic architect Santiago Calatrava, and built next to the waterfront at Pier Maua. Its construction was supported by the Roberto Marinho Foundation and cost approximately 230 million reais. The building was opened on December 17, 2015 with President Dilma Rousseff in attendance.[1]
The main exhibition takes visitors through five main areas: Cosmos, Earth, Anthropocene, Tomorrow and Now via a number of experiments and experiences. The museum mixes science with an innovative design to focus on sustainable cities.[1]
Funded by the Rio city government with support from sponsors, the building attempts to set new standards of sustainability in the municipality. Compared with conventional buildings, designers say it uses 40% less energy (including the 9% of its power it derives from the sun), and the cooling system taps deep water from nearby Guanabara Bay. The structure looks set to be one of Rio’s most famous tourist sights. Its solar spines and fan-like skylight have been designed so that the building can adapt to changing environmental conditions.[1]
The museum has partnerships with Brazil’s leading universities, global science institutions and collects real-time data on climate and population from space agencies and the United Nations. It has also hired consultants from a range of related fields, including astronauts, social scientists and climate experts. It sits waterside in a port area that was left abandoned for decades, and is now being renovated with new office blocks, apartments and restaurants. The museum is part of the city's port area renewal for the 2016 Summer Olympics. [1]
Excerpt from www.hamilton.ca/things-do/arts-music/public-art/keddy-acc...:
Nereo Zorro also referred to as "Scenereo" is an internationally recognized Artist known for his authentic style that draws inspiration from environmentalism, multiculturalism, community and identity. His unique works of art combine people, animals, nature, and geometry together to articulate diverse stories rich with symbolism and elaborate forms.
The integration of realism and surrealism is what makes Nereo's work so memorable. His work oscillates on a fine line between street art and contemporary art while masterfully capturing stories within those boundaries. He is always delicately, definitively tapping into both the historical and the often-parallel modern themes of our society to deliver important commentary through his beautiful designs.
While his signature style and approach to mural work is better known for his larger-than-life figures, Nereo proves to be an endless well of creative potential who carries a wide range of techniques, skills and vision, that supports his unique ability to adapt and create according to what a blank space needs or doesn't need.
The Canada born creative is a former Technical Draftsman, Building Designer and Graphic Designer, who further developed his passion and experience with Street Art during his 10-year run as a professional commercial artist for the Graffiti Gallery in Winnipeg Manitoba.
In 2018, Nereo was hired by Enbridge Inc. to complete a mural restoration job for what is considered to be one of the largest murals in Western Canada. Some more of his notable job experiences include work produced for Hyundai, the Winnipeg Symphony Orchestra, Ondalina Arts Festival (Mexico), Boston Pizza, and the former Governor General, Honourable Michaelle Jean.
Many architects work hard to design and plan great buildings for local communities every day.
The National Museum of Western Art in Tokyo was added to the World Heritage is the only structure in Japan designed by Le Corbusier. MAY/2016
Metropolitan - an office building located at Piłsudski Square 1-3 in Warsaw . The building was designed on a pentagonal plan. There is a fountain in the inner courtyard of the building. Made by the American company Hines. The architect of the building is Sir Norman Foster . The project was created in cooperation with Polish offices: JEMS Architekci and Grupa 5 Architekci
Raffles Europejski Warsaw, commonly known as Hotel Europejski, is a historic five-star luxury hotel located in the city centre of Warsaw, Poland. At the time of its opening in 1857 it was one of the most modern and luxurious European hotels. Situated along the Royal Route, the building was designed by Polish-Italian architect Enrico Marconi and has since been one of Warsaw's architectural symbols. Badly damaged during World War II, it was systematically rebuilt at a great expense throughout the 1950s, reopening as a hotel in 1962.
Dom Bez Kantów - common name of the building of the Military Lodging Fund located at ul. Krakowskie Przedmieście 11 corner of ul. Królewska in Warsaw. The modernist building is one of the best examples of the so-called Warsaw Architecture School. It was erected in the years 1933–1935. The building was built on the initiative of the Ministry of Military Affairs to accommodate officers and married non-commissioned professional officers. The Military Accommodation Fund was the investor. It was characterized by a high standard of finishing.
The customary name "house Without Kants" is associated with the rounded corners of the building. Designers Czesław Przybylski and Stefan Bryła built a building with rounded corners. To this day, Warsaw residents call the building "a house without edges". The building survived World War II . Some walls have traces of bullets.
Concept} The Bird House for Kustom9 - added on the apartment building.
Designer Pep Serab - www.flickr.com/photos/104128277@N06/32205138346/in/datepo...
Large building by Huckleberry Hax. Available on SL marketplace.
Tree and large building not included at Kustom9.
The Museum of Tomorrow (Portuguese: Museu do Amanhã) is a science museum in the city of Rio de Janeiro, Brazil. It was designed by Spanish neofuturistic architect Santiago Calatrava, and built next to the waterfront at Pier Maua. Its construction was supported by the Roberto Marinho Foundation and cost approximately 230 million reais. The building was opened on December 17, 2015 with President Dilma Rousseff in attendance.[1]
The main exhibition takes visitors through five main areas: Cosmos, Earth, Anthropocene, Tomorrow and Now via a number of experiments and experiences. The museum mixes science with an innovative design to focus on sustainable cities.[1]
Funded by the Rio city government with support from sponsors, the building attempts to set new standards of sustainability in the municipality. Compared with conventional buildings, designers say it uses 40% less energy (including the 9% of its power it derives from the sun), and the cooling system taps deep water from nearby Guanabara Bay. The structure looks set to be one of Rio’s most famous tourist sights. Its solar spines and fan-like skylight have been designed so that the building can adapt to changing environmental conditions.[1]
The museum has partnerships with Brazil’s leading universities, global science institutions and collects real-time data on climate and population from space agencies and the United Nations. It has also hired consultants from a range of related fields, including astronauts, social scientists and climate experts. It sits waterside in a port area that was left abandoned for decades, and is now being renovated with new office blocks, apartments and restaurants. The museum is part of the city's port area renewal for the 2016 Summer Olympics. [1]
My birthday present came 16 days early this year and I had to try out my new 10-20mm lens. This is the office buildings for Caltrans in Los Angeles. The security guard wouldn't let me use my tripod so this is handheld. You'll need to see this one large to appreciate it. Thanks for looking!
The red and white lights are meant by the building designer to suggest automobile head and tail lights.
The Museum of Tomorrow (Portuguese: Museu do Amanhã) is a science museum in the city of Rio de Janeiro, Brazil. It was designed by Spanish neofuturistic architect Santiago Calatrava, and built next to the waterfront at Pier Maua. Its construction was supported by the Roberto Marinho Foundation and cost approximately 230 million reais (£40m/$59m). The building was opened on December 17, 2015 with President Dilma Rousseff in attendance.
The structure – which was supposed to have opened before last year’s World Cup – looks set to be one of Rio’s most famous tourist sights. With solar spines that bristle above and a fan-like skylight below, it is designed to adapt to changing environmental conditions. Catalan architect Santiago Calatrava says he was inspired by the bromeliads in Rio’s Botanical Gardens. Inside, however, the whitewashed curves are more reminiscent of the 1960s concrete modernism of Oscar Niemeyer.
The main exhibition takes visitors through five main areas: Cosmos, Earth, Anthropocene, Tomorrow and Now via a number of experiments and experiences. The museum mixes science with an innovative design to focus on sustainable cities.
Funded by the Rio city government with support from sponsors, the building attempts to set new standards of sustainability in the municipality. Compared with conventional buildings, designers say it uses 40% less energy (including the 9% of its power it derives from the sun), and the cooling system taps deep water from nearby Guanabara Bay. The structure looks set to be one of Rio’s most famous tourist sights. Its solar spines and fan-like skylight have been designed so that the building can adapt to changing environmental conditions
The concept of the museum is that tomorrow is not ready. The 'Tomorrow' will be the construction and people will participate in this construction as Brazilians, citizens and members of the human species. This is not a museum for objects, but a museum for ideas.
It's a 'new generation' of science museums for transform our thinking in order to shape the next 50 years of life on this planet in a sustainable and harmonious coexistence.
www.theguardian.com/world/2015/dec/17/museum-of-tomorrow-...
J'aime particulièrement ce type de photographie car il empreinte un petit quelque chose à la photo de rue, à la photo d'architecture mais aussi à celle du paysage.
Elle est donc, diverse, plurielle et unique.
I particularly like this type of photography because it has something of the street photography, the architecture photography but also the landscape photography.
It is therefore diverse, plural and unique.
Enjoy ... 😊
Funded by the Rio city government with support from sponsors, the building attempts to set new standards of sustainability in the municipality. Compared with conventional buildings, designers say it uses 40% less energy (including the 9% of its power it derives from the sun), and the cooling system taps deep water from nearby Guanabara Bay.
This house plan includes 1992 Square Foot of living space, 3 bedrooms, 2.5 bathrooms, and a Country Architectural Style. View this plan online at www.houseplangallery.com/index_files/house-plans-prod_det...
La pièce maitresse est l’étonnant dôme d’acier et d’aluminium géant – 180m de diamètre – qui recouvre partiellement une ville arabe miniature composée de 55 volumes abritant les oeuvres d’art.
