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Built in 1929, this 17-story Art Deco-style former passenger railroad station was designed by Fellheimer & Wagner to replace the multiple previous train stations and termini in Buffalo, which were scattered throughout the city and belonged to different railroads. The structure stands on the site of the old Union Depot built in 1874, which closed in the early 1920s. The station began construction in 1925 when the New York Central Railroad settled on building their new union terminal in Buffalo at the site, with the station being built to accommodate the expected growth of Buffalo from a city of about 550,000 people to one with 1.5 million people, and to accommodate continued growth in passenger numbers. However, both of these projections never materialized, with the city’s population growth and the railroad’s passenger numbers growth, already slowing in the 1920s, slowing further due to the Great Depression during the 1930s, and then beginning a long, steady decline, only being briefly buoyed by World War II before falling out of favor as automobile travel proved more flexible and air travel more swift than train travel. Due to these circumstances, the terminal was overbuilt and never reached its full capacity during its operations, only coming close during World War II due to resource shortages and mass mobilization of the United States during wartime. The terminal was offered for sale by the New York Central Railroad for one million dollars in 1956, but found no buyers, with continuing declines in passenger numbers, coupled with the decline in the population of Buffalo itself, leading to several services being ended during the 1950s and 1960s. In 1966, the railroad, in an effort to save costs and downsize their facilities, demolished several outbuildings in the complex, and in 1968, the once powerful New York Central Railroad, a husk of its former self, merged with the Pennsylvania Railroad in an attempt to consolidate their expenses and save both companies, but this merger proved unsuccessful, leading to their bankruptcy in 1976, with both railroads absorbed into the public-private partnership known as Conrail.
In the meantime, Amtrak was formed in 1971 to provide passenger rail service in the United States, operating out of the terminal until 1979, with the agency facing budgetary limitations that did not allow them to renovate the aging structure, which, when coupled with the massive expenses of keeping the building comfortable, dry, and well-lit, led to the agency building two smaller stations in Buffalo during the 1970s to replace it. The terminal was subsequently purchased by Anthony T. Fedele, whom managed to maintain the building in decent condition, but was unable to find any interested developers to reuse the building, and eventually fell behind on taxes, leading to the building being seized at foreclosure so the taxes could be recouped by the government. During the time it was owned by Fedele, the building was vacated by Conrail’s offices between 1980 and 1984, and was listed on the National Register of Historic Places in 1984, with the final operations at the terminal, the interlocking towers that once signaled trains arriving at the station, being shut down in 1985. In 1986, the building was purchased at auction by Thomas Telesco, whom did not maintain the building, selling off many artifacts and fixtures from its interior, and proposing grandiose and unrealistic schemes of what he would do with the building, including being a stop on a high-speed rail line between New York and Toronto. The building was then sold to Bernie Tuchman and Samuel Tuchman, with the building seeing further elements removed and sold, and the building continuing to decay.
In 1997, the terminal, then in poor condition, was purchased by Scott Field of the Preservation Coalition of Erie County, whom paid for the building’s back taxes, and shortly thereafter, formed the Central Terminal Restoration Corporation, transferring ownership of the building to the organization. The building was stabilized and secured under the stewardship of the Central Terminal Restoration Corporation, which opened the building for public tours in 2003, and holds many fundraising events at the station every year. The building has been preserved, but a restoration or adaptive reuse of the structure has so far remained elusive.
The building features a brown brick exterior with an octagonal corner tower, with a large barrel-roofed main concourse structure wrapping around the tower to the south and east. The facade of the tower features multiple setbacks, chamfered corners, corner clock faces at the roofline above the twelfth floor, a rotunda with large archways and buttresses atop the tower with a decorative trim crown at the parapet, vertical window bays that stretch from the building’s base to the roofline, large entrances with metal canopies, large transoms, and stone surrounds, pilasters, and stone trim and caps atop the parapets. The main concourse portion of the building features large arched curtain walls at the ends of its barrel vaulted roof, a cavernous barrel vaulted interior, large metal canopies over the entrances, and a tunnel underneath that once allowed traffic on Curtiss Street to run beneath the building, though this has been closed since the 1980s due to the building’s decay, with a light court between the waiting room and a low-rise office block in the front, which sits just east of the tower and presents a similar facade treatment to that of the tower, with vertically accentuated window bays and pilasters. The rear of the building is more spartan in appearance, with a scar from the former location of the entrance to the train concourse to the rear, with the connecting structure having been removed following the discontinuation of railroad services at the building in 1979. The train concourse features multiple platforms with Art Deco-style aluminum canopies with sleek columns, thin-profile roofs, and rounded ends, with the train concourse featuring arched clerestory windows and a gabled roof, and being in a rather advanced state of deterioration with vegetation having grown throughout the structure and the surrounding abandoned tracks between the platforms. Attached to the southwest corner of the main building is the baggage building, a simpler six-story Art Deco-style structure with a buff brick exterior, a penthouse above the main entrance to the building, pilasters, vertically accentuated window bays, steel windows, stone spandrel panels, stone trim, and stone parapet caps, with long canopies along the base of the front and rear of the building that protected incoming and outgoing mail and baggage from inclement weather. To the west of the baggage building is the one-story mail processing building, which features a similar facade treatment, with the main difference besides height being the rooftop monitor windows in the middle of the building’s roof. Southwest of the baggage and mail processing building, sitting close to Memorial Drive, is a structure that formerly housed the Railway Express Agency, which is more utilitarian than the rest of the surviving complex, and is in an advanced state of decay, with the demolition of the structure being planned to take place sometime this decade. The structure features large window bays with steel windows, stucco cladding on the brick structure, and the remnants of canopies on the north and south facades of the first floor, with a long and low one-story wing to the rear.
