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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.
The Downtown Police Substation of the Honolulu Police Department, located on the corner of Hotel Street and Maunakea Street, is named after Daniel S. C. Liu (1908-1986), the Chief of the Honolulu Police Department from 1948 to 1969.
The Chinatown Historic District is bound by Honolulu Harbor, Nu'uana Stream, Nu'uana Avnue, and Beretania Street. Hawaii's first Chinese arrived on merchant ships in 1789, followed by largest a large influx of laborers imported in the 1850's to work on the sugar plantations. By 1882, the Chinese in Hawaii formed 49% of the total plantation working force, and for a time outnumbered Caucasians on the island. By 1884, the Chinese population in Honolulu reached 5,000, and as their contracts expired, they gravitated towards downtown to build restaurants and herb shops and develop a flourishing opium trade. Chinatown. The area was destroyed in two successive fires in 1886 and 1900, the latter of which was started after an attempt to burn a building infected with Bubonic plague got out of control. Despite divisive political sentiment against Chinese immigration, Chinatown was rebuilt at the turn of the century. After World War II the area fell into disrepair and became a red-light district until recent revitalization plans have breathed new life into the historical neighborhood.
Chinatown Historic District National Register #73000658 (1973)
Taken on a wet day.
I was the only person with a raincoat on.
Most people were walking around soaking wet.
I am not sure why people do that!!??
(further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am...
I visit Hong Kong this weekend to settle some spill-over effects from a pick pocket incident last year. The weather is really terrible. A thick fog covers the city for the last 2 days.
I left my heavy DSLR gear at home. I am travelling light in this trip with my little camera. Feels good to be a normal tourist again.
everyone I spoke with thinks the windows feel too flattened against the building, something not quite right about it. sorry to say.
Unedited shot of buildings in Amsterdam, reflected in water. Taken with my Sony HX1. No editing, no magic tricks, no Photoshop :)
Yesterday I went to the Bijlmer, Amsterdam's most notorious 'Ghetto' (yes, the one a plane crashed into, in 1992), to visit a friend, and because I'm almost never in that area of the best city in the world, I got lost and kept biking in circles, waving my Google maps printout at people, asking them which way to go, and finally, after one hour, made it to the right place. On the way back to the city, I got lost again, but ended up passing by these buildings that were rather nicely reflected in a little artificial pond, so it was all good and worth it. These buildings look a bit untypical for this lovely city, that's because they're next to the Amstel station, where our tallest tower lives, the Amstel tower, a landmark that has helped me on many occasions to find back to the civilized world when traveling, as you can see it from farfar away already, waving and smiling at you, showing you the way back home...thank you tower :)
Have a relaxed Sunday :)
I've made a wicked puddle movie of these buildings too, watch it on my YouTube channel, thanks :)
Location : Shouikh Beach - Kuwait
Target : KPC Building - Kuwait
Time : 5.00 AM
المكان : شاطئ شويخ - الكويت
الهدف : مبنى وزارة النفط - الكويت
الوقت : ٥ صباحا
Her i use two Software's
1. Aperture 2.1.4 For OSX ( iMac )
2. Photomatix Pro For OSX ( iMac )
Note : her i was with my friend Abdulla Al.Enezi ( Editor in Makan news paper )
The Victoria Memorial (Victoria Memorial Hall of fame)a large marble building in Kolkata (Calcutta), West Bengal, India which was built between 1906 and 1921. It is dedicated to the memory of Queen Victoria (1819–1901) and is now a museum and tourist destination under the auspices of the Ministry of Culture. The Memorial lies on the Maidan (grounds) by the bank of the Hooghly river, near Jawaharlal Nehru road.
HISTORY
In January 1901, on the death of Queen Victoria, George Curzon, 1st Marquess Curzon of Kedleston and Viceroy of India, suggested the creation of a fitting memorial. He proposed the construction of a grand building with a museum and gardens. Curzon said,
"Let us, therefore, have a building, stately, spacious, monumental and grand, to which every newcomer in Calcutta will turn, to which all the resident population, European and Native, will flock, where all classes will learn the lessons of history, and see revived before their eyes the marvels of the past."
The Prince of Wales, later King George V, laid the foundation stone on 4 January 1906 and it was formally opened to the public in 1921. In 1912, before the construction of the Victoria Memorial was finished, King George V announced the transfer of the capital of India from Calcutta to New Delhi. Thus, the Victoria Memorial was built in what would be a provincial city rather than a capital.
