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Interior Designer, High End Renovations, Custom Wallpaper, ... Interior Designer, High End Renovations, Custom Wallpaper, Interior Design And Decoration, Residential Design
Interior Designer, High End Renovations, Custom Wallpaper, ... Interior Designer, High End Renovations, Custom Wallpaper, Interior Design And Decoration, Residential Design
Interior Designer, High End Renovations, Custom Wallpaper, ... Interior Designer, High End Renovations, Custom Wallpaper, Interior Design And Decoration, Residential Design
This house plan includes 1992 Square Foot of living space, 3 bedrooms, 2.5 bathrooms, and a Country Architectural Style. View this plan online at www.houseplangallery.com/index_files/house-plans-prod_det...
Residência Unifamiliar_Santana de Parnaíba SP
Projeto [2008]
661 m2 | 4 Suites, Escritório, Lazer, Estar, Serviços.
ESTUDIO AMERICA [arquitetos] Lucas Fehr, Mario Figueroa, Carlos Garcia, Marcus Vinicius Damon [colaboradora] Amanda Renz
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This house plan includes 1992 Square Foot of living space, 3 bedrooms, 2.5 bathrooms, and a Country Architectural Style. View this plan online at www.houseplangallery.com/index_files/house-plans-prod_det...
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The Konstantine Eristavi Street area in Tbilisi, Georgia, is located in a historic and vibrant part of the city, close to some of the city’s most important cultural and religious landmarks, including the impressive Sameba Cathedral. The area offers a mix of local culture, everyday life and an authentic shopping experience in the small shops and markets. Sameba Cathedral, just a few minutes’ walk from Konstantine Eristavi Street, is one of the largest Orthodox cathedrals in the world and an important symbol of Tbilisi. This architectural masterpiece dominates the city skyline, attracting tourists and pilgrims alike. Around Konstantine Eristavi Street and the nearby streets, you’ll find a variety of small shops that capture the essence of everyday life in Tbilisi. Many of these shops are family-run businesses, selling everything from fresh fruit and vegetables to handmade souvenirs and traditional Georgian products. The area has a more local feel than the touristy areas in the old town, making it an interesting place to experience authentic Tbilisi. There are also small markets and street vendors in the area. Here you can find typical Georgian products such as fresh bread, spices, cheeses and wine, as well as clothes and household items. The atmosphere in the markets is busy and lively, with vendors offering their wares and customers haggling over prices. It is an ideal place to get in touch with the locals and learn more about their culture and customs. The area around Konstantine Eristavi Street has a mix of old and new buildings. Some streets are narrow and cobbled, giving a sense of historic charm, while others are more modern and wider. The proximity of the cathedral creates a peaceful, almost spiritual atmosphere, in contrast to the hustle and bustle of the markets and shops.
In Tbilisi, loggias, conservatories and verandas are a common sight, especially in the older parts of the city. These enclosed balconies are often beautifully decorated and offer a unique way to enjoy the view of the city and its surroundings while being protected from the elements. Many of these loggias have a traditional architectural style, with colorful glass panels and sometimes wood carvings, which add to the charm of the buildings. They often serve as an additional living space, where residents can relax, tend to plants or enjoy a meal with a view. These elements make the enclosed balconies in Tbilisi a special and recognizable aspect of the city's architecture. In Georgian, it can also be specifically referred to as "balkoni" (ბალკონი), which simply means "balcony".
De buurt rond Konstantine Eristavi Street in Tbilisi, Georgië, ligt in een historisch en levendig deel van de stad, vlak bij enkele van de belangrijkste culturele en religieuze bezienswaardigheden, waaronder de indrukwekkende Sameba-kathedraal. Het gebied biedt een mix van lokale cultuur, dagelijks leven en een authentieke winkelervaring in de kleine winkels en markten. Veel van deze winkels zijn familiebedrijven die alles verkopen, van vers fruit en groenten tot handgemaakte souvenirs en traditionele Georgische producten. De Sameba-kathedraal, op slechts een paar minuten lopen van Konstantine Eristavi Street, is een van de grootste orthodoxe kathedralen ter wereld en een belangrijk symbool van Tbilisi. Dit architectonische meesterwerk domineert de skyline van de stad en trekt zowel toeristen als pelgrims. De buurt heeft een meer lokale sfeer dan de toeristische gebieden in het oude centrum, wat het een interessante plek maakt om het authentieke Tbilisi te ervaren. Het is een ideale plek om in contact te komen met de lokale bevolking en meer te leren over hun cultuur en gewoonten. Het gebied rond Konstantine Eristavi Street heeft een mix van oude en nieuwe gebouwen. Sommige straten zijn smal en geplaveid, wat een gevoel van historische charme geeft, terwijl andere moderner en breder zijn. In Tbilisi zijn loggia's, serres en veranda's een veelvoorkomend verschijnsel, vooral in de oudere wijken van de stad. Deze gesloten balkons zijn vaak prachtig versierd en bieden een unieke manier om van het uitzicht op de stad en de omgeving te genieten, terwijl je beschermd bent tegen de elementen. Veel van deze loggia's hebben een traditionele architecturale stijl, met kleurrijke glazen panelen en soms houtsnijwerk, wat bijdraagt aan de charme van de gebouwen. Ze dienen vaak als een extra leefruimte, waar bewoners kunnen ontspannen, planten kunnen verzorgen of genieten van een maaltijd met uitzicht. Deze elementen maken de gesloten balkons in Tbilisi tot een bijzonder en herkenbaar aspect van de stedelijke architectuur. In het Georgisch kan het ook specifiek worden aangeduid als balkoni (ბალკონი), wat simpelweg balkon betekent. De nabijheid van de kathedraal zorgt voor een rustige, bijna spirituele sfeer, in contrast met de bedrijvigheid van de markten en winkels.
Completed in the mid-2010s as part of the Niittykumpu metro station area’s urban renewal, this residential tower is one of the tallest buildings in Espoo, standing at approximately 90 meters with 24 stories. It symbolizes the shift in Espoo’s suburban identity — from low-rise, car-centered neighborhoods to vertical living and public transit integration.
