View allAll Photos Tagged cladding
Still clad in its "Building A Greater West" countryside vinyls, GWR no. 43144 passes under the footbridge at Dawlish Warren, taking the Up Through line at the station on its onward journey to the capital. Along with classmate 029, it was working 1A89, the 1307 from Penzance to London Paddington. Its former partner in advertising crime, 43146, had recently been returned to plain FGW Blue.
Unframed, unmounted steel engraving of Cornelius Scranton Bushnell by Finlay & Co, with Cornelius' signature printed below (i.e., not hand-signed). The deep, pristine impression may be progenitor to 2021.018.006, Mat paper 12 1/8" x 16", plate size 6 3/4" x 9 3/4", image size 4 3/8" x 6". Plate edge marks are clearly visible on the mat, which is damaged in the left bottom corner and torn slightly on the top right.
Given in March 2021 by Mary A. (Allie) Kubler, wife of the late Edward G.A. Kubler, Cornelius’ great-grandson and active MHS member in the 1970s.
ACC# 2021.018.036
See other portraits in the MHS collection at flic.kr/s/aHskvjoPKR. (Photo credit - Bob Gundersen www.flickr.com/photos/bobphoto51/albums)
Foel Goch on a grey overcast day, the photo reminds me of the pen and ink drawings that Alfred Wainwright used to illustrate his famous Pictorial Guides to the Lakeland Fells.
Used a newly purchased Panasonic TZ80 borrowed from my wife to take the photo, pleased with the result.
Cod Cladding - one from a year ago in the lovely fishing village of Nusforjd in the Lofoten, Norway. These salted Cod were pinned to the side of a house to dry, like cladding.
DB Schenker no. 67003, clad in ATW blue, is seen at King's Cross, ready to work a 1Z99 to recover a stricken set. The loco hasn't been on the WAG diagram in Wales for a while due to TDM issues.
Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.
The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.
On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.
The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.
Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.
To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.
The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.
To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.
The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.
In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.
Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.
All photographs in my photostream are Copyrighted © Dave Kirwin. All Rights Reserved.
| Flickr Photos | Flickr Railway Photos | Instagram | #eastleighsocialphotographer
-----------
Minimalist blue of metal cladding on a building.
Hounslow West Underground Station, 6 April 2023. The original station was opened in 1884 as Hounslow Barracks by the Hounslow & Metropolitan Railway but worked by the Metropolitan District Railway from the beginning and subsequently was absorbed by it in 1903. The line was a branch from the H&MR/MDR’s extension from Mill Hill Park (now Acton Town) to Hounslow Town but eventually became the main terminus of the branch, Hounslow Town closing in 1909. Hounslow Barracks was renamed Hounslow West in 1925. In July 1931 a new replacement station of the same name opened immediately adjoining the old one, which was demolished. This station was built by the Underground Electric Railways of London in preparation for the extension of Piccadilly Railway services which began running in January 1933. District Line services ceased serving Hounslow West in October 1964.
In 1971-75 an extension of the Piccadilly Line to Hatton Cross (and onto Heathrow Airport by 1977) was constructed and as the terminal platforms of Hounslow West were on the wrong alignment and of the configuration for the extension to continue there, a new cut & cover line and underground platforms were built just to the north, but linked to the ticket hall by a long, glazed, steel, surface walkway over a new car park on the site of the former terminal platforms - a very unusual arrangement. It is a Grade II listed building.
Frank Pick, the Managing Director of the UERL, gave the responsibility of designing the new stations on the Acton Town – Hounslow line to his favoured architectural consultant, Charles Holden, rather than the UERL’s own Chief Architect, Stanley Heaps. Despite this awkward situation, the two architects, to their credit, worked well together. Hounslow West, although primarily of Holden design, seems to have involved a close collaboration with Heaps.
Although Hounslow West was the last station on the Acton Town - Hounslow line, it was the first to have been rebuilt and whilst the others reflect Holden’s change of direction architecturally after he and Pick visited Scandinavia, the Netherlands and Germany in 1930 to see the latest architectural developments, Hounslow West is of his earlier Art Deco style (presumably because the design was fixed before the visit) as reflected in the Morden extension of the Northern Line. Indeed, it is very similar to Morden station. Instead of being a brick-clad drum or cube design, Hounslow West is clad in Portland Stone and is of unusual heptagonal shape.
