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The Woolworth Building, one of New York's best known tall buildings, is among the most famous skyscrapers in the United States. The tallest building in the world on its completion in 1913, Cass Gilberts graceful. Gothic-style, terra-cotta clad, sixty-story tower became the prototype for the tall romantic skyscraper that permanently transformed the skyline of New York and become the most potent image of twentieth- century urban America.
Built as the headquarters of F. W. Woolworth' s "five-and-ten" empire, the Woolworth Building became a symbol not just of Woolworth's personal success, but also of the new twentieth-century phenomenon of mass commerce. At its grand opening, during which President Wilson in Washington pushed a button to signal the lighting of the structure in New York, the Rev. S. Parkes Cadman christened the Woolworth Building the "Cathedral of Commerce. " The Woolworth Building stands as a watershed in the history of the American skyscraper. It is both the culmination of the early development of the tall office building that began before 1880. and the model -- in terms of height, profile, corporate symbolism. and romantic presence -- for the skyscrapers of the great building boom of the post-World War I era that culminated in the Chrysler and Empire State Buildings. Although long since stripped of its "world ' s tallest" title, the Woolworth Building remains one of the great symbols of twentieth-century America, and one of New York's and the country's outstanding landmarks.
The \oloolworth Building is a 60-story skyscraper, rising 792 feet above street level. It occupies the entire blockfront along the western side of Broadway between Park Place and Barclay Street. The 30-story tower rises above a 30-story base. The base presents three unbroken elevations, on Barclay Street, Broadway, and Park Place, and divides into two wings on its western face. The tower meets the lot line on Broadway, but is narrower than and does not extend as far west as the base beneath it. The tower has two setbacks, creating three sections of progressively smaller dimensions, and culminates in a pyramidal roof and four tourelles.
The elevations of the base and tower are divided into continuous vertical bays of windows and spandrels. In the tower and the portion of the base directly beneath it, there are three bays comprising respectively two, three and two tiers of windows. The bays in the base, north and south of the tower, on Broadway comprise three tiers of windows; the base elevations on Barclay Street and Park Place west of the tower are divided into six two-window-wide bays, the bay furthest to the west being slightly narrower than the rest. This is the basic organizational pattern for the entire exterior.
The first four stories are set apart from the rest of the building base in design and material. Unlike the upper stories, they are faced in Redford limestone above a seven-foot water-table in polished Rockport (Me.) granite,62 The three facades of the base are divided into three-story entrance and window bays, with a one-story attic level above. The width of these bays matches that of the window and spandrel bays in the base and tower above. Only the fourth story of the base of the western elevation is visible; it is plain.
The first four stories of the Broadway elevation focus on the three-story Tudor-arched entrance portal which is flanked on either side by two bays, one narrower and one wider and each divided into a storefront and two bands of windows.
The entrance arch and flanking narrow bays are grouped into a triumphal arch designed by the elaborately carved stone balcony and related ornament projecting out over them. The motifs of the carving are Gothic in inspiration. The balcony includes narrow panels with shields separating wide panels of Gothic tracery over the entrance and wide panels with stylized flowers over the flanking bays; the center panel supports a large eagle holding a shield. From either side of the entrance arch descends an elaborately carved niche with Gothic tracery and at its base a carved coiled serpent. Similar deep relief Gothic tracery with fanciful grotesques link the balcony with the arches of the entrance and flanking bays.