Located just meters from Niittykumpu Metro Station, the building is known not only for its height, but also for its contemporary Nordic design — characterized by clean lines, dark cladding, and large glass balconies. At night, the warm glow from individual apartments creates a grid of lives quietly illuminated in the sky.
This photo, taken with the Canon EOS-1D X Mark II, captures that quiet moment when the city turns blue, and the tower watches over the neighborhood like a glowing monolith of urban life.
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Mission Creek Channel, nestled in San Francisco’s dynamic South of Market (SoMa) neighborhood, is an urban oasis that merges the city’s rich history with modern development. This picturesque waterway, which flows into the San Francisco Bay, is lined with a unique mix of floating homes and sleek, high-rise condos, offering a juxtaposition that captures the essence of San Francisco’s evolving landscape.
Originally a tidal inlet of Mission Bay, the creek has played a vital role in the city’s maritime history. In the 19th century, it served as a busy industrial corridor, where lumber, coal, and other goods were transported. However, as the city expanded and the area’s industrial use declined, the channel was transformed into a residential haven.
Today, Mission Creek Channel is home to one of the last remaining houseboat communities in San Francisco. These floating homes, each with its own character and charm, are a nod to the area’s bohemian past. Meanwhile, the surrounding luxury condos and apartment buildings represent the city’s rapid modernization. The mix of old and new makes this area a fascinating study in contrasts, appealing to both history buffs and those seeking the vibrancy of urban life.
Residents and visitors alike are drawn to the tranquil waters and the scenic pedestrian paths that run alongside the channel. The area is also a hotspot for kayaking, paddleboarding, and birdwatching, offering a peaceful retreat from the city’s hustle and bustle. Mission Creek Channel exemplifies the intersection of history, architecture, and community in San Francisco, making it a must-visit location for anyone interested in the city’s unique blend of past and future.
Photo of the Jacob Henry Aley Mansion at 1505 North Fairview in Wichita, KS. This photo was taken about 1890. Note the newly planted tree (left). Construction on the house was started in April 1887 and completed later that same year at a cost of $25,000. This home is a confirmed design and build by William Henry Sternberg (1832-1906), who was originally from New York. True to Sternberg designs, this home features tall, fancy corbelled chimney flues where the decorative brick work continues on through the 2nd and 1st floors, highly decorative milled woodwork (both exterior and interior), a square porch above a triangular-shaped main entryway of the house (also seen on Sternberg Mansion and other Sternberg homes), a roofline that visually seems to be a "hodge-podge" of different pitches and shapes which add visual interest to the roofline, three main entries on the first level, usable / functional porches on the first and second floors, fish-scale shingles on the second floor and a 4th floor dormer at the very apex of the house with a window. Typically with Sternberg designs, rounded towers (and turrets - say over a rounded porch - as in the elegant Hatfield Residence @ 430 S. Seneca) appear on the left-side of the main entry of a house and square towers (or square projections) appear on the right side of the residence (when facing head on). Typically these square projections are on a 45 degree angle to the main structure. Although hard to discern from this photo, the dormer at the very apex of the roof has a row of windows in the rectangular area (see note in photo above).
Years before this house was built, Sternberg was promoting himself as both an “architect and builder” of homes, specifically “designing and drafting” services. Many persons have thought of Sternberg as just a contractor, but indeed his design and architecting services (that he did himself) were a substantial portion of his overall business. An advertisement for Sternberg, Hall & Co in the 1869 - 1870 Chenango County, New York Directory noted, “Being Architects and Builders themselves, they know just what is wanted for a house and how to prepare it. Give them your patronage if you would have everything in first-class style.” It is interesting to note that the advertisement listed "Architects" first and "Builders" second. As with most designers and architects common design themes can be seen throughout their works. Sternberg's unique mix of residential styles were just as well-loved in the 1800s as they are today and the common themes throughout his works make identification of them fairly easy. As Sternberg worked most of his life in the Wichita area, this particular style of Victorian architecture (although similar to Victorian-era styles) is unique and distinct to the Midwest. Some areas of the U.S. (like the south, the New England area or the southwest) have had long standing residential design trends that have helped to distinguish those areas. The Midwest is no different. Sternberg's particular residential designs help to distinguish Midwestern Victorian architecture from that of other areas of the country . . .
Mr. Aley was originally from New York and moved to Wichita where started a successful boot and shoe retail business. He also served as a Sedgwick County Commissioner. Today this house is a Local Landmark and is open for public historic tours.
Lumber for building in late 1800s was usually brought in from other areas of the country - especially the Pacific northwest. When "white people" started arriving in Kansas, the prairies were virtually devoid of trees except by streams and rivers. What lumber that was available was mostly cut down by the 1870s. When the transcontinental railroad was being constructed, photography crews followed along taking photos of not only the work but also capturing the hills and prairies in the background. Identical shots today taken from the same vantage points of where those railroad photographers took their photos in 1869 show that virtually all the trees on the prairie today have been cultivated - they are new since then and were not originally there. In the 1800s the prairies were horribly devoid of trees. Indians had a practice of burning the prairies in the early spring. The charred and blacked earth absorbed sunlight better and warmed the ground earlier in the Spring than it normally would have which allowed grasses to grow sooner and most importantly brought buffalo back sooner for grazing. This practice of burning may account for some of the lack of trees in the 1800s. When trees were cut down, the lumber was sawn and planed on location by a steam-powered saw mill. A steam-powered saw-mill was frequently a shoddy open-air shack with a large boiler in the middle which provided steam to a cylinder steam engine. Sometimes steam leaked from boilers or pipes (or both). Steam also blew from the governor as well as it blew from the steam exhaust, so the work was hot and humid. Cotton belts and pulleys connected the equipment and the area smelled like a mixture of fresh wood, grease, burning wood and steam. When a saw mill was in full operation the sawdust produced from the mill provided more than enough fuel to power the boiler. 99% of the lumber used to build the Aley Mansion above (except for a few replacement pieces added in later years) was cut from a steam-powered saw mill. When pieces of pre-cut lumber didn’t or wouldn't meet specifications the wood was hand-hewn with various hand tools including a broad-ax, an adze, a drawknife, a chisel and/or a hand saw. The wood used in the Aley Mansion is all “true dimensional” meaning that a 2 X 4 is really two full inches by a full four inches. A standard “2 X 4” today actually measures 1.5” X 3.5”. Remember that when this house was built there were no extension cords, electric jig saws, electric nail guns, bucket trucks, belt sanders or other convenient electric tools. This was all done with steam saws, pulleys, sweat, hand tools, square nails and lots of elbow grease. Sternberg had a reputation for only hiring the most highly skilled workers in a trade and his firm was widely known for having the best quality construction available.