Malgré son apparente légèreté, le dôme pèse plus de 7500 tonnes, soit le même poids que la Tour Eiffel à Paris, et mesure 180 mètres de diamètre. Inspiré par la coupole, forme caractéristique de l’architecture arabe, le dôme est une structure géométrique complexe de 7850 étoiles superposées sur huit couches (quatre couches extérieures revêtues d’acier inoxydable, quatre couches intérieures revêtues d’aluminium), séparées par une structure en acier de cinq mètres de hauteur.
Le dôme est formé de 10000 éléments, pré-assemblés en 85 éléments monumentaux pesant plus de 50 tonnes. Il culmine à 36 mètres au-dessus du sol et est soutenu par 4 piliers seulement, distants de 110 mètres et dissimulés au sein des bâtiments. Concepteurs : BuroHappold Engineering
The centerpiece is the amazing giant steel and aluminum dome - 180m in diameter - which partially covers a miniature Arab city of 55 volumes housing the works of art.
Despite its apparent lightness, the dome weighs more than 7500 tons, the same weight as the Eiffel Tower in Paris, and measures 180 meters in diameter. Inspired by the dome, a characteristic form of Arabic architecture, the dome is a complex geometric structure of 7850 stars superimposed on eight layers (four outer layers coated with stainless steel, four inner layers coated with aluminum) separated by a structure made of steel five meters high.
The dome is made of 10,000 elements, pre-assembled in 85 monumental elements weighing more than 50 tons. It rises 36 meters above the ground and is supported by only 4 pillars, 110 meters apart and hidden within the buildings.
Designers : BuroHappold Engineering
Sources : Village BIM, Philippe Bonneau Technical Marketing Manager at Autodesk
The Library of Parliament (French: Bibliothèque du Parlement) is the main information repository and research resource for the Parliament of Canada. The main branch of the library sits at the rear of the Centre Block on Parliament Hill in Ottawa, Ontario, and is the last untouched part of that larger building's original incarnation after it burned down in 1916. The library has been augmented and renovated a number of times since its construction in 1876, the last between 2002 and 2006, though the form and decor remain essentially authentic. The building today serves as a Canadian icon, and appears on the obverse of the Canadian ten-dollar bill.
The library is overseen by the Parliamentary Librarian of Canada and an associate or assistant librarian. The Canadian Parliamentary Poet Laureate and the Parliamentary Budget Officer are also considered to be officers of the library.
Designed by Thomas Fuller and Chilion Jones, and inspired by the British Museum Reading Room, the building is formed as a chapter house, separated from the main body of the Centre Block by a corridor; this arrangement, as well as many other details of the design, was reached with the input of the then parliamentary librarian, Alpheus Todd. The walls, supported by a ring of 16 flying buttresses, are load bearing, double-wythe masonry, consisting of a hydraulic lime rubble fill core between an interior layer of dressed stone and rustic Nepean sandstone on the exterior. Around the windows and along other edges is dressed stone trim, along with a multitude of stone carvings, including floral patterns and friezes, keeping with the Victorian High Gothic style of the rest of the parliamentary complex. The roof, set in three tiers topped by a cupola, used to be a timber frame structure covered with slate tiles, but has been rebuilt with steel framing and deck covered with copper. The initial overall combination of colours—grey Gloucester limestone and grey Nepean, red Potsdam and buff Ohio sandstones, as well as purple and green slate banding—conformed to the picturesque style known as structural polychromy.
The main reading room of the Library of Parliament
The main reading room rises to a vaulted ceiling and the walls and stacks are lined with white pine panelling carved into a variety of textures, flowers, masks, and mythical creatures. In the galleries are displayed the coats of arms of the seven provinces that existed in 1876, as well as that of the Dominion of Canada, and standing directly in the centre of the room is a white marble statue of Queen Victoria, sculpted by Marchall Wood in 1871. The northern galleries are also flanked with the white marble busts of Sir John Sandfield Macdonald; Prince Edward, Prince of Wales (later King Edward VII); Alexandra, Princess of Wales (later Queen Alexandra); and Sir Étienne-Paschal Taché.
The library's collection comprises 600,000 items, covering hundreds of years of history and tended by a staff of 300.[3] Access to the facility is generally restricted to those on parliamentary business, but research publications are produced by the library and are available to the public. The main branch on Parliament Hill is only the central hub of a larger complex that spreads to other parliamentary buildings, where services are offered in a number of branch libraries and reading rooms.
The Library of Parliament's roots lie in the 1790s, when the legislative libraries of Upper and Lower Canada were created; these operated separately until the creation of the Province of Canada in 1841 and the collections were amalgamated and followed the provincial capital as it moved between Kingston, Montreal, Toronto, and Quebec City. The library was to be established in Ottawa after, in 1867, Queen Victoria chose Bytown as the new seat for her crown in the Dominion of Canada, and the Library of Parliament Act formed the institution in 1871.
Though construction of the present library began in 1859 and the collection arrived in Ottawa in 1866, work was halted in 1861 and was not completed until 1876, when the 47,000 volumes—including several donated by Queen Victoria—were installed. Around 1869, the builders discovered that they didn't have the technical knowledge to build the domed roof, meaning that Thomas Fairbairn Engineering Co. Ltd. of Manchester had to be contracted to provide a pre-fabricated dome within a few weeks; this gave the Library of Parliament the distinction of being the first building in North America to have a state-of-the-art wrought iron roof. Further, in 1883, the library's 300 gas lights were converted to electricity.However, such additional costs brought the library's price to $301,812, a sum added on top of the total cost for all the parliament buildings, which had already gone far above the original allotted budget. Within only 12 years, the entire roof was stripped of its slate shingles in a tornado that hit Parliament Hill in 1888, since then the roof has been clad in copper.
A drafted architectural section of the original Centre Block, showing the Victoria Tower at the far left, and the Library of Parliament to the right
The Library of Parliament standing unharmed the day following the fire of 1916
The library's contents grew over the next five decades and were saved from the 1916 fire that destroyed the majority of the Centre Block; the building was only connected to the main complex by a single corridor and the library clerk at the time, Michael MacCormac, secured the library's iron doors before the fire could spread into that area. Fire eventually broke out in 1952, in the library's cupola, and caused extensive damage through smoke and water. It was then necessary to perform structural work, as well as to install a replica of the inlaid parquet floor and dismantle the wood panelling and ship it to Montreal for cleaning and partial fireproofing. The Centre, East, and West Blocks subsequently received extensive climate control and electrical upgrades, but the library was largely overlooked.
The deficiencies, plus conservation, rehabilitation, and upgrading, were addressed when a major, $52 million renovation was researched in 1996 and undertaken between 2002 and 2006. Public Works and Government Services Canada contracted the Thomas Fuller Construction Company (operated by the building designer's great-grandsons) to manage a project that fixed leaks in the roof and crumbling mortar in the walls on the exterior, as well as extensive repairs to the wood and plaster work and the installation of climate control systems on the interior. Also done at the time was a nine metre deep excavation of the bedrock beneath the library building, in order to provide more storage space, mechanical areas, and a link to an existing loading dock. The project used precision survey, laser measurement, photogrammetry, and the then fledgling technology of Computer Aided Three Dimensional Interactive Application. After four years of work, the library was opened to the public, with tours of the library resuming on 5 June 2006, though Thomas Fuller Construction filed a $21 million lawsuit against the Crown for cost overruns. (Wikipedia)
La Biblioteca del Parlamento en Ottawa (Canadá) es un hito en su país, tanto así que adorna la parte posterior de un billete de dólar canadiense. El edificio se inspiró en la sala de lectura del Museo Británico. La sala de lectura principal tiene un techo abovedado que complementa las paredes y las columnas de pino blanco con tallas de gran detalle de flores, máscaras, texturas y criaturas míticas. La colección de la Biblioteca se compone de más de 600.000 artículos y está a cargo de 300 empleados. El acceso a la instalación se restringe generalmente por la actividad parlamentaria de Canadá, pero los tours son a menudo disponibles.
Biblioteca do Parlamento Canadense em Ottawa, Canada.
The Library of Parliament (French: Bibliothèque du Parlement) is the main information repository and research resource for the Parliament of Canada. The main branch of the library sits at the rear of the Centre Block on Parliament Hill in Ottawa, Ontario, and is the last untouched part of that larger building's original incarnation after it burned down in 1916. The library has been augmented and renovated a number of times since its construction in 1876, the last between 2002 and 2006, though the form and decor remain essentially authentic. The building today serves as a Canadian icon, and appears on the obverse of the Canadian ten-dollar bill.
The library is overseen by the Parliamentary Librarian of Canada and an associate or assistant librarian. The Canadian Parliamentary Poet Laureate and the Parliamentary Budget Officer are also considered to be officers of the library.
Designed by Thomas Fuller and Chilion Jones, and inspired by the British Museum Reading Room, the building is formed as a chapter house, separated from the main body of the Centre Block by a corridor; this arrangement, as well as many other details of the design, was reached with the input of the then parliamentary librarian, Alpheus Todd. The walls, supported by a ring of 16 flying buttresses, are load bearing, double-wythe masonry, consisting of a hydraulic lime rubble fill core between an interior layer of dressed stone and rustic Nepean sandstone on the exterior. Around the windows and along other edges is dressed stone trim, along with a multitude of stone carvings, including floral patterns and friezes, keeping with the Victorian High Gothic style of the rest of the parliamentary complex. The roof, set in three tiers topped by a cupola, used to be a timber frame structure covered with slate tiles, but has been rebuilt with steel framing and deck covered with copper. The initial overall combination of colours—grey Gloucester limestone and grey Nepean, red Potsdam and buff Ohio sandstones, as well as purple and green slate banding—conformed to the picturesque style known as structural polychromy.