FINANCE
The Victoria Memorial was funded by many Indian states, individuals of the British Raj and the British government in London. The princes and people of India responded generously to Curzon's appeal for funds and the total cost of construction of this monument amounting to one crore, five lakhs of rupees, was entirely derived from their voluntary subscriptions.
DESIGN
The Victoria Memorial's architect was William Emerson (1843–1924), president of the Royal Institute of British Architects. The design is in the Indo-Saracenic revivalist style. This style uses a mixture of British and Mughal elements as well as Venetian, Egyptian, Deccani and Islamic architectural influences. The building is 103 m by 69 m and rises to a height of 56 m. It is constructed of white Makrana marble. The gardens of the Victoria Memorial were designed by Lord Redesdale and David Prain. Emerson's assistant, Vincent J. Esch designed the bridge of the north aspect and the garden gates.
WILLIAM EMERSON
Emerson was a pupil of William Burges and an architectural theorist. He first visited India in about 1860. Emerson designed the Crawford Market, Mumbai (1865); the All Saints Cathedral, Allahabad (1871); and Muir College (1873) Emerson moved to the princely state of Bhavnagar, Gujrat and designed the Takhtsingji Hospital and the Nilambagh Palace. There, he learned to include Hindu architectural elements in his works.
VINCENT J. ESCH
In 1899, Esch was appointed assistant engineer at the Bengal Nagpur Railway, a job which gave him much practical experience in large-scale construction and costings. In 1902, Emerson engaged Esch to sketch his original design for the Victoria Memorial. After designing the temporary exhibition building for the Delhi Durbar of 1903, Curzon found Esch to be a suitable assistant for Emerson. Esch had also won a competition to design the Bengal Club building at Chowringhee and the Bengal-Napur Railway head office building at Garden Reach.
CONSTRUCTION
The construction of the Victoria Memorial was delayed by Curzon's departure from India in 1905 with a subsequent loss of local enthusiasm for the project and by the need for testing of the foundations. The Victoria Memorial's foundation stone was set in 1906 and the building opened in 1921. The work of construction was entrusted to Messrs. Martin & Co. of Calcutta. Work on the superstructure began in 1910. After 1947, when India gained independence, additions were made.
EXTERNAL DECORATIVE FEATURES
Atop the central dome of the Victoria Memorial is the 4.9 m figure of the Angel of Victory. Surrounding the dome are allegorical sculptures including Art, Architecture, Justice, and Charity and above the North Porch are Motherhood, Prudence and Learning.
TAJ MAHAL
Emerson may not have taken, literally, from the Taj Mahal but there is a reminiscence. Like the Taj Mahal, the Victoria Memorial is built of white Makrana marble and is a memorial to an empress. In design, it echos the Taj Mahal with its dome, four subsidiaries, octagonal domed chattris, high portals, terrace, and domed corner towers.
EXHIBITIONS
The Victoria Memorial has a number of galleries, 25 in all. These include the royal gallery, the national leaders gallery, the portrait gallery, central hall, the sculpture gallery, the arms and armoury gallery and the newer, Calcutta gallery. The Victoria Memorial has the largest single collection of the works of Thomas Daniell (1749–1840) and his nephew, William Daniell (1769–1837). The Victoria Memorial also has a collection of rare and antiquarian books such as the illustrated works of William Shakespeare, the Arabian Nights and the Rubaiyat by Omar Khayyam as well as books about kathak dance and thumri music by Wazid Ali Shah. However, the galleries and their exhibitions, the programmatic elements of the Memorial do not compete with the purely architectural spaces or voids.
ROYAL GALLERY
The Royal Gallery displays a number of portraits of Victoria and Prince Albert and, paintings illustrating their lives, by Jansen and Winterhalter. The oil paintings are copies of those in London. They include Victoria receiving the sacrament at her coronation in Westminster Abbey (June 1838); Victoria's marriage to Albert in the Chapel Royal at St. James' Palace (1840); the christening of the Prince of Wales in St. George's Chapel, Windsor Castle (1842); the marriage of the Prince of Wales (Edward VII) to Princess Alexandra (1863); Victoria at the First Jubilee service at Westminster Abbey (1887) and the Second Jubilee service at St. Paul's Cathedral (June 1897). Victoria's childhood rosewood pianoforte and her correspondence desk from Windsor Castle stand in the centre of the room. Edward VII presented these items to the Victoria Memorial. On the south wall hangs the Russian artist, Vasily Vereshchagin's oil painting of the state entry of Edward VII, (then Prince of Wales), into Jaipur in 1876.