Of note, since nails back in the 1800s were iron and easily rusted, window frames (which were subject to a lot of moisture) were not put together with any nails at all! Indeed window joints were joined together using a mortise and tenon joint and this arrangement was held together with wooden pegs. This type of construction can be seen today on any of the original windows of a Sternberg structure. This wooden-peg construction has held up quite well and can be seen on these windows today! The practice of using wooden pegs to hold construction joints together (holding joints together with wooden pegs) is really quite old and first starting migrating to the United States in the late 1700s. Prior to that it was being used in Europe (Germany, especially), Africa and the Carribbean islands. Timber framing of a building (although larger than window frames) is a similar technique of using a wood peg to hold a joint. The German term, "Fachwerk" literally means "framework" and "half-timbering", is the method of creating structures using heavy timbers jointed held together with wooden-pegged mortise and tenon joints. In architectural terms, "Half-timbering" is defined as: a latice of panels filled with a non-load bearing material of brick, clay or plaster, the frame is often exposed on the outside of the building. Carpenters (especially German) would peg joints together with an allowance of approximately an inch, enough room for the wood to move as it seasoned, then cut the pegs and drive the beam home fully into its socket. Half-timbered construction is also seen in the southern United States being brought into the region from highly skilled African slaves and the Carribbean islands. Creole plantations (very sturdy, durable and functional places of work) were frequently done in a half-timbered construction set on porous piles that went deep into the soil. The porous piles sucked water up into the walls of the home where the water then evaporated and kept the house surprisingly cool. So the use of wooden pegs to hold wooden joints together was a regional practice, depending on where the immigrants came from. W.H. Sternberg's father (Nicholas Sternberg) immigrated to the United States from Germany. Many of Sternberg's building techniques (including the use of wooden pegs to join wood joints) were without a doubt learned from years of working with his father who learned those same techniques from his father in Germany. In Europe, a cast system of laborers was generations-long and very difficult to overcome. So, in some ways the construction techniques used to build homes like the Aley Mansion in Wichita, KS are hundreds of years old and originated with craftsmen in Germany and other far away places. So in addition to popular design styles, Sternberg was bringing high quality German construction techniques to bear in the western frontier. That construction has held up remarkable well.
From the time he was 5 years old, W.H. Sternberg grew up cutting trees and working in his father’s saw mill. Later he owned his own his own lumber mill for many years. It’s been noted that no one knew the qualities of wood and woodworking techniques better than Sternberg. Sternberg selected only the very highest grade of original old forest lumber to build grand homes like the Aley Mansion. Regarding the quality of the wood used on the Sternberg Mansion, a newspaper article noted that “it is made of wood so hard it will not take a regular nail.” This very dense, high quality old-growth lumber is indeed unlike any lumber on the market today, just another reason these beautiful Victorian buildings deserve to be preserved and saved. The materials simply are not available that they can or ever will be re-made.
Your thoughts, comments, ideas or additional information about this residence are always welcome and appreciated!!
This photo is provided courtesy of the Wichita-Sedgwick County Historical Museum, (www.WichitaHistory.org).
Experience the timeless elegance of San Francisco's 1055 California Street Apartments, nestled in the heart of Nob Hill, one of the city's most prestigious neighborhoods. This historic gem exudes sophistication with its classic Beaux-Arts architecture, featuring intricate wrought-iron balconies, grand arched windows, and ornate detailing that harken back to the early 20th century. Constructed in the 1920s, the building stands as a testament to the city’s rich architectural heritage, blending European elegance with modern luxury.
Upon arrival, residents and visitors are greeted by the building’s stately façade, which is accented by meticulously manicured landscaping and classic street lamps that enhance its old-world charm. The grand entrance, framed by Corinthian columns and a beautifully carved archway, leads into an equally impressive interior, where historic details like marble floors, high ceilings, and intricate moldings have been carefully preserved.
The apartments themselves offer a perfect balance of historic charm and contemporary comfort. Large windows flood the living spaces with natural light, highlighting the refined craftsmanship evident in the hardwood floors, crown moldings, and custom millwork. Many units feature spacious layouts, high-end finishes, and modern amenities such as updated kitchens with stainless steel appliances, luxurious bathrooms, and in-unit laundry.
Living at 1055 California Street means more than just a beautiful apartment; it’s an opportunity to be part of a vibrant community. Nob Hill’s prime location offers easy access to iconic landmarks like Grace Cathedral, the Fairmont Hotel, and Huntington Park, as well as an array of fine dining, boutique shopping, and cultural attractions. The historic cable car line that runs along California Street further enhances the area’s charm, offering a quintessential San Francisco experience right at your doorstep.
The Greiffenstein Mansion at 10th and Jefferson in Wichita, KS. While confirmation that this was in fact designed-built by W.H. Sternberg has yet to be located, a number of stylistic features very strongly suggest this. Sternberg homes commonly have multiple roof pitches (multiple angles). The Greiffenstein Mansion has at least four different roof pitches - creating a visually stunning roof line. Sternberg was known to "not be afraid" to sharply pitch roofs. A 45 degree pitch is not uncommon at all. Some of the roof pitches on the Griffenstein Mansion are sharper than 45 degrees, which is also seen in other Sternberg-confirmed homes.