Pictured is the Portland Stone faced frontage. Note the original brass-bordered advertisement display panels.
Step into Gaudí's enchanting world with this captivating photograph taken at Park Güell, Barcelona's iconic landmark. The stone-clad shed features four columns that some say resemble elephant legs and a central column creating a symmetrical nature allure.
The shed served as a haven for carriages. Stepping back in time, it was once a sheltering refuge, allowing carriages to gracefully turn and disembark passengers, shielded from the whims of rain.
Postmodern architecture: No 1 Poultry, London
Architect James Stirling Michael Wilford and Partners - 1985-1997
No 1 Poultry is an office and retail building in London. It is located at the junction of Poultry and Queen Victoria Street, adjacent to Bank junction, in the City of London financial district. It was opened in 1997. Built on a wedge-shaped site in the heart of the City of London, No 1 Poultry contains shops at ground and basement levels, with five floors of offices, and a roof garden and restaurant above. The building's ship-like prow and clock tower with projecting balconies dominate the junction at Bank Underground Station. Its exterior is clad in stripes of pink and yellow limestone, and its two long facades are characterised by the layering of angular and curved forms. Designed by Stirling in 1985 but not completed until 1997 – five years after his death – No 1 Poultry was one of the British architect's last projects. He was knighted in recognition of his contribution to architecture just days before his death and in 1996, the RIBA even renamed their prestigious Building of the Year Award the Stirling Prize after him.
The building's height, symmetrical plan and divided facade matches the surrounding buildings. Stirling planned it around a longitudinal axis with two similar facades. These are divided horizontally in three and vertically into five, with the layers alternating between angled and curved forms. Both facades have a central wedge-shaped entrance that gives access to the central rotunda, with two arcades on either side. No 1 Poultry's clock tower, with its horn-like projecting balconies, also mimics nearby structures, as well as referencing Greek and Roman rostral columns, which were erected to celebrate naval victories. Despite Stirling's impressive reputation, the building was not widely appreciated when it was completed – it seemed the heyday of Postmodernism had passed. Over time though, the building has become part of the fabric of London, and is recognised as one of the most important examples of commercial Postmodern architecture. While No 1 Poultry's function was to provide five floors of office space, its public spaces provide a connection missing elsewhere in the City. They include open shopping colonnades on the Poultry and Queen Victoria Street facades, an open light-filled courtyard, a rooftop garden, and even access to the underground station below. If the building is listed, it will be one of the youngest ever to be formally protected in the UK. In the meantime, the fight over its future has come to represent the battle to preserve Postmodern architecture before it is too late. No 1 Poultry has become a monument in the fast-changing cityscape, and London's Postmodern flagship.
The river Ganga (Ganges) which originates in the Gangotri glacier in the snow clad high Himalayas, descends down the mountains, reaches the plains, flows through ancient pilgrimage sites, and drains into the Bay of Bengal. A dip in the ocean, where the Ganga meets the sea is considered to be of great religious significance particularly on the Makara Sankranti day (January 14/15), when the sun makes a transition to Capricorn from Sagittarius. Almost a million of Hindu devotees from all over India gather at Gangasagar for a holy dip and perform rituals and prayer (puja) with a belief that it will cleanse and purify their souls.
Images of Bengal, India
An underwater camera was cool to have. As I wasn't game enough to ditch the life jacket and swim on my own in the middle of the ocean, I took photos of those who were.
Facebook: www.facebook.com/uppyphoto
The 2015 HUNKY JESUS CONTEST with THE SISTERS OF PERPETUAL INDULGENCE !
A MUSCLE-BOUND, diaper clad, HUNKY JESUS carrying his toy Easter bunnies, two baby bottles filled with milk, and sucking on a pacifier waddled up on stage much to the delight of Sister ROMA and the crowd. Everyone went in to a wild uproar when he squirted his bottle of milk all over his golden tan, rippled muscled beautiful body a la Flashdance. Milk really do a body good...BABY JESUS won the title of 2015 HUNKY JESUS CONTEST!
