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Liberty Baptist Church (1956) by William Alderman
📍Bronzeville

Liberty Baptist Church began as a social club in 1917 formed by Bertie Boone and Maggie Walker before becoming a full-fledged church that eventually absorbed two other congregations. This growth necessitated a new neighborhood sanctuary to house the church’s thousands of faithful.

Reflecting religion’s gradual acceptance of modernist forms in postwar America, Liberty Baptist embraced the thrill of the Space Age by way of a gigantic parabolic arch in lieu of the commonly-seen A-frame of the period. The tiled roof is admittedly a bit confusing but the effect is nevertheless undeniable: it’s one of Chicago’s most endearing houses of worship.

#historicpreservation #historicarchitecture #oldbuildingphotography #historicbuildings #chicago #chicagohistory #chicagoarchitecture #bronzeville #midcenturymodern #midcenturyarchitecture #churcharchitecture

V&A East Storehouse (2025) by Diller Scofidio + Renfro (with support by Austin-Smith:Lord)
📍London, United Kingdom

A spectacular new museum that takes storage and makes it an attraction all on its own, the V&A East Storehouse celebrates the act of archival and conservation work. The space makes public the V&A’s many collection items when they’re not on display at any of their museums, allowing you to circle the immense hall and get up close and personal with oft-hidden away pieces.

The items on display aren’t just trinkets and artworks: here, you can see a plywood office interior designed by Frank Lloyd Wright, a marquetry ceiling from a 15th century Spanish palace, fragments from the Smithsons’ Robin Hood Gardens (slide no. 2), and a Frankfurt Kitchen by Margarete Schütte-Lihotzky.

#architecture #architecturalhistory #historicpreservation #london #londonhistory #historicpreservation #londonarchitecture #museum #museumdesign #oldbuildings #londonbuildings

V&A East Storehouse (2025) by Diller Scofidio + Renfro (with support by Austin-Smith:Lord)
📍London, United Kingdom

A spectacular new museum that takes storage and makes it an attraction all on its own, the V&A East Storehouse celebrates the act of archival and conservation work. The space makes public the V&A’s many collection items when they’re not on display at any of their museums, allowing you to circle the immense hall and get up close and personal with oft-hidden away pieces.

The items on display aren’t just trinkets and artworks: here, you can see a plywood office interior designed by Frank Lloyd Wright, a marquetry ceiling from a 15th century Spanish palace, fragments from the Smithsons’ Robin Hood Gardens (slide no. 2), and a Frankfurt Kitchen by Margarete Schütte-Lihotzky.

#architecture #architecturalhistory #historicpreservation #london #londonhistory #historicpreservation #londonarchitecture #museum #museumdesign #oldbuildings #londonbuildings

V&A East Storehouse (2025) by Diller Scofidio + Renfro (with support by Austin-Smith:Lord)
📍London, United Kingdom

A spectacular new museum that takes storage and makes it an attraction all on its own, the V&A East Storehouse celebrates the act of archival and conservation work. The space makes public the V&A’s many collection items when they’re not on display at any of their museums, allowing you to circle the immense hall and get up close and personal with oft-hidden away pieces.

The items on display aren’t just trinkets and artworks: here, you can see a plywood office interior designed by Frank Lloyd Wright, a marquetry ceiling from a 15th century Spanish palace, fragments from the Smithsons’ Robin Hood Gardens (slide no. 2), and a Frankfurt Kitchen by Margarete Schütte-Lihotzky.

#architecture #architecturalhistory #historicpreservation #london #londonhistory #historicpreservation #londonarchitecture #museum #museumdesign #oldbuildings #londonbuildings

V&A East Storehouse (2025) by Diller Scofidio + Renfro (with support by Austin-Smith:Lord)
📍London, United Kingdom

A spectacular new museum that takes storage and makes it an attraction all on its own, the V&A East Storehouse celebrates the act of archival and conservation work. The space makes public the V&A’s many collection items when they’re not on display at any of their museums, allowing you to circle the immense hall and get up close and personal with oft-hidden away pieces.

