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Imagen capturada desde la plaza de San Roque y centrada en el reciente y destacado edificio diseñado por el arquitecto José de Yarza García en el nº 15 del Coso como casa comercial de oficinas, viviendas y establecimiento cinematográfico. A la izquierda, el nº 13 con el hotel Oriente. A la derecha, el nº 17 esquinero con la calle de Alfonso I, donde estuviera la casa familiar del marqués de Tosos y en sus bajos el antiguo café Moderno.
En el momento de realizar esta fotografía el cine Coso proyectaba Lanza Rota, película del Oeste dirigida por Edward Dmytryk.
Fuente visual: arch. J. de Yarza.
Proyecto GAZA ("Gran Archivo Zaragoza Antigua") es un compendio de imágenes de la antigua Zaragoza (España), acompañadas de textos creados por José María Ballestín Miguel
y la colaboración de Antonio Tausiet.
Now that the rear of the Harrison Drape factory has been demolished, you can see St Annes Catholic Church from the back on Lombard Street.
Behind that derelict / overgrown demolition site (needs a use - or new hoardings).
The view is also visible from Cheapside.
Details below from Pevsner Architectural Guides: Birmingham -
St Anne's (R.C.) church of 1883-4 by Albert Vicars. Nave and aisles, and tower. Early English style in red brick with blue brick and stone dressings: old fashioned but confident. Big Geometrical window with many circles enclosing quatrefoils. The tower starts square and turns octagonal with diagonal buttresses to the belfry. Short spire with lucarnes on the diagonal faces, and sandstone banding.
Grade II listed building since 2021.
Roman Catholic Church of St Anne
Summary
A Roman Catholic church of 1883 - 1884 by Albert Vicars.
Description
A Roman Catholic church of 1883 - 1884 by Albert Vicars.
MATERIALS: constructed of red brick with blue brick detailing, limestone dressings and slate roof.
PLAN: oriented north-west to south-east with spire at the south-east corner, the church has a single aisle to the north and south of the nave.
EXTERIOR: the church is constructed in the Early English Gothic Revival style with lancet windows at ground and clerestory level, shallow buttresses and some polychrome brick detailing. Fronting Alcester Street, the church has a large gable with pinnacle to the north and a central gothic geometric window with stained glass and quatrefoil tracery, with brick spire to the left (south). Beneath the tracery window is a pair of entrance doors under a shallow entrance porch with limestone moulded double gable and piers with foliate capitals. Above the two doors are lancet arches with circular relief carvings each with a cross and trefoil detailing. The tower is substantial and is square on plan with lancet windows at ground and clerestory level. At its top the spire is octagonal and has buttresses and lucarnes with cusped trefoil heads and brick detailing.
The southern elevation, to the left of the tower has a series of paired lancet windows with limestone hood moulds with cusped trefoil heads, both at ground floor on the southern aisle of the church and at clerestory level above. Both the single-storey aisle and the nave above has a dentilled cornices and blue brick detailing around the lancets. Two tall, double-height lancet windows light the sanctuary to the left of the projecting aisle. The northern elevation is similar, but at the eastern end has a small late-C20 entrance porch. At the western end is the attached sacristy which is a projecting range from the north-west corner with flat-arched mullioned sash windows and central brick stack. The western elevation features a large rose window with cusped tracery, with further circular window to the right (south) at the location of the southern side chapel. To the north are two chamfered limestone mullioned windows at ground floor and door with one additional window at first floor under an arch. The first storey of the left hand bay of this façade has a late-C20 window under a flat arch of rubbed brick and appears to have been partially rebuilt, possibly when the adjoining presbytery was constructed in the 1950s.
INTERIOR: the lofty nave has a barrel-vaulted ceiling and is flanked to either side by aisles with an arcade of circular piers with gothic arches linked by gilded bosses. Above, the paired clerestory windows are leaded with stained glass within the trefoils, between which, pilasters on angel corbels support the arched roof trusses. The nave and aisles retain their C19 pews. At the eastern end of the building, the former baptistery is located to the north of the gallery, with C19 railings. The gallery houses the organ above, beneath the eastern window, with the eastern entrance doors below enclosed by half-glazed timber doors. To the right (south) of the gallery is a chapel with cast iron half-height rail.
The northern aisle houses the two timber confessionals, each containing four separate booths behind timber doors with cusped detailing and trefoil heads.
