Shapes of Life
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In 1908, the Düsseldorf-based Central-trade-ssociation for Rhineland, Westphalia and neighbouring districts praised a competition for a fountain in front of the Düsseldorf Art Palace.
As a "figurative representation of the iron industry and the mining industry," it was to be sent to the 1902 on the site on the banks of the Rhine (then Kaiser Wilhelm Park, now Rheinpark) the industrial and commercial exhibition was held.
Among the 44 designs submitted, the jury, which was prominently occupied by the painter Fritz Roeber, the painter Georg Oeder, the architect Wilhelm Kreis and the Düsseldorf garden director Walter von Engelhardt, was Prize awarded, so also do not recommend a design for execution. It was initially planned to give the authors of the shortlisted drafts the opportunity to revise them in a second stage of competition (a closer competition).
The fountain was built in its original form between 1911 and 1913. While the Düsseldorf architect Gotthold Nestler designed the actual well complex, the sculptor Friedrich Coubillier created the three bronze figures "Schmied Vulkan," "Bergmann" and "Hüttenarbeiter." Miner and cottage worker are depicted in the loincloth. The bronze casting of the figures took place at the Kunstgießerei Lauchhammer.
On the occasion of the opening of the Grand Art Exhibition in 1913, the industrial fountain in front of the former Art Palace was inaugurated. In 1925 the fountain was dismantled there because of the extensive new buildings at the Ehrenhof.
In 1939, the three sculptures were erected in a new facility on Fürstenplatz in Friedrichstadt. In 1942 the figures were to be melted down as metal donations by the German people for armaments and were removed. However, they remained intact, and in 1950 they were restored.
Pumping station "de Vier Noorder Koggen". Built in 1869 to replace some polder mills for the draining of the polder land to the former Zuiderzee. The pumping station consists of two parts: the old pumping station from 1869 and on the left the new pumping station from 1907.
The old pumping station worked well, but that was not enough. The pumping station, and also the mills, were running at full power, but the area behind the dike remained too wet. There were also votes to build another pumping station, but the high costs were feared. The farmers complained of stone and bone. After a lot of talking, while meanwhile wet years caused a lot of damage, it was finally decided to expand the old pumping station with a new section in which a gas engine would be placed. The new building was completed in 1907. The mills were no longer needed. The millers were fired and had to leave their home and workplace. The windmills were sold for five hundred guilders each. Of the twenty mills, which were managed by the Vier Noorder Koggen, only the West-Uit 7 mill at Aartswoud was spared. The appearance of the Brakepolder changed considerably when fourteen windmills disappeared from the landscape there in just a short time.
During World War I, opponents of steam were proved right when the pumping station ran into problems because the coal supply stopped. It was decided to keep a large stock of coal available at all times.
A view of a very central London street in Covent Garden, among bars, pubs, shops, new buildings and people who frequent the area daily.
Das Thyssenkrupp-Hauptquartier, offiziell auch als „thyssenkrupp Quartier“ bezeichnet, ist die Konzernzentrale der Thyssenkrupp AG im Westviertel der Stadt Essen. Das Quartier ist Kern des städtebaulichen Projektes Krupp-Gürtel und steht genau auf dem Grund, auf dem Krupp mit der Gussstahlfabrik in Essen seine Wurzeln hat. Der neue Bürocampus ist ein Ensemble aus verschiedenen Einzelgebäuden, die auf einem „grünen Teppich“ mit Bäumen, verbindenden Wegen und kleinen Plätzen angeordnet sind. Dem Konzern als Auftraggeber war es dabei besonders wichtig, dass sich die Neubauten flexibel an Veränderungsprozesse innerhalb des Unternehmens anpassen lassen. Die Kosten für den ersten Bauabschnitt des Hauptquartiers werden auf über 300 Millionen Euro beziffert.
Das Gebäude Q1 als Hauptgebäude des neuen Campus ist als markanter Hochpunkt auf der zentralen Wasserachse platziert, die dem Gelände seine Struktur verleiht. Neben diesem und weiteren Bürogebäuden gehören eine öffentliche Kita, das Veranstaltungsgebäude Q2, ein Parkhaus und eine Tiefgarage zum Quartier. Der städtebauliche und architektonische Entwurf des Campus steht für Offenheit, Begegnung und Kommunikation – innerhalb des Quartiers und nach außen in die angrenzenden Stadtteile.