The sexy lanky ROLLER DISCO JESUS stunned the crowed with his roller skating antics on stage, ok it was his tight muscled body in a white disco jumpsuit which was ripped open in just the right places !
The EXORCIST JESUS also got the audience howling with his Dr. Frankenfurter black lace , neglige outfit and 6-inch black platform boots.
Afterwards, HUNKY, MUSCLE-BOUND BABY JESUS was pulled aside by tons of people for a photo-op !
+++++
• 🔹THANK YOU for the 409 MILLION VIEWS !
•🔹(ONWARD to 500 MILLION / HALF-A-BILLION VIEWS) .
•🔹• ADDA DADA's VIEW COUNT is :
•🔹•FOUR HUNDRED NINE MILLION VIEWS !!!!!!!!! (409,000,000+ VIEWS ) with over 11,000 followers !!!
( April 11, 2020)
•🔹•THANK YOU for visiting my virtual art gallery! Enjoy my social documentary photos of various events !
•🔹• ADDA DADA's photography presents a variety of adults at different public events . These photos do NOT imply the person's sexual orientation in any way. Everyone was asked and they consented to be photographed and posted.
•.🔹•Photos are properly marked SAFE or RESTRICTED ( 18+ only / nudity). There is NO porn, and, NO stolen photos on my site!
•.🔹•Viewers should be aware that these photos are viewed by a wide variety of folks . Inappropriate, RUDE, 'X' or 'R' rated comments shall be removed forthwith & you will be blocked.
•🔹•.MY photos are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement of copyright ! © All rights reserved. Use without permission is illegal. •.•.•.•.•.•.•.•.•.•.•. •
🔹•Check out ADDA DADA's other ALBUMS
****************************************************************
Symmetry
A plot in Motion
As excerpted from
“An Odyssey Less Taken “@
Tallie looked into the mirror as the bound Olivia stirred, a self-satisfied smirk lighting up her pretty face. It was time to administer the syringe containing the liquid that would render Olivia unconscious until late the next morning, giving them plenty of time. Olivia would wake thinking she had been the victim of a robbery. She should have no clue that the real reason was a simple piece of paper she had had tucked away inside her gold purse.
A couple of hours earlier:
Tallie had jogged into the upscale inn’s main lobby wearing a black running suite with her long,hair tucked up under a neoprene running cap. Playing the part of a guest who had gone out for exercise, she was also wearing thin gloves, wide wraparound sunglasses, small backpack and listening to music on her I Phone. She took up station in a corner of the inns’ huge lobby, like she was resting, while listening to her music. Ten minutes later, Olivia, whom Tallie had been shadowing, came in. Olivia had been easy to follow. An eye catching figure clad in a gold silk dress and pearls. She was carrying a shiny gold purse, and holding a bag containing a deep purple satin gown. Olivia had headed straight to the elevator, tapped her floor button and disappeared inside.
Tallie spent an uncomfortably anxious 10 minutes deciding what to do. Olivia had not gone to the front desk to take her jewels from the safe. Although her jewelry was not a main part of the plan, Tallie had loftier goals in mind, they did present a rather profitable bonus. Tallie decided to proceed, not wanting to blow the whole operation for a few pretty baubles. She had just risen when the elevator tinged. The doors opened, and Olivia exited into the lobby, still clad in the gold silk, and headed to the desk. There, she had the manager retrieve a black case. Showtime Tallie thought, relieved now that she had waited, watching as Olivia once again left in the elevator. Ten minutes after that, it was time to put the plan in motion. Using her I Phone, Tallie rang Olivia’s room pretending to be a hotel employee. “Someone had found something of yours in the lobby; a manager is on her way up with it.” She hung up not giving Olivia any chance for response.