Sternberg frequently incorporated diamond shapes in the roofs and/or awnings of homes he designed and built. Diamond shapes (as can be seen here) are known to have been incorporated into other confirmed Sternberg-built homes such as the M.J. Oliver residence and Sternberg Mansion. On the ultra high-end homes such as Greiffenstein Mansion above (and Sternberg Mansion), Sternberg often incorporated an additional design feature, that being a related but different geometric design at the very apex of the roof line. On the Greiffenstein Mansion above, the result was half diamond designs at the apex, while the other geometric designs are full diamonds. In Sternberg Mansion, this design configuration was a string of conjoined "Vs" creating a zig-zag line at the apex (resembling half-diamonds, yet somewhat different) with full diamonds for all other areas of the roof. These two roofs are quite similar with zig-zags at the very apex and full diamonds elsewhere throughout the roof. Sternberg mansion is about 4 blocks from where the Greiffenstein Mansion was located. In fact when this photo was taken, if you looked out the front door of the Greiffenstein Mansion and straight down the street, you could have clearly seen Sternberg Mansion in your view. There were fewer trees then as compared to now and Sternberg Mansion, like the Greiffenstein Mansion was taller than the tree line - even if there were trees in the way.
So the use of diamond designs in the roof and related diamond designs at the apex is probably the strongest stylistic evidence that the Greiffenstein Mansion was designed & built by W.H. Sternberg - a similar design was also used in Sternberg's own home. See authentic 1886 drawing of Sternberg Mansion for this design configuration.
The front porch (visible in the photo) is somewhat unique in that the balausters curve and flare out towards the bottom of the front stairs. The vast majority of staircases on even many high-end homes were parallel and straight from top to bottom. Whether indoors or outdoors, the vast majority of staircases are not this flaring, sweeping type. Sternberg was known to have used this flaring, curving design in other homes which are confirmed he designed-built. There is no functional need for a flaring staircase - it's simply a for style and Sternberg was known for suggesting unique styles to home builders - something to set them apart.
Sternberg spent his early years (until he was about 40) operating a architectural millwork business and designing and building homes in New York State - a hot bed for trend-setting architectural design. Evidence indicates that he traveled to Paris in 1855 and attended the World's Fair where upon his return he is credited with having introduced the french-designed Mansard-style roof in New York State - a style that was wildly popular with Victorians in part because this design significantly opened up usable floor space in what would otherwise have been the attic, yet because it was still "the attic", there were generally no taxes assessed on this extra space.
Sternberg was the preeminent designer & builder in the Wichita area when the Greiffenstein Mansion was built and William Greiffenstein was one of the wealthiest men in the U.S. As money was not an object for Greiffenstein it's quite likely he used the premier builder for his personal residence. Records indicate this house was built in 1886-1887 at a cost of about $75,000. The incorporation of a central tower in the house while a bit of an unusual feature for Sternberg is not unknown. Indeed one of Sternberg's own homes in Norwich, New York used a similar tower design but was open-aired at the top (a "look-out" of sorts) and capped with a curved top. A strikingly similar design (open-aired tower with a curved top) could be seen on the carriage entry to the Oak Davidson Residence (see Davidson residence photos).
This view of the Greiffenstein Mansion is of the front entrance facing east down 10th Street. It would have been a grand view - about four blocks long to Waco Avenue. This beautiful structure sustained a massive fire in later years and it largely gone today, but remnants of it's grand past still remain including massive limestone foundation blocks, portions of flooring and railings and delightful fountains (not visible in this photo) in the front yard. Additional photos show the fountains.
Fountains are yet another design that Sternberg is known to have incorporated into both residential and commercial buildings. Normally there he just used one fountain for a house and sometimes it was little more than a pipe with a spray, but for the Greiffenstein Mansion (one of the grandest homes in the State), he incoporated TWO fountains. The Greiffenstein Mansion is the only residence in the area known to have two fountains.
A rare view of the interior of the Pratt-Campbell Mansion (first-floor parlor) in Wichita, KS. This photo was taken c. 1890. This grand home still stands today. It was designed and built by William Henry Sternberg (1832 - 1906). High-style plant stands at every window, swagging curtains with pull-down shades, a large oriental rugs and elegant furniture including a piano. Obviously swagging fabrics were in high style at the time. The ceiling was likely wall papered as an elegant backdrop to the ornate gas-electric chandelier. The ceilings in this room at 13 feet high are the tallest ceilings of any Victorian home in Wichita, KS.
Portieres (heavy draping curtains at the doorway of a room) were quite common in the late 1800s. A portiére is a heavy fabric hanging or placed either over a door or in the doorless entry to a room. Its name comes from the French word for door, “porte”. Common in wealthier households during the Victorian era, it is still occasionally used either as an ornament or as a means of mitigating drafts. It is usually of some heavy material, such as velvet, brocade, or plush. In addition to helping keep drafts out, portieres offered a stylish way to instantly add privacy to a social house call. In Margaret Mitchell's novel, Gone with the Wind, the protagonist Scarlett O'Hara makes a new dress from her mother's green velvet portieres (the scene was famously parodied on The Carol Burnett Show when Carol Burnett, playing the role of Scarlett, wore not only the fabric but the curtain rod as well).
Sometimes instead of a solid fabric portiere, Victorians decorated with rope portieres which were made from elaborately hand-tied ropes or cords, sometimes with beads or other ornamental niceties. Because portieres are almost always fabric and were touched and handled so much over the years, they are somewhat rarer to find today than some other items. Originally portieres were a concept and development from France, circa 200 – 400 A.D. The idea spread and made its way over to England a century or two after France. After the Civil War in the US, manufacturing plants of all types began springing up (including thread and weaving mills) and the Industrial Age was in full swing. Mechanized mills had replaced virtually all hand weaving by the early 1800s (1820s – 1830s). Mills, colors and techniques expanded as technology improved and these portieres seen in this photo were likely made in a large mechanized American factory in the New England or Chicago area sometime in the 1880s.
Your thoughts, ideas, comments and/or additional information is greatly appeciated and welcome!
This photo is courtesy of the Wichita-Sedgwick County Historic Museum (www.WichitaHistory.org).
