This green certificated building, has been completed under the supervision of Escapefromsofa design team. We have provided conceptual, architectural and..
One Silk Street sits in the heart of the Ancoats area in Manchester, a significant historical landmark associated with the Industrial Revolution. It contains the highest concentration of Grade II and II* Listed mill buildings in Manchester. As part of the city's expansion plan, aimed at enhancing the quality of life and driving change in its boundaries, particularly in the Ancoats area, Mecanoo designed a new mixed-use project called One Silk Street. This innovative development encompasses a variety of housing options and commercial facilities, tailored to meet the evolving needs of contemporary residents and users. The clear and strong volume comprising of 10 storeys including a basement, reaches a height of 34 meters. The building fully occupies the site, extending to the perimeter, and its corners are designed to be prominent, aligning with the historical grid pattern of the surrounding area. The height of the Silk Road building has carefully been determined to harmonise with the existing streetscape, which features a diverse combination of heights and volumes. A setback on the ground floor not only enhances the visual appeal of the streetscape, but also contributes to dividing the overall structure into three distinct sections: the plinth, the body, and the crown. The plinth is designed to activate the street, incorporating entrances and terraces for the commercial spaces on the ground floor. A double-height lobby serves as a focal point for both the commercial and residential entrances, effectively dividing the entire building length while simultaneously enriching the liveliness of the street. The single-storey crown on top has been set back from the building perimeter to allow for terraces on this level. Recognising the importance of adaptability and flexibility resulted in a layout and façade design that were meticulously crafted to accommodate different functions within the building. The grid system was specifically designed to cater for the diverse requirements of both office and residential spaces. The Silk Road development has given careful consideration to the character and materiality of the area while respecting its historical significance. The design reflects Ancoats' distinctive identity, embracing the traditional use of red brick, gracefully proportioned facades, and a consistent composition of windows that emerged from a functional design and construction approach. To enhance the visual appeal, the façades have been softened by using handmade bricks, stone accents, relief elements, and varying depths. All of which age gracefully over time.
Renting office space Belgrade. Braće Baruh 26, Dorcol. MIA DORĆOL office building. Luxury building of exceptional quality.
Feldman Architecture has converted a former firehouse into their new offices located in San Francisco, California. Firehouse turned event space turned
Commercial Building at VWArtclub
Renting office space Belgrade. Braće Baruh 26, Dorcol. MIA DORĆOL office building. Luxury building of exceptional quality.
Image 7 of 31 from gallery of IPHE Host Innovation Incubator & Hotel / Ignacio Prego Architectures. Photograph by Luc Boegly
I first started to admire the perfection of the dome as an architectural element years ago when I noticed how many U.S. state capitols had them: 39 out of 50. Of course, domes have been an essentia…
originally a wagon factory and repair shop • owner F.T. Cantrrell said to be a relative of J.T. Cantrell, NY carriage builder who invented the depot wagon (forerunner of the station wagon) and manufactured "woodie" automobiles until the 50s • building later was Edsel dealership, sewing factory • after 10 years vacancy, demolition contemplated • owner chose to renovate (1990) partly because of tax credit associated with NRHP listing • Carriage House Wines on ground floor • Spartanburg Historic District, National Register of Historic Places #83002209, 1983
Image 7 of 40 from gallery of 21 Customs House Post Office / Studio Anne Holtrop. Photograph by Maxime Delvaux
Completed in 2019 in Varna, Bulgaria. Images by 3inSpirit, Dian Stanchev. BGA is a corporate building situated on а corner lot, in a close distance to the Municipality building in the central part of Varna. It is designed...
