Floor Plans Famous Buildings

floor plans famous buildings
    floor plans
  • A scale diagram of the arrangement of rooms in one story of a building
  • (Floor planning) Floorplanning is the act of designing of a floorplan, which is a kind of bird's-eye view of a structure.
  • (floor plan) scale drawing of a horizontal section through a building at a given level; contrasts with elevation
  • In architecture and building engineering, a floor plan, or floorplan, is a diagram, usually to scale, showing the relationships between rooms, spaces and other physical features at one level of a structure.
  • The process or business of constructing something
  • (building) the occupants of a building; "the entire building complained about the noise"
  • (building) a structure that has a roof and walls and stands more or less permanently in one place; "there was a three-story building on the corner"; "it was an imposing edifice"
  • (building) construction: the act of constructing something; "during the construction we had to take a detour"; "his hobby was the building of boats"
  • The process of commissioning, financing, or overseeing the construction of something
  • A structure with a roof and walls, such as a house, school, store, or factory
  • (famously) in a manner or to an extent that is well known; "in his famously anecdotal style"
  • celebrated: widely known and esteemed; "a famous actor"; "a celebrated musician"; "a famed scientist"; "an illustrious judge"; "a notable historian"; "a renowned painter"
  • Known about by many people
  • (famously) excellently: extremely well; "he did splendidly in the exam"; "we got along famously"
floor plans famous buildings - 740 Park:
740 Park: The Story of the World's Richest Apartment Building
740 Park: The Story of the World's Richest Apartment Building
For seventy-five years, it’s been Manhattan’s richest apartment building, and one of the most lusted-after addresses in the world. One apartment had 37 rooms, 14 bathrooms, 43 closets, 11 working fireplaces, a private elevator, and his-and-hers saunas; another at one time had a live-in service staff of 16. To this day, it is steeped in the purest luxury, the kind most of us could only imagine, until now.

The last great building to go up along New York’s Gold Coast, construction on 740 Park finished in 1930. Since then, 740 has been home to an ever-evolving cadre of our wealthiest and most powerful families, some of America’s (and the world’s) oldest money—the kind attached to names like Vanderbilt, Rockefeller, Bouvier, Chrysler, Niarchos, Houghton, and Harkness—and some whose names evoke the excesses of today’s monied elite: Kravis, Koch, Bronfman, Perelman, Steinberg, and Schwarzman. All along, the building has housed titans of industry, political power brokers, international royalty, fabulous scam-artists, and even the lowest scoundrels.

The book begins with the tumultuous story of the building’s construction. Conceived in the bubbling financial, artistic, and social cauldron of 1920’s Manhattan, 740 Park rose to its dizzying heights as the stock market plunged in 1929—the building was in dire financial straits before the first apartments were sold. The builders include the architectural genius Rosario Candela, the scheming businessman James T. Lee (Jacqueline Kennedy Onassis’s grandfather), and a raft of financiers, many of whom were little more than white-collar crooks and grand-scale hustlers.

Once finished, 740 became a magnet for the richest, oldest families in the country: the Brewsters, descendents of the leader of the Plymouth Colony; the socially-registered Bordens, Hoppins, Scovilles, Thornes, and Schermerhorns; and top executives of the Chase Bank, American Express, and U.S. Rubber. Outside the walls of 740 Park, these were the people shaping America culturally and economically. Within those walls, they were indulging in all of the Seven Deadly Sins.

As the social climate evolved throughout the last century, so did 740 Park: after World War II, the building’s rulers eased their more restrictive policies and began allowing Jews (though not to this day African Americans) to reside within their hallowed walls. Nowadays, it is full to bursting with new money, people whose fortunes, though freshly-made, are large enough to buy their way in.

At its core this book is a social history of the American rich, and how the locus of power and influence has shifted haltingly from old bloodlines to new money. But it’s also much more than that: filled with meaty, startling, often tragic stories of the people who lived behind 740’s walls, the book gives us an unprecedented access to worlds of wealth, privilege, and extraordinary folly that are usually hidden behind a scrim of money and influence. This is, truly, how the other half—or at least the other one hundredth of one percent—lives.