Fontana East Condos in San Francisco are a striking example of mid-century modern architecture, standing proudly in the Russian Hill neighborhood. Built in 1965, this 18-story high-rise complex offers a variety of floor plans, all featuring floor-to-ceiling glass and private, step-out balconies that provide stunning views of the bay, Marin, and Alcatraz. The sleek, curved facade and the expansive use of glass create a visually appealing and sophisticated exterior.
The condos are part of a stock cooperative, meaning residents own shares in the corporation that owns the building, rather than owning their individual units. This unique structure has contributed to the affordability and community-oriented nature of the building. Each unit is designed to maximize space and light, with many offering breathtaking views from both the living room and master bedroom.
Fontana East Condos are located within walking distance to popular attractions such as Fisherman's Wharf, Aquatic Park, and Ghirardelli Square, making it an ideal location for both residents and visitors. The building also offers amenities such as a club room, attended lobby, garden area with BBQ, and shared laundry facilities on each floor. The proximity to public transportation and Fort Mason adds to the convenience and appeal of living in this historic building.
The architectural design of Fontana East Condos reflects the innovative spirit of mid-century modernism, with its emphasis on clean lines, functional spaces, and integration with the surrounding environment. The building's location on the waterfront adds to its charm, offering residents a unique blend of urban living and natural beauty.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1YPUDzS
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This nighttime urban scene in Kanazawa, Japan, captures the raw aesthetic of post-war Japanese architecture, blending functional design with a quiet, almost cinematic atmosphere. The stair-stepped apartment complex, illuminated by scattered interior lights, is a prime example of Japanese urban residential design—built with efficiency, space optimization, and structural resilience in mind. The building's stark, geometric facade is reminiscent of the late Showa-era architecture, where exposed staircases and stacked layouts maximized density in growing cityscapes.
The parking lot in the foreground, a staple of Japanese urban planning, features automated payment terminals and numbered slots, highlighting Japan’s meticulous approach to space management. The presence of luxury cars, including an Audi and a black sedan, suggests a well-maintained, perhaps newer, urban neighborhood.
In the background, a convenience store with its familiar bright signage acts as a beacon of everyday life, reinforcing the rhythm of Japanese city living. The interplay of artificial lights, shadows, and the muted tones of the concrete-clad structures creates a composition that feels both intimate and expansive. The warm glow of apartment windows against the dark sky adds a human touch, hinting at the lives unfolding inside.
This scene reflects the unspoken beauty of Japan’s urban environments, where architecture isn’t just about grandeur but about efficiency, adaptability, and everyday life. Whether in Tokyo, Osaka, or smaller cities like Kanazawa, these structures tell stories of resilience, routine, and the quiet poetry of city nights.
M.J. Oliver Residence in Wichita, KS (now razed - the house, not Wichita, KS). An early description of this house noted that interior walls and ceilings were finished with hand-pained frescoes. Exterior brickwork was extremely ornate (especially the south chimney - which is somewhat hidden behind the tree in this photo - which corbells up through the limestone foundation and has decorative brickwork patterns the entire height of the house). Photo shows mainly the front (east side) of the house and the south side of the house (whcih actually has the larger porch). If one were looking due northwest at Lawrence & 10th Street in Wichita, KS, this was the scene. This residence is confirmed to have been designed & built by W.H. Sternberg circa 1886. The residence was torn down to make way for commercial development and today the Saigon Restaurant sits on this site. Judging by some of the other more modest homes in the photo, this was without a doubt a first class Victorian home with two (probably coal-burning) fireplaces. The fence of wrought and cast iron also set this home apart. Because of the tremendous economic boom at the time this house was built, skilled workers from all over the country were relocating to Wichita in hopes of finding work. There were a couple of newly-relocated mural painters in Wichita (one allegedly from Illinois the other from "back east") and this house is reported to have had large hand-painted frescoes on the walls & ceilings (done by the artist from Illinois). Consistent with Sternberg-designed homes this one displays the diamond pattern in the front awning, highly corbelled & decorative brick work on the chimney column and flue, a front window on the 2nd level appears to extend into the 3rd level (tied together by a decorative element at the roof line) giving the impression of a two-story room on the front as well as a steeply pitched roof. The broad side of this house faces south towards downtown. The roof line of this home appears to mimic the C.R. Miller home in many ways. Of course the C.R. Miller home was on south Lawrence and the broad side faced north. Here the M.J.. Oliver is on north Lawrence and the broad side faces south. There are additional design aspects of this home that resemble or appear to "copy" other confirmed Sternberg-designed properties such as the low sloping roof line on the north (similar to the Levy Mansion) and the and the wrap-around porch on the south side of the residence (reminiscent of Sternberg Mansion). Although not visible in this photo, the one south porch covers two entryways to the residence with stairs on both the east (showing) and west side (a similar wrap-around porch - south side of the residence - covering two entry doors with stairs on east and west side of porch also seen at Sternberg Mansion). Not exclusively, but commonly Sternberg-designed-built homes have the front entryway on the right side of the house (as this house does). This house was built about 1886. The Wichita City Directory does not list a residential address for M.J. Oliver in 1885, however in 1887, this address (1105 N. Lawrence) is listed as his residential address. So sometime between 1885 and 1887 this house was built. This period was also the very height of the economic boom. This photo is believed to have been taken the Winter of 1886 or 1887. The Olivers planted new trees (along the fence next to 10th street) when they moved in and a confirmed 1888 photo shows those same trees, but looking a little larger than they appear in this photo.