The items on display aren’t just trinkets and artworks: here, you can see a plywood office interior designed by Frank Lloyd Wright, a marquetry ceiling from a 15th century Spanish palace, fragments from the Smithsons’ Robin Hood Gardens (slide no. 2), and a Frankfurt Kitchen by Margarete Schütte-Lihotzky.

#architecture #architecturalhistory #historicpreservation #london #londonhistory #historicpreservation #londonarchitecture #museum #museumdesign #oldbuildings #londonbuildings

Folies Bergère (1926) by Maurice Pico
Paris, France

By the time the famous Folies Bergère was remodeled in the particularly Parisian mode of the recently-emergent Art Deco, it had already enjoyed a long reputation as one of the most famous venues in Belle Époque France and beyond.

The facade’s centerpiece, an exuberantly gilded bas-relief that is one of the most indelible symbols of 1920s Art Deco, reinforced this identity and captured the style’s love of movement and geometry, cheekily hinting at the theater’s identity as the go-to place for titillating stage performances.

#historicpreservation #artdeco #artdecoarchitecture #paris #parisarchitecture #architecturehistory #arthistory #artdecobuilding #frenchartdeco #parishistory #frenchhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

When Stephen and Virginia Courtauld arrived at Eltham Palace in 1933, it was in ruins. The former royal palace—childhood home of Henry VIII that hosted Erasmus, Chaucer, and Queen Elizabeth I—had been mostly demolished some 300 years prior. The Courtaulds, however, saw opportunity.

They purchased the property and hired London firm Seely & Paget to design for them a truly modern home. This, to a degree of controversy, necessitated the demolition of some of the historic ruins on the site. In the end, the medieval Great Hall, the moat and retaining walls, a stone bridge, and a trio of 15th century gables were all that were retained.

The home that Seely & Paget built them, however, was the antithesis of the historic grounds they purchased. Its design employed a slew of luxury building materials and cutting-edge technological amenities that signaled this house belonged to a new era of domestic design, similarly positioning its owners as vanguard socialites with a knowing eye for the latest trends.

Seely & Paget collaborated with a number of artists and designers to bring the house to fruition. These include designer and architect Rolf Engströmer, artist Jerk Werkmäster, textile designer Marion Dorn, and designer Peter Malacrida.

The home was poorly received by some, viewed as a modern stain on a historic landmark. It was derided by one historian as an “unfortunately sited cigarette factory,” while Queen Elizabeth II wrote that she thought “the modern part a little overdone.” The home weathered these criticisms, however, and has since become an icon of Art Deco residential design, symbolizing this transitional interwar period where centuries of tradition and heritage coexisted (oftentimes uneasily) with the promise of a modern world.

#historicpreservation #historicarchitecture #artdecoarchitecture #artdeco #london #londonhistory #londonarchitecture #oldbuildings #architecturalhistory

Built in the mid-1890s (exact year unknown), this Clark Street icon and its delicately-decorated corner turret started off, unsurprisingly, as a neighborhood saloon. The building’s ground floor retail space has lived many lives since then including as a tire shop, a restaurant, and a longtime tavern and grill. By 1982, the building was home to Different Strokes, a cheekily-named gay bar.

In 1988, two local teens lobbed Molotov cocktails into the bar’s beer garden, shortly after Aldermen Ed Burke and Kathy Osterman had departed from the bar’s six-year anniversary celebration. Nobody was hurt and damage was minimal.

In 2006, the bar opened as neighborhood mainstay @thesofotap. And for those in the know, the upper floors—formerly flats above the original saloon—is the longtime home of Banana Video, an adult video store for those nights when the, uh, potassium cravings hit. Happy Pride!

