• Catedral de Santa Ana •
La edificación fue diseñada como catedral neogótica, en contraste con el estilo colonial español de la mayor parte de las catedrales de El Salvador y el resto de América latina.
"Landscape architecture is truly an art that integrates the idea of the built environment with nature and, most importantly, how it relates to the individual-what a person feels like in a space is critical to the success of our profession." - Frederick R. Bonci • This sustainable university campus project designed by Loft Six Four integrates the brilliant architecture by @method_studio
with the surrounding natural landscape in a way that enriches student experiences. Checkout @loftsixfour
page for more inspiring images like this one!
SWIPE FOR THEN & NOW
The dawn of the 20th century brought changes to the stretch of 5th Avenue known colloquially as Vanderbilt Row. In 1901, it was announced that a hotel was planned for the southeast corner of 52nd & 5th, and William K Vanderbilt (who lived at the northwest corner) sprang into action. He believed that by purchasing available properties and only selling them to fellow millionaires who would build suitable homes on the Avenue, he could prevent the commercialization of his precious neighborhood. Vanderbilt snapped up the proposed hotel’s lot for $1 million, and sold the corner lot to railroad heir Morton Plant and his wife Mae, who set about building a veritable fortress on it. Completed in 1905, the Plant mansion was surrounded by a tall iron fence with its entrance on 52nd Street. But the Vanderbilt hold on the Avenue was waning; more and more neighbors began decamping for greener pastures farther uptown, leaving ever more parcels available for redevelopment. The very year that Plant moved into his mansion, the St. Regis and Gotham Hotels opened across from each other at 55th Street, the slow drip of commercial encroachment on the area began to feel like a tidal wave. In 1915, Plant and his wife abandoned their 10-year-old home in favor of a new one on 86th Street. In 1916, they began leasing their old home to french jeweler Cartier. In 1917, Cartier proposed buying the property from the Plants for an unorthodox sum: a double-strand of perfect pearls valued at $1 million ($19M today). The Plants accepted the offer, and Cartier set about altering the mansion for commercial use, adding a proper entrance on 5th Avenue, but otherwise keeping it very much intact. It remains one of the longest-tenured retailers on the Avenue. One last anecdote: within a decade of the necklace exchange, cultured pearls entered the market, decimating the price of natural pearls. When Mae Plant died in 1956, her Cartier strand fetched just $151,000 at auction. The photos above show the mansion as a home, circa 1910, then as a store, circa 1917, then finally today in 2018. (Old photos @nypl
, new photo @keithimus
GUM - luxury shopping center in the Red Square - by Alexander Pomerantsev (architect) e Vladimir Shukhov (engineer). If you love shopping, you must visit. If you love architecture, the visit is mandatory: the trapezoidal building features a combination of Russian Revival elements with a steel structure and a glazed ceiling, in a style similar to London's main railway station in the 19th century.
The glazed ceiling made the building unique in its time. The roof with a diameter of 14m seems to be lightweight, but it's made up of more than 50,000 metal rods, weighing a total of 740 t, supporting more than 20 000 panels of glass, able to withstand the snow accumulation typical of Muscovite winter. The lighting is provided by large skylights of iron and glass, containing more than 20 000 glass panels. The exterior facade is divided into several horizontal strips, with Finnish red granite, Tarusa marble, and limestone. Each arcade has three levels, linked by walkways of reinforced concrete. .
Interior do GUM - centro comercial de luxo na Praça Vermelha - de Alexander Pomerantsev (arquiteto) e Vladimir Shukhov (engenheiro). Se gosta de fazer compras, deve visitar. Se ama arquitetura, a visita é obrigatória: em formato trapezoidal, apresenta uma combinação de elementos do Revivalismo russo com uma estrutura de aço e um teto envidraçado, em estilo similar à principal estação ferroviária de Londres no século XIX. William Craft Brumfield descreveu o edifício da GUM como "um tributo tanto ao design de Shukhov quanto à proficiência técnica da arquitetura russa no final do século XIX".
O teto envidraçado fez a construção ser única em seu tempo. O telhado com diâmetro de 14m, parece ser leve, mas tem mais de 50 000 bastões metálicos, pesando na totalidade 740 t, sustentando mais de 20 000 painéis de vidro, capaz de suportar o acúmulo de neve típico do Inverno moscovita. A iluminação é provida por grandes claraboias contendo mais de 20 000 painéis de vidro. A fachada (exterior) está dividida em várias faixas horizontais, com granito vermelho finlandês, mármore de Tarusa, e pedra calcária. Cada arcada possui três níveis, ligados por passarelas de concreto armado. .