The Georgian-style porch on the south of the residence (closest to 10th street) with opposing stairs on each side indicates that even though this is the largest porch on the residence, it was not the front or main porch. The main porch on Sternberg homes always has the widest staircase and always leads directly into the home - it's a straight shot into the home. However all other staircases in Sternberg homes always encompass turns or twists between the time a person enters the staircase and essentially "leaving" the staircase (whether exterior or interior). In the case of the south porch one must turn to enter the house. With regard to interior staircases in Sternberg homes, they are never straight. When you enter the staircase you're never exactly sure where you might end up as they always turn at least once if not more than once and rarely (or not easily) can you see the final destination of the staircase from the starting point. For this reason I have always thought of Sternberg staircases as "passageways of mystery" and what a Victorian delight they would have been at a time when most staircases were purely functional, Sternberg built all secondary staircases in his homes (other than the main one to the front door) as elements of intrigue and mystery. This design aspect also had practical purposes, too, as it shielded the private areas of the second floor from lookers on the first floor without having to use portieres or doors for privacy. Perhaps this was one reason W.H. Sternberg was so popular for residential design. In the late 1800s, he was specifically building homes for the enjoyment and livability of its occupants, which was an idea that wasn't common for persons of moderate to upscale means. Only the extremely wealthy could afford to have their homes architected and built to suit their own comfort and Sternberg did maintain and use the services of prominent architects when the situation called for it. Indeed, Sternberg is credited with having been the first person in Wichita to use the services of an architect (outside of the area) purely for residential design. That residence was the home of C.R. Miller on South Lawrence (home commonly known as "Lyndhurst") and the architect was none other than Standord White who had a national reputation for designing homes for the super wealthy including the Vanderbilts, the Astors, Joseph Pulitzer and many other notable and wealthy persons of the day. Another "novel" feature that W.H. Sternberg is credited with having built (in the Wichita area ) was the first-ever laundry chute (in the Pratt-Campbell Mansion). Again the notion of designing and building one's home specifically for the comfort of its occupants was not at all common in the 1800s. Work was the standard and the notion of "short-cutting" the stairs by building a laundry chute was unheard of. But Sternberg brought many of these types of new designs together and introduced them to prospective home builders and it resulted in wide-spread appeal and acclaim to his benefit. The Biographical Album of Sedgwick County notes in 1888, that W.H. Sternberg designed and built "probably twice as many" homes and buildings as the next largest contractor. What he did was new and different and many people had the means to do something new and different. Sternberg was the area's leading designer and contractor at a time in the 1800s when Wichita had a larger population than Dallas, TX and was by some measures the fastest growing city in the entire country (#2 would have been New York City, #3 would have been Kansas City). His building styles to this day are well-loved by all who see them.
Years before this house was built, Sternberg was promoting himself as both an “architect and builder” of homes, specifically offering “designing and drafting” services. An advertisement for Sternberg, Hall & Co in the 1869 - 1870 Chenango County, New York Directory noted, “Being Architects and Builders themselves, they know just what is wanted for a house and how to prepare it. Give them your patronage if you would have everything in first-class style.” It is interesing to note that they listed "Architects" first and "Builders" second in the list of services. Some have tended to think of W.H. Sternberg as mainly a contractor, but indeed the architecting and design services that he did himself were a substantial portion of his business if not the larger portion.
Your thoughts, ideas, comments and / or additional information are welcomed and appreciated!!
The Maurice W. Levy Mansion at 204 North Topeka in Wichita, KS was designed and built by William Henry Sternberg (1832 - 1906). Mr. Levy was originally from California and started working for the Wichita National Bank as a cashier. He became president of the bank in 1887 and erected this house at that time. Scant few pictures of this house exist today. Interior woodwook was undoubtedly of the finest quality. No known interior photos exist, but from the exterior, it appears to follow a familiar Sternberg floor plan. Note the arched window in the middle of the fireplace flue. This window was likely over the mantle of the fireplace on the first floor. The roof was slate, but instead of diamond designs in the roof, Sternberg incorporated a geometric flower design. This grand residence was the home of the Wichita Commercial Club for many years (equivalent to the Chamber of Commerce today). This home "hung on" for years until commercial development finally overtook it to make room for a parking lot.
Years before this house was built, Sternberg was promoting himself as both an “architect and builder” of homes, specifically “designing and drafting” services. An advertisement for Sternberg, Hall & Co in the 1869 - 1870 Chenango County, New York Directory noted, “Being Architects and Builders themselves, they know just what is wanted for a house and how to prepare it. Give them your patronage if you would have everything in first-class style.” Some have tended to think of W.H. Sternberg as mainly a contractor, but indeed the architecting and design services that he did himself were a substantial portion of his business.
There is only one half-moon window in this entire house - that on the third floor over the main entryway overlooking the front of the residence. Other confirmed Sternberg-designed and built homes also have only one half-moon window and those windows are also only on the third floor, although the exact positioning of them on the third floor varies. More often than not those half-moon windows overlook the front of the residence. The exception to this would be Sternberg Mansion in which the third floor half-moon window faces south overlooking the main portion of the block
Comments, suggestions, information and ideas are all welcome and appreciated!
This photo courtesy of the Wichita-Sedgwick County Historical Museum, (www.WichitaHistory.org).
This rare view of the interior of the Pratt-Campbell Mansion (designed & built by William Henry Sternberg, 1832-1906) faces northeast - towards the tower. Evident is the gracefullness of the curved balausters, hard-wood paneling and detailed carvings on the newel posts.
In 1872 Charles Eastlake’s book, “Hints on Household Taste” was printed in America. Eastlake loathed the ornate and polished furniture that was in use at the time. He urged his readers to purchase simple furniture without excessive ornamentation. In 1876 nearly 10 million Americans, about 25% of the population at the time, traveled to Philadelphia for the Centennial Exposition. There they saw all the newest and latest in technology, art and design. This event wrought great changes in the American home.
In 1879 Edison created a successful, practical lighting system. This too, greatly affected decorating choices made for the home. And by the 1880’s some American writers on interior decoration began dwelling on the idea of the bathroom being a pleasurable space and not just a necessity.
Charles Eastlake dismissed the previously popular wall treatments, favoring the idea of a 3 foot high wainscoting around the principle rooms. By using wainscoting, he introduced a new 3 part horizontal wall treatment which remained in style for 2 decades. This consisted of a dado or wainscoting on the bottom (similar as can be seen here), a frieze or cornice on the top and a section called the field in between. He was the one who popularized this treatment and its imitations in all rooms of the house. The top of the wainscoting was usually 36” to 42” above the floor.
There were many ways to achieve this new 3 part wall. The most expensive way was to use real wooden panels as wainscoting (seen here in the Pratt-Campbelle Mansion), but most households couldn’t afford this. Even then, this treatment usually only appeared in entry halls and dining rooms. By the 1880’s, though ready made wainscoting was being offered for sale. It was made of plain vertical boards ¼” to 7/8” thick, glued to a heavy cloth. One could also achieve the fashionable look with wallpaper that imitated the dado, field and frieze patterns.