The main reading room of the Library of Parliament
The main reading room rises to a vaulted ceiling and the walls and stacks are lined with white pine panelling carved into a variety of textures, flowers, masks, and mythical creatures. In the galleries are displayed the coats of arms of the seven provinces that existed in 1876, as well as that of the Dominion of Canada, and standing directly in the centre of the room is a white marble statue of Queen Victoria, sculpted by Marchall Wood in 1871. The northern galleries are also flanked with the white marble busts of Sir John Sandfield Macdonald; Prince Edward, Prince of Wales (later King Edward VII); Alexandra, Princess of Wales (later Queen Alexandra); and Sir Étienne-Paschal Taché.
The library's collection comprises 600,000 items, covering hundreds of years of history and tended by a staff of 300.[3] Access to the facility is generally restricted to those on parliamentary business, but research publications are produced by the library and are available to the public. The main branch on Parliament Hill is only the central hub of a larger complex that spreads to other parliamentary buildings, where services are offered in a number of branch libraries and reading rooms.
The Library of Parliament's roots lie in the 1790s, when the legislative libraries of Upper and Lower Canada were created; these operated separately until the creation of the Province of Canada in 1841 and the collections were amalgamated and followed the provincial capital as it moved between Kingston, Montreal, Toronto, and Quebec City. The library was to be established in Ottawa after, in 1867, Queen Victoria chose Bytown as the new seat for her crown in the Dominion of Canada, and the Library of Parliament Act formed the institution in 1871.
Though construction of the present library began in 1859 and the collection arrived in Ottawa in 1866, work was halted in 1861 and was not completed until 1876, when the 47,000 volumes—including several donated by Queen Victoria—were installed. Around 1869, the builders discovered that they didn't have the technical knowledge to build the domed roof, meaning that Thomas Fairbairn Engineering Co. Ltd. of Manchester had to be contracted to provide a pre-fabricated dome within a few weeks; this gave the Library of Parliament the distinction of being the first building in North America to have a state-of-the-art wrought iron roof. Further, in 1883, the library's 300 gas lights were converted to electricity.However, such additional costs brought the library's price to $301,812, a sum added on top of the total cost for all the parliament buildings, which had already gone far above the original allotted budget. Within only 12 years, the entire roof was stripped of its slate shingles in a tornado that hit Parliament Hill in 1888, since then the roof has been clad in copper.
A drafted architectural section of the original Centre Block, showing the Victoria Tower at the far left, and the Library of Parliament to the right
The Library of Parliament standing unharmed the day following the fire of 1916
The library's contents grew over the next five decades and were saved from the 1916 fire that destroyed the majority of the Centre Block; the building was only connected to the main complex by a single corridor and the library clerk at the time, Michael MacCormac, secured the library's iron doors before the fire could spread into that area. Fire eventually broke out in 1952, in the library's cupola, and caused extensive damage through smoke and water. It was then necessary to perform structural work, as well as to install a replica of the inlaid parquet floor and dismantle the wood panelling and ship it to Montreal for cleaning and partial fireproofing. The Centre, East, and West Blocks subsequently received extensive climate control and electrical upgrades, but the library was largely overlooked.
The deficiencies, plus conservation, rehabilitation, and upgrading, were addressed when a major, $52 million renovation was researched in 1996 and undertaken between 2002 and 2006. Public Works and Government Services Canada contracted the Thomas Fuller Construction Company (operated by the building designer's great-grandsons) to manage a project that fixed leaks in the roof and crumbling mortar in the walls on the exterior, as well as extensive repairs to the wood and plaster work and the installation of climate control systems on the interior. Also done at the time was a nine metre deep excavation of the bedrock beneath the library building, in order to provide more storage space, mechanical areas, and a link to an existing loading dock. The project used precision survey, laser measurement, photogrammetry, and the then fledgling technology of Computer Aided Three Dimensional Interactive Application. After four years of work, the library was opened to the public, with tours of the library resuming on 5 June 2006, though Thomas Fuller Construction filed a $21 million lawsuit against the Crown for cost overruns. (Wikipedia)
La Biblioteca del Parlamento en Ottawa (Canadá) es un hito en su país, tanto así que adorna la parte posterior de un billete de dólar canadiense. El edificio se inspiró en la sala de lectura del Museo Británico. La sala de lectura principal tiene un techo abovedado que complementa las paredes y las columnas de pino blanco con tallas de gran detalle de flores, máscaras, texturas y criaturas míticas. La colección de la Biblioteca se compone de más de 600.000 artículos y está a cargo de 300 empleados. El acceso a la instalación se restringe generalmente por la actividad parlamentaria de Canadá, pero los tours son a menudo disponibles.
Biblioteca do Parlamento Canadense em Ottawa, Canada.
.
The Museum of Tomorrow (Portuguese: Museu do Amanhã) is a science museum in the city of Rio de Janeiro, Brazil. It was designed by Spanish neofuturistic architect Santiago Calatrava, and built next to the waterfront at Pier Maua. Its construction was supported by the Roberto Marinho Foundation
The building attempts to set new standards of sustainability in the municipality. Compared with conventional buildings, designers say it uses 40% less energy (including the 9% of its power it derives from the sun), and the cooling system taps deep water from nearby Guanabara Bay. The structure looks set to be one of Rio’s most famous tourist sights. Its solar spines and fan-like skylight have been designed so that the building can adapt to changing environmental conditions.
The museum has partnerships with Brazil’s leading universities, global science institutions and collects real-time data on climate and population from space agencies and the United Nations. It has also hired consultants from a range of related fields, including astronauts, social scientists and climate experts. It sits waterside in a port area that was left abandoned for decades, and is now being renovated with new office blocks, apartments and restaurants. The museum is part of the city's port area renewal for the 2016 Summer Olympics. (wikipedia)
Watch a video of Tomorrow Museum by clicking HERE
.
There are 205 days until the Olympics Rio 2016
Faltam 205 dias para a Rio 2016
Foto: Museu do Amanhã - Praça Mauá - Rio de Janeiro
Conforme a Lei 9.610/98, é proibida a reprodução total ou parcial ou divulgação comercial ou não sem a autorização prévia e expressa do autor (artigo 29). ® Todos os direitos reservados.
According to Law 9.610/98, it is prohibited the partial or total commercial reproduction without the previous written authorization of the author (article 29). ® All rights are reserved.
This image represents the FINAL key outcome of the eyes } world { hands 2008 project.
The image is a composite, equally representing all 364
individual eye images taken during 2008 (on the first and last day of the year, the cameras D80 and D300 photographed themselves, hence there are not 366 eye images for 2008).. As such, then, this image represents the average eye for the year.
The superimposition concept was inspired by the Australian National Photographic Portrait Project by Raimond De Weerdt, Karen Donnelly and Tony Nott. In 2002 I had the opportunity of being one of 50 faces contributing to the male portrait of the Faces of Albury.
Here are the individual images for the months of January, February, March, April, May, June, July , August, September , October, November, and December. Or see here for a combined poster of all monthly eyes.
The cameras used for the project were a Nikon D80 (until mid June) and then a Nikon D300. The mainstay lens used was a Nikkor AE-S f3.5-5.6 18-200mm VR
.