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Canterbury Cathedral
Canterbury Cathedral
Canterbury Cathedral in Canterbury, Kent, is one of the oldest and most famous Christian structures in England and forms part of a World Heritage Site. It is the cathedral of the Archbishop of Canterbury, leader of the Church of England and symbolic leader of the worldwide Anglican Communion. Its formal title is the Cathedral and Metropolitical Church of Christ at Canterbury. Foundation by Augustine The cathedral's first archbishop was St. Augustine of Canterbury, previously abbot of St. Andrew's Benedictine Abbey in Rome. He was sent by Pope Gregory the Great in 597 as a missionary to the Anglo-Saxons. Augustine founded the cathedral in 602 and dedicated it to St. Saviour. Archaeological investigations under the nave floor in 1993 revealed the foundations of the original Saxon cathedral, which had been built across a former Roman road. Augustine also founded the Abbey of St. Peter and Paul outside the city walls. This was later rededicated to St. Augustine himself and was for many centuries the burial place of the successive archbishops. The abbey is part of the World Heritage Site of Canterbury, along with the ancient Church of St. Martin. Later Saxon and Viking periods A second building, a baptistry or mausoleum, was built on exactly the same axis as the cathedral by Archbishop Cuthbert (740-758) and dedicated to St. John the Baptist. Two centuries later, Oda (941-958) renewed the building, greatly lengthening the nave. During the reforms of Archbishop St. Dunstan (c909-988), a Benedictine abbey named Christ Church Priory was added to the cathedral. But the formal establishment as a monastery seems to date to c.997 and the community only became fully monastic from Lanfranc's time onwards (with monastic constitutions addressed by him to prior Henry). St. Dunstan was buried on the south side of the High Altar. The Saxon cathedral was badly damaged during Danish raids on Canterbury in 1011. The Archbishop, St. Alphege, was held hostage by the raiders and eventually martyred at Greenwich on Apri l9th, 1012, the first of Canterbury's five martyred archbishops. Lyfing (1013–1020) and Aethelnoth (1020–1038) added a western apse as an oratory of St. Mary. Priors of Christ Church Priory included John of Sittingbourne (elected 1222, previously a monk of the priory) and William Chillenden, (elected 1264, previously monk and treasurer of the priory).The monastery was granted the right to elect their own prior if the seat was vacant by the pope, and — from Gregory IX onwards — the right to a free election (though with the archbishop overseeing their choice). Monks of the priory have included ?thelric I, ?thelric II, Walter d'Eynsham, Reginald fitz Jocelin (admitted as a confrater shortly before his death), Nigel de Longchamps and Ernulf. The monks often put forward candidates for Archbishop of Canterbury, either from among their number or outside, since the archbishop was nominally their abbot, but this could lead to clashes with the king and/or pope should they put forward a different man — examples are the elections of Baldwin of Exeter and Thomas Cobham Norman period Image of Thomas Becket from a stained glass window.After the Norman Conquest in 1066, Lanfranc (1070–1077) became the first Norman archbishop. He thoroughly rebuilt the ruined Saxon cathedral in a Norman design based heavily on the Abbey of St. Etienne in Caen, of which he had previously been abbot.[3] The new cathedral was dedicated in 1077. Archbishop St. Anselm (1093–1109) greatly extended the quire to the east to give sufficient space for the monks of the greatly revived monastery. Beneath it he built the large and elaborately decorated crypt, which is the largest of its kind in England. Though named for the 7th century founding archbishop, The Chair of St. Augustine may date from the Norman period. Its first recorded use is in 1205. [edit] Martyrdom of Thomas Becket The Black PrinceA pivotal moment in the history of Canterbury Cathedral was the murder of Thomas Becket in the north-east transept on Tuesday 29 December 1170 by knights of King Henry II. The king had frequent conflicts with the strong-willed Becket and is said to have exclaimed in frustration, "Who will rid me of this turbulent priest?" The knights took it literally and murdered Becket in his own cathedral. Becket was the second of four Archbishops of Canterbury who were murdered (see also Alphege). Following a disastrous fire of 1174 which destroyed the entire eastern end, William of Sens rebuilt the choir with an important early example of the Early English Gothic design, including high pointed arches, flying buttresses, and rib vaulting. Later, William the Englishman added the Trinity Chapel as a shrine for the relics of St. Thomas the Martyr. The Corona ('crown') Tower was built at the eastern end to contain the relic of the crown of St. Thomas's head which was struck off during his murder. Over time other significant burials took place in this area suc
500 Fifth Avenue
500 Fifth Avenue