From then, it had gone like clockwork. Tallie, with delight, watched the shocked look on Olivia’s face when she opened the door expecting a female hotel manager, but instead came face to face with a Taser wielding double of herself, Tallie! Firing the Taser, the shocked girl slumped into Tallies’ welcome arms. Kicking the door shut, Tallie pulled Olivia into the bathroom, where she was then bound and gagged. To make it look like a robbery, Tallie stripped Olivia of her pearl necklace, earrings, bracelets and rings. Then she quickly looted the apartment of any other small, but valuable items. Placing these items, along with the small backpack, into a leather clutch. Tallie then went to the dresser top and opened the black case sitting there. She whistled to herself as she savored the shiny contents. Looking them over, she made a selection, then poured the remaining jewelry into the clutch, glittering explosive fire as they went. She placed the selected diamond jewelry on the bathroom sink. Tallie found Olivia’s gold purse and opened it and pulled the ticket out. Studying, with eager eyes, the prize they had worked so hard to obtain. The small ticket was the key to the whole plot, worth potentially millions.
Carrying the purse to the bathroom, Tallie started to get ready. De bagging Olivia’s purple gown, she slipped it on. It poured over her curvy figure perfectly, as they had known it would. Tallie had switched her calfskin gloves for a pair of Olivia’s satin ones. It was as she had been putting on Olivia’s glittering diamonds that the tied up girl started to stir. Walking over to the groggy eyed girl, Tallie pretended to fumble with the ropes knots, and administered the hypo containing the knockout drops. After checking the heavily sedated Olivia’s Pulse, Tallie finished putting on the unlucky girls jewels.
Tallie admired herself in the mirror, almost not recognizing herself. She had dyed her midnight black hair blonde to match Olivia‘s and had put in blue tinted contacts. The clingy gown fitted snugly in all the right places, tightly outlining her perky breasts and nicely rounded butt. Very nice, thought Tallie beaming. After putting on Olivia’s stiletto heels, Tallie pronounced herself ready. Picking up the purse, she patted it for luck, and went into the bedroom. Tallie called the front desk, asking to have a limo called to pick her up out front, then she also ordered a wakeup call with breakfast for eleven o’clock the next morning. Hanging up the phone, Tallie still had 12 minutes left to kill. She spent it retracing her steps around the entire apartment making sure nothing had been overlooked, and then double checked that Olivia was going to stay out of the picture. When her time was up, Tallie snatched the clutch up from the satin covers of the bed, heavy now with Olivia’s valuables and her running suit and backpack. Tallie left the apartment, closing the door after hanging a do not disturb sign on the lever. Tallie entered the empty elevator , pushed the down button, and focused on the task at hand.
Finally, after seemingly endless months of careful plotting, preparation, rehearsals and dry runs. It was time. The whole scheme had been planned to the minutest detail, it had to be. The main prize was the tens of millions of dollars’ worth of jewels worn by the female guests attending the annual formal Casino Night by the Bay Ball. The annual black tie ball was a Republican Political Fundraiser by special invitation only and Olivia, who had been carefully selected and shadowed for weeks now, had been one of the lucky ticket holders. As a final coup de grâce , Tallie would attend the ball wearing Olivia’s luxurious gown and her brilliantly expensive diamonds, fitting right in with the other attendees. Security would be checking ID’s at the door. But Tallie now resembled Olivia almost to a T. She would fool those rent a cops easily as they checked her against Olivia‘s driver’s license for identification, bending over and showing a little bosom for added distraction. Tallie couldn’t wait to mingle and rub elbows with the galas ultra-rich patrons. She would mark her time by mingling and endearing herself to as many of the male guests as possible in the short time allotted to her. She would use her rich welsh brogue to the fullest to win over the posh male Yanks. All the while admiring the shiny gowns and scoping out the shimmering jewels that would be adorning her fellow female guests. Those jewels would include the Dahlkemper pearls, the Caboyt diamonds with the brilliant sapphires that placed the “Hope Diamond” to shame, and, of course, the famous matching waterfall diamond sets the Dempsey Twins would be wearing (Not to mention their Mother’s emeralds and rubies) . The sets, which had been presented as gifts at the twins ultra- fancy coning out ball, were insured for over 1 million dollars by the girls parents.
