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In the afternoon glow, a radiant girl with curly blonde hair sits atop a light blue marble step by the urban lake. Clad in a light orange shirt jacket and charming white lace shirt, she poses seductively.
A lovely muse, clad in a pristine white gown with flowing black hair, sits upon a chair amidst the verdant lawn. With a cheerful demeanor, she poses gracefully, holding a bouquet of flowers in the morning light.
Built 1911-13 at no. 35 King Street North.
"The Waterloo Post Office located at 35 King Street North, is situated at the northwest corner of King Street North and Dupont Street, in the City of Waterloo. The ground floor of this three-storey building is clad in sandstone, while the upper two floors are clad in red-brick. It was designed in the Romanesque style of Canadian Federal Post Offices and it was constructed in 1912.
The property was designated, for its heritage value, by the City of Waterloo, under Part IV of the Ontario Heritage Act (By-law 88-183).
The clock and tower of the Waterloo Post Office command the streetscape of the city's downtown core, acting as a prominent landmark at the corner of King and Dupont Streets.
The local Dominion Life Assurance Company, donated the land to the Crown in 1909. Prior to World War I, army cadets used the large rear portion of the building, for armoury and drill work. Inside, the Post Office occupied the first floor of the building, the Customs Office was on the second floor, and a caretaker's apartment was on the third floor. In 1967, the building was transferred to private ownership and was leased to the University of Waterloo, for its Optometry School until 1975.
The Waterloo Post Office was constructed in the Romanesque style, a style often used for Federal Post Offices, in the early 20th century. The exterior features include round-arches and rusticated sandstone around the window openings of the upper floors. The use of rusticated sandstone on the ground floor was a developing trend towards the construction of fortress-like structures and represented strength, stability and power of the armouries and the postal system. It also represented the independence and pride of the country in general. The original imposing corner clock was removed, due to decay in 1956, and a modern one was added in 1969. In 1987 a sympathetic clock, based on the original drawings and specifications, restored the original look of the building." - info from Historic Places.
"Waterloo is a city in the Canadian province of Ontario. It is one of three cities in the Regional Municipality of Waterloo (formerly Waterloo County). Waterloo is situated about 94 km (58 mi) west-southwest of Toronto, but it is not considered to be part of the Greater Toronto Area (GTA). Due to the close proximity of the city of Kitchener to Waterloo, the two together are often referred to as "Kitchener–Waterloo", "K-W", or "The Twin Cities".
While several unsuccessful attempts to combine the municipalities of Kitchener and Waterloo have been made, following the 1973 establishment of the Region of Waterloo, less motivation to do so existed, and as a result, Waterloo remains an independent city. At the time of the 2021 census, the population of Waterloo was 121,436." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. During this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
Find me on Instagram.
Taxonomic composition of soil microbial community based on the metagenomes from five soil habitats.A) Taxonomic cladogram showing all detected taxa (relative abundance ≥0.5%) in at least one sample. Taxonomic clades with more than five samples ≥0.5% abundance were used as inputs for LEfSe. Seven rings of the cladogram stand for domain (innermost), phylum, class, order, family, genus, and species (outermost), respectively. Enlarged circles in color are the differentially abundant taxa identified to be metagenomic biomarkers and the circle color is corresponding to the individual soil habitat in which the taxon is the most abundant among 5 soil ecosystems (Green for forest soil, red for grassland, purple for Arctic soil, blue for mangrove sediment, and orange for desert). B) The histograms of relative abundances of family-level biomarkers in each sample. Bacterial families significantly differential among all pairwise comparisons were illustrated. The average abundance of each family in the individual soil habitat was denoted by the horizontal line.
The merest sliver of stone cladding goes almost unnoticed here. Especially when the security shutters are pulled down to the ground. A shame, because this is a very very fine composition. There is absolutely no stone cladding on the upper storeys. A minimalist gem.
Stone cladding removed by 2014 :=(
Metal cladding of the round auditorium, Departments for Mathematics and Informatics, Technical University of Munich (TUM).
Aussenfassade des großen und runden Hörsaals der Fakultäten für Mathematik und Informatik an der Technischen Universität München (TUM).
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.
Aalto house, Munkkiniemi, Helsinki - In 1934, Aino and Alvar Aalto acquired a site in almost completely untouched surroundings at Riihitie in Helsinki's Munkkiniemi. They started designing their own house which was completed in August 1936.
The house was designed as both a family home and an office and these two functions can clearly be seen from the outside. The slender mass of the office wing is in white-painted, lightly rendered brickwork. There are still clear references to Functionalism in the location of the windows. The cladding material of the residential part is slender, dark-stained timber battens. The building has a flat roof and a large south-facing terrace.
Although the streetside elevation of the house is severe and closed-off, it is softened by climbing plants and a slate path leading up to the front door. There are already signs of the 'new' Aalto in the Aalto House, of the Romantic Functionalist. The plentiful use of wood as a finishing material and four open hearts built in brick also point to this.
The Aalto House anticipates the two-year younger Villa Mairea, a luxury residence where Aalto's creativity was able to come into full bloom. But in contrast to its larger sister, the Aalto House is a cosy, intimate building for living and working, designed by two architects for themselves, using simple uncluttered materials.