The sanctuary is accessed by a set of five steps at the western end of the church and has predominately late-C20 fittings though a section of the C19 stone pulpit to the left of the altar survives and now forms the ambo. The reredos beneath the rose window has blind gothic arcading and is a fragment of the C19 scheme. Above, the panels of the vaulted ceiling are painted with a stencilled scheme. To the left (south) of the sanctuary, separated by a section of the former communion rail, is a side chapel dedicated to the Sacred Heart, with C19 gothic altar and altar table though the statuary within the niches have been changed. The original hexagonal stone font is located within this chapel and reads on its northern face: IN/ MEMORY/ OF/ UMIGLIANO/ AND/ MADELEINE/ PANICALI.
To the north of the sanctuary is the Lady Chapel which again features the original C19 gothic altar and altar table, again with replacement statuary. Both the north and south side chapels have circular windows with stained glass. At the western end of the northern aisle an arched door leads to the sacristy which has a mullioned window on its northern wall. To the north of the sacristy is a room currently in use as a kitchen, with timber four-pane sash window. To the south of the sacristy is a porch with timber plank door with chamfered cusped detail.
History
Cardinal John Henry Newman founded a chapel within an old distillery on Alcester Street in Deritend in 1849, with the congregation mainly comprising Irish immigrants who had fled the Great Famine. The congregation under Cardinal Newman relocated to Edgbaston in 1852. An adjacent plot of land, on the corner of Alcester Street and Bradford Street, was subsequently acquired by the Rev John Dowling, who became mission rector in 1859. A new church was designed for the plot by Albert Vicars of Vicars and O’Neill, London, constructed by Barker and Son of Handsworth between 1883-4, with the former distillery becoming a school (now demolished).
In the mid-C20, as part of the liturgical reforms under the Second Vatican Council (1962-5), alterations were made to the church. This initially saw the removal of the gothic high altar within the sanctuary, and the screens between the sanctuary and the side chapels. In the late C20 further alterations took place with the removal of the stone pulpit, though a fragment now remains in a slightly set back position. The communion rails were also removed at this time with an exception surviving between the sanctuary and the southern side chapel. During this period, a first-floor gallery at the eastern end of the church was enclosed at ground-floor level to create a new narthex area, screened from the church by timber half-glazed doors; the organ was also relocated from the northern side chapel to sit above the eastern gallery. Some timber detailing at the top of the confessionals on the northern aisle of the church was also removed during this period of reordering.
The church had been associated with a presbytery located to the north at corner of Alcester Street and Bradford Street. A replacement presbytery (not part of the List entry) was constructed in the 1950s adjoining the church at its north-western corner. The original presbytery was demolished in the late C20 with the land instead used for car parking.
A series of further renovations were undertaken around the year 2000, with a new decorative stencilled paint scheme applied to the sanctuary and side chapels. The nave piers were also painted at this time and a new entrance porch erected on the north elevation of the church.
Reasons for Listing
The Roman Catholic Church of St Anne, Deritend, of 1884 - 1884 by Albert Vicars, is listed at Grade II for the following principal reasons:
Architectural interest:
* The church is a striking example of a late-C19 early English revival Catholic Church designed by renowned architect Albert Vicars of Vicars and O’Neill;
* The church is confident in its design and has good attention to detail including attractive limestone dressings and brick polychromy to provide interest to the exterior;
* Despite some alteration to the interior, particularly in response to the Second Vatican Council (1962-5), the church retains many of its late-C19 fittings including confessional booths, reredos and side chapels.
Historic interest:
* As a late-C19 Roman Catholic church constructed predominately for a poor Irish immigrant congregation who had fled the Great Famine, replacing an earlier mission church founded by Cardinal John Henry Newman.
An official postcard of Alex shortly before the re-modelling of Alexanderplatz, pedestrianisation and removal (until recent restoration) of trams. The Tatra 603 is in a less formal hue. On the right, the famous Berolina house 8-storey with reinforced concrete skeleton , built in 1930-2 according to designs by P. Behrens. Both it, and its twin (Alexanderhaus) opposite somehow managed to survive the Battle for Berlin, albeit damaged and will also surive the current second remodelling of Alexanderplatz - which has already thrown up a building more hideous than anything ever constructed in GDR times. A significant pair of buildings,the only 2 to reach fruition in a bold 1920s plan to remodel Alex.. The Berlin C2 central post office was behind the Tatra. DDR postcard publishers always tried to incorporate a nice car into the picture to give an impression of affluence.
