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Built between 1959 and 1962, this Modern Futurist and Googie building was designed by Eero Saarinen and Associates for Trans World Airlines to serve as a Flight Center, or Terminal headhouse, for their passenger services at John F. Kennedy International Airport in New York City. The building is an example of thin shell construction, with a parabolic and curved sculptural concrete roof and concrete columns, with many surfaces of the building's structure and exterior being tapered or curved. The building also appears to take inspiration from natural forms, with the roofs appearing like the wings of a bird or bat taking flight. The building served as a passenger terminal from 1962 until 2001, when it was closed.
The building's exterior is dominated by a thin shell concrete roof with parabolic curves, which is divided by ribs into four segments, with the larger, symmetrical north and south segments tapering towards the tallest points of the exterior walls, and soar over angled glass curtain walls underneath. At the ends of the four ribs are Y-shaped concrete columns that curve outwards towards the top and bottom, distributing the weight of the roof structure directly to the foundation. The east and west segments of the roof are smaller, with the west roof angling downwards and forming a canopy over the front entrance with a funnel-shaped sculptural concrete scupper that empties rainwater into a low grate over a drain on the west side of the driveway in front of the building, and the east roof angling slightly upwards, originally providing sweeping views of the tarmac and airfield beyond. The exterior walls of the building beneath the sculptural roof consist of glass curtain walls, with the western exterior wall sitting to the east of the columns and the eastern exterior wall being partially comprised of the eastern columns, with the curtain wall located in the openings between the columns. To the east and west of the taller central section are two half crescent-shaped wings with low-slope roofs, with a curved wall, integrated concrete canopy, tall walls at the ends, and regularly-spaced door openings. To the rear, two concrete tubes with elliptical profiles formerly linked the headhouse to the original concourses, and today link the historic building to the new Terminal 5 and Hotel Towers.
Inside, the building features a great hall with a central mezzanine, and features curved concrete walls and columns, complex staircases, aluminum railings, ticket counters in the two halls to either side of the front entrance, a clock at the center of the ceiling, and skylights below the ribs of the roof. The space features penny tile floors, concrete walls and built-in furniture, red carpeting, and opalescent glass signage. On the west side of the great hall, near the entrance, is a curved concrete counter in front of a large signboard housed in a sculptural concrete and metal shell that once displayed departing and arriving flights. On the north and south sides of this space are former ticket counters and baggage drops, which sit below a vaulted ceiling, with linear light fixtures suspended between curved sculptural concrete piers that terminate some ways below the ceiling. To the east of the entrance is a staircase with minimalist aluminum railings, beyond which is a cantilevered concrete bridge, with balconies and spaces with low ceilings to either side, off which are several shops, restrooms, and telephone booths. On the east side of the bridge is a large sunken lounge with red carpet and concrete benches with red upholstered cushions, surrounded by low concrete walls that feature red-cushioned benches on either side, sitting below a metal analog signboard mounted to the inside of the curtain wall. To the north and south of the lounge are the entrances to the concrete tubes that once provided access to the concourses, which are elliptical in shape, with red carpeted floors and white walls and a white ceiling. On the mezzanine are several former lounges and a restaurant, which feature historic mid-20th Century finishes and fixtures.
The complex includes two contemporary hotel towers, the Saarinen and Hughes wings, which were designed carefully to harmonize with the original building and match its character. The two wings feature concrete end walls, curved Miesian glass curtain walls, and interiors with red carpeting, wooden paneling, brass fittings and fixtures, and white walls and ceilings. The only substantial modification to the structure's significant interior spaces was the puncturing of the two concrete tubes to provide access to these towers. The former terminal also features several service areas that were not previously open to visitors, which today house a massive fitness center, a cavernous underground conference center, and various meeting rooms and ballrooms, with all of these spaces, except the fitness center, being redesigned to match the mid-20th Century modern aesthetics of the rest of the building, with new fixtures, furnishings, and finishes that are inspired directly by the time period in which the building was built, and are nearly seamless in appearance with the rest of the building.