The Thyssenkrupp headquarters, also officially known as the “thyssenkrupp Quartier”, is the corporate headquarters of Thyssenkrupp AG in the western quarter of the city of Essen. The quarter is the core of the urban development project Krupp-Gürtel and stands exactly on the ground on which Krupp with the cast steel factory in Essen has its roots. The new office campus is an ensemble of various individual buildings arranged on a “green carpet” with trees, connecting paths and small squares. As the client, it was particularly important to the group that the new buildings could be flexibly adapted to change processes within the company. The costs for the first construction phase of the headquarters are estimated at over 300 million euros.
Building Q1 as the main building of the new campus is placed as a prominent high point on the central water axis, which gives the site its structure. In addition to this and other office buildings, a public day-care center, the Q2 event building, a multi-storey car park and an underground car park are part of the quarter. The urban and architectural design of the campus stands for openness, encounters and communication - within the quarter and to the outside in the neighboring districts.
For Rotterdam's Timmerhuis, a new building for the city hall that accommodates municipal services, offices, and residential units, OMA conceived a modular building with repeated units gradually set back from the street as they rise into two irregular peaks.
A view looking north on N. Main St. from E. Washington St. on the southeast corner of Bloomington's Courthouse Square. To the left is the old McLean County Courthouse, now a museum. This site was home to three previous courthouses built in 1831, 1836 and 1868. The Great Fire of 1900 destroyed the 1868 courthouse, along with 45 other buildings in the core of downtown Bloomington to little more than smoking rubble.
The courthouse shown here was designed by William Reeves and John M. Baile of the Peoria firm Reeves and Baile. The Classical Revival style structure was completed in 1903.
The fifth and current McLean County Courthouse, a modern design located 2 blocks south of this location, was completed in 1977. The courts were the first to move to the new building but until 1991, general county offices were still housed in the old courthouse. The McLean County Historical Society relocated its museum here in 1988, and today all 4 floors of the building are occupied by the McLean County Museum of History for exhibits, collections storage, and offices.
The McLean County Courthouse and Square was added to the National Register of Historic Places in 1973 and encompasses the old McLean County Courthouse and the courthouse-facing sides of Washington St. to the south, Center St. to the west, and Jefferson St. to the north. The historic buildings to the east of the old courthouse on the N. Main St. side of the square were destroyed by fire in the 1985. Today a contemporary office building occupies the site.
This view also shows a large section of the north side of the Courthouse Square on W. Jefferson St., along with the west side of N. Main St. all the way to the tower of the Art-Deco styled Holy Trinity Church at N. Main and W. Chestnut streets. Nearly every building in this view is listed by itself or as part of a historic district on the National Register of Historic Places.
Bloomington is the seat of McLean County. It is adjacent to Normal, and is the more populous of the two principal municipalities of the Bloomington-Normal metropolitan area. Bloomington is 135 miles (217 km) southwest of Chicago, and 162 miles (261 km) northeast of St. Louis. The estimated population of Bloomington in 2019 was 77,330, with a metro population of 191,067.
Ce nouveau complexe polyvalent situé au cœur de la ville allemande de Düsseldorf fait partie d’un vaste projet de réhabilitation urbaine. De par sa forme sinueuse distinctive, le complexe crée une transition artistique entre le centre-ville bondé et le paysage verdoyant du jardin mitoyen Hofgarten. ArcelorMittal a livré des poutrelles en acier pour la construction de cette nouvelle icône d’architecture.
L’architecte Daniel Libeskind, résidant à New York, s’est chargé de la conception de ce nouveau complexe immobilier qui constitue la première étape du vaste projet de réhabilitation urbaine du centre-ville de Düsseldorf. Situé à la fin de l’avenue principale de la ville, Königsallee, où commence le jardin à l’anglaise créé dernièrement, le Hofgarten, le Kö-Bogen (« l’arc du roi ») est composé de deux bâtiments de 5 étages de forme organique. Leur nom vient de l’avenue mitoyenne Königsallee et de la ligne de démarcation en forme d’arc du jardin Hofgarten. Les deux structures sont séparées par un passage piéton mais elles sont reliées en hauteur par un pont de deux étages.
Achevé en 2013, le complexe architectural offre environ 42.000 m2 d’espace dédiés aux bureaux, commerces et restaurants, présents sur 5 étages sans compter le parking souterrain.
Les façades courbées du Kö-Bogen sont faites de verre et d’une pierre d’un blanc naturel (travertin) et sont cassées par plusieurs coupures diagonales qui composent de petits jardins de façades. Les motifs très élaborés de la façade paraissent horizontaux depuis certaines perspectives et verticaux depuis d’autres. Les panneaux de pierre et de verre ainsi que les volets en aluminium ont été aménagés de façon à créer un ensemble homogène.