Outside the Alexanderhaus, between 1933 and 1944, when it mysteriously disappeared, stood the 7.5m high bronze sculture of Berolina, the work of the East Prussian Emil Hundrieser (1846-1911). It was erected in 1895,but removed in the mid 20s for U-Bahn work, and because it conveyed messages of Prussian militarism. Public outcry brought it back in 1933 for a further 11 years when it is believed to have been melted down. It stood on a 6m plinth but was rather squeezed between the roundabout and the obtuse angle in the Alexanderhaus.
An interesting 2003 document with history and future plans for Alex is found here, full of photos new and old
www.stadtentwicklung.berlin.de/planen/staedtebau-projekte...
Higher Elementary School (former), Conway Street, Birkenhead, Merseyside, 1905-06.
For the Birkenhead School Board.
By Thomas William Cubbon.
Grade ll listed.
Classic Decatur, IL--Staley Building (now Tate & Lyle), railroad crossing, traffic lights, pawn shop, and Save-a-Lot. This is at U.S. Route 36.
• Spring Garden is a residential development on the north bank of the Miami River • advertised as "the most exclusive subdivision in Miami" (and now the oldest on the river) • developed by John Seybold (1872-1940), an immigrant from Germany who was a prominent Miami baker & businessman
• When Seybold purchased the Spring Garden property in 1913, it already had a colorful history • from the late 1890s to the early yrs. of the 20th c., the point at the junction of the Miami River & Wagner Creek – now Spring Garden Point Park — was the site of Alligator Joe's Crocodile and Alligator Farm, a tourist attraction owned by Warren Frazee (1873-1915), aka Alligator Joe • his main business was shipping animal hides & eggs to U.S. markets, e.g., 600 alligator hides & 2,892 alligator eggs shipped in 1898 • won $200 staging an alligator vs. crocodile fight (the gator won) —Florida's Warren Frazee — The Original Alligator Joe, Jim Broton, Tequesta, Issue 68, 2008
• from the 1910s through mid-20th c., an array of popular attractions entertained locals & tourists on the opposite side (south bank) of the Miami River • one of them was owned by Spring Garden resident Charles O. Richardson (1868-1935), an actor & theater operator said to have exhibited the state's first motion picture • his Miami tourist venue began as Richardson Grove (aka Richardson Plantation), founded in 1896 by his father, Otis Richardson (c. 1819-1901) • located on the S. bank of the river, close to today's 25th Ave. • in the renamed Musa Isle Fruit Farm, the word Musa being the botanical genus of bananas • became a favorite stop on river tours
• in 1907 Richardson sold the farm to John A. Roop (1866-1962), who dropped "Fruit Farm" from Musa Isle's name • Richardson returned to the theater business • purchased the Alcazar Theater & attempted to provide Miami's 1st air-conditioning by raising the floor & installing a fan to blow air, cooled by ice blocks, through holes under the seats —The Early Years Upriver by Donald C. Gaby, Tequesta 48 (1988)
• Musa Isle's new owner, erected an observation tower at what is now NW 22nd Ave • in 1919, he leased a section of the grove to a Seminole named Willie Willie (c. 1886-1929), presumably to compensate for reduced income following a 1917 hard freeze that wiped out the the crop & damaged his fruit trees • the move was also a response to a Coppinger's, a competitor on the river who had opened a Seminole village that was attracting the tourist boats • in 1921, on his newly leased land, Willie Willie established the Musa Isle Seminole Village & Trading Post, where trappers brought their bounty for sale to wholesalers
• Willie Willie was unique in that he was comfortable among whites & in fact married to a non-Indian • outside of the village he wore stylish clothes • his frequent speeding tickets warranted notices in the Miami Herald • profits from his various enterprises were an estimated $50K annually, equal to about $600K in 2016 dollars • “[He] had more money than he could use. He married outside his tribe and burned up the highways in his high priced car. However, Alan W. Davis, a hunter who became the foreman of the Musa Isle Indian Vilage, and Lucien A. Spencer, the special commissioner of the Seminole Agency, identified the sale of egret plumes as the business in which Willie Willie made his real money." —The Enduring Seminoles: From Alligator Wrestling to Ecotourism, Patsy West
• in 1911-12, Cardale Resort, with a skating rink, dance floor & the ~90 foot observation tower, opened in Cardale Grove (formerly Richardson Grove) at Musa Isle • the telescope-equipped tower offered expansive views of Miami & the adjacent Everglades • guests arrived at Cardale Landing via the Cardale boat (aka Car' dale, Car Dale)