CALCUTTA GALLERY
In the mid 1970s, the matter of a new gallery devoted to the visual history of Calcutta was promoted by Saiyid Nurul Hasan, the minister for education. In 1986, Hasan became the governor of West Bengal and chairman of the board of trustees of the Victoria Memorial. In November, 1988, Hasan hosted an international seminar on the Historical perspectives for the Calcutta tercentenary. The Calcutta gallery concept was agreed and a design was developed leading to the opening of the gallery in 1992. The Calcutta gallery houses a visual display of the history and development of Calcutta from Job Charnock (1630–1692) of the English East India company to 1911, when the capital of India was transferred to New Delhi. The gallery also has a life size diorama of Chitpur road in the late 1800s.
GARDENS
The gardens cover an area of 64 acres (260,000 m2). They are maintained by a team of 21 gardeners. They were designed by Redesdale and David Prain. On Esch's bridge, between narrative panels by Gascombe John, there is a bronze statue of Victoria, by George Frampton. Victoria is seated on her throne. She is wearing the robes of the Star of India. In the paved quadrangles and elsewhere around the building, other statues commemorate Hastings, Cornwallis, Clive, Wellesley, and Dalhousie. Approaching the Victoria Memorial building from the south, visitors pass the Edward VII memorial arch. Upon the arch is a bronze equestrian statue of Edward VII by Bertram Mackennal and, a marble statue of Curzon by Frederic William Pomeroy. The garden contains statues of dignitaries such as Bentinck, governor-general of India (1828–1835); Ripon, governor-general of India (1880–84); and Rajendra Nath Mookerjee, a pioneer industrialist of Bengal.
WIKIPEDIA
Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.
"Drewan Court" is a wonderful set of Streamline Moderne red and brown brick flats built on the front of an old Gothic Victorian mansion in Lyons Street. With rounded balconies and Functonalist windowframes, "Drewan Court" achieve the refreshingly sleek style that was popular in the mid to late 1930s.
Unlike many Art Deco buildings which focussed on angular detail, Streamline Moderne buildings often placed emphasis on rounded edges, as though they were standing up against a great wind. The rounded concrete rendered windows are prime examples of such architectural features. Aside from these and a small amount of feature brickwork, the detail on these flats is minimal.
The Milwaukee Athletic Club was established on September 18, 1882 by eight young men for the purpose of "developing of the bodily powers through gymnastic and other exercises”. Since that time, the MAC has enjoyed much growth and change.
Nine buildings housed the Club before it moved in 1917 to its present site on the corner of Broadway and Mason. The MAC occupies all 12 floors of the building. Within these walls is a formal dining room, 17 private meeting rooms including our Grand Ballroom, 60 guestrooms, two cocktail lounges, library, barber shop, child care room, racquetball and squash courts, co-ed fitness studio and private men's and women's athletic facilities, each with its own lap pool.
All Saints
Church of England
A late afternoon shot.
The oldest parts of the Church are C13, including the west tower that is shown in my shot.
The church was heavily rebuilt in 1837.
Type : Photograph Medium : Print-colour Description : A view of the front view of one of the buildings on Nun Street Newcastle upon Tyne taken in 1995. The Red Cross Shop is on the ground floor of the building. Collection : Newcastle Local Studies Pictures Collection Printed Copy : If you would like a printed copy of this image please contact Newcastle Libraries www.newcastle.gov.uk/tlt quoting Accession Number : 061326
Constructed between 1920 and 1924, the Wrigley Building was one of the first office buildings located north of the Chicago River. Despite being one of Chcago's most recognizable buildings, the Wrigley Building is not an officaly designated landmark.
Featured on Chicagoist.
709 (SN55 BKJ) is seen crossing Princes Street on its way through the city centre en route from Cramond to King’s Buildings. The King’s Buildings - named after King George V - has developed as the Science and Engineering Campus of the University of Edinburgh since land was first acquired at West Mains Road in November 1919.