The fantastic building was designated a New York City Landmark in 1994, and was listed on the National Register of Historic Places in 2005. Between 2005 and 2008, the new Terminal 5, occupied by JetBlue, was built, which wraps the structure to the east, and was designed by Gensler, and was carefully placed so as to avoid altering or damaging the character-defining features of the historic terminal. Between 2016 and 2019, the building was rehabilitated in an adaptive reuse project that converted it into the TWA Hotel, which was carried out under the direction of Beyer Blinder Belle, Lubrano Ciavarra Architects, Stonehill Taylor, INC Architecture and Design, as well as the Port Authority of New York and New Jersey and MCR/Morse Development. The hotel features 512 guest rooms, large event spaces, a rooftop pool at the top of the Hughes Wing, a large basement fitness center, and a Lockheed Constellation L-1649A "Connie" on a paved courtyard to the east of the building, which houses a cocktail lounge. The hotel is heavily themed around the 1960s, and was very carefully designed to preserve the character of this iconic landmark.
Chrystian Guy
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Ipe garden bench with a pergola above. This garden structure was crafted in the Toronto area.
Your Deck Company is a deck builder in the Toronto area. We also service Markham, Richmond Hill, Thornhill, Vaughan, Woodbridge, Pickering, Ajax and surrounding areas. Your Deck Company specializes in the installation of low maintenance decking products and custom outdoor garden structures.
Feel free to visit our website at www.yourdeck.ca for more examples of our work. We would be happy to assist you with your upcoming decking or outdoor project.
Thank You.
Luang Prabang is an outstanding example of the fusion of traditional architecture and Lao urban structures with those built by the European colonial authorities in the 19th and 20th centuries. Its unique, remarkably well-preserved townscape illustrates a key stage in the blending of these two distinct cultural traditions
From the 14th to the 16th century the town became the capital of the powerful kingdom of Lane Xang (Kingdom of a Million Elephants), whose wealth and influence were related to its strategic location on the Silk Route. The city was also the centre of Buddhism in the region. Luang Prabang takes its name from a statue of Buddha, the Prabang, offered by Cambodia.
After the establishment of the French Protectorate in 1893, following a period of turmoil during which the country was divided into three independent kingdoms, Luang Prabang once again became the royal and religious capital during the reign of King Sisavang Vong. It played this role until Vientiane became the administrative capital in 1946.
Luang Prabang is exceptional for both its rich architectural and artistic heritage that reflects the fusion of Lao traditional urban architecture with that of the colonial era. Its remarkably well-preserved townscape reflects the alliance of these two distinct cultural traditions.
The richness of Luang Prabang architecture reflects the mix of styles and materials. The majority of the buildings are, following tradition, wooden structures. Only the temples are in stone, whereas one- or two-storey brick houses characterize the colonial element of the town. The many pagodas or "Vat" in Luang Prabang, which are among the most sophisticated Buddhist temples in Southeast Asia, are richly decorated (sculptures, engravings, paintings, gilding and furniture pieces). Wat Xieng Thong, which dates from the 16th century, comprises an ensemble of the most complex structures of all the pagodas of the town. It is remarkable both from the archaeological point of view, and from the Lao iconographic and aesthetic viewpoint.
Many traditional Lao houses remain; they are built of wood using traditional techniques and materials introduced in the colonial period, such as plaited bamboo panels coated with wattle and daub. Brick colonial buildings, often with balconies and other decorative features in wood, line the main street and the Mekong.
The built heritage of Luang Prabang is in perfect harmony in the natural environment. The sacred Mount Phousi stands at the heart of the historic town built on a peninsula delimited by the Mekong and the Nam Khan, domain of the mythical naga. Ceremonies to appease the nagas and other evil spirits, and Buddhist religious practices (Prabang procession, the monks’ morning quest) perpetuate the sanctity of the place. Natural spaces located in the heart of the city and along the riverbanks, and wetlands (a complex network of ponds used for fish farming and vegetable growing) complement this preserved natural environment [unesco.org]
Cone-in-cone limestone bed, composed of finely fibrous calcite. This weathered sample is likely derived from an interbed in the Ohio Shale outcrop belt (Frasnian-Famennian, Upper Devonian) of central Ohio, USA.