The entrance is through a Tudor-arched portal set within a shallow depressed arch. The depressed arch is outlined by a course of trefoil tracery; within each of the two spandrels between the depressed and the Tudor arch is a carved reclining figure in high relief. The portal arch is a complex form, with a wide intrados flanked on either side, at a 450 angle, by archivolts. The intrados is adorned with Gothic tracery. The archivolt facing the street is comprised of a series of small connected niches; the bottom niche at either side frames a carved treetrunk, the niche at the apex frames an owl with spread wings, and each of the twenty remaining niches frames a grotesque allegorical figure. The inner archivolt is similarly comprised of niches, with tree-trunks at the base and an owl at the apex, but with abstract foliage in the intervening niches. An identical archivolt frames the facing lobby entrance. The entrance itself consists of a large Tudor-arched window above a revolving door with flanking side doors. The revolving door is new, but retains its original configuration. Between the window and the archivolt is a flat band of strapwork and ornamental marble squares. The window frame, and the wide bandcourse separating the window from the doorway below, consists of highly ornamental Gothic tracery cast in bronze. The glass of the window is divided into three large vertical bays, each subdivided into nine panels of twenty-one panes each; this is its original configuration.
Both the narrow and the wide bays flanking the entrance on Broadway consist of a depressed-arch masonry opening with two stories of window bands above a storefront. The window bands on each story of the inner, narrow, bays contain three single-pane windows, while those in the outer bays contain five single-pane windows. Each depressed-arch masonry opening is adorned with an elaborate carved wreath surround, whose forms include swags and bunches of grapes. The upper and lower window bands are separated by a wide bronze band of Gothic tracery; the mullions separating each single-pane window from its neighbor has superimposed over it a slender bronze rod. This is their original configuration. The horizontal bronze bands at either end of the Broadway elevation are now obscured by a modern sign. The storefronts in each bay are separated from the windows above by a broad bronze panel adorned with trefoil tracery. All the storefronts have been replaced.
Six angled piers are carried down into the base; two end in the carved niches flanking the entrance, while four others end in corbels carved as allegorical human faces. The faces apparently represent, from south to north, the four continents of Africa, America, Europe, and Asia (similar to the four allegorical statues of the continents adoring Gilbert's earlier Custom House at Bowling Green).
- From the 1983 NYCLPC Landmark Designation Report
Lloyd's of London Building - Architects Richard Rogers Partnership - 1986
After the completion of Centre Pompidou in 1977 with Renzo Piano, Richard Rogers was commissioned to design a new building to replace the original Lloydâs insurance building in London. It would be the second expansion in the history of the companyâs headquarters due to the overcrowded conditions of hundreds of people working with international insurance cases. Completed in1986, the Lloydâs building brought a high-tech architectural aesthetic to the medieval financial district of London that was previous implemented in the design of the Centre Pompidou in Paris. Similar to Centre Pompidou the Lloydâs building is designed âinside out.â All of the service functions are removed from the interior and placed at the exterior of the building. This not only allows for easy replacement and maintenance on the elevators, plumbing, or electrical facilities, but it frees up the interior to create an open and flexible plan that allows for uninterrupted activity on each level.
With the open spatial planning, the interior is capable of being reconfigured on a moment to moment basis with partition walls that can subdivide each floor and create new and interesting spaces. The Lloydâs of London building consists of three main towers-each attached to their own service tower-that are concentrically oriented around a 60 meter atrium at the heart of the building. Each floor acts as a gallery overlooking the atrium; however, only the first four floors are open to the atrium whereas the rest are enclosed by glass panels. Throughout the atrium, there are a series of escalators cutting across the void to create an interior circulation that links the floors of the underwriters adding to the dynamism of the space. When Rogerâs took on the project, it required the demolition of the original 1928 building, but rather than completely demolishing all traces of history for the Lloydâs of London, he retained part of the original façade as an homage. The historic architecture of the past juxtaposed to the high-tech style of the new Lloydâs building seems almost contradictory and forced, but the two styles seem to coexist in a manner depicting the modernization of London.