Lincrusta was a paper that was used to this effect, and it became very popular in the 1880’s. It was invented by Fred Walton in 1877, who also created linoleum in 1863. Lincrusta was very durable and easy to shape into corners and curves. Lincrusta, then as it is today, was made of wood pulp and linseed oil pressed into decorative molds and cut into panels. It was paintable, versatile and decorative and these points made it very popular. Lincrusta simulated tooled leather, so it was a way to “upscale” a room without the expense of tooled leather.
Anaglypta was a thick embossed paper product similar to Lincrusta but not as durable. It was patented in England in 1887 by Thomas Palmer, manager of the Lincrusta-Walton company. It was suitable for walls, friezes and ceiling decoration and was painted or glazed to suit the homeowner. There were many other heavy embossed papers around at the time too.
Your thoughts, comments, ideas and/or additional information is certainly welcomed and appreciated!!
This photo is courtesy of the Wichita-Sedgwick County Historical Museum (www.WichitaHistory.org).
This rare interior photo of the Pratt Campbell Mansion on North Emporia in Wichita, KS shows upscale Victorian styling. A gas chandelier hangs in the staircase. An ornate central staircase of the finest wood with carved newel posts leads to a large landing. Sternberg was known for incorporating staircase designs that gracefully flared outward towards the bottom and he used this style in both interior and exterior staircases. Portieres drape and puddle on the parquet floors. This grand Victorian residence was designed & built by William Henry Sternberg (1832-1906) who was known for hand-selecting the only the highest quality, clearest woods for interior and exterior use. Especially for a lumber baron such as George Pratt, the selection of wood in this Victorian Mansion would have been only the "best of the best".
Your thoughts, comments, ideas and additional information are welcomed and appreciated!!
This photo is courtesy of the Wichita-Sedgwick County Historical Museum (www.WichitaHistory.org).
www.landscape-design-advisor.com - This colorful 2d landscape architecture rendering was created using 2d shapes and architectural symbols from 2d Landscape Architecture. The sketch gives a bird’s eye view of a luxury beach resort, displaying every feature with full color 2d graphics, including trees and shrubs, outdoor furniture, people, and vehicles. Realistic landscape texture maps were used to create lawns, parking lots, and outdoor spas. These symbols and graphical representations make the 2d landscape architecture image come to life. For more member photos, visit us at www.landscape-design-advisor.com, follow us on Tweeter and Like us on Facebook for a free gift!
At the corner of a bustling San Francisco intersection stands this striking Spanish Colonial Revival-style home, distinguished by its pale blue façade and red-tiled roof. Built during the early 20th century, the house captures the charm of the era’s Mediterranean-inspired architecture. Rounded arch windows framed with wrought iron detailing and carefully placed balconies evoke a timeless elegance. The stucco exterior, a hallmark of this style, pairs seamlessly with the terracotta roofing, blending historic craftsmanship with the surrounding greenery.
The home’s corner lot placement ensures it remains highly visible, with its carefully manicured landscaping offering a soft contrast to the bold architectural elements. Noteworthy details include the scalloped garden wall and decorative wrought iron gates, both of which serve as subtle nods to traditional Spanish design. The nearby tree-lined streets and adjacent Golden Gate Park add a serene backdrop to the scene. While the architect behind this property remains unknown, the structure speaks to a period when Spanish Revival flourished in San Francisco, particularly in neighborhoods influenced by early 20th-century trends in design and urban development.
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VCAD Interior Design Program
Space, lighting and design can influence how people feel, think, work, and relate to each other. Interior design is a rewarding and creative career that allows you to bring beauty and function into the lives of others. VCAD's Interior Design program allows you to develop a skill set that compliments your creative vision so you can excel in interior design. The program introduces students to design principles, color theory, space planning, drafting and industry-standard software.
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The John A. Wallace Residence at 1021 North Lawrence (now re-named Broadway) is confirmed to have been designed and built by William Henry Sternberg in the mid-1880s. This brick residence with a limestone foundation was located just to the south of the Hacker Residence (1055 North Lawrence) which is also suspected of being a Sternberg design/build. See photostream for image of the Hacker home. The Wallace home was built with a single-story heated carriage house finished with a small belvedere or fancy cupola, but unlike many of the carriage houses of the day, this carriage house was built of brick and trimmed out in limestone - more substantial than most carriage houses which were of wood (even when the main residence was brick). The Wallace Residence has a number of stylistic features consistent with other confirmed Sternberg designs including: an ornate slate roof comprised of bands with varying tile shapes and different slate colors for each band, two-story bay windows, double multi-tiered decorative fountains flanking the front entry way (also seen at the Greiffenstein Mansion), double front doors - a common Sternberg design (also seen on Sternberg Mansion), decorative porches on the third floor (too small to be functional) - seen on the A.W. Bitting house and many others, three main porches on the ground level, three ornate highly corbelled chimney flues and fancy milled gingerbread woodwork. In Sternberg designs, roof cresting was commonly used on the very apex of the house (as seen here), but also somewhat to a lesser extent on lower dormer apexes (as in the M.J. Oliver home). There was likely some decorative or very small porch(es) on the south side of the residence (side not showing in image). Yet another design element that appears frequently in Sternberg homes is a two-story small square bay area (see note outlining this element in image above). In Sternberg designs, this square bay is ALWAYS topped with a shed-style roof with a pitch that frequently is different from the roof it connects to. A two-story square bay with a shed roof is also seen on the Albert Hess residence at 637 N. Emporia in Wichita, KS and is only one of the reasons why the Hess residence is suspected of having been designed / built by W.H. Sternberg.