Cone-in-cone structures are strange features found as interbeds in fine-grained siliciclastic rocks and sometimes found in the outer layers of concretions. They consist of sets of conical structures stacked up within each other. Mineralogically, they are often composed of finely-crystalline fibrous calcite. Numerous hypotheses have been proposed over the years that try to explain cone-in-cone structures. None has emerged as the most popular or most likely (see Lugli et al., 2005 for a long list of proposed formation mechanisms). These structures remain a mystery.
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For more info. on cone-in-cone structures, see (as examples):
Melichar & Shkovira (2001) - Case study of the cone-in-cone structure based on Czech and Crimean samples. GeoLines 13.
Lugli et al. (2005) - Silicified cone-in-cone structures from Erfoud (Morocco): a comparison with impact-generated shatter cones. in Impact tectonics. Impact Studies 6: 81-110.
Serpentine Pavilion 2019 designed by Junya Ishigami "The Japanese architect Junya Ishigami, celebrated for his experimental structures that interpret traditional architectural conventions and reflect natural phenomena, was selected to design the Serpentine Pavilion 2019.
Ishigami’s design takes inspiration from roofs, the most common architectural feature used around the world. The design of the 2019 Serpentine Pavilion was made by arranging slates to create a single canopy roof that appeared to emerge from the ground of the surrounding park. Within, the interior of the Pavilion was an enclosed cave-like space, a refuge for contemplation. For Ishigami, the Pavilion articulated his ‘free space’ philosophy in which he seeks harmony between man-made structures and those that already exist in nature.
Describing his design, Ishigami said: ‘My design for the Pavilion plays with our perspectives of the built environment against the backdrop of a natural landscape, emphasising a natural and organic feel as though it had grown out of the lawn, resembling a hill made out of rocks. This is an attempt to supplement traditional architecture with modern methodologies and concepts, to create in this place an expanse of scenery like never seen before. Possessing the weighty presence of slate roofs seen around the world, and simultaneously appearing so light it could blow away in the breeze, the cluster of scattered rock levitates, like a billowing piece of fabric.’
Junya Ishigami (b. 1974) worked as an architect at SANAA before founding the prize-winning Junya Ishigami + Associates in 2004. Winner of the Golden Lion award at the Venice Biennale of Architecture in 2010, he was the subject of a major and critically acclaimed solo exhibition at the Fondation Cartier pour l’art contemporain in 2018 that is traveling to the Power Station of art in Shanghai later this year. He is known for designs with dream-like qualities that incorporate the natural world, such as landscapes, forests and clouds, in an architectural practice that places humankind as part of nature.
He is the nineteenth architect to accept the invitation to design a temporary Pavilion on the Serpentine Gallery’s lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK structures by some of the biggest names in international architecture. In recent years it has grown into a highly-anticipated showcase for emerging talent, from Frida Escobedo of Mexico to Francis Kéré of Burkina Faso and Bjarke Ingels of Denmark, whose 2016 Pavilion was the most visited architectural and design exhibition in the world.
Serpentine Galleries Artistic Director Hans Ulrich Obrist and former CEO Yana Peel selected 2019’s architect with advisors Sir David Adjaye OBE, Lord Richard Rogers and David Glover alongside Julie Burnell (Head of Construction and Buildings, Serpentine Galleries) and Amira Gad (Curator, Exhibitions and Architecture, Serpentine Galleries).
Serpentine Pavilion Architect's Statement
The design for the 2019 Serpentine Pavilion takes roofs, the most common architectural feature, as its point of departure and inspiration. It is reminiscent of roofing tiles seen around the world, bridging both architectural and cultural references through this single architectural feature. The roof of the Pavilion is made by arranging slates to create a canopy that alludes to nature. It appears to emerge from the ground of the surrounding Park.
My design for the Pavilion plays with our perspectives of the built environment against the backdrop of a natural landscape, emphasising a natural and organic feel as though it had grown out of the lawn, resembling a hill made of rocks. This is an attempt to supplement traditional architecture with modern methodologies and concepts, to create in this place an expanse of scenery like never seen before. Possessing the weighty presence of slate roofs seen around the world, and simultaneously appearing so light it could blow away in the breeze, the cluster of scattered rock levitates, like a billowing piece of fabric.