Besides the mechanical and circulatory systems being placed on the exterior, the façade of the Lloydâs of London building is not contiguous in the sense that it appears to be a âkit of parts,â where interior spaces seem to be modular. Its seemingly compartmentalized façade reinforces its modularity in the plan, but is visually more apparent in the elevation. The entire building is wrapped in stainless steel giving the building a high-tech, almost post modern, aesthetic. The streamlined façade juxtaposed to the mechanical and service functions on the exterior evoke the technological advances of its construction, as well as express the buildingâs main focus on functionality. The aesthetic appears to have an almost unfinished quality to its construction; Rogerâs even left the cranes from the construction on the top of the building as a decorative feature to the building, but their presence suggests insight into the modern aesthetic as well as creating a place for the Lloydâs of London building within architectural modernism
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Metro representatives and others gathered to commemorate the completion of a $10 million light rail interlocking project near the UMSL South MetroLink Station, located at 7798 Natural Bridge Road in St. Louis County. The interlocking will reduced operations and maintenance costs, as well as shorten delays for our customers during scheduled and unplanned service disruptions.
The Shard nears completion - the cranes replaced by an external lift - and A380 passes over head....
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December 2018: River Don bridge nearing completion for AWPR (Aberdeen Western Peripheral Route) Aberdeen bypass dual carriageway
The Charleston District gathers with stakeholders to celebrate the completion of the Charleston Harbor Post 45 Deepening Project.
The completion of the streetscape of the first several blocks of the Creative Corridor is just the beginning,The Rep is an anchor on the corridor and will be joined by other local arts organizations on Main Street. The corridorâs well-lit, bio-diverse streetscape makes it inviting to pedestrians, bicycles, and automobiles.
Construction of Interstate 69 in Greene County, Indiana, nears completion west of the future I-69/State Road 45 interchange, seen in the background; looking northeast.
Two I-69 contractors were involved in building the section of road pictured: White Construction and Milestone Contractors. Milestone was responsible for the interchange and its approaches, while White constructed most of the road shown.
It should be noted that the stretch of road pictured only represents a small part of the I-69 work entrusted to Milestone Contractors and White Construction. Furthermore, please note that Milestone and White are separate entities, each of whom had designated segments of I-69 to construct; they did not work together.
White Construction (Indiana I-69 Project, Section 4, Segment 3); Milestone Contractors (Section 4, Segments 4/5/6a).
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Judith Muhongerwa CHRO-BPR Atlas Mara, receives her Certificate of Completion for the Coach Training Program from KORA Coaching & Business Academy
11071 S. Hoyne Avenue (corner of 111th and Hoyne)
From CPL web site: In 1889-90, George Clarke Walker, a wealthy businessman, donated land and built a library. Upon its completion, the library and all of its materials were presented to the Village of Morgan Park. In 1894, the Village turned over administration of the library to the University of Chicago. The University managed the library for its students and the village for ten years, after which control of the library was returned to the village. In 1914, Morgan Park was annexed to Chicago, and the Walker Branch became the third branch of the Chicago Public Library. At that time, the building was renamed for its benefactor.
Another fun Home with our highlighted spaces esthetically pleasing to boast of! The studio enjoyed working with this client! Thank you for Choosing studio Monaco.
After completion of a new wing in 2010 to the Langley Hospital on Joint Base Langley-Eustis, the original structure is undergoing a major transformation. The hospital, which is being renovated by the U.S. Army Corps of Engineersâ Little Rock District, will contain only 10 percent of the original construction; everything from exterior walls to flooring is being removed and replaced. (U.S. Army Photo/Patrick Bloodgood)
Day 107, Month 4: Man-Made
I've been held up with work over the last couple of days thanks to these fiddly models
On Dec. 5, 2022, the USACE Charleston District gathered with stakeholders to celebrate the completion of the Charleston Harbor Post 45 Deepening Project. With the final pull of a lever and radio call to the dredge, officials marked the end of this decade-long project. The Post 45 project deepened Charleston Harbor to a depth of 52 feet, allowing the largest container ships in the world to use the port at any time and any tide. In attendance at the ceremony was the Charleston District Leadership team, Post 45 Project Delivery Team, South Atlantic Division Commander Brigadier General Daniel Hibner, CEO of the SC Ports Authority Barbara Melvin, Congresswomen Nancy Mace, US Senator Tim Scott, US Senator Lindsey Graham, and SC Governor Henry McMaster.