Possiblty the whole house crazy clad would have been too much in this instance. I think a harmonious result has been obtained. The ever so slightly recessed gate in the stone wall,with coloured relief, is very interesting. And what is that blue line?
The fussy original porch has been swept away in this upgrading. Perhaps I should have panned out a little more?
Bold, colourful cladding enhanced by winter sun at the Arch Street apartments development, near Elephant & Castle, London Borough of Southwark. Soon to be occupied (Feb 2011), developer L&Q Housing Association.
©2011 Images George Rex. All Rights Reserved.
6 6 6
simply ugly and scary
More often I walk past. But I never take a picture. This time I take it up.
Much more scary with the correct background: On Black
Residence Bognor Summerstrand, Infinity® decking, Tiger Cove, Apex® Cladding OJP Himalayan Cedar, LifeSpan™ Pergola, Savanna
Abbey history
Bayham abbey was built from local sandstone in the first half of the 13th century by Premonstratensian canons. By the 15th century the original design had been enlarged with new transepts, though the original transepts are still visible within the structure. The Abbey was home to Premonstratensian canons regular: that is to say they followed the life ascribed to St Augustine of Hippo, keeping the Augustinian rule in its purity. The abbey was suppressed by Cardinal Wolsey in 1525 in his attempt to gain funding for two of his new colleges, before falling into the hands of Henry VIII in 1538. Once Bayham was under the King's control, it was leased to Anthony Browne, 1st Viscount Montagu, until Queen Elizabeth sold the estate outright. Following various changes in ownership, Bayham was finally sold to Sir John Pratt in 1714, and remained with that family until 1961, when it was donated to the English Heritage. A brief archaeological survey was published in Journal of the Society for Medieval Archaeology 10 (1966:181-182).[1]
The Camden family, descended from the Pratts, built the Dower house (otherwise known as Bayham Old Abbey House), on the estate as the old residence. The new grounds were landscaped by Humphry Repton, who included within his plans the old abbey, which Samuel Hieronymus Grimm had sketched about 1785, emphasising the grand scale and picturesque character of its ivy-clad walls.[2] Some modifications were made to the abbey during this time, memorialised in one of Repton's most complete "Red Books", with the inscription "Application of Gardening and Architecture united, in the formation of a new place".[3]
In 1872, the Camden family moved to the other side of the Teise valley, into the newly built Bayham Abbey House. The abbey remains as a picturesque landscape feature, and has been used for family infant burials.
A 1920s gem, even better for the thick use of yellow in addition to the more usual dark red and grey. One of my favourites, with interestingly angled garden path. The wall looks original. Aluminium window and door frames complete the confection.
Residence Bognor Summerstrand, Infinity® decking, Tiger Cove, Apex® Cladding OJP Himalayan Cedar, LifeSpan™ Pergola, Savanna
New York City, 40 Bond Street, client Ian Schrager, design architects Herzog & de Meuron, green panels of column cladding, stainless steel, rolled, coloured, top grinded and embossed, shortly before despatch to the US
Anodized aluminium tiles form a portholes-accommodating tessellation using 3 different shapes as indicated. The whole building will be clad like this, which promises to be striking and perhaps spectacular. Peninsula Square, North Greenwich. Architects: FOA. Jan 2010.
Image: Copyright ©2010 George Rex Photography.
I shot this roll sometime in spring of 2022 and it ended up being the last I would put through this little thing. Even though I loved this XA, I not gentle with the thing. It would often live in my shirt pocket where it would sometimes fall out and hit the cement below. (It was always cement, it never fell on anything soft) Causing the back to pop open or the front cover to go flying. I'd throw those back on and keep shooting.
After more then a few drops, the focusing started getting very loose and unreliable. The frame advance also started giving out causing incomplete windings or unintended double exposures.
This past summer, I took it in to get a full CLAd, but was told that its too far gone, and the parts which are broken are not available.
I found this XA in a display case at the Goodwill in the Sunset district in SF around 2012 it was complete but needed new light seals. After replacing those and popping some batteries in, it performed flawlessly and took it with me almost everywhere. I was even able to get the back signed by Ed Templeton when he came to SF for a book signing. He commented on how he had one and used to shoot it before getting his Leica.
I've been eyeing a new XA ever since finding out it can't be fixed, but scoff at the current price tag of $200+ when I got this for $35, but I may cave.
RIP little guy 2012-2023
Profile-6 Corrugated Fiber Cement Boards on an office building in Santa Cruz, CA. Architect: The Envirotects.
TECU® Patina copper façade cladding from KME.
Angle-seam cladding technique.
Architects: Page / Park, Glasgow
In the afternoon glow, a radiant girl with curly blonde hair sits atop a light blue marble step by the urban lake. Clad in a light orange shirt jacket and charming white lace shirt, she poses seductively.
Residence Bognor Summerstrand, Infinity® decking, Tiger Cove, Apex® Cladding OJP Himalayan Cedar, LifeSpan™ Pergola, Savanna