The interior of the Pavilion is an enclosed cave-like space, a refuge for contemplation. For me, the Pavilion articulates a ‘free space’ philosophy that is to harmony between man-made structures and those that already exist in nature.”
Text above © Copyright The Serpentine Gallery 2019
from www.serpentinegalleries.org/exhibitions-events/serpentine...
New Britain Fire arrived on the scene at East and Belden to find a vaacant commercial structure and attached wood garage structure in the rear of of that building well involved. The intense fire would also involve the adjacent occupied residential structure to the left. The fire in the building of origin would eventually lead to the collapse of the roof trapping pockets of fire and leading to an extended operation. The fire in the exposure was quickly knocked down but not before it caused significant exterior structural damage. For safety reasons the operation was an external one and the crews used multiple hand lines as well as the department's tower ladder to stream water on the fire and bring it under control. Mutual aid in the form of station coverage was requested from Newington, West Hartford, and Hartford Fire. www.onscenefirephoto.com
PACOIMA - At 2:23 PM on Sunday, August 1, 2021, on the 11000 block of North Sutter Avenue, LAFD responded to a rubbish fire that extended to a pallet yard, threatening nearby commercial buildings. Firefighters had the train tracks shut down and quickly doused the pallet yard fire, extinguishing the flames in 31 minutes and skillfully protecting the nearby structures. There were no reported injuries and no extension into the nearby buildings. The cause is under investigation.
© Photo by Mike Meadows
LAFD Incident: 080121-0822
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
Photo by Rick Watson.
This building caught my attention and held it for quite a long time. There is so much detail involved here. It's detail that I don't recognize as well. This is why I was so drawn to it. It's asymmetric, multi-layered, multi-colored, weathered, patched up, and partly updated with fresh paint. I haven't determined if it's a residence or some sort of public space. A Southwestern design comes to mind with the stonework, but the ironwork and the ornate entryway remind me somewhat of a Spanish flavor. Let's see... Southwestern, Spanish, Mexican possibly...??
Whatever the story is, this building is a one of a kind. The many details are almost out of sync with each other. Some may even describe it as being "gawdy". It's off-beat, indvidualistic and imprecise in areas. It's an oddity for the city of Louisville, that's for sure! "Red School" it is. That's why it grabbed my eye!
Also, I've always been attracted to buildings along a waterway, especially those that are suspended directly over the water. Hence the little grey boathouse I also posted this week! I have a great fear of water and I guess it's just my curiosity taking over. Although I'm frightened by the water, I almost think I would enjoy the dare of living in one of these river homes. It's the thrill seeker in me I guess!
These small wooden structures are the cottages of locals.
Overlooking Hudson's Bay.
They are mostly used in the summer, much like we would go to the Muskokas , or Laurentians.
You can see the picnic table on the deck. A great place for viewing in the summer.
They have large pods of beluga whales in the Bay that visit during the summer.
Taken through the shuttle window as the sun was low in the sky.... on the first day in Churchill.
I miss my old lighthouse...
The Kauhola Point Lighthouse was removed in 2010 because wave action had eroded the shoreline underneath its foundations. The lighthouse was deemed unsafe, and was torn down and replaced with what is called a "monopole structure". This translates roughly as "stainless tube with a ladder on one side and a light on top."
The top actually looks remarkably similar to the old lighthouse. I don't know for sure, but I'm guessing they used the beacon off the old lighthouse. Aside from the obvious differences, it's moved inland somewhat. The foundations, and the ruins from the old power plant have all been removed. Nothing left but footprints.
Shoreditch London Rivington Street New Construction Timber Frame High-rise Building with minimal joists. Hare Hybrid Structures
www.buildersmerchantsnews.co.uk/New-height-restrictions-A...
I found these using Bing maps, so decided to take a look. It was a real pain finding car access - there's actually an exit off the ramp from Harlem to I-55. Yes, the ramp has a ramp. I was there about 10 minutes when the police showed up and told me to leave. They were polite, I was polite, and I left. I did not see the "keep out" signs until I was leaving.