The images were taken at the following LOCATIONS: Albury, Alma Park, Anchorage, Arkaroola, Avenel, Balranald, Beechworth, Bendigo, Berrigan, Berrima, Bethanga, Bremerton, Brisbane, Cameron Corner, Canberra, Chiltern, Edgehill, Guam, Gundagai, Hepburn Springs, Holbrook, Homer, Hurricane, Iga Warta, In-Flight, Jindera, Kawanna Waters, Lake Boga, Lake Mungo, Lavington, Melbourne, Menindee, Mount Kembla, Mutawintji, Narrandera, Nowra, Olive Downs, Pine Lodge, Pooncarie, Saipan, Seattle, Strzelecki Desert, Taipei, Tarcutta, Temora, Thurgoona, Tibooburra, Tidbinbilla, Uranquinty, Wagga Wagga, Wetootla Gorge, Willandra NP, Wodonga, Yass
And the following PROFESSIONS are represented: academic, accountant, admin assistant, administrative assistant, administrator, adventure ecotourism student, adventure tour operator, anthropologist, anthropologust, applications programmer, aquatic ecologist, archaeologist, artist, assistant registrar, assistant tourism officer, author, director & radiohost, bank officer, bar manager, barista, baseball player, bell ringer, bookseller, brick salesman, builder, building designer, business manager, business owner, café assitstant, cafe owner, care giver, carpenter, casual retail assistant, cemetery manager, chairman athenauum trust, champion shearer, church volunteer, cleaning supervisor, clerk, climate change researcher, co-director, collections & exhibitions officer, communications coordinator, communications technician, community volunteer, computer technician, concierge, concreter, conductor, Conservationist, courier contractor, creator & cyclist, cultural anthropologist, cultural development, cultural manager, curator, customer service agent, director, diving consultant, doctoral student, driver, ecologist, educational designer, environment officer, environmental historian and museum curator, environmental manager, executive assistant, executive director, executive officer, farmer & aviator, farmer & historian, finance officer, firefighter, fishing woman, fishmonger, fixologist, flight attendant, floorsanding business, florist, fruiterer, futurist, gallery trainee, games shop retailer, genealogical researcher, graphic designer, groundsman, hairdresser, hairdresser & barista, happy camper, health professional, heritage consultant, heritage officer, heritage specialist, heritage student, historian, historian of photography, hospitality supervisor, hotel manager, illustrator, insurance branch supervisor, insurance claims adjuster, interpretation aide, IT officer, IT Specialist, IT systems administrator, jack-of-all-trades, janitor, journalist, kids activities, Koorie academic, laboratory manager, lecturer, lecturer in education, legal assistant, leisure specialist, librarian, library assistant, library officer, linesman, mail sorter, maintenance staff, manager, market development officer, market stall holder, marketing officer, masseur, media officer, mediator, medical receptionist, milk truck driver, minilab operator, mother, motor mechanic, museum curator, museum director, museum guide, museum manager, museum president, museum student, museum volunteer, musician, NPWS area manager, NPWS Field Officer, observationist, occupational therapist, occupational thrapy student, operations manager, optometrist, outdoor retailer, owner of the Niagara Café, PA & secretary, pacific historian and curator, pacific scholar, painter, Pakantyi/Malyankapa tour guide, park ramger, park superintendent, parking enforcememtn officer, parks manager, parks project officer, pathology collector, pavior, pawn broker, personal lending manager, pest controller, pharmacist, photographer, photographic retail, picture framer, pilot, pizza chef, plumber, poet, political consultant, postal service officer, postal worker, printer, programmer, public servant, publican, publisher, p-u-d drivver, purchasing officer, quarantine officer, race driver, radio producer, railway employee, ranger, real estate agent, real state agent, receptionist, research assistant, research officer, research scientist, restaurant proprietor, retail, retail sales assistant, retailer books, retired, retired professor, Rotary volunteer, sales, sales & marketing, sales assistant, sales associate, sales clerk, scientist, second hand dealer, security officer, senior field officer, senior ranger, shop assistant, shopkeeper, social researcher, solicitor, spatial analyst, stamptrader, store manager, store owner, student, student admin assistant, student services officer, student support officer, system administrator, systems officer, taxi driver, teacher, technical officer, telecommunications administration & sales, telephone tecnician, theatre student, tour guide, tourism operator & geologist, town planner, truck driver, tyre fitter, university lecturer, upholsterer, volunteer guide, waiter, waitress, web site designer, wildlife refuge manager, wildlife rescue assistant, windscreen repairs & sales, writer, zoo photographer.
Comments and critiques are welcome!
Image made EXPLORE on 6 January 2009. Max position: 206
© Dirk HR Spennemann 2009
All Rights Reserved
THE PORT ELLIOT INSTITUTE
The opening of the Port Elliot Institute was celebrated on Friday evening, October 15, by a tea meeting and entertainment, which was held in the Port Elliot Assembly Room. There were not so many present as would have been the case had a more extended notice been given. However, there were a good number present to partake of the very excellent tea which had been provided by the ladies in the neighbourhood.
In the absence, through ill-health, of the President of the Institute (Rev E T Howell, MA), the Vice-President and Secretary (Mr C H Hussey) read an encouraging report, which stated that this, like many such institutions, had come into existence through the establishment in the township of a Literary and Mental Culture Association. The library now numbered over 300 volumes of mixed literature, besides the boxes of books periodically received from the South Australian Institute. The reading-room was supplied with the Adelaide daily and other newspapers and a number of the most popular English and American periodicals.
The building, so far as completed, consisted of, reading-room, committee-room, and library, the hall or assembly room being left for future erection.
On the following morning the visitors were shown over the new Institute building, the granite works, the rocks, and other points of interest, by the Vice-President of the Institute. [Ref: Adelaide Observer Saturday 23-10-1880]
PORT ELLIOT, October 2
For many years the great want of a central hall for holding public meetings and entertainments has been seriously felt in this neighbourhood, but, although the residents had a great desire to erect a suitable building, the undertaking seemed too large for their limited resources. During the past three years the growing importance of Port Elliot as a summer resort has helped to press the absolute necessity of having a public hall more fully upon the minds of the settlers in the district. This and the promise of help from numerous visitors and friends has encouraged the Institute Committee to commence the erection of a commodious building in a central position between the townships of Port Victor and Goolwa.
The building when completed will accommodate a large number of persons. The dimensions are to be 60 feet long by 28 feet wide in the clear. The masons' work has been let to Mr G Coote, and the carpenters' work to Mr A Oliver. The structure, which will be somewhat after the style of the Courthouse, is from the design of Mr S Trigg, of Port Elliot.
The ceremony of laying the corner-stone took place on Thursday afternoon, September 28, in the presence of a great number of people, the Port Elliot Brass Band being present during the ceremony.
Mr C J Anstey, the President of the Institute, after a few appropriate remarks, led forward Miss Emily Chambers, to whom he handed, in the name of the Committee, a richly chased silver trowel. The stone, a beautiful block of Port Elliot granite, was placed in position, with a bottle under it containing the following memorandum :— "The foundation-stone of the hall in connection with the Port Elliot Institute was laid by Miss Emily Chambers, of Port Elliot, on the 28th day of September, 1882. The following being the officers of the Institute — Charles John Anstey, Esq, President: Joseph Field, Esq, Vice-President and Treasurer: and Charles W Colmen, Esq, Hon. Secretary”.
Mr Anstey then presented Miss Chambers with a mallet, when she at once proceeded to lay the stone in due form, and then declared it "to be well and truly laid." A vote of thanks to Miss Chambers was then heartily given, and Mr Chambers returned thanks on behalf of his daughter.
A number of contributions in aid of the building fund were then laid upon the stone, amounting in all, with the proceeds of the tea-meeting, which was afterwards held in the reading-room, to about £55. About £40 in value has also been given in work and cartage of materials. The Committee hope to get the work completed for the sum of £600. [Ref: South Australian Register Monday 9-10-1882]
Roll of Honour
On Sunday afternoon the Institute was crowded, the occasion being the unveiling of the roll of honour which has been presented to the institute by the local Cheer-Up Society.
The hall had been decorated with bunting, and the stage was for the public choir, which had been formed to sing appropriate hymns. The Victor Harbour Brass Band kindly came up to Elliot and gave selections in the street from 2 to 2.30.
There were also many other Harbour visitors present.
Mrs W J Harding, who has two sons at the front, two more who want to go, but, through accident, are barred, and two brothers who are majors on active service, was asked to unveil the roll.
This she did amid much acclamation. The roll, which is a very handsome one, has already 47 names engraved on it, and we hope to be able to add some more very soon. The collection, which amounted to £6.8.6 will go for trench comforts.
On Friday evening a juvenile fancy dress ball, organised by Miss Nellie Welch in aid of Red Cross funds was held in the Port Elliot Institute. [Ref: Mail Saturday 15-7-1916]
THE PORT ELLIOT INSTITUTE
FOUNDATION STONE OF ADDITIONS – Elliot, July 17
The laying of the foundation stone of additions to the institute hall took place on Saturday afternoon. The president of the institute (Mr A W Channon) asked the Mayor (Mr T McDowell) to extend a welcome to the Premier (Hon R L Butler) on his first official visit to Port Elliot.
The town was named by Sir Henry Young after a particular friend, Captain Elliot. Elliot was proclaimed a port in 1851. At the time there were visions of it being the New Orleans of Australia.
The nine millions spent on locking the Murray were not spent for the purpose of irrigation only, but mainly for navigation. As a country was known by its architecture, it was pleasing to note that the residents were assisting to beautify the town and foreshore.
A glass jar, containing one copy each of several newspapers, a report of the history of the institute, and current coins of the realm, was placed in a cavity beneath the stone. The stone is of Murray Bridge granite, presented by Mr Thomas Duncan, of Murray Bridge. The architect (Mr H E Fuller) presented a silver trowel to the Premier, and Laurel Scott, the little daughter of the librarian, handed him a bouquet.
Sir William Sowden (president of the Institutes Association) offered congratulations.
Mr P T Heggaton said he was a schoolboy in Port Elliot. The first set of rails laid in South Australia between Port Elliot and Goolwa came from Crimea. He was confident after the visit of the Prime Minister (Mr Bruce) a fortnight ago that things looked well for a Murray port in the near future.
Mr A T Grosvenor, the Mayor of Victor Harbour, added congratulations. He said he used to walk to Port Elliot years ago to dances. Other speakers were Mr A J Henderson (the president of the Victor Harbour Institute), the Rev W Clair Palmer, and the Rev T M Boyer.
An invitation by the president to lay donations on the stone resulted in £33 10/ being placed there. Afternoon tea followed in the old hall. [Ref: Chronicle Saturday 23-7-1927]
PORT ELLIOT November 22
On Friday evening last the official opening of the new billiard room at the institute took place, and two matches were played. George Dodd defeated Eddy Bliss by 28 in a game of 300 up, and George Bond (Victor Harbour) scored an easy win over Fred Needham by 300 to 169.
At the conclusion of these two games, Messrs Bond and Bliss played 100 up, and Bond ran out an easy winner.
The new room is situated under the stage at the rear of the enlarged hall. [Ref: Advertiser 26-11-1927]
Little experiment for my daughter. I tried to use unexpected combinations of Duplo parts to create different monster heads. My favourite details are chairs used for teeth and jail door for mouth.