La conception du Kö-Bogen consiste en une géométrie à la fois droite et courbe. Alors que les lignes droites essayent de refléter le contexte de la ville des bâtiments voisins de l’avenue Königsallee, les lignes courbes à l’intérieur et aux alentours des cours du Kö-Bogen créent des connections fluides avec l’environnement piéton. Cette conception tente d’intégrer des paysages au sein de l’espace immobilier, ce qui est possible non seulement grâce à ses formes géométriques mais également grâce aux coupures sur les façades, aux cours vertes et aux systèmes de toitures végétales. Tous ces éléments font de ce nouveau complexe une partie d’un nouvel environnement qui construit à la fois un espace urbain et un jardin.
This new multi-purpose complex located in the heart of the German city of Düsseldorf is part of a large urban rehabilitation project. With its distinctive sinuous shape, the complex creates an artistic transition between the crowded city center and the green landscape of the adjoining Hofgarten garden. ArcelorMittal delivered steel joists for the construction of this new architectural icon.
Architect Daniel Libeskind, residing in New York, was responsible for designing this new building complex, which is the first stage of the vast urban rehabilitation project for downtown Düsseldorf. Located at the end of the city's main avenue, Königsallee, where the recently created English garden, the Hofgarten, begins, the Kö-Bogen ("King's Arch") consists of two 5-storey buildings organic form. Their name comes from the adjoining avenue Königsallee and the arc-shaped boundary line of the Hofgarten garden. The two structures are separated by a pedestrian walkway but they are connected in height by a two-storey bridge.
Completed in 2013, the architectural complex offers approximately 42,000 m2 of space dedicated to offices, shops and restaurants, present on 5 floors, not including the underground car park.
The curved facades of the Kö-Bogen are made of glass and a natural white stone (travertine) and are broken by several diagonal cuts that make up small gardens of facades. The intricate patterns of the façade appear horizontal from some perspectives and vertical from others. The stone and glass panels as well as the aluminum shutters have been arranged to create a homogeneous whole.
The design of the Kö-Bogen consists of both straight and curved geometry. While the straight lines attempt to reflect the city context of the neighboring buildings on Königsallee Avenue, the curved lines in and around the Kö-Bogen courtyards create fluid connections with the pedestrian environment. This design tries to integrate landscapes within the real estate space, which is possible not only thanks to its geometric shapes but also thanks to the cuts on the facades, the green courtyards and the green roof systems. All these elements make this new complex part of a new environment that builds both an urban space and a garden.
We have a huge area nearby where 600 new houses are being built, luckily there is sun shining upon them, that's a good start.
ENG: Berlin and its new buildings. It also goes ugly with the choice of color salmon-colored in the district Tempelhof.
GER: Berlin und seine Neubauten. Es geht auch hässlich mit der Farbwahl und zwar lachsfarbend im Bezirk Tempelhof.
Deeply romantic yet squat and robust, Wells Cathedral, the Cathedral of St Andrew the Apostle, is mostly in Early English style. Construction was started in 1175 by Bishop Reginald FitzJocelyn on the site of a Saxon abbey built by St Aldhelm in 705; it replaced Sherborne as the seat of an episcopal see in 909, and it was removed again to Bath after the Norman Conquest in 1090. The new building begun by FitzJocelyn was intended from its inception to facilitate a return of the episcopal seat to Wells. The bulk of the work was finished by 1326.
The magnificent West Front, with 300 sculpted figures, followed in the years after 1365 under master mason William Wynford.
The Cathedral fell into disrepair under Oliver Cromwell, and after a happy interlude during the Restoration was again damaged by Puritan soldiers during the Monmouth Rebellion, who damaged the West Front and stabled their horses in the nave.
Wells Cathedral is the seat of the Bishops of Bath and Wells.
The Jakob-Kaiser-Haus is the largest complex of government offices built in connection with the transfer of the German federal government from Bonn to Berlin. It houses the staff of the governing coalition members and comprises over 2,000 office rooms, two large committee halls, many conference rooms, extensive cafeteria facilities and a fully-equipped TV studio. The complex was designed and built by a consortium of four architecture firms. The section designed by de Architekten Cie. forms roughly a quarter of the whole complex. It is situated in a prominent location between the Reichtsag and the Brandenburger Tor.