Anyway, darn cool location. If I hiked or biked, it probably would have been fine. It's a high-traffic area with nearby video surveillance.
The kanchi Kailasanathar temple is the oldest structure in Kanchipuram. Located in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It is dedicated to the Lord Shiva, and is known for its historical importance. The temple was built from 685-705AD by a Rajasimha ruler of the Pallava Dynasty. The low-slung sandstone compound contains a large number of carvings, including many half-animal deities which were popular during the early Dravidian architectural period. The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage. The temple is one the most prominent tourist attractions of the city.
GEOGRAPHY
The temple is located on the banks of the Vedavathi River at the western limits of the Kanchipuram. It faces east. Its location, demarcated according to the religious faiths, is in one of three "Kanchis", the Shiva Kanchi; the other two Kanchis are, Vishnu Kanchi and Jain Kanchi. It is 75 kilometres from the Chennai, the capital city of Tamil Nadu. Kailasanathar is one of several notable temples in Kanchipuram, the others being Ekambaranatha, Kachapeshwarar, Kamakshi Amman, Kumarakottam Temple, and Varadaraja Perumal.
HISTORY
The Kailasanathar Temple (meaning:“Lord of the Cosmic Mountain”), is built in the tradition of Smartha worship of Shiva, Vishnu, Devi, Surya (Sun), Ganapathi and Kartikeya, in Hinduism, a practice which replaced the Buddhism.
Temple construction is credited to the Pallava dynasty, who had established their kingdom with Kanchipuram (also known as "Kanchi" or "Shiva Vishnu Kanchi") as the capital city, considered one of the seven sacred cities under Hinduism. There was an interregnum when the Chalukya rulers defeated the Pallavas and occupied Kanchipuram. However, the Pallavas regained their territory and started expanding their capital city of Kanchipuram and built many temples of great magnificence. The only temple of this period which is extant is the Kailsahanathar Temple.
The temple was built during 685-705AD. It is the first structural temple built in South India by Narasimhavarman II (Rajasimha), and who is also known as Rajasimha Pallaveswaram. His son, Mahendravarman III, completed the front façade and the gopuram (tower). Prior temples were either built of wood or hewn into rock faces in caves or on boulders, as seen in Mahabalipuram. The Kailasanathar temple became the trend setter for other similar temples in South India. According to local belief, the temple was a safe sanctuary for the rulers of the kingdom during wars. A secret tunnel, built by the kings, was used as an escape route and is still visible.
The temple has gone by other names such as Kachipettu Periya Thirukatrali (meaning: Stone Temple of Kachipettu, the old name for the present day Kanchipuram) when Rajaraja Chola I of the Chola Dynasty paid a visit to this temple. Inspired by the architecture of this temple, he built the Brihadeeswarar Temple in Thanjavur. Currently, Kanchi Kailasanathar Temple is maintained by Archaeological Survey of India.
ARCHITECTURE
The temple has retained the Pallava architecture in its original stylized form with influence of the later styles developed by the Chola Dynasty and Vijayanagara Emperors. It is of stone built architecture unlike the rock cut architecture built into hallowed caves or carved into rock outcrops as in Mahabalipuram. The tall gopuram (tower) is to the left and the temple complex is to the right. The temple's foundations are made of granite, which could withstand the weight of the temple, while the super structure including the carvings are all made of sandstone. Initially, only the main sanctuary existed with pyramidal vimana and a detached mandapa (main hall). The temple complex is complete in all respects as it has garbagriha (sanctum sanctorum), antarala (inner enclosure), mandapa, a high compound wall, and an entrance gate, the gopuram. The mandapa, which was initially detached, was made part of the main shrine by interposing an ardhamantapa (smaller hall). The pillars of the mandapa have the repetitive features of mythical lion mounts.The structure has a simple layout with a tower or shikara at the center of the complex. The shikara of the temple, above the main shrine (sanctum sanctorum), is square in plan and rises up in a curvilinear style or pyramidal shape. The tower has many levels rising proportionately. At the top of this tower, there is a small roof in the shape of a dome. The pillar elements with mythical animal shapes (lions on the base) are extra features in Pallava style. At the entrance, the gopuram walls are plastered. Its entrance wall has eight small shrines and a gopura, precursor to the main gopura. At some later stage, the mandapa and the sanctuary were joined by an intermediate hall called the ardhamantapa, which is reported to have marred the beauty of the temple to some extent. The temple is enclosed within walls in a rectangular layout.