Follow me here:
Installation Company of the First Construction Engineering Limited Company of China Construction Third Engineering Bureau (South China) – (Foshan, Guangdong Province, China)
Located in Foshan Qiandenghu Recreation Center, Guangdong, China, Zhiyue Youcheng Square is part of a major renovation project in this historic part of the city. The CNY 60 million project consists of three distinct buildings – Passemble Hotel, with 22 floors and 200 guest rooms; Food Forum Shitongitian Plaza, with 17 floors; and Reach 100, with 19 floors for commercial and residential use
The engineers completed mechanical and electrical design, procurement, and construction using an integrated BIM approach. ProjectWise provided a collaborative design platform that enabled project data synchronization through all phases. AECOsim Building Designer enabled collision checks that eliminated hundreds of impact points. More than CNY 2 million was saved through work efficiency and error reduction, with Bentley software reducing design errors by 90 percent and increasing design depth by 50 percent.
I have changed the farm. One of my favourite building designers in SL has started to make Mesh Building, so instead of the NaLa Nord Thatch House that was there before, I now have the Gunflint Cabin and Gnesen Farm Shed from POST.
The design of the Merewether Memorial employs the form of an Eleanor Cross and is in the English Medieval style. There are spires which could have served as a basis for the design of this memorial; for example, St. Mary at Bloxham, St. Peter at Kettering, St. Peter at Raunds and Meven St. Mary at Oxford. In fact, each one may have provided an ingredient or two for the design of this fine memorial tower.
Building designers of the time had become increasingly aware of the capabilities of Indian craftsmen, thus the skill and craftsmanship which has been available to medieval builders was also at Strachan's disposal. Strachan was no doubt aware of the intricate carving executed by native craftsmen for the baserellets designed by Kipling for the Crawford Markets and the then under construction Victoria Terminus. The Memorial shows a heightened sensitivity to detailing and an emphasis on carving and decoration, more then my other building designed by Strachan. Whereas the Empress Market's tower is a little squat, the Merewether Tower is elegant and tall, evoking memories of medieval England.
It was named for Merewether, who served as 'Commissioner-in-Sindh' from 1868 to 1877. Richard Burton, on his last visit to Karachi, paid a tribute to his friend while describing the Government House: " It is at present occupied by General Sir William L. Merewether, K.C.S.I. etc.etc.etc. an officer who, by entire devotion to the interests of his province, the scene of his distinguished career during the last thirty-three years, has made epoch' and history" (Burton 1877:1.76) Burton's opinion of Merewether's services were no doubt shared by others. Initially, a pier had been named in memory of the former 'Commissioner-in-Sindh'. Constructed by the Karachi Harbour Board, which had been formed in 1880, the Merewether Pier had cost three lakh rupees (1882). However, it was later decided that a worthy and visible memorial was in order - a memorial tower of such "prominence as to dominate the skyline of the city" to be built by public subscription. The Tower was placed at the confluence of McLeod and Bunder Road, at the extreme western end of the Serai Quarter, an area which was developed into a thriving commercial center concurrently with the rising fortunes of the city. The Memorial took eight years to complete, and was handed over to the Municipality in 1892 by 'Commissioner-in-Sindh' Evan James. The total cost of the structure and its clock was merely Rs. 37,178 compared to the Rs. 180,000 lavished on the much bigger memorial to Bartle Frere, Frere Hall.
The Memorial Tower stands on a platform 44 feet square and rises to a height of 102 feet. It prominently displays the clock placed at the base of the spire, 70 feet from the ground. Each of the clock's four faces is seven feet in diameter. The large bell installed at the time weighed three hundred weight and struck at every hour, while the smaller bells weighed one hundred weight each and marked every quarter of an hour.
Burlington, Kentucky
Listed 7/30/2014
Reference Number: 14000456
The James William Kite Store meets the first term of National Register Criterion C, significant as a type of construction, a country store. Its significance relates to its architectural identity; the Kite Store is a good representative of a class of buildings-commercial buildings in Boone County-associa ted with the rise of mercantile activity in rural Boone County during the late-19th and early-20th centuries. The Kite Store helps articulate the general evolution of design among commercial buildings in Boone County. The earliest commerce in the county often occurred in buildings that served multiple purposes: residential, manufacturing, and commercial. Thus, early- 19111 -century buildings serving a commercial purpose often looked much like residences, because, in fact , they were . As the 191h century progressed, commercial and industrial non-farm activity increasingly sought spaces away from the home. If commercial activity became more complex and specialized in the post-Civil War period, it would have prompted building designers to shape commercial spaces appropriate to that specialized function. The emergence of the country store is an important sub-type of Boone County's commercial buildings, and the Kite Store is a valuable instance of this important sub-type of commercial building design. The building's significance is evaluated within the context, ""Nineteenth and Early Twentieth Century Commercial Architecture in Boone County, Kentucky,"" a section within the Multiple Properties Submission (MPS) Historic and Architectural Resources of Boone County, Kentucky, 1789-1950, (Taylor, 2000). The property meets the MPS's Registration Requirements.
National Register of Historic Places Homepage
Downtown Chicago, IL Sunset , Jan 17, 2009 Temp -4 F
Lake Point Tower on far left is a high-rise residential building located on a promontory of the Lake Michigan lakefront in downtown Chicago, just north of the Chicago River at 505 North Lake Shore Drive. It rises somewhat apart from the urban cluster of downtown Chicago in a composition that sets off and punctuates the skyline. The building is also the only skyscraper in downtown Chicago east of Lake Shore Drive.
The building was conceived and developed by William F. Hartnett.
The building designers were John Heinrich and George Schipporeit .
The body of the building encompasses 900 apartments (now privately owned condominiums). A restaurant and bar, "Cite," featuring spectacular views of the city and lake serves gourmet French/American cuisine, and is open to the public on the top floor of the 70 story building.
It has a reinforced concrete structure and a triangular core of elevators and a stairwell which can absorb horizontal forces.
Lake Point Tower has been host to many film shoots including:
* 1992's Straight Talk with Dolly Parton and James Woods had Parton's character living in "LPT"
* Parts of While You Were Sleeping, (1995) with Sandra Bullock and Peter Gallagher were shot in the building.
* Meet the Parents, (2000)
* The Lake House, (2006)
* Category 6: Day of Destruction, (2004) In this film, it is destroyed by a tornado in news footage.
The design of the Merewether Memorial employs the form of an Eleanor Cross and is in the English Medieval style. There are spires which could have served as a basis for the design of this memorial; for example, St. Mary at Bloxham, St. Peter at Kettering, St. Peter at Raunds and Meven St. Mary at Oxford. In fact, each one may have provided an ingredient or two for the design of this fine memorial tower.
Building designers of the time had become increasingly aware of the capabilities of Indian craftsmen, thus the skill and craftsmanship which has been available to medieval builders was also at Strachan's disposal. Strachan was no doubt aware of the intricate carving executed by native craftsmen for the baserellets designed by Kipling for the Crawford Markets and the then under construction Victoria Terminus. The Memorial shows a heightened sensitivity to detailing and an emphasis on carving and decoration, more then my other building designed by Strachan. Whereas the Empress Market's tower is a little squat, the Merewether Tower is elegant and tall, evoking memories of medieval England.
It was named for Merewether, who served as 'Commissioner-in-Sindh' from 1868 to 1877. Richard Burton, on his last visit to Karachi, paid a tribute to his friend while describing the Government House: " It is at present occupied by General Sir William L. Merewether, K.C.S.I. etc.etc.etc. an officer who, by entire devotion to the interests of his province, the scene of his distinguished career during the last thirty-three years, has made epoch' and history" (Burton 1877:1.76) Burton's opinion of Merewether's services were no doubt shared by others. Initially, a pier had been named in memory of the former 'Commissioner-in-Sindh'. Constructed by the Karachi Harbour Board, which had been formed in 1880, the Merewether Pier had cost three lakh rupees (1882). However, it was later decided that a worthy and visible memorial was in order - a memorial tower of such "prominence as to dominate the skyline of the city" to be built by public subscription. The Tower was placed at the confluence of McLeod and Bunder Road, at the extreme western end of the Serai Quarter, an area which was developed into a thriving commercial center concurrently with the rising fortunes of the city. The Memorial took eight years to complete, and was handed over to the Municipality in 1892 by 'Commissioner-in-Sindh' Evan James. The total cost of the structure and its clock was merely Rs. 37,178 compared to the Rs. 180,000 lavished on the much bigger memorial to Bartle Frere, Frere Hall.
The Memorial Tower stands on a platform 44 feet square and rises to a height of 102 feet. It prominently displays the clock placed at the base of the spire, 70 feet from the ground. Each of the clock's four faces is seven feet in diameter. The large bell installed at the time weighed three hundred weight and struck at every hour, while the smaller bells weighed one hundred weight each and marked every quarter of an hour.
Winner – Innovation in Rail and Transit
London Underground Ltd – (London, United Kingdom)
For this GBP 34 million project, London Underground Ltd undertook the safe replacement of the existing elasto plastic concrete lining with a spheroidal graphite iron lining in a 215-meter tunnel segment on the Jubilee Line. The major challenge was to keep the railway running while relining the tunnels. London Underground initiated this project with an ambitious target of 20 percent cost reduction by improving planning, design, and assurance efficiencies.