Typically, slate tiles are thought of as varying shades of gray, a wide array of natural slate colors was widely available in the late 1800s. Slate colors varied from gray, black, blue-black, purple, rust, orange, blue-green, light gray and even yellow. Banding a roof in different slate colors was not uncommon as was ornamenting one's roof with geometric designs frequently of flowers, trefoils, quatrefoils, greek keys, diamonds and/or other geometric shapes. Frequently several different shapes of slate tiles such as scalloped, beveled or square tiles would be incorporated within a roof. And the way the tiles were layed (such as overlapped or fanned) also varied. Sternberg used very light-gray and very dark gray slate tiles in the roof of his own house at 1065 N. Waco Avenue, so he was clearly aware that slate tiles came in more than one color. Some of these slate tiles were "discovered" still on the roof in 2010 and have been saved.
Years before this house was built, Sternberg was promoting himself as both an “architect and builder” of homes, specifically “designing and drafting” services. An advertisement for Sternberg, Hall & Co in the 1869 - 1870 Chenango County, New York Directory noted, “Being Architects and Builders themselves, they know just what is wanted for a house and how to prepare it. Give them your patronage if you would have everything in first-class style.” Some have tended to think of W.H. Sternberg as mainly a contractor, but indeed the architecting and design services that he did himself were a substantial portion of his business. At Sternberg's millwork factory in Norwich, New York, his designing and drafting business was co-located in the same building as the millwork factory. At one point they were two distinct businesses operating out of the same building, both being run, of course, by Sternberg.
This image shows a small box out next to the curb, right next to the street between the two hitching posts. This is likely a stone carriage step so that when a carriage arrived the door would open and the ladies could comfortably step out of the carriage and onto the stone carriage step without showing too much leg! This stone likely had the address of the residence ("1021") and even the last name of the owner ("Wallace") chisled into it. This residence, with the multi-tiered fountains, stone carriage step, iron fence and dual decoratively carved stone hitching posts, reinforced to visitors that they were arriving at a very fine address. This was intended to impress.
The sidewalks appear to be paved with cement which was certainly available at this time. Portland cement had been around for about 50 years when the Wallace home was built and even steel-reinforced cement structures had been around for about 10 years (known as "ferrocement"), although the idea of paving streets with cement didn't happen until the 1890s. Brick walks were also common as a sidewalk material as were wood planks. Sternberg did use cement as a building material within his homes primarily for decorative lintels, brackets and cornices but not as a main structrual material.
Unfortunately the Wallace home has been torn down to make way for commerical "development.".
John Wallace was a dealer / agent of agricultural implements for the Walter A. Wood Harvesting Machines business at the time this home was built.
Any thoughts, comments, ideas or additional information about this residence are welcomed and appreciated!
Image is a scan off of an original print out of the 1887 Kansas Atlas.
STAINED GLASS WINDOWS:
These stained glass windows are not original to 1886 and are believed to have been installed during an extensive renovation to Sternberg Mansion in the early 1900s (about 1904 when it was then owned by the President of Kansas National Bank, W.S. Corbett). Many people have looked at these windows and commented that they appeared to be a Frank Lloyd Wright style and there is not yet, despite two expert examinations, confirmation that they are or not. There are several reasons to believe they might be F.L.W. (1867 - 1959) designs, the style is consistent with the middle period of F.L.W. career in which he made heavy use of "organic architecture", part of the Prairie School of Design. The organic architecture phase of F.L.W. career is what he is most well-known for. The Allen Lambe House in Wichita is one of the later F.L.W. prairie designs. The central theme of this organic architecture period was what F.L.W. called the "Tree of Life" - which took many stylized, highly geometric forms, but was essentially a tree usually represented by repeated geometric shapes at the top (representing leaves), long, thin lines under this representing the trunk and heavy, prominent shapes towards the bottom (but sometimes very small "dots), representing the root system. F.L.W. was well known for his use of iridescent pink, green and brown (of which this windows are almost entirely made). Repetition of shapes was common in F.L.W. windows as was the use of chevron shapes (an inverted 'V" shape). All of these elements are seen in these windows. The owners of the Mansion at the time certainly had the connections and the means to purchase FLW windows. F.L.W. was at the height of his career when these were designed. The owners of Sternberg Mansion were modernizing and updating and the geometric nature of these windows is out of character with the high ornamentation of the rest of the Mansion. Any confirmation on the design of these windows one way or the other has yet to be made. Expert opinion continues to be sought. See photos of known F.L.W. stained glass windows for striking similarities between these and confirmed F.L.W. designs.
In the 1975 while Sternberg Mansion was undergoing a restoration by the City of Wichita, thieves broke into Mansion and stole all 6 of these windows above. They were not damaged when they were removed. They were crated up, covered in blankets and being stored behind a convenience store at Central & Woodlawn in preparation for shipping when an anonymous tip to the police reported some unusual crates covered up by sheets behind a convenience store at Central & Woodlawn. The article that appeared in the newspaper about this on 11-13-1975 states,
"'Irreplaceable' stained glass windows stolen nearly four months ago from a historic Wichita home were recovered early this morning - apparently undamaged - behind a service station at Central and Woodlawn. Wrapped carefully in bedspreads and afghans, the windows were discovered following anonymous telephone calls about 1:30am from a woman to police, Urban Renewal Agency officials and The Beacon. The windows were taken in August from the W.H. Sternberg Home at 10th and Waco, the first URA historical renovation project and the first property to be considered for local landmark designation... The windows were the second recovery connected with the August theft. In September, the newel of the main staircase was recovered, and a juvenile boy was taken into police custody. Still missing are a chandelier from the middle parlor of the home and leaded glass doors from a built-in china cabinet... The Sternberg project is the first historical restoration program undertaken by the URA since it was granted power to do so in 1972. The three-story frame home was chosen both for its architectural and historic significance. Sternberg, a Wichita contractor who built many ofthe city's original government buildings and large family homes, unsed his home as a model incorporating all the design elements he could fabricate."
The stolen windows were then professionally re-installed back in their proper place within the Mansion. The theft of the windows made newpaper headlines and their recovery also made newspaper headlines. Reprints of those original newspaper articles are on display in the Mansion.
Your thoughts, comments, ideas, stories and additional information about this photo or this place are welcome and appreciated.
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Visual College of Art and Design
500 - 626 West Pender Street
Vancouver, BC
V6B 1V9