Midtown Manhattan, Manhattan, New York City, New York, United States Built in 1929-31, Shreve, Lamb & Harmon’s 500 Fifth Avenue Building is a soaring 59-story Art Deco skyscraper, located at the northwest corner of 42nd Street and Fifth Avenue. The building was constructed concurrently with the Empire State Building. Because the site was so valuable and so small, measuring only 100 feet by 208 feet, the building was designed to the maximum height and floor area allowable under the 1916 zoning code. Located in two zoning districts with differing setback requirements, it is asymmetrically massed with setbacks at the 18th, 22nd, and 25th stories on Fifth Avenue and a recessed light court beginning at the eighth story and setbacks at the 23rd, 28th, and 34th stories on West 42nd Street. Sheathed in limestone, terra cotta, and buff brick, the facades are enriched with carefully scaled Art Deco motifs, which accentuate the building’s sculptural massing and emphasize its verticality. On Fifth Avenue the limestone and black granite main entrance is treated as a pylon framed by stylized gilded palmettos and capped by an allegorical relief by sculptor Edmond Amateis “symbolizing the genius of the modern skyscraper.” Capping the setbacks and tower are a series of angled brick and terra-cotta panels decorated with chevrons that read as pleated cresting against the skyline. When it opened in March 1931, 500 Fifth Avenue was the crowning achievement of real estate developer Walter J. Salmon, who was responsible for rebuilding the north side of West 42nd Street between Fifth and Sixth Avenues in the first decades of the 20th century. Shreve, Lamb & Harmon was one of the leading architectural firms in the country specializing in skyscraper design. In addition to 500 Fifth Avenue, Shreve Lamb & Harmon designed the Empire State Building (1929-31, 350 Fifth Avenue, a designated New York City Landmark). 500 Fifth Avenue continues to be used as an office building with street-level stores. DESCRIPTION AND ANALYSIS History and Development of Midtown and the 500 Fifth Avenue Site The area surrounding Fifth Avenue between 42nd Street and the southern end of Central Park remained rural in character until the second half of the nineteenth century, when speculative residences and mansions began to be constructed on lots newly mapped by the city. By 1900, the character of the neighborhood on the blocks north of 42nd Street began to change with the construction of, or the conversion of private residences to, exclusive retail shops, restaurants, and office buildings. By 1923, so many banks and trust companies had established uptown branches near the intersection of Park Avenue and 42nd Street and on the blocks of Fifth Avenue north of 42nd Street, that Rider’s New York City guide reported the area was popularly known as “Little Wall Street.” 42nd Street, which linked this business district to Times Square, became one of the busiest thoroughfares in New York while Fifth Avenue remained the most fashionable shopping street in the city, leading Real Estate Record & Guide to declare the parcel at 500 Fifth Avenue, at the northwest corner of 42nd Street, as “the most valuable building site on Manhattan Island north of Wall Street.” In 1903 a young and ambitious real estate entrepreneur named Walter J. Salomon (18711953), who later changed his surname to Salmon, leased the corner lot and the adjacent L-shaped lot, which fronted on Fifth Avenue and West 42nd Street. Salmon then converted the existing building, the eight-story Hotel Bristol, into a commercial and office building and renamed it the Bristol Building. This property was to form the core of Salmon’s redevelopment plan for 500 Fifth Avenue, his crowning achievement as a real estate man and the final puzzle piece in the transformation of the entire block front into an imposing wall of modern commercial structures. New York’s Art Deco Skyscrapers America’s involvement in World War I, followed by a recession in the early 1920s, caused a construction lull in New York City, as in other parts of the country. By the mid 1920s, the economy had bounced back, and demand for new and larger commercial buildings was booming. Fifteen new office skyscrapers were erected in New York in 1925, and 1926 saw the construction of 30 more. This building frenzy lasted through the 1929 stock market crash, as construction went forward in the early 1930s on buildings that had already been planned and financed; although largely finished by 1932, the boom left behind a “rich array of towers,” many of them executed in what is known today as the Art Deco style. Indeed, several of New York’s most spectacular skyscrapers from this period—including the Chanin Building (Sloan & Robertson, 1927-29), the Chrysler Building (William Van Alen, 1928-30), the Empire State Building (Shreve, Lamb & Harmon, 1929-31) and the General Electric Building (Cross & Cross, 1929-31), all design

floor plans famous buildings
floor plans famous buildings
Architectural Working Drawings: Residential and Commercial Buildings
Extensively illustrated, it presents a detailed examination of typical construction methods and the preparation of architectural working drawings for residential and commercial buildings. Covers drafting materials, tools, techniques, electrical plumbing and plans, heating/air conditioning systems and technical sketching. Contains an in-depth discussion of computer graphics hardware and software as well as basic operating procedures for computer design. Chapters include technical vocabulary, study questions and laboratory problems.

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