#architecture #architecturalhistory #chicago #chicagohistory #victorianarchitecture #historicpreservation #lgbtq #lgbtqhistory #gayhistory #andersonville #pride #pridemonth #andersonvillechicago #oldbuildings #igerschicago

Tucked away in a giant field south of Detroit is an Art Deco wonder doing a lot with a little.

The WJR Radio Transmitting Building in Riverview, Michigan, was built in 1934 and designed by architect Cyril Edward Schley as a new broadcasting home for the station after it relocated from the suburb of Sylvan Lake.

Despite its modest size, this humble building manages to cram in plenty of Art Deco trademarks: a stepped profile reminiscent of ancient temples; polychromatic terra cotta showcasing an array of geometric patterns; and a gleaming appearance in service of cutting edge technology and new infrastructure.

#architecture #architecturalhistory #historicpreservation #artdeco #artdecoarchitecture #artdecobuilding #michiganarchitecture #detroit #detroitarchitecture #historicarchitecture #oldbuildinglove #artsdecoratifs

Make sure you swipe to the next slide! ➡️ This unassuming fish and chicken restaurant in Jackson, Michigan, is actually a hidden, miniature masterpiece by one of the 20th century’s great architects.

Originally designed by Gunnar Birkerts in 1986 as a franchise building prototype for @dominos, the building’s central feature is its parapet-turned-pizza-slice ascending skyward—programmatic architecture elevated to a deliriously whimsical effect. As a franchise building, it needed to be easily replicable, so the entire thing is constructed of simple materials: glass blocks, aluminum framing systems, corrugated steel panels, etc.

By 1986, Birkerts was no small-name architect, having had completed dozens of large-scale projects both nationwide and internationally. To folks that live in and around the Detroit metropolitan area, most would recognize his sprawling Domino’s Pizza headquarters in Ann Arbor, carried out in a gonzo Wrightian style. Given Birkerts stature at the time, this building is a symbol of his knack for bringing striking, high-concept design to any project, regardless of scale.

#architecture #architecturalhistory #historicpreservation #michigan #postmodern #gunnarbirkerts #michiganarchitecture #80sarchitecture #1980s #dominos #jacksonmi

Make sure you swipe to the next slide! ➡️ This unassuming fish and chicken restaurant in Jackson, Michigan, is actually a hidden, miniature masterpiece by one of the 20th century’s great architects.

Originally designed by Gunnar Birkerts in 1986 as a franchise building prototype for @dominos, the building’s central feature is its parapet-turned-pizza-slice ascending skyward—programmatic architecture elevated to a deliriously whimsical effect. As a franchise building, it needed to be easily replicable, so the entire thing is constructed of simple materials: glass blocks, aluminum framing systems, corrugated steel panels, etc.

By 1986, Birkerts was no small-name architect, having had completed dozens of large-scale projects both nationwide and internationally. To folks that live in and around the Detroit metropolitan area, most would recognize his sprawling Domino’s Pizza headquarters in Ann Arbor, carried out in a gonzo Wrightian style. Given Birkerts stature at the time, this building is a symbol of his knack for bringing striking, high-concept design to any project, regardless of scale.

#architecture #architecturalhistory #historicpreservation #michigan #postmodern #gunnarbirkerts #michiganarchitecture #80sarchitecture #1980s #dominos #jacksonmi

The rusticated stone facade of the Caroline V. Shuman House at 1246 N. Astor looks terrific nearly 140 years after its construction in 1886. This brawny urban home was designed by architect Clarence L. Stiles and was erected alongside other tony mansions within the Gold Coast as development of the district began earnestly in the 1880s, a decade after the Great Chicago Fire laid waste to this part of town.

The home’s ownership is tied to Caroline V. Shuman who was by all accounts a woman of great social standing. Reports of gatherings, 300 friends deep, were seemingly commonplace at the residence. It’s unclear if her husband, Percy L. Shuman, once the Lt. Governor of Illinois, ever lived in the property.