On Wednesday I went to the new RH here in Atlanta. It is the largest one in the United States. 7 floors. Full of beautiful things......but pretty much nothing you can take with you. I guess they can save money in bags. It is basically just a showroom now. Here are some pictures... This is where you park.....whoops....this is where you HAVE to valet park. The back entrance. There were boxwoods every place you looked....I counted 80 in this area.... The outdoor areas were my favorite! Don't get me wrong....I love RH....I don't want a whole house of it but they have some great things! I just can't believe you can't really buy anything. When I asked the floor manager about that she said you can buy Christmas Decorations, stocking stuffers and some bath robes. Whoopie. The Baby and Kids floor was pretty. Loved these felt animal heads on the wall... Hand painted music notes on the wall.... French writing.....remember my sister did that on her DR walls 15 years ago:) Another awesome area was the roof top....I wish I could have my Christmas party there:) Here is the view from the top....this is a new area that has all been recently built in my neighborhood. They started it 7-8 years ago and then it sat like an eyesore during the recession. It's called Buckhead Atlanta and they are trying to be the "rodeo drive" of the south! The front entrance... Another thing the floor manager said to me when I complained just a little about not being able to buy anything.....was "we are not Ikea. People fly in for the day to see the merchandise....write up an order and fly out." Oh. Scratching my head. Alrighty then.....guess what? I might do some Christmas decorating this weekend. No promises but I'm starting to feel the urge. W'ell see how that goes.....stay tuned on Instagram for previews:) 20 days until Christmas..... Shayfab
It does everything a scheme centred on a 27-storey residential tower can do to engage with London's architectural heritage
Architectural visualization projects include multi-family residential homes, hotels, commercial buildings, as well as public places.
In 2015 the replacement capitals of the ground floor had not yet been installed. photo by the author In 1714 Queen Anne bestowed on Trinity Church a vast section of land stretching along the Hudson River from Duane Street to Christopher Street in the Village of Greenwich to the north. The large tract of land became familiarly known as the “Trinity Farm” or the “Church Farm.” Initially the church leased land to farmers; but in 1761 the city ceded the land between Fulton and Reade Streets to the city (Reade Street was most likely named for Trinity Church warden Joseph Reade). Reade Street and its neighboring streets like Chambers were lined with upscale brick homes by the first decades of the 19th century. Among the wealthy families here were the Joneses at No. 93 Reade Street. Isaac Jones, Jr. was the partner of John Mason, the “father of the Chemical Bank.” Jones married Mason’s daughter, Mary, in 1819. Mary Mason Jones would reign as the queen of New York society for decades. The couple had four children, Joshua, John, Margaret and Frances. By 1839 the recently-exclusive neighborhood already was seeing the encroachment of commerce. That year the Jones family moved to north to No. 734 Broadway. When Isaac Jones died on March 14, 1854, the Reade Street property was inherited by Joshua. The residence was already the home of James H. Shaw’s jewelry business by 1843. His was just one of several jewelry and silversmith businesses on Reade and Chambers Streets at the time. But three years after inheriting the property, Joshua Jones had it razed to be replaced with a modern commercial building. In 1857 a new technology was taking hold—cast iron facades. For a decade former watchmaker and “machinest,” James Bogardus had been experimenting with pre-fabricated cast iron elements. These could be quickly bolted to the brick fronts of buildings, could imitate carved stone, be easily cast with elaborate decorative elements and—most importantly—would be fireproof. By now the process had been perfected and cast iron facades were quickly gaining widespread acceptance. Jones’ new five-story building was fronted with a cast iron façade chosen from the catalogue of D. D. Badger’s Architectural Iron Works. The Italianate-style design mimicked stone-fronted buildings with its fluted Corinthian columns, dentiled cornices, handsome balustrades at the second floor and leafy keystones at the top floor. The new building filled with dry goods and apparel firms. In 1867 Griffith, Prentiss & McCombs was here, listed as “dry goods importers;” as were R. Waterhouse & Co., “gents’ furnishings goods;” and Charles L. Lockwood, necktie manufacturer. By 1876 Jacob Basch & Son was in the building. Jacob and his son, Henry L. Basch, dealt in the woolen fabric known as “shoddy.” The inferior quality textile was constructed from the shredded fibers of waste cloth or clippings and eventually lent its name to any inferior product—called shoddy goods. The firm remained at No. 93 until its bankruptcy in 1884. A merchant not involved in