The building encloses two courtyards, one of which has been covered with a glass roof. The resulting space serves as an entrance hall for the southern part of the Jakob-Kaiser-Haus. The wooden panelling gives the entrance hall the character of an interior room; the adjacent courtyard exudes, by contrast, a sense of external space. The two courtyards remain in visual contact with each other by a two-storey tall opening at ground level, interrupting the strictly orthogonal main structure of the master plan. The street façades reflect the theme of the interior court in two different ways. The Ebertstrasse façade, providing a view of the Tiergartenpark, presents a lively clair obscur by way of the three-dimensional effect of the natural stone framework with its recessed terracotta panels. Attached to the Dorotheenstrasse façade is an additional glass “shell” which marks the entrance and places an accent in the street with its primarily stony façades. Seen from the working spaces the glass shell creates a visual wintergarden, increasing in this narrow street the users` privacy. The previously existing building, the Kammer der Technik built between 1912 and 1914, has been entirely integrated into the new structure. From a functional viewpoint, its office spaces fit in seamlessly with the new building.
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A December sunset view from a few years ago on a trip through the back roads. I would guess this small machine shed was once one of the newer buildings on a busy farmstead. Now everything else has been abandoned and torn down. But the little shed remains and is still used.
St Chad's Church in Shrewsbury is traditionally understood to have been founded in Saxon times. King Offa, who reigned in Mercia from 757 to 796 AD, is believed to have founded the church, though it is possible it has an earlier foundation even than that.
The church may have been operating on its initial site from buildings that were part of a royal palace established in the 500s AD, in the Kingdom of Powys, who had their capital at Shrewsbury, when it was known as Pengwern.
For a period of nearly 1000 years the church was at the original College Hill site, only moving to its current building and site in 1792.
The distinctive round shape and high tower of the new building is a well-known landmark in the town, near the Quarry area of parkland. The current building is a Grade I listed building.
The motto of the church is "open doors, open hearts, and open minds". This indicates the aspiration of the church to be a welcoming church, involved in the community, and on a collective journey seeking after God.
The naturalist Charles Darwin was baptised in St Chad's church in 1809, and as a young boy attended the church with his mother Susannah.
In 2010, the church became a member of the Greater Churches Group.
Wikipedia
Golden Gate Bridge and downtown San Francisco
New buildings - fog sun always a bit different
www.flickr.com/photos/charlottes_flowers/22044420042/in/a...
DTLA, in all it's glory, at sunrise. The 110 Freeway cuts through, close to the central core of the city. I am anxiously awaiting the changing of the skyline as new buildings are announced weekly. It's going to be a whole different place in 3-5 years.
This newer building is across 20th Street in OC from the apts that we used to stay at back in the day - HWW!
Explore! ⭐ July 4, 2021
On my first visit to NYC in about 5 years, it was surprising to me how different the skyline was... modern new buildings tower over central Manhattan, appearing to dwarf the classic Empire State Building (the tall building with the spire towards the right of the photo).
Some 5 of NYC's tallest buildings were built in the last three years!
This is a panaroma of 4 portrait-perspective photos stitched together in Lightoom. Zoom in to see the incredible detail captured.
Neubau des Institutsgebäudes des Fraunhofer MEVIS auf dem Campus der Universität Bremen.
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New institute building of Fraunhofer MEVIS on the campus of the University of Bremen.
La Cathédrale de Saint Martin (Basilika Sankt Martin) est une magnifique église romane située au cœur de Bonn, en Allemagne. Ce monument historique, avec ses tours jumelles emblématiques, a résisté à l'épreuve du temps, témoin de siècles d'histoire et de changements culturels.
La structure actuelle du Bonner Münster, construite dans le style roman, a commencé à prendre forme vers l'an 1050. La nouvelle construction a remplacé une église plus ancienne et comportait une basilique à trois nefs avec une disposition à double chœur. Le chœur oriental, construit au-dessus d'une crypte à trois nefs, et le chœur occidental, également avec une crypte, sont des vestiges notables du design du XIe siècle.
Le chœur oriental, étendu par le prévôt Gerhard von Are au milieu du XIIe siècle, présente une façade richement décorée avec sept fenêtres étroitement espacées, une galerie naine et des niches en arc rond peu profondes.
The Cathedral of Saint Martin (Basilika Sankt Martin) is a magnificent Romanesque church located in the heart of Bonn, Germany. This historic monument, with its iconic twin towers, has stood the test of time, bearing witness to centuries of history and cultural change.