• horticulturist & landscape designer Henry Coppinger Sr. (1848-1924), an Irish immigrant, arrived in S. Florida c. 1898 • in 1911 he purchased 10 acres of south bank riverfront property near Musa Isle • after trading for an adjacent, less rocky parcel at S.W. 19th Ave., he created a botanical garden to grow, hybridize & sell exotic plants • named the venture Coppinger's Tropical Gardens • Henry Coppinger hybrids soon decorated homes throughout the city
• in 1914 the attraction opened to tourists, featuring a Seminole camp that was already on the property when it was purchased • in the early 1900s, canals built to drain the Everglades had decimated hunting areas, diminishing the Seminoles' main source of income: animal hides & pelts • remaining as an exhibit at Coppinger's offered the Indians a decent living —Memories of Old South Florida, Don Boyd • —The Florida Anthropologist, Dec. 1981, Dorothy Downs
• the attraction expanded, becoming Coppinger's Tropical Gardens, Seminole Indian Village and Alligator Farm • Coppinger's Pirate's Cove added alligator wrestling in 1919, introduced by "The Alligator Boy," Henry Coppinger Jr. (1898-1976) • said to have been the second white child born in Miami —Henry Coppinger Jr." By Chris Mayhew, Palmpedia • video: Seminole Alligator Wrestling (2:28)
• "Chief" Jack Tigertail (1872-1922), a winter resident at Coppinger's, was murdered there in 1922 • this was big news in Miami because Jack was well known there, especially after leading a rescue team into the Everglades To find a missing surveying party • after a sensational trial, a white man was convicted of the crime, then acquitted on appeal • although the case was never solved, Indians at Coppinger's suspected Tigertail's cousin, Charlie Billie • the "Chief" was the first Miami Seminole buried in a white cemetery —The Enduring Seminoles: From Alligator Wrestling to Ecotourism, Patsy West
• after his death, the camp's name was changed to Tigertail Indian Village, & advertised as "home of the late Chief Tigertail," at least until 1926 • a towering image of Jack Tigertail soon greeted motorists entering the young city of Hialeah —The Long Sleep of Jack Tigertail, Stuart McIver, Sun Sentinel, August, 1993
The Jewish Daily Forward Building at 175 East Broadway was built in 1912. The Forward relocated to midtown in 1974, where it remains, and was succeeded by a Chinese church. The building was into a 39-unit apartment complex in 1999.
Taking the name of a successful Socialist paper in Berlin, the Yiddish-language Daily Forward was first published in 1897 serving the swelling working-class immigrant population in the area. Abraham Cahan, the first editor, fled Russia after revolutionary activities. It was under his direction that the 8-page paper became more than just a broadside of political ideology, choosing to address “daily life” and local news. By the opening of the building, in the same year Socialist Eugene Debbs garnered 901,000 votes in the Presidential election, circulation had reached 120,000. The 1920’s saw circulation peak at 275,000, generating assets over $1MM, allowing the Forward to donate tens of thousands of dollars a year to labor and charity organizations. Laws in 1924 and 1929 restricted immigration eventually weakened the paper’s reach and by 1939 circulation had dropped to 170,000. Despite this, the Forward enjoyed a reputation as a literary paper attracting contributors like Isaac Bashevis Singer, Elie Wiesel and Art Spiegelman. In 1963, an English supplement was launched and today it prospers as a weekly with a circulation of 45,000 in English, Yiddish and Russian.
A popular story was that the building was built in reaction to the Capitalist symbolism of the nearby Jarmulowksy Bank Building, but the construction started one year earlier. Designed by George Boehm, the 11-story midblock building still towers over the shorter houses and tenements in the area. Boehm would reuse the cream-and-tan exterior and delicate terra cotta design a few laters for his Chalif Dancing School (163 West 57th St). Above the second floor, a series of relief busts depict four famous socialists, including Karl Marx and Friedrich Engels. Above them two oversize reclining figures in classical dress against a blue background flank a torch, an image that runs through the building's decoration.
The Forward Building was designated a landmark by the New York City Landmarks Preservation Commission in 1986.