Bentley software including AECOsim Building Designer, Bentley Descartes, Bentley Pointools, Bentley Navigator, and ProjectWise enabled collaboration and supported creation of a geospatially accurate, fully coordinated 3D model. The 3D and 4D models contributed to stakeholder and decision-maker understanding, resulting in numerous ROI savings. London Underground realized a 15 percent reduction in safety planning, risk assessment, and assurance costs.
Work continues and you can see that the granite flooring is being put down quite extensively now.
New Quadcopter Aerial Footage Form Kay Elliot, The Buildings Designers: vimeo.com/96593873 (click on the link its great)
PROGRESS ALBUM: www.flickr.com/photos/torquay-palms/sets/72157644051257090/
Winner – Innovation in Power Generation
MWH Global – (Birmingham, West Midland, United Kingdom)
Generating power through the gasification of waste wood, this GBP 48 million Tyseley plant will be the first of its kind in the United Kingdom. It will be supplied with approximately 67,000 tons of wood waste secured under a long-term sustainable contract with a local supplier. Over its 20-year lifespan, it is expected to reduce greenhouse emissions by 2.1 million tons and save 1.3 million tons of waste wood otherwise destined for landfill.
Under an EPC contract, MWH Global used AECOsim Building Designer, Bentley Navigator, MicroStation, OpenPlant, and ProjectWise, to develop and coordinate the design for Birmingham Bio Power. MWH Global will undertake its construction and commissioning before taking on an operational role running the plant under a five-year operations and maintenance contract.
.
The Museum of Tomorrow (Portuguese: Museu do Amanhã) is a science museum in the city of Rio de Janeiro, Brazil. It was designed by Spanish neofuturistic architect Santiago Calatrava, and built next to the waterfront at Pier Maua. Its construction was supported by the Roberto Marinho Foundation
The building attempts to set new standards of sustainability in the municipality. Compared with conventional buildings, designers say it uses 40% less energy (including the 9% of its power it derives from the sun), and the cooling system taps deep water from nearby Guanabara Bay. The structure looks set to be one of Rio’s most famous tourist sights. Its solar spines and fan-like skylight have been designed so that the building can adapt to changing environmental conditions.
The museum has partnerships with Brazil’s leading universities, global science institutions and collects real-time data on climate and population from space agencies and the United Nations. It has also hired consultants from a range of related fields, including astronauts, social scientists and climate experts. It sits waterside in a port area that was left abandoned for decades, and is now being renovated with new office blocks, apartments and restaurants. The museum is part of the city's port area renewal for the 2016 Summer Olympics. (wikipedia)
Watch a video of Tomorrow Museum by clicking HERE
.
There are 205 days until the Olympics Rio 2016
Faltam 205 dias para a Rio 2016
Foto: Museu do Amanhã - Praça Mauá - Rio de Janeiro
Conforme a Lei 9.610/98, é proibida a reprodução total ou parcial ou divulgação comercial ou não sem a autorização prévia e expressa do autor (artigo 29). ® Todos os direitos reservados.
According to Law 9.610/98, it is prohibited the partial or total commercial reproduction without the previous written authorization of the author (article 29). ® All rights are reserved.
Winner – Innovation in Rail and Transit
London Underground Ltd – (London, United Kingdom)
For this GBP 34 million project, London Underground Ltd undertook the safe replacement of the existing elasto plastic concrete lining with a spheroidal graphite iron lining in a 215-meter tunnel segment on the Jubilee Line. The major challenge was to keep the railway running while relining the tunnels. London Underground initiated this project with an ambitious target of 20 percent cost reduction by improving planning, design, and assurance efficiencies.
Bentley software including AECOsim Building Designer, Bentley Descartes, Bentley Pointools, Bentley Navigator, and ProjectWise enabled collaboration and supported creation of a geospatially accurate, fully coordinated 3D model. The 3D and 4D models contributed to stakeholder and decision-maker understanding, resulting in numerous ROI savings. London Underground realized a 15 percent reduction in safety planning, risk assessment, and assurance costs.
This magnificent building, at the Chuang Yen Monastery in Kent, New York, is in the style of architecture of the Tang Dynasty (618 AD - 907 AD) The building is 84 feet tall, contains 24,000 square feet of space and can accommodate 2,000 people in the main hall. Inside the Hall is a 37-foot statue of the Buddha Vairocana - the largest Buddha statue in the Western hemisphere.
The construction of the Great Buddha (inside) and the building took 8 years. The Great Buddha had to be complete before the building was, otherwise, it would be very difficult to bring a huge Buddha into the building. Designer and builder, Professor C.G. Chen, spent 2 years just to complete the Great Buddha itself.
source: www.baus.org/baus/about_us/cym_buddha_hall.sh tml
There is this tall building around the corner from where I work. Its been there for several years but I have never been inside. So, one Saturday, I decided to check it out. I figured there must be some cool architectural shots to be had. Wrong!! Very boring inside and no place to go up for a view. Why would they build something like that without a viewing deck? This is the tallest building outside of Chicago and its only about 20-something miles from the city. If I were the architect, I would have included a restaurant or lounge or something up on one of the upper floors so people could go up and enjoy the view, take pictures, have a drink, lunch, anything. Seems like a waste to me, but then, not everyone is into photography and not everyone wants to get up into buildings to photograph "a view".
Anway, in the foyer was this enormous iron structure. Some form of artwork, typical of a "modern" building to include in their foyer. I was poking around this massive iron structure, walking in it, around it, under it, all the while trying to find a cool shot. I snapped off a few frames and the security guard was like, "excuse me! Pictures are not allowed".
Feeling like a child who just got caught doing something worthy enough to be told to "go to my room", I slowly backed away from the "view only" sculpture and stood there.........and viewed. Boring!
So, I vacated the premises altogether. But I got a few shots...hehehe. Nothing much except this small part. It is cropped from a larger shot, but I was after the design, knowing I would be cropping it to some extent. The larger picture shows these are blades of some sort. They were about 3 feet long. The overall size of this sculpture was well over 10 feet tall. Its made up of a multitude of different iron objects. It was fascinating to check it out, until I got yelled at....lol.
While processing, I noticed there were colors reflected in the "blades, so I enhanced them a tad, framed it and then sat back trying to decide on a title. I always have trouble coming up with titles for my photos. After a few moments, I decided on Peripeteia, since that word appears on the base of the "blades". I wasnt sure what the word even meant but it is defined as "a change by which the action veers round to its opposite, subject always to our rule of probability or necessity." Ahhhh, the plot thickens. Whoever the artist is, the combination of all that strange iron and the obvious title for it all surely makes one think. Or not. Isnt it interesting all the forms of art there are and how "art" becomes "art"?
Ok, so now that I have done all this, you suppose the Iron Structure "police" will come after me for posting this shot? Afterall, this is someone else's "art", no? But only a small portion. I think of it as a preview, of sorts, and if you want to see the whole thing, you just have to come to Oakbrook, Illinois and go to the tall building. But you cant get a drink, or lunch, or even a view of the surrounding area.
Shame on those building designers......LOL.
One of many new luxury houses being built around Sandbanks, Canford Cliffs and some parts of Poole. This one is overlooking Whitecliff Park, Poole, with sea views of course.
These homes are around 1.5 million pounds. ...looks like they are having a few issues with the front wall!
Poole 04.06.2014
CCTEG Beijing Huayu Engineering Co, Ltd. – (Bin County, Shaanxi, China)
Beijing Huayu Engineering adopted 3D collaborative design standardization in its coal mining and preparation industry with the goal of improving the efficiency of newly built engineering projects by more than 50 percent. The initiative began with the CNY 132.4 million Xiaozhuang mine coal preparation plant project. Implementing Bentley products significantly enhanced design quality and work efficiency.
The project benefited from Bentley software in several key areas. ProjectWise allowed the team to realize real-time collaborative design. Bentley Navigator provided clash detection and resolution, which helped to prevent 620 collisions. The design platform built upon MicroStation, OpenPlant, AECOsim Building Designer, and other Bentley products, significantly improved efficiency, shortening the plant design time from 45 to 24 days. Meanwhile, design errors decreased by 95 percent, helping to reduce project delivery costs by CNY 1.21 million.
The Merewether Memorial Tower stands tall and strong at the base of the two most important roads in Karachi, the M.A. Jinnah and I.I. Chundrigar roads.
The design of the Merewether Memorial employs the form of an Eleanor Cross and is in the English Medieval style. There are spires which could have served as a basis for the design of this memorial; for example, St. Mary at Bloxham, St. Peter at Kettering, St. Peter at Raunds and Meven St. Mary at Oxford. In fact, each one may have provided an ingredient or two for the design of this fine memorial tower.
Building designers of the time had become increasingly aware of the capabilities of Indian craftsmen, thus the skill and craftsmanship which has been available to medieval builders was also at Strachan's disposal. Strachan was no doubt aware of the intricate carving executed by native craftsmen for the baserellets designed by Kipling for the Crawford Markets and the then under construction Victoria Terminus. The Memorial shows a heightened sensitivity to detailing and an emphasis on carving and decoration, more then my other building designed by Strachan. Whereas the Empress Market's tower is a little squat, the Merewether Tower is elegant and tall, evoking memories of medieval England.
