(Fort Greene) The Prison Ship Martyrs’ Monument is a war memorial at Fort Greene Park, in Brooklyn. It commemorates more than 11,500 American prisoners of war who died in captivity aboard sixteen British prison ships during the American Revolutionary War. The structure is a central Doric column 149 feet in height, designed by renowned architect Stanford White . . .

(Structuretown, USA) Wooden framework bridges from one party wall to another. These joists run parallel to one another at regular intervals. Floor joists are typically 2 by 8s, 2 by 10s or 2 by 12s; ceiling joists are usually 2 by 6s or sometimes 2 by 4s in an older homes. Nominal spacing is 16 inches “on center” though an Architect may opt for 12-inch or 24-inch centers . . .

(130 East 64th Street) Architect Edward Durell Stone was a pioneering American Modernist who designed The Museum of Modern Art (1939) with Philip Goodwin. Stone came to reject the modern austerity and began creating more warmer decorative houses such as this townhouse, which he renovated and live in . .

(Dia: Beacon) Dan Flavin after 1963 composed his work entirely of light, in the form of commercially available fluorescent tubes. He would arrange the varying colors and shapes in autonomous configurations, before making the work correlate to architecture (above). The ‘monumental barriers’ physically block a passageway or segment of space with light. These architectural interventions take repetition as the point of departure . . .

(Met Rooftop) Visual Artist Alex Da Corte’s garden commission blends a prestigious Alexander Calder statue and the famous Sesame Street character. On display we see ‘Big Bird’ perched atop a crescent moon, clutching a ladder, floating through space. The mobile is fully functioning and supposed to represent pausing in time, contemplating an unknown future . . .

(26 Cumberland Street) Constructed in 1942; then later rehabilitated in 1986 originally housed a wholesale magazine distributorship and warehouse. One of Charleston’s few urban examples of the Art Deco style. We can see the front brick façade with a central pavilion that is flanked by stylized pilasters terminating in decorative panels. The windows on either side are surmounted by decorative spandrels with a Greek key motif. The building sign font is classic Art Deco typography design by A.M. Cassandre’s influential work . . .

(Charleston, South Carolina) This U.S. National Historic Landmark Courthouse was built in 1790. Designed by Architect James Hoban, it was the precursor to his most famous building, the U.S. White House! Both buildings were inspired by the Palace of Duke Leinster in Dublin. Hoban himself an Irishman met with George Washington during his Southern Tour in May 1791 and was summoned to Philadelphia for a design competition for the presidential mansion in Washington, D.C. . .

(Cleopatra’s Needle) This obelisk is the oldest outdoor monument in New York City and the oldest man-made object in Central Park. Hailing directly from Egypt; Napoleon Bonaparte and his troops sought a souvenir to commemorate their triumph however could not get the heavy 80 foot stone out of Alexandria. Years later the French and British governments negotiated it as a gift to the country’s but still had the tremendous task of extracting the monument . . .

(State Architect of Iceland) Guðjón Samúelsson was the first Icelander to be educated in architecture. Born 1887 till 1950 he became Iceland’s most influential architect. His final and most recognized work is the famous Hallgrimskirkja church but pictured above is the lesser known National Theatre. As Iceland was urbanizing and modernizing. . .

(Guggenheim) On the corner of East 89th Street in the Upper East Side of Manhattan is FLW’s most blunt masterpiece. Organized around the great space above, it radically shifts from his geometric prairie style of years prior. The open rotunda creates multiple viewing opportunities of the art and to look across at other guests. Wright was quoted as attempting “to render the inherent plasticity of organic forms in architecture”. This daring attempt to challenge modernist architecture’s rigid geometry. . .

(Metropolitan Art Museum) Perseus, in Greek mythology, was the greatest slayer of monsters before Heracles. Captured in marble by the sculptor Antonio Canova, it represents the ‘mannerism’ style of Italian art which bloomed after the Renaissance. Perseus with Head of Medusa is also famous in bronze busts and paintings. Medusa was an evil woman whose hair had been turned to snakes; and anyone who looked at her was turned to stone. . .

(Guy Péne du Bois) A 20th-century American painter depicts a wealthy investment banker and prominent art collector seated with his first wife at the fashionable Hotel Brevoort. The artist often portrays New York’s high society in the time between World Wars I&11, (1924 pictured) depicting cafes, theatres and twenties flappers culture . . .

(Miami Beach, Florida) The Miami Art Deco District holds the largest collection of Art Deco buildings in the world, covering a range of styles such as “Streamline”, “Tropical”, and “Med-deco”. By notable Miami beach architect L. Murray Dixon, this hotel is listed on the National Register of Historic Places and contributes to what many call the Beach School of Architecture. New materials and technologies, such as reinforced concrete, were key to the development . . .

(Queensboro Bridge) Also known as the 59th Street Bridge - and officially named the Ed Koch Bridge, is a cantilever bridge over the East River. Built in 1909, it was the fourth largest bridge in the world at the time. This infrastructure has changed use a handful of times since inception. The upper level originally contained two pedestrian walks and two elevated rail tracks. Then three lanes of roadways were installed to replace the pedestrian walkway. The lower deck hosted four motor traffic lanes and two trolley lanes . . .

(East River, NYC) Without unpacking all these layers, it can be understood that what is dramatic about this composition is the sheer amount of content. A city, or anything in life, gets better with more flavor. Sure one could propose less = more, but nowadays yes = more. Accepting the growing needs of humanity in a responsible resilient way . . .

(All Saints, Williamsburg) Church architecture is rooted so far into history that the values of its approach should be understood. This neo-gothic only dates back to 1894, it was built for the thousands of German immigrants who were the majority Catholic in Brooklyn. Something about its durability and detailing gives pause to its viewer. How can a run-of-the mill cross shaped building have such strong impact? For one; the soaring brick tower evokes a strong sense of grounding . . .

(Zuccotti Park, NYC) “How much does your building weigh?” A famous quote by renowned Architect Buck Fuller. My guess… the black steel brute is double the tonnage of our ethereal glass box. Then lets ask how does / what does a building make us feel? Examining the circumstances behind creations can help shape & determine our point of view. The U.S. Steel Building designed by SOM embodies the ‘organization man’ . . .

(Making, NYC) Heatherwick has an uncanny design sense that I find purely jaw dropping. Discovering his book ‘Making’ early in Grad school was an eye opening realization of what Architects do to problem solve. Thomas’ studio challenges the norm with positive and pragmatic visions that truly provide positive social impact. Now, in New York . . .

(Chama Mama, 14th St.) Captured within a high pointed Georgian restaurant, lies a multimedia collage so eye catching I couldn’t help but photograph it. Dead center of the composition is an eerily joyful female with what could be a botched lipstick job, but the blood strewn across the painting clues the viewer to something darker. My first thought before I noticed the woman’s blouse was an artwork merging different time periods. The ivy leaves in her hair evoke a Hellenistic Greek chaplet. Next to it . . .