The Shumans eventually found themselves in San Francisco by the end of the 1890s. The house passed to Mr. and Mrs. F.P. Schmitt whose son, actor William Stafford, passed in 1897 at a young age, receiving days of news coverage. Today, I’m not sure who lives here but it’s not you and it’s definitely not me. And that? That’s a bummer.

#architecture #victorianarchitecture #historicpreservation #oldbuildings #chicago #chicagohistory #goldcoast #romanesquearchitecture

The distinct viridescence of serpentine stone made it a somewhat popular construction material at the end of the 19th century, in spite of its relative softness. During its period of popularity, the stone was quarried in the region between Philadelphia and Baltimore, and although there isn’t much of it left these days, it can still be seen enlivening the facades of a handful of Chicago buildings like the Raleigh Hotel at 650 N. Dearborn and Greenstone United Methodist Church in Pullman.

Here, it can be found on the front of this pair of Second Empire homes at 9-11 E. Goethe dating to circa 1883 where its unusual hue and prominent mansard roof turn the facade into a spooky and eerie affair. The duplex’s most famous resident was Eugene S. Talbot, a prominent local dentist.

Unsurprisingly, because Talbot was a medical professional in the Victorian era, he put forth some deeply incorrect theories of how medical conditions and physical appearance could help categorize the general populace. Notably, he was of the opinion that misaligned teeth and jaws were future indicators of degenerate behavior. You have to give the dude credit for trying.

#architecture #victorianarchitecture #historicpreservation #oldbuildings #chicago #chicagohistory #goldcoast #secondempire #oldhouses

The Los Angeles Department of Water and Power expanded their presence in the 1920s and 1930s with a handful of small neighborhood offices to better serve the rapidly expanding city’s population growth. This one, a mini 1937 Art Deco masterpiece on Daly Street in Lincoln Heights, is the best of the extant bunch: a gleaming and glimmering testament to the power of public utilities.

This emerald office was designed by architect S. Charles Lee and if its showy facade feels more Hollywood than Main Street, it’s with good reason. Lee was one of the West Coast’s most talented movie theater designers, having cut his teeth working in the Chicago office of movie palace pioneers, Rapp & Rapp, before coming to Los Angeles in the 1920s.

His list of designs is tremendous—the Tower, Saban, Los Angeles, and Bruin Theaters in L.A. and the Fox in Bakersfield rank near the top of his body of work. Lee once said about his movie palace designs, “The show starts on the sidewalk,” but somehow the electrifying and economical design on display with this office building—maximal flair on minimal real estate—best demonstrates Lee’s mastery of theatricality.

#historicpreservation #artdeco #artdecoarchitecture #losangeles #losangelesarchitecture #oldbuilding #losangelesrealestate #moviepalace #larealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

An icon of midcentury Los Angeles and one of the era’s sexiest houses to ever do it, the Stahl House has overlooked the city from its perch in the Hollywood Hills since its completion in 1960.

The house was designed by young architect Pierre Koenig as part of the Case Study House program established by John Entenza of Arts & Architecture magazine. The program sought to facilitate and promote home designs that would point postwar residential architecture in a new direction, one where beautiful modern houses could eventually be replicated affordably and quickly as America’s suburbs boomed.

While the program didn’t necessarily achieve its goal in that sense, it was nevertheless wildly influential and produced houses by some of California’s greatest Modernists including Richard Neutra, Craig Ellwood, Ray and Charles Eames, and Raphael Soriano.

Still, no other Case Study House has been seared into the public’s collective architectural consciousness like the Stahl House which has been largely immortalized by a famous Julius Shulman photo (the final photo in this set): two young women sitting in a glass box at the edge of a new, modern world. The image—and by extension the house—has summarized midcentury modernism for decades.

#historicbuildings #architecture #architecturalhistory #midcenturymodern #midcentury #losangeles #historicpreservation #hollywoodhills #westhollywood #casestudyhouse #oldbuildings #losangelesrealestate

Merchants National Bank (1912), designed by Purcell, Feick, and Elmslie

In 1911, the Merchants National Bank in Winona, Minnesota, had grown too large for their Richardsonian Romanesque home, so to design their new facilities, the bank hired the Minneapolis firm of Purcell, Feick, and Elmslie.