It was named for Merewether, who served as 'Commissioner-in-Sindh' from 1868 to 1877. Richard Burton, on his last visit to Karachi, paid a tribute to his friend while describing the Government House: " It is at present occupied by General Sir William L. Merewether, K.C.S.I. etc.etc.etc. an officer who, by entire devotion to the interests of his province, the scene of his distinguished career during the last thirty-three years, has made epoch' and history" (Burton 1877:1.76) Burton's opinion of Merewether's services were no doubt shared by others. Initially, a pier had been named in memory of the former 'Commissioner-in-Sindh'. Constructed by the Karachi Harbour Board, which had been formed in 1880, the Merewether Pier had cost three lakh rupees (1882). However, it was later decided that a worthy and visible memorial was in order - a memorial tower of such "prominence as to dominate the skyline of the city" to be built by public subscription. The Tower was placed at the confluence of McLeod and Bunder Road, at the extreme western end of the Serai Quarter, an area which was developed into a thriving commercial center concurrently with the rising fortunes of the city. The Memorial took eight years to complete, and was handed over to the Municipality in 1892 by 'Commissioner-in-Sindh' Evan James. The total cost of the structure and its clock was merely Rs. 37,178 compared to the Rs. 180,000 lavished on the much bigger memorial to Bartle Frere, Frere Hall.
The Memorial Tower stands on a platform 44 feet square and rises to a height of 102 feet. It prominently displays the clock placed at the base of the spire, 70 feet from the ground. Each of the clock's four faces is seven feet in diameter. The large bell installed at the time weighed three hundred weight and struck at every hour, while the smaller bells weighed one hundred weight each and marked every quarter of an hour.
Source: www.flickr.com/photos/iqbalkhatri/419359006/
p.s. The background has been photoshopped a little.
Explored @ 240!
An architect is a person who plans, designs, and reviews the construction of buildings. To practice architecture means to provide services in connection with the design of buildings and the space within the site surrounding the buildings, that have as their principal purpose human occupancy or use.[ Etymologically, architect derives from the Latin architectus, which derives from the Greek (arkhi-, chief + tekton, builder), i.e., chief builder.
Professionally, an architect's decisions affect public safety, and thus an architect must undergo specialized training consisting of advanced education and a practicum (or internship) for practical experience to earn a license to practice architecture. Practical, technical, and academic requirements for becoming an architect vary by jurisdiction
Throughout ancient and medieval history, most of the architectural design and construction was carried out by artisans—such as stone masons and carpenters, rising to the role of master builder. Until modern times, there was no clear distinction between architect and engineer. In Europe, the titles architect and engineer were primarily geographical variations that referred to the same person, often used interchangeably.[3][4]
Filippo Brunelleschi is revered as one of the most inventive and gifted architects in history.
It is suggested that various developments in technology and mathematics allowed the development of the professional 'gentleman' architect, separate from the hands-on craftsman. Paper was not used in Europe for drawing until the 15th century but became increasingly available after 1500. Pencils were used more often for drawing by 1600. The availability of both allowed pre-construction drawings to be made by professionals. Concurrently, the introduction of linear perspective and innovations such as the use of different projections to describe a three-dimensional building in two dimensions, together with an increased understanding of dimensional accuracy, helped building designers communicate their ideas.[6] However, the development was gradual. Until the 18th-century, buildings continued to be designed and set out by craftsmen with the exception of high-status projects.
In most developed countries, only qualified people with an appropriate license, certification, or registration with a relevant body, often governmental, may legally practice architecture. Such licensure usually requires an accredited university degree, successful completion of exams, and a training period. The use of terms and titles and the representation of oneself as an architect is restricted to licensed individuals by law, although in general, derivatives such as architectural designer are often not legally protected.
To practice architecture implies the ability to practice independently of supervision. The term building design professional (or Design professional), by contrast, is a much broader term that includes professionals who practice independently under an alternate profession, such as engineering professionals, or those who assist in the practice architecture under the supervision of a licensed architect, such as architectural technologists and intern architects. In many places, independent, non-licensed individuals may perform design services outside the professional restrictions, such design houses and other smaller structures.
In the architectural profession, technical and environmental knowledge, design and construction management, and an understanding of business are as important as design. However, the design is the driving force throughout the project and beyond. An architect accepts a commission from a client. The commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings, structures, and the spaces among them. The architect participates in developing the requirements the client wants in the building. Throughout the project (planning to occupancy), the architect co-ordinates a design team. Structural, mechanical, and electrical engineers and other specialists, are hired by the client or the architect, who must ensure that the work is co-ordinated to construct the design.
The architect hired by a client is responsible for creating a design concept that meets the requirements of that client and provides a facility suitable to the required use. In that, the architect must meet with and question the client to ascertain all the requirements and nuances of the planned project. Often the full brief is not entirely clear at the beginning, entailing a degree of risk in the design undertaking. The architect may make early proposals to the client which may rework the terms of the brief. The program or brief is essential to producing a project that meets all the needs of the owner — it is a guide for the architect in creating the design concept.
It is generally expected that the design proposal(s)is both imaginative as well as pragmatic, but the precise extent and nature of these expectations will vary, depending on the place, time, finance, culture, and available crafts and technology in which the design takes place.
Designing buildings is a very complex and demanding undertaking, no matter what the scale of the project might be. A strong degree of foresight is a prerequisite. Any design concept must at a very early stage in its generation take into account a great number of issues and variables which include qualities of space(s),[8] the end-use and life-cycle of these proposed spaces, connections, relations, and aspects between spaces including how they are put together as well as the impact of proposals on the immediate and wider locality. Selection of appropriate materials and technology must be considered, tested and reviewed at an early stage in the design to ensure there are no setbacks (such as higher-than-expected costs) which may occur later. The site and its environs, as well as the culture and history of the place, will also influence the design. The design must also countenance increasing concerns with environmental sustainability. The architect may introduce (intentionally or not), to greater or lesser degrees, aspects of mathematics and architecture, new or current architectural theory, or references to architectural history.
A key part of the design is that the architect often consults with engineers, surveyors and other specialists throughout the design, ensuring that aspects such as the structural supports and air conditioning elements are coordinated in the scheme as a whole. The control and planning of construction costs are also a part of these consultations. Coordination of the different aspects involves a high degree of specialized communication, including advanced computer technology such as BIM (Building Information Management), CAD, and cloud-based technologies.
At all times in the design, the architect reports back to the client who may have reservations or recommendations, introducing a further variable into the design.
Architects deal with local and federal jurisdictions about regulations and building codes. The architect might need to comply with local planning and zoning laws, such as required setbacks, height limitations, parking requirements, transparency requirements (windows), and land use. Some established jurisdictions require adherence to design and historic preservation guidelines. Health and safety risks form a vital part of the current design, and in many jurisdictions, design reports and records are required which include ongoing considerations such as materials and contaminants, waste management and recycling, traffic control and fire safety.
Previously, architects employed drawings to illustrate and generate design proposals. While conceptual sketches are still widely used by architects, computer technology has now become the industry standard. However, design may include the use of photos, collages, prints, linocuts, and other media in design production. Increasingly, computer software such as BIM is shaping how architects work. BIM technology allows for the creation of a virtual building that serves as an information database for the sharing of design and building information throughout the life-cycle of the building's design, construction and maintenance.
As current buildings are now known to be high emitters of carbon into the atmosphere, increasing controls are being placed on buildings and associated technology to reduce emissions, increase energy efficiency, and make use of renewable energy sources. Renewable energy sources may be developed within the proposed building or via local or national renewable energy providers. As a result, the architect is required to remain abreast of current regulations which are continually tightening. Some new developments exhibit extremely low energy use. However, the architect is also increasingly required to provide initiatives in a wider environmental sense, such as making provision for low-energy transport, natural daylighting instead of artificial lighting, natural ventilation instead of air conditioning, pollution, and waste management, use of recycled materials and employment of materials which can be easily recycled in the future.
As the design becomes more advanced and detailed, specifications and detail designs are made of all the elements and components of the building. Techniques in the production of a building are continually advancing which places a demand on the architect to ensure that he or she remains up to date with these advances.
Depending on the client's needs and the jurisdiction's requirements, the spectrum of the architect's services during construction stages may be extensive (detailed document preparation and construction review) or less involved (such as allowing a contractor to exercise considerable design-build functions).
Architects typically put projects to tender on behalf of their clients, advise on the award of the project to a general contractor, facilitate and then administer a contract of agreement which is often between the client and the contractor. This contract is legally binding and covers a very wide range of aspects including the insurances and commitments of all stakeholders, the status of the design documents, provisions for the architect's access, and procedures for the control of the works as they proceed. Depending on the type of contract utilized, provisions for further sub-contract tenders may be required. The architect may require that some elements are covered by a warranty which specifies the expected life and other aspects of the material, product or work.
In most jurisdictions, prior notification to the relevant local authority must be given before commencement on site, thus giving the local authority notice to carry out independent inspections. The architect will then review and inspect the progress of the work in coordination with the local authority.
The architect will typically review contractor shop drawings and other submittals, prepare and issue site instructions, and provide Certificates for Payment to the contractor (see also Design-bid-build) which is based on the work done to date as well as any materials and other goods purchased or hired. In the United Kingdom and other countries, a quantity surveyor is often part of the team to provide cost consulting. With very large, complex projects, an independent construction manager is sometimes hired to assist in the design and to manage construction.
In many jurisdictions, mandatory certification or assurance of the completed work or part of works is required. This demand for certification entails a high degree of risk - therefore, regular inspections of the work as it progresses on site is required to ensure that is in compliance with the design itself as well as with all relevant statutes and permissions.