Then at the appointed hour, Tallie would slip away to a seldom used back stage door, conveniently hidden neath a stairwell. Security would not have this door covered. It was there that Tallies’ husband and his troupe of fellow masked thieves would be waiting to make their entrance. If all went to plan and it would, she was sure of that, they would proceed to hold up and rob all the guests. Relieving the lot of their fat designer purses, thick leather wallets, gold Rolexes, and of course, their jewels, Lots and lots of shimmering, pricy jewelry. Not to mention the piles of loose cash lying on the gambling tables begging to be collected. Tallie’s heart beat faster at the enticing visions.
After the last guest had been relieved of their valuables, Tallie’s next part of the plot would come. This was where Tallie’s experience as an actress would pay off. The thieves would grab an innocent hostage (Tallie) by knifepoint Then, while threatening the life of the frightened squirming hostage, order the rest of the guests to strip off their clothing. If Tallie had played her part well, mingling and playing the doe eyed innocent who reminded those she met as someone who they would love to protect, her fellow guests would not want to see her harmed and be obedient to the robbers threats, not wishing any harm to come to her. The guests would be threatened to not to try anything for the next hour, or they would eliminate their hostage. The gang would then leave with their loot, as well as their hapless hostage. Then they would make, what in Tallie’s opinion, was a rather brilliantly orchestrated get away.
This was not the first time out for Tallie and her husband’s team, but it promised to be their last. The gang had been operating in Europe and Latin America, seeking out small, but lucrative, gatherings of the privileged and ultra-wealthy. They had gotten quite adept, fine tuning a formula that successfully paid attention to even the minutest detail.
Tallie loved playing the part of the inside victim. Getting as close as possible to the female guests (usually by flirting with husbands and boyfriends) to get a close appraisal of their jewels. Then, after letting her husband and crew loose, observing the well-dressed guests being herded to line up along the wall with raised hands. Usually creating a colorful array of swishing lace, satin, silk , velvety gowns and dresses, all flowing along forlorn figures. It was a thrill to watch their facial and body expressions and reactions. Especially of the women and girls present, as they were forced to hand over their flashy gemstones, their Shiny gold and silver, opulent pearls and other assorted fine jewelry were handed over reluctantly from about their persons.
Then would come the part that really aroused Tallie. The thieves would reach her and tell her to “fork over the jewels miss,” and depending on her mood, would do so, either acting defiant and forcing them to take them off her, or frightened(especially if the thief was her husband) , and timidly handing them over. She would be squirming inside with a deep, delicious delight as she took off , or had the thief wrench off, each precious piece. It was a reaction she did not fully understand, but just knew and accepted it as a scintillating feeling. Tallie, shivered, licking her lips at past memories of being a robbery “victim”.
The band had no qualms about was fair game, boldly invading Weddings, Receptions, Fancy dress dances and even the upscale prom or mansion party. All had been meticulously planned, all had been very lucrative. Their last raid had been carried out on a coming out party for an English Earl/ Minister and his titled wife’s only daughter. It had occurred at the minister’s isolated country manor located deep in the moors. Where, in addition to the jewels worn by the guests that ill-fated Saturday evening, the manor’s many bedroom safes yielded a dazzling array of cases of unworn jewelry brought by the guests for the four day weekend.
Tallie fondly remembered that raid. She had gained access to the family by going as the guest of a rather vain bachelor she had “happened to make an acquaintance with,” in London. The dinner gatherings and nightly parties that had led up to the night of the debutante’s ball had been all over the top, as only very old money can pull off. Tallie had almost suffered a system overload by observing the bounty of rich offerings at her fingertips. Beckoning jewels so very close, and as of yet, so very far. The Saturday evening ball could not have come soon enough. But come it did, and the minister’s daughter did not disappoint, nor did her mother or any other of their female guests. The young debutante had made her grand entrance in a long slinky blood red gown and matching gloves. Among the child’s perfect jewels was included an authentic family heirloom tiara, dripping with pristine diamonds, holding up the wavy curls of her silky fawn hair.
Tallies mouth had watered as she kept stealing looks, keeping her eyes glued to the precocious miss all evening. She inwardly was squirming with anticipation, up until the delightful moment when the begowned debutante limply removed and handed over the tiara, along with the rest of her gleaming diamonds and pearls to one of the gang of masked robbers who had had the “audacity “ to crash the party..