It’s possible that the bank directors were inspired by Louis Sullivan’s National Farmers’ Bank in Owatonna (see my previous post). Elmslie, in particular, must have helped bring this inspiration to life as he was a longtime draftsman and ornamental designer for Sullivan and brought his decorative talents to Sullivan’s first jewel box bank only a few hours away.

Make no mistake, however, this is no derivative ripoff. This bank is a marvel, sporting ornament equally as intricate as its inspiration, particularly in the lavish arch over the main entrance which is so immense and stirring that you wouldn’t be blamed for saluting its stately eagle centerpiece.

#architecture #architecturalhistory #historicpreservation #oldbuildings #minnesota #prairiestyle #historicarchitecture

Merchants National Bank (1912), designed by Purcell, Feick, and Elmslie

In 1911, the Merchants National Bank in Winona, Minnesota, had grown too large for their Richardsonian Romanesque home, so to design their new facilities, the bank hired the Minneapolis firm of Purcell, Feick, and Elmslie.

It’s possible that the bank directors were inspired by Louis Sullivan’s National Farmers’ Bank in Owatonna (see my previous post). Elmslie, in particular, must have helped bring this inspiration to life as he was a longtime draftsman and ornamental designer for Sullivan and brought his decorative talents to Sullivan’s first jewel box bank only a few hours away.

Make no mistake, however, this is no derivative ripoff. This bank is a marvel, sporting ornament equally as intricate as its inspiration, particularly in the lavish arch over the main entrance which is so immense and stirring that you wouldn’t be blamed for saluting its stately eagle centerpiece.

#architecture #architecturalhistory #historicpreservation #oldbuildings #minnesota #prairiestyle #historicarchitecture

Merchants National Bank (1912), designed by Purcell, Feick, and Elmslie

In 1911, the Merchants National Bank in Winona, Minnesota, had grown too large for their Richardsonian Romanesque home, so to design their new facilities, the bank hired the Minneapolis firm of Purcell, Feick, and Elmslie.

It’s possible that the bank directors were inspired by Louis Sullivan’s National Farmers’ Bank in Owatonna (see my previous post). Elmslie, in particular, must have helped bring this inspiration to life as he was a longtime draftsman and ornamental designer for Sullivan and brought his decorative talents to Sullivan’s first jewel box bank only a few hours away.

Make no mistake, however, this is no derivative ripoff. This bank is a marvel, sporting ornament equally as intricate as its inspiration, particularly in the lavish arch over the main entrance which is so immense and stirring that you wouldn’t be blamed for saluting its stately eagle centerpiece.

#architecture #architecturalhistory #historicpreservation #oldbuildings #minnesota #prairiestyle #historicarchitecture

Merchants National Bank (1912), designed by Purcell, Feick, and Elmslie

In 1911, the Merchants National Bank in Winona, Minnesota, had grown too large for their Richardsonian Romanesque home, so to design their new facilities, the bank hired the Minneapolis firm of Purcell, Feick, and Elmslie.

It’s possible that the bank directors were inspired by Louis Sullivan’s National Farmers’ Bank in Owatonna (see my previous post). Elmslie, in particular, must have helped bring this inspiration to life as he was a longtime draftsman and ornamental designer for Sullivan and brought his decorative talents to Sullivan’s first jewel box bank only a few hours away.

Make no mistake, however, this is no derivative ripoff. This bank is a marvel, sporting ornament equally as intricate as its inspiration, particularly in the lavish arch over the main entrance which is so immense and stirring that you wouldn’t be blamed for saluting its stately eagle centerpiece.

#architecture #architecturalhistory #historicpreservation #oldbuildings #minnesota #prairiestyle #historicarchitecture