Recent decades have seen the rise of specializations within the profession. Many architects and architectural firms focus on certain project types (for example, healthcare, retail, public housing, event management), technological expertise or project delivery methods. Some architects specialize as building code, building envelope, sustainable design, technical writing, historic preservation(US) or conservation (UK), accessibility and other forms of specialist consultants.
Many architects elect to move into real estate (property) development, corporate facilities planning, project management, construction management, interior design, city planning, or other related fields.
Although there are variations from place to place, most of the world's architects are required to register with the appropriate jurisdiction. To do so, architects are typically required to meet three common requirements: education, experience, and examination.
Educational requirements generally consist of a university degree in architecture. The experience requirement for degree candidates is usually satisfied by a practicum or internship (usually two to three years, depending on jurisdiction). Finally, a Registration Examination or a series of exams is required prior to licensure.
Professionals engaged in the design and supervision of construction projects prior to the late 19th century were not necessarily trained in a separate architecture program in an academic setting. Instead, they often trained under established architects. Prior to modern times, there was no distinction between architects, engineers and often artists,[citation needed] and the title used varied depending on geographical location. They often carried the title of master builder or surveyor[citation needed] after serving a number of years as an apprentice (such as Sir Christopher Wren). The formal study of architecture in academic institutions played a pivotal role in the development of the profession as a whole, serving as a focal point for advances in architectural technology and theory.
Architects' fee structures are typically based on a percentage of construction value, as a rate per unit area of the proposed construction, hourly rates or a fixed lump sum fee. Combinations of these structures are also common. Fixed fees are usually based on a project's allocated construction cost and can range between 4 and 12% of new construction cost, for commercial and institutional projects, depending on a project's size and complexity. Residential projects range from 12 to 20%. Renovation projects typically command higher percentages, as high as 15-20%.
Overall billings for architectural firms range widely, depending on location and economic climate. Billings have traditionally been dependent on the local economic conditions but, with rapid globalization, this is becoming less of a factor for larger international firms. Salaries also vary, depending on experience, position within the firm (staff architect, partner, or shareholder, etc.), and the size and location of the firm.
Burlington, Kentucky
Listed 7/30/2014
Reference Number: 14000456
The James William Kite Store meets the first term of National Register Criterion C, significant as a type of construction, a country store. Its significance relates to its architectural identity; the Kite Store is a good representative of a class of buildings-commercial buildings in Boone County-associa ted with the rise of mercantile activity in rural Boone County during the late-19th and early-20th centuries. The Kite Store helps articulate the general evolution of design among commercial buildings in Boone County. The earliest commerce in the county often occurred in buildings that served multiple purposes: residential, manufacturing, and commercial. Thus, early- 19111 -century buildings serving a commercial purpose often looked much like residences, because, in fact , they were . As the 191h century progressed, commercial and industrial non-farm activity increasingly sought spaces away from the home. If commercial activity became more complex and specialized in the post-Civil War period, it would have prompted building designers to shape commercial spaces appropriate to that specialized function. The emergence of the country store is an important sub-type of Boone County's commercial buildings, and the Kite Store is a valuable instance of this important sub-type of commercial building design. The building's significance is evaluated within the context, ""Nineteenth and Early Twentieth Century Commercial Architecture in Boone County, Kentucky,"" a section within the Multiple Properties Submission (MPS) Historic and Architectural Resources of Boone County, Kentucky, 1789-1950, (Taylor, 2000). The property meets the MPS's Registration Requirements.
National Register of Historic Places Homepage
This is Oriel Chambers, an English Heritage Grade One listed office building which was completed in 1864.
The premium listing is a direct result of the building designer’s ambition to deliver improved levels of natural illumination in the occupied rooms. This was achieved by the daring deployment of new glazing technology which resulted in higher levels of interior daylight than had previously been considered possible for a building of this type. It was truly groundbreaking thinking at the time and proved to be influential on an international scale. That is why architects, architecture students and architectural historians the world over are drawn to Oriel Chambers in pilgrimage.
The building’s primary structure is a relatively simple 7 x 12 four storey grid of prefabricated cast iron beams and columns. The floors are formed by arched brickwork spanning between the beams instead of the usual timber joists and floor boards, resulting in a fireproof construction. But there is nothing remarkable about this, and there are several earlier examples of it to be seen locally including the Albert Dock warehouses (1841) and Toxteth Reservoir (1855).
Oriel Chambers, as an office premises, differs from those in that its rough brick ceilings are covered with decorative plaster and mouldings which faithfully follow the line of the structural vaulting, rather than being left exposed in the case of buildings designed primarily for storage. The decorated vaulted ceilings can be clearly seen through the windows in this picture.
The fame (or originally, infamy) of Oriel Chambers is due to a different reason - the treatment of the fenestration. Here, on the Water Street elevation, instead of being more or less flush with the building facade as was the norm (see topmost windows here for an illustration of that) the principal windows project outward in the form of Gothic style bays or “oriels” of near frameless glazing, including a glass “lid”. The panes are glazed into slender frames made up of cast iron sections. I would like to have been present when the twenty oriels on the Water Street side were inserted into the masonry openings and viewed for the first time in situ.
This elevation is completed by a mischievous mix of period styles and details. I particularly like the continuous stone mullions between the window bays. These echo the building’s primary columns on the outside but are not structural. They look like bonfire night rockets ready to be fired skywards. The rest of the facade is made up of carved stone details in a Norman ecclesiastical style, a Dutch gable, a parapet from a castle and a bit of gilded metalwork that would not look out of place in a chic Parisian arrondissement.
The rear elevation of Oriel Chambers (not shown here) is in a private court which cannot be seen from the street. This contains the most remarkable feature of all. The windows of each room, instead of being separate, which would have been normal, are combined in a single composition – a very large glazed screen. The screen is attached to the building’s structural frame in a cantilever arrangement by means of projecting metal cleats. This type of fenestration is nowadays referred to as “curtain walling” because it is suspended like a curtain from the structure rather than sitting on its own foundations. The designer of Oriel Chambers’ curtain wall integrated opaque spandrel panels in cast iron plate to obscure a view of the floor construction at each level.
Oriel Chambers' 150 year old glazed screen was the first of its type in the world. In due course it facilitated a fresh “modern” approach to architecture by proving that the external envelope of a building can be liberated from its role of being part of the load bearing structure. This relatively small mid Victorian Liverpool office building has influenced the appearance of the built environment ever since.
Oriel Chambers
14, Water Street, Liverpool
architect : office of Peter Ellis
completed : 1864
English Heritage listed Grade I
I am far from convinced that Peter Ellis was the person who designed this building, but that is another story.
Text and image by R. Towner
COPYRIGHT © Towner Images
www.youtube.com/watch?v=tjHgtanrCzs
The design of the Merewether Memorial employs the form of an Eleanor Cross and is in the English Medieval style. There are spires which could have served as a basis for the design of this memorial; for example, St. Mary at Bloxham, St. Peter at Kettering, St. Peter at Raunds and Meven St. Mary at Oxford. In fact, each one may have provided an ingredient or two for the design of this fine memorial tower.
Building designers of the time had become increasingly aware of the capabilities of Indian craftsmen, thus the skill and craftsmanship which has been available to medieval builders was also at Strachan's disposal. Strachan was no doubt aware of the intricate carving executed by native craftsmen for the baserellets designed by Kipling for the Crawford Markets and the then under construction Victoria Terminus. The Memorial shows a heightened sensitivity to detailing and an emphasis on carving and decoration, more then my other building designed by Strachan. Whereas the Empress Market's tower is a little squat, the Merewether Tower is elegant and tall, evoking memories of medieval England.
It was named for Merewether, who served as 'Commissioner-in-Sindh' from 1868 to 1877. Richard Burton, on his last visit to Karachi, paid a tribute to his friend while describing the Government House: " It is at present occupied by General Sir William L. Merewether, K.C.S.I. etc.etc.etc. an officer who, by entire devotion to the interests of his province, the scene of his distinguished career during the last thirty-three years, has made epoch' and history" (Burton 1877:1.76) Burton's opinion of Merewether's services were no doubt shared by others. Initially, a pier had been named in memory of the former 'Commissioner-in-Sindh'. Constructed by the Karachi Harbour Board, which had been formed in 1880, the Merewether Pier had cost three lakh rupees (1882). However, it was later decided that a worthy and visible memorial was in order - a memorial tower of such "prominence as to dominate the skyline of the city" to be built by public subscription. The Tower was placed at the confluence of McLeod and Bunder Road, at the extreme western end of the Serai Quarter, an area which was developed into a thriving commercial center concurrently with the rising fortunes of the city. The Memorial took eight years to complete, and was handed over to the Municipality in 1892 by 'Commissioner-in-Sindh' Evan James. The total cost of the structure and its clock was merely Rs. 37,178 compared to the Rs. 180,000 lavished on the much bigger memorial to Bartle Frere, Frere Hall.
The Memorial Tower stands on a platform 44 feet square and rises to a height of 102 feet. It prominently displays the clock placed at the base of the spire, 70 feet from the ground. Each of the clock's four faces is seven feet in diameter. The large bell installed at the time weighed three hundred weight and struck at every hour, while the smaller bells weighed one hundred weight each and marked every quarter of an hour.
Photo & narration by IQBAL