The current structure of the Bonner Münster, built in the Romanesque style, began to take shape around 1050. The new building replaced an earlier church and featured a three-aisled basilica with a double choir layout. The eastern choir, built over a three-aisled crypt, and the western choir, also with a crypt, are notable remnants of the 11th-century design.
The eastern choir, extended by Provost Gerhard von Are in the mid-12th century, features a richly decorated façade with seven closely spaced windows, a dwarf gallery, and shallow round-arched niches.
A faded ad of a soap powder no longer in production on a wall on Second and 72nd Street in Manhattan. A new building will soon rise and cover the ad forever. You can learn more about the product here:
Le Consortium Museum est un centre d'art contemporain basé à Dijon géré par l'association Le Coin du Miroir, active depuis 1977. Depuis 2011, il est installé dans un bâtiment de 4000 m2 conçu par les architectes Shigeru Ban et Jean de Gastines.
Le centre d'art occupe progressivement, à partir de 1991, une ancienne usine de liqueur L'Heritier-Guyot, construite en 1943. La conception est réalisée par l'architecte allemand Hostettler en collaboration avec Joly-Delvalat (1906-1990), professeur à l'Académie des Beaux-Arts de Dijon. L’architecture s’inspire du style international, avec une tendance post-Bauhaus, c’est-à-dire une construction lisse en béton sans ornementation, caractéristique du mouvement moderne où la rationalité et la fonctionnalité déterminent l’esthétique de l’architecture. Après une rénovation et une extension du bâtiment réalisée sous la conduite des architectes Shigeru Ban, et Jean de Gastines8, l'espace de 4 000 m², dont 2 000 m² sont réservés aux expositions, est rouvert au public en juin 2011 et inauguré par le ministre de la Culture Frédéric Mitterrand, le 14 septembre 2011. Ce nouveau bâtiment est passé d’un “L” à un rectangle qui englobe une cour intérieure.
The Consortium Museum is a contemporary art center based in Dijon managed by the association Le Coin du Miroir, active since 1977. Since 2011, it has been housed in a 4000 m2 building designed by architects Shigeru Ban and Jean de Gastines.
The art center has gradually occupied, since 1991, a former L'Heritier-Guyot liqueur factory, built in 1943. The design was carried out by the German architect Hostettler in collaboration with Joly-Delvalat (1906-1990), professor at the Academy of Fine Arts in Dijon. The architecture is inspired by the international style, with a post-Bauhaus tendency, that is to say a smooth concrete construction without ornamentation, characteristic of the modern movement where rationality and functionality determine the aesthetics of architecture. After a renovation and extension of the building carried out under the supervision of architects Shigeru Ban and Jean de Gastines8, the 4,000 m² space, of which 2,000 m² are reserved for exhibitions, was reopened to the public in June 2011 and inaugurated by the Minister of Culture Frédéric Mitterrand on September 14, 2011. This new building has changed from an “L” to a rectangle that includes an interior courtyard.
China, Beijing, Galaxy Soho, another super 18 floors complex built between 2008 & 2014, located in the southwest corner of Chaoyangmen Bridge in the Second Ring Road of Beijing, designed by London architecture firm & designed by the renown Iraqi-British architect Zaha Hadid
The Galaxy Soho is a 330 000 m2 office, retail & entertainment complex that which became a primary part of the living city. Its architecture is a composition of comprises four main domed structures, fused together by bridges & platforms between curving floor plates to create a fluid environment that surrounds a series of public courtyards & a larger central "canyon". Adapt to each other in all directions, generating a panoramic architecture without corners or abrupt transitions that break the fluidity of its formal composition. Creating a striking, modern & eye catching aesthetic, the Galaxy Soho is established as one more major urban landmark for Beijing.
From the outside the flowing bands of white aluminium & glass encasing the interior give the complex an incredible, eye-catching presence. Within the building this image is continued with a block of white floor that matches the walls & ceilings. A complimentary grey floor area borders the bright white centre with a visually striking black stripe separating the two colours. The great interior courts of the project are a reflection of traditional Chinese architecture where courtyards create an internal world of continuous open spaces.
The structure’s three lower levels contain retail & entertainment facilities, those above provide works spaces for innovative businesses of many kinds, while top levels are dedicated to bars, restaurants & cafes, many with views along the city’s great avenues.
The Galaxy Soho demonstrates ones more that the Chinese always manage to produce some of the most amazing, creative, visionary & environmental friendly new buildings, where money & labour is not an issue, for architects getting such projects it is like winning an architectural "Oscar-Grammy-Emmy Award".
👉 One World one Dream,
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