The complex is one of the largest designed by Fellheimer & Wagner, and has maintained a remarkable state of preservation in its original form with few changes since its construction, besides some damage from the years of decay and neglect in the 1980s and 1990s. Another notable structure by the firm, and one of the most well-known railroad stations in the world, is Grand Central Terminal in New York City, which was also built for the New York Central Railroad. In addition to Grand Central Terminal, the firm also designed terminals that are more similar in appearance to the Buffalo Central Terminal, including Union Station in South Bend, Indiana, and Cincinnati Union Terminal, with Grand Central Terminal, Buffalo Central Terminal, and Cincinnati Union Terminal being among the largest, most impressive, and most significant railroad stations ever built in the United States. The station, though unrestored, is still impressive, and hopefully will be eventually adaptively reused for an economically sustainable function.
TECU Oxid copper facade cladding from KME.
Angle-seam technique, horizontal seams.
Architects: Feilden Clegg Bradley Studios.
Installer: T&P Lead Roofing, Essex.
Realised: Sept 2004.
Address: Ved Vesterport, Copenhagen, Denmark
* The office building "At Western Gate" is designed by Danish architect Ole Falkentorp (1886-1948)
He was apprenticed as a bricklayer in 1905, later as an architect by Heinrich Wenck
Falkentorps architectural expression moved from neoclassicism to modernism to functionalism, represented by remarkable works as the housing development “Classen Garden” (1924, together with Carl Petersen and Paul Baumann), the office building at the North Port (1930-32, together with Paul Baumann) and the Hotel Astoria (1935) next to the Central Station, all in Copenhagen. Falkentorp was from 1911 an engaged and debating a member of The Free Architekt association.
"Kobberbeklædt"
* Kontorhuset "Ved Vesterport" er tegnet af den danske arkitekt Ole Falkentorp (1886-1948)
Han blev murersvend 1905 og var en tid ansat på DSBs tegnestue hos Heinrich Wenck
Falkentorps arkitektoniske udtryk bevægede sig fra nyklassicisme over modernisme til funktionalisme, repræsenteret af bemærkelsesværdige arbejder som boligbebyggelsen Classens Have (1924, s.m. bl.a. Carl Petersen og Povl Baumann), kontorhuset Ved Vesterport (1930-32, s.m. Povl Baumann) og Hotel Astoria (1935) ved Hovedbanegården, alle i København. Falkentorp var fra 1911 et engageret og debatterende medlem af Den Fri Architektforening.
"Kupfer verkleideten"
* Das Bürogebäude " Am Westtor" ist vom dänischen Architekten Ole Falkentorp (1886-1948) entworfen
Er beendete seine Lehre als Maurer im Jahr 1905 und war eine Zeit an der DSB Büro der Heinrich Wenck beschäftigt.
Falkentorps architektonischen Ausdruck bewegte sich von Neoklassizismus über Modernismus zum Funktionalismus, vertreten durch bemerkenswerte arbeitet als Wohnsiedlung "Classen Garden" (1924, in Zusammenarbeit mit Carl Petersen und Paul Baumann), das Bürohaus an der Westtor (1930-32, in Zusammenarbeit mit Paul Baumann) und das Hotel Astoria (1935) neben dem Hauptbahnhof, die alle in Kopenhagen. Falkentorp war von 1911 eine engagierte Debatte und ein Mitglied der Freien Architekten Verein
Ole Falkentorp:
da.wikipedia.org/wiki/Ole_Falkentorp
en.wikipedia.org/wiki/Ole_Falkentorp
Povl Baumann
da.wikipedia.org/wiki/Povl_Baumann
en.wikipedia.org/wiki/Povl_Baumann
Heinrich Wenck:
Altro Whiterock durable, impact resistant and hygienic wall cladding great for healthcare, commercial kitchens, wet environments and as wall protection in areas with heavy traffic.