A lot of tram and front of buildings were used for advertising in Vienna, 1970. Europaplatz. (c)Henk Graalman
Postcard of the Physics and Electrical Engineering Building. Printed on front: "Chemistry Bldg. M.A.C. No. 18." Text on back: "Late Physics (1925-1949), 1949-Library annex"
Not dated.
Repository Information:
Michigan State University Archives & Historical Collections, Conrad Hall, 888 Wilson Rd., Room 101, East Lansing, MI 48824, archives.msu.edu
Subjects:
Michigan State University -- Buildings -- Physics and Electrical Engineering
Resource Identifier:
A001148
The 143,404 square metres satellite building accommodates international flights departing and arriving at KLIA. Passengers have to travel to the satellite building via the Aerotrain. There is a wide array of duty-free shops and prestige brand boutiques in the satellite building. This includes international brands such as Burberry, Harrods, Montblanc, Salvatore Ferragamo and Mango. Among all international labels available within the terminal, some boutiques such as Harrods are only available in the airport. A number of restaurants and international airlines' lounges are available as well as an Airside Transit Hotel.
Within the terminal, wireless internet (Wifi) is provided free of charge. The terminal also has prayer rooms, showers and massage service. Various lounge areas are provided, some including children's play areas and movie lounge, broadcasting movie and sport channels. The terminal also features a natural rainforest in the middle of the terminal, exhibiting the Malaysian forests. The gates in Satellite Terminal A have the prefix C. The Satellite A Terminal has 27 boarding gates altogether. en.wikipedia.org
With a new building going up that looks like it will be one of the tallest in the country. View from the Queen's Walk adjacent to City Hall.
May Day at Audley End
Roll up, roll up and see May Day fun as it used to be!
Enjoy our Victorian side shows and brass band, and marvel at our incredible displays of Victorian falconry. Then watch as your little ones learn circus skills or take part in a play. All of which, coupled with the spectacular house and grounds at Audley End, is sure to make this a day out to remember for all the family!
Enjoy a great day out at one of England’s grandest stately homes; Audley End House.
The doors of our restored historic stables recently opened, complete with resident horses and a Victorian groom. Our stables experience includes an exhibition where you can find out about the workers who lived on the estate in the 1880s, the tack house and the Audley End fire engine. Try our dressing up clothes in the stables and meet our horses, Duke and Jack, too.
Children can let loose in our fun themed play area next to our Cart Yard Café which is always very popular with visitors.
Audley End House itself is a magnificent house, built to entertain royalty, and includes a Victorian Service Wing complete with kitchen, laundries and a dairy.
With beautiful grounds to explore, including an impressive formal garden and the working Organic Kitchen Garden, there’s so much to see and do at Audley End House.
Originally adapted from a medieval Benedictine monastery, the house and gardens at Audley End were amongst the largest and most opulent in Jacobean England. Today Audley End is set in a tranquil landscape with stunning views across the unspoilt Essex countryside. Visitors can enjoy the painstakingly restored parterre with its eye-catching bedding scheme and a walled kitchen garden run entirely on organic principles. It's possible to see elements of English gardening on a grand scale at Audley End carried out by the most influential designers of the day such as Lancelot ‘Capability’ Brown.
LOS ANGELES - An early morning inferno, later determined to be arson, destroyed a large apartment building under construction, and severely damaged two nearby high-rise buildings on December 8, 2014 near downtown Los Angeles. © Photo by Rick McClure
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The brand new " De Rotterdam" skyscraper in Rotterdam. Architect: Rem Koolhaas (OMA). Finished: 2014.
Next to it (the white one) is the KPN Telecom Building.
"De Rotterdam" is the largest construction in Europe on an area of only 1 football field (50 by 100 meters). It has 44 floors and 160,000 square meters in total for offices, apartments, hotels, restaurants, bars and shops.
Veelaan 04/05/2018 15h06
De Veelaan is a street in the former Eastern Docklands of Amsterdam. Since the redevelopment of the area, the avenue has become an important traffic route that connects the old Indische Buurt with the peninsulas of the Eastern Docklands.
The avenue owes its name to the livestock market and city lattices that used to exist here. Some of these buildings are still standing like this one.
The second electric tram line from Amsterdam, line 6, from the Mauritskade to the Cruquiusweg, connected the abattoir and the market via the Veelaan with the rest of the city. This connection (later line 12) belonged to the first lines in Amsterdam that disappeared again, in 1925. [ Wikipedia ]