SHRINES
The main shrine has a 16 sided Shivalinga in black granite stone deified in the sanctum sanctorum. Within the walls of the main shrine there is padabhanda adhisthana (main pedestal) with very elegantly carved images of gods with a sculpted Nandi, a little distance away giving guard to the deity. On each face of the outer walls of the main shrine there are many carvings of gods and goddesses. In the south facing wall the sculpture depicts Shiva as Umamaheshavara with Varaha (incarnation of Vishnu as a boar) raising the linga, flanked by Brahma and Vishnu and flying amaras at the lower level. The west facing hall has sculptures of Shiva in the form of Sandhya Tandavamurti and Urdhava Tandvamurti and the ensemble is completed with images of ganas in dancing poses and also with images of Brahma, Vishnu, Nandi and Parvathi. The carving of Shiva on the north facing wall is a composition of Tripurantaka flanked by three ganas, goddess Durga with three ganas, and Bhairavi, Kaushiki and Jyestha. The exterior faces of the vimana (tower) have images of Bhikshatana, Somaskanda and Shiva in Samhara-Tandava (destructive dancing) pose. In the inner walls of the prakara (circumabulatory passage) there is galaxy of images of Durga, Skanda, Bhavati, Tripurantaka, Garudarudha-Vishnu, Asura Samhara (slaying of demons), Narasimha Vishnu (Vishnu in the incarnation of lion faced man), Trivikrama, Shiva Tandava (Shiva in a dancing pose), Shiva severing the fifth head of Brahma, desecration of Yagna of Daksha, Brahma and his wife, Gangadhara, Urdhava tandava, Vishnu flanked by Bhudevi and Sridevi, Lingodhbava (emergence of linga), Bhikshatana, Ravana, and Vali offering prayers to Atmalinga Chandikeshvara. Vimana's south facing wall has very elegant image of Shiva in a sitting posture of peace and quietude known as Dakhshinamurti, and its west wall has Shiva in the form of Lingodhbava.
The tower has multiple shrines embodied on all its external faces which have the appearance of miniature shrines. These shrines have three features, the sala (rectangular), kuta (square) and panjara (apsidal) styles. Eight small shrines also decorate the entrance wall. The 58 small shrines are built into the niches of the compound wall that encloses the main shrine; they depict Somaskanada reliefs of Shiva and his consort Parvathi in many dance forms.
OTHER FEATURES
The outstanding feature of sculptures is the profusion of depiction of the erect lions projecting out in several directions. There are two sculptures of Shiva here which are seen holding the Veena (musical string instrument) in the hand. There is a lot of difference between the Veena found in the said sculptures and the present day Veena. There are also beautiful sculptures of Mathahvialasa Prakshanam. The temple also has the earliest stone inscription records of the twenty eight Saivagamas (Shaiva saints) in which the Pallava King Rajasimhavarman states his faith in Shaivism. The murals on the inner walls are well preserved.
CIRCUMAMBULATORY PASSAGE
A circumambulatory passage, with a symbolic meaning is situated along the compound wall. In order to make the circumambulation, there is a narrow entry passage which devotees must crawl through. Seven steps must be climbed in order to reach the passage. Passing through the narrow passage is indicative of passage through life. After the circumambulation, the exit is through a pit or another narrow passage symbolic of death. It is believed that making the circumambulation round the various deities would usher the same blessings as visiting paradise.
FESTIVAL
Maha Shivaratri is the biggest festival held in the temple when thousand of devotees throng the temple in the evening hours to offer prayers to the main deity.
WIKIPEDIA
This was taken whilst close to Olympic Park.
I think that the overcast sky and the pushing of the black levels have made this appear like something a bit shadowy and menacing (in a way).
I think that the cables help to give a good sense of depth.
I like that you also get a good idea of the size of these structures without having a person in the photo.