textiles was B. W. Sheldon & Dimscomb which was in the building by 1879. Sylvester W. Sheldon and his partner, Daniel Dimscomb, dealt in grocers’ woodenware and fixtures. Sheldon, who was a descendant of General Israel Putnam, a hero of Bunker Hill, had invented several mechanical appliances. In February 1889 the estate of Joshua Jones sold No. 93 to John H. Ireland for $57,000—around $1.5 million in 2016. According to Ireland later, it “was in pretty good order when I bought it.” He reported his gross rents that year at $4,400. He also reported in 1893 that he replaced the roof and “It is an iron front and required painting. That is about all that has been done.” B. W. Sheldon & Dimscomb was still in the building at when Ireland bought it; but the rest of the tenant list reflected a marked change in the district’s industry. The four other firms in the upper stories were all in the boot and shoe business. These included Baldwin & Lamkin, Kelly & Tracy, and Bielefeld & Spahn. Millers Falls Company had been in the store space for several years. The company dealt in cutlery and carving tools. When Millers Falls introduced a new 12-piece boxed carving set in December 1898, Hardware magazine assured its readers it would “prove an element of happiness in the shop or household during the holiday season.” Millers Falls Co. offered Carving Set No. 3 in December 1898 -- Hardware, December 10, 1898 (copyright expired) It appears that S. W. Sheldon & Dimscomb left No. 93 Reade Street following Sylvester Sheldon’s unexpected death in April 1895 at the age of 56. The shoe manufacturing firms were still operating from the upper floors and Millers Falls Company was in the store as the turn of the century came and went. The comfortable arrangement changed on January 17, 1905 when John H. Ireland leased the entire building to Wilhelmi, Hall & Co. for three years. The rent was $5,000 for the first year and $5,500 each year for the balance. What seemed like a good deal for Ireland became a major headache. The newly formed firm, headed by Edward A. Wilhelmi, dealt in “American made machinery and general merchandise specialties.” On March 30, 1905 Iron Age reported “The entire building at 93 Reade street, containing five floors and two basements, has been taken and fitted up, complete samples of all the goods…being displayed for examination, the ample room also enabling the company to carry stocks.” The firm seemed, at least initially, to be doing well. In August 1906 the Cold Storage and Ice Trade Journal reported that Wilhemi, Hall and Company would equip the new Commercial Trust Building at No. 15 Exchange Place with an 8-ton refrigerating plant “for cooling drinking water;” and that the firm had received a contract for a refrigerating machine for the Naval Academy in Annapolis. The firm took advantage of the privilege of early renewal of the lease on November 19, 1906. But it was an over-optimistic move. In January 1907 Wilhemi, Hall and Company explained to Ireland that it needed to sublease the building. New York House Furnishing Goods Company was interested in the lease, it explained. Sadly for Ireland, none of the negotiations worked out, and Wilhelmi, Hall & Co. was soon gone. According to court papers later, on May 11, 1908 John Ireland said in a letter to Edward Wilhelmi, “I am stuck on the building at 93 Reade Street—have not yet found a tenant. It is too bad that I had anything to do with #93 Reade Street, it was an expensive proposition. If you know of anybody who wants that building, I would thank you for mentioning it.” A month earlier a bankruptcy sale of Wilhelmi, Hall & Company’s stock had been held in the building. An announcement in the New-York Tribune on April 26, 1908 listed “Entire Stock: refrigerators and general housefurnishings at a little advance on the prices ordered by the Court.” The building finally rebounded and in 1910 The Shoe and Leather Reporter listed three shoe manufacturers on the upper floors—Asher Bass, Samuel J. Glick and Harrisburg Shoe Mfg. Co.—while the retail space was home to the retail shoe store of M. H. Smith Co. The same tenants were still here as late as 1918. In 1950 the hardware and glassware firm William Leinwand leased the entire building. Throughout most of the century the old iron-fronted structure suffered the abuse of time and the decline of the neighborhood. By the 1980s, when the Tribeca area was experiencing a rebirth, the elaborate cast iron capitals of the ground floor columns had been lost. The turn-around came late for No. 93 Reade Street. In 2015 a renovation by the architectural firm of WORKac resulted in Obsidian House--containing three sprawling residences and a three-story penthouse, invisible from the street. Sculptor Michael Hansmeyer created replacement capitals for the columns. His design did not attempt to reproduce the originals; but are a “modern reinterpretation.” photo obsidianhouse.com The early cast iron façade of No. 93 Reade Street has been sympathetically restored. It is a splendid example of the technological advance in construction taking place in Manhattan in 1857. photo by the author