Now, Tallie was traditionally allowed to keep one piece of jewelry from the loot taken from each job as part of her take if she so desired. She always enjoyed picking out pieces she would like to have as she mingled with her fellow guests before her husband’s gang charged in. In the coming out party it had been the sad puppy faced debutante‘s cascading diamond earrings that Tallie had claimed for her own from the minute she first saw them dangling from the pretty girl’s delicate ears. Tallie had subsequently worn and been “robbed” of those earrings several times on jobs since then.
After the Manor house’s guests had been relieved of their valuables, the gang had made its getaway, seemingly vanishing into the moors misty air. The mechanics of that escape would form the basis of their getaway attempt after this evening’s robbery of the wealthy guests attending the “By the Bay Ball” Actually the symmetry of the two events did not stop there. The profit realized by the take from the Earl’s family and guests had given the gang the seed money for the enormous expense in planning tonight’s complex raid. And tonight’s successful raid on the ball, appropriately enough, its diamond jubilee, would be splashed over all of the countries newspapers, like the Manor raid had been. And like after the Manor raid, Tallie and her husband would be reading those papers in the safty of their isolated island retreat.
******************
As Tallie dwelt on that remembrance, the elevator completed its long, uninterrupted journey by tinging its 1st floor arrival. Showtime! Tallie thought with wry amusement as she stepped into the now crowded lobby. Tonight would be more of the same tingling robbery experiences, only ten times better and since it may very well be her last time , Tallie was going to savor every delicious minute.
Tallie left the elevator and moved quickly towards the sitting area she had occupied when watching for Olivia to come in. In one of the chairs sat a young man wearing wraparound sunglasses reading a blue covered novel. She swished by him, allowing her satin clad leg to brush along his. She watched with enticement as he straightened, uncomfortably, in his chair, his reaction to her teasing pleasing her immensely . Going around him, she placed her clutch on the chair behind him before turning and primping herself in front of one of the long mirrored walls that lined the sitting area. Seeing that no one as of yet was looking her way, she smiled to herself and swished her way back into the main lobby, leaving behind her clutch. She again passed the young man, who, even with the sunglasses, bore a striking resemblance to a young Sidney Poitier! No signal passed between them. The blue novel meant everything was going as planned, a red novel would have meant danger. The clutch on the chair behind him signaled the young man she had teased, Jessie by name , that everything was a go on Tallies end. After she left, Jessie would retrieve the clutch and rejoin Tallies husband and the rest of his gang.
With the prearranged signals exchanged, Tallie happily made her way to the fancy Glass doors where a uniformed Doorman was opening for arriving and departing guests. She could feel more than one pair of jealous eyes following her as she weaved her way through the crowd, her long gown swishing deliciously along her pretty figure. The pretty blond in the purple satin and shimmering diamonds was soon lost to sight, as she exited the doors to the misty street below. Those watching her were totally oblivious that the pretty blonde passing them was setting into motion the complex wheels of a rather ingenious scheme. Meanwhile in a ballroom some miles away a large group of extremely well dressed and decked out guests attending a certain excessively extravagant Ball , were innocently mingling, jewels sparkled with a frenzied riot of colours! These heavily gem encrusted guests were also totally oblivious as to what fate had in store for them in a few hours.
*************************************************************************************
@ Chatwick University extends its compliments to the unknown artist whose worthy photo and captivating title proved to be the spark that ignited the genesis of our Tallies Odyssey….
DISCLAIMER
All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
We accept no responsibility for any events occurring outside this website.
********************************************************************************
Since I love architectural copper, this building drew me to it like a magnet. I would love to tell you more about it, but I cannot because I don't have the address or the name : (
A recent acquaintance who is also a fan of architecture told me she keeps a log with the addresses of the buildings she photographs. I may have to do the same.
Be that as it may, what appeals to me about this facade is the differential oxidation and weathering that gives the surface an organic look.
The way my tastes run, the staining on this type adds to the appeal of a copper-clad building, whereas on concrete the effect is downright dystopian, creating a sense of abandonment and decay.
I have a pretty good success rate when I search buildings on the Web, but Helsinki has such an abundance of world-class copper-clad architecture that this building seems to have been overlooked by the keepers of the architectural canon in Helsinki.