For more information visit altro.com/whiterock
Eva-Last, Infinity, Swiss Oak, Capped Bamboo Composite Decking, VistaClad, Infinity, Swiss Oak, Composite Cladding.
Cladirea hotelului Princiar nu mai exista astazi. A fost construita in 1911 pe locul parcului Princiar. Fotografia a fost facuta in anul 1915. Pentru localizare: a treia cladire pe stanga este actuala primarie a capitalei.
Tree branches draped with lichen in forest between Swanta and Chhistibang. Khopra Trek, Annapurnas, Nepal
Historic Southwestern Bell Telephone Company building in downtown San Antonio, Texas. The 16-story brick-clad building was constructed in 1931. The building contains elaborate Spanish Baroque detailing around its first-floor windows and doors.
The old Southwestern Bell Building is located in the City of San Antonio’s Auditorium Circle Historic District (the city changed the name of the District to the Veterans Memorial Plaza Historic District).
Grøndalsvej 1. These large green buildings belong to Aarhus Kommune (municipality) and contain administration offices for the departments of Nature & environment, Traffic & roads and Disabilties & psychiatry.
Construction started in 2011 (after demolishing the older buildings serving the same purposes), but completion took 2 years, and even before they were commisioned, the municipality started discussions of selling them on, since their needs had changed. So far, no sale has happened, possibly because the buildings have been plagued with problems from day one. One major problem is the green cladding breaking up and dropping to the ground. Seeing them without any tiles missing has been a very rare sight, right from the beginning and in 2017 fences were put up all the way around the building to prevent pedestrians from getting to close and risk getting hit by a falling tile. Covered scaffolds were placed by the entrances to provide a safe access!
In winter 2017-18 all the green tiles were removed and replaced with... absolutely nothing! Half a year later, the buildings still stand as ripped skeletons. Scaffolds are up in several places, but there has been no visible activity for months.
Viewed here from the west.
From a registrant photowalk series made for the local historical society. The purpose of these walks is not to take photos of individual buildings, but rather to document the streets as a whole in order to preserve the views for future generations.
Some houses will inevitably be obscured behind fences and hedges. In such cases, there will be a photo of the hedge or fence in question. The photo will, of course, be rubbish, but it will accurately show the best possible view from a public road. Over the years, fences and hedges will come and go (as will the houses), sometimes improving the views, other times, the opposite.
I've made every attempt to blur visible names, faces and license plates, in order to respect people's privacy.
Tradeshow - Tourism Indaba 2014 - Decking - Infinity profile - Zambezi Kiaat & Silver Maple Colourway - Cladding - Ascent profile - Xavia Colour way - Exhibiting with Canvass and Tent - Durban ICC
I think the semi clad house needs further examination. A wonderful car-free stretch of road. One may imagine how this street was c 1890 before the advent of stone cladding the internal combustion engine.
An extension of iron Aelfred designed by joel cooper and folded by me from an uncut irregular concave octagon. Named after a character in super paper mario since it has a comically large mustache. I'm pretty happy with the shininess of the paint. But I'm trying to get away from glossy acrylics and trying to transition into acrylics with more of a matte finish.
Tradeshow - Tourism Indaba 2014 - Decking - Infinity profile - Zambezi Kiaat & Silver Maple Colourway - Cladding - Ascent profile - Xavia Colour way - Exhibiting with Canvass and Tent - Durban ICC
Sitting proudly behind a neat wooden paling fence, “Duff’s Cottage” is a late Victorian villa that may be found in the Western District town of Colac.
Elegant in its proportions, timber clad “Duff’s Cottage” was built in the late 1890s. The villa is typically Victorian with its bull-nosed verandah with dainty and highly ornate cast iron filigree lacework. It has a corrugated iron roof, and even the columns of the verandah are made of hard wearing cast iron, with beautiful Corinthian capitals. Perhaps “Duff's Cottage’s” most charming features are its ornate windows and door. The windows are typically Victorian, with a central sash flanked by narrower panels. They have beautifully carved barley twist columns as decoration. The ornate front door also features narrow panels of glass to either side, and a lunette decorated with the house’s name in gilt lettering with a Victorian flourish beneath it.
“Duff's Cottage” has been built in a prime location not far from the main centre of Colac, and would have appealed to the moneyed middle-classes of the town whose money came from shop keeping and trade. Comfortable and very English, it would have shown respectability and yet is not showy. Today “Duff's Cottage” serves as a comfortable bed and breakfast which has two suites of rooms named after local district explorers.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).