Jan van der Heyden, Gorinchem 1637 - Amsterdam 1712
Veduta di una piazza ad Amsterdam / Ansicht des Dam in Amsterdam mit Blick auf die Nieuwe Kerk /
Amsterdam, Dam Square with the Town Hall and the Nieuwe Kerk (1667)
Jan van der Heyden malte einige Landschaften und Stillleben, aber berühmt wurde er für seine Stadtansichten, die er elegant komponierte und mit harmonischen Farben und viel Liebe zum Detail malte. Neben der Malerei war er in der Stadtverwaltung von Amsterdam und auch als Erfinder tätig. Er entwickelte die Amsterdamer Straßenbeleuchtung mit Ölstraßenlaternen und kümmerte sich um die technische und organisatorische Weiterentwicklung der Feuerwehr. Er gilt als Erfinder der Feuerlöschspritze und verfasste 1690 das erste Handbuch zur Feuerbekämpfung, das er mit Stichen illustrierte.
Cosimo de'Medici kaufte dieses Gemälde während eines Besuchs von Amsterdam im Jahr 1668, ein Jahr nachdem Jan van der Heyden es gemalt hatte. Das neue Rathaus am Dam, dem zentralen Platz von Amsterdam, war erst 1667 komplett fertiggestellt worden und die Amsterdamer waren sehr stolz darauf, besonders weil die hoch aufragende Laterne damals von jedem Punkt ihrer Stadt sichbar war. Diesen Stolz drückt der Maler auch in seinem Werk aus. Der Mittelgrund des Gemäldes wird von der hellen Fassade des von Süden gesehenen Rathauses dominiert, während links im Vordergrund das Haus De Vergulde Ploeg (Der goldene Pflug) an der Ecke Kalverstraat und Dam zu sehen ist und im Bildhintergrund die Nieuwe Kerk (Neue Kirche) mit ihren Nachbarhäusern steht. Die Figuren, die den Dam bevölkern, wurden von Adriaen van de Velde gemalt, der auch für die Werke anderer Künstler die Staffagen ausführte.
Van der Heyde komponierte das Gemälde mit einer rigorosen Zentralperspektive mit einem einzigen Fluchtpunkt rechts von der Nieuwe Kerk, was in einer strikten Diagonale und mehreren erheblichen Verzerrungen resultierte, so dass die Fassade des Rathauses aussieht, als würde sie gleich nach vorne fallen. Dieser Effekt ist vor allem der Laterne geschuldet, die zwar perspektivisch korrekt dargestellt ist, aber vom Auge des Betrachters als verzerrt wahrgenommen wird. Vermutlich hatte van der Heyden eine Camera Obscura benutzt, da ihre Linsen bei der Festlegung einer Zentralperspektive solche Abweichungen verursachen
Deze machinehal met ketelhuis hoorde bij de voormalige gasfabriek aan de Gasmeterlaan in Gent. Het modernistische complex in gele baksteen werd ontworpen door architect Geo Bontinck. Het ontwerp is opgevat in de internationale stijl van het Nieuwe Bouwen uit het einde van de jaren 1930, maar werd uiteindelijk pas in het begin van de jaren 1950 gerealiseerd. De gebouwen waren niet beschermd en werden, ondanks protest, in 2016 afgebroken, in het kader van de ontwikkeling van de Tondelier-site.
Foto: Tijl Vereenooghe
A look around Abergavenny, from the High Street and the surrounding area.
Abergavenny Baptist Church seen at the end of Frogmore Street, Abergavenny.
With a war memorial statue out front.
Grade II listed building.
Abergavenny Baptist Church, Abergavenny
Location
On a very prominent corner site at junction of Frogmore Street and Pen-y-pound set in small yard behind balustraded dwarf wall.
History
Dated 1877 above entrance doors. Architect, George Morgan of Carmarthen, (1834-1915). Cost of chapel 4200. Unaltered externally but the interior has been changed by the introduction in 1977 of a main floor at gallery level.
Interior
Now in two storeys with floor at former gallery level. Ground floor now school rooms and is very plain, and upper floor now chapel. Original seating, tiered on the former balcony, organ recess. Parts of former gallery balustrade reused in organ screen. Roof unaltered, coved and panelled with central recessed area, main ribs supported on large console brackets. Stained glass in rose window. Fine organ in arched recess with the arch inscribed 'GOD IS A SPIRIT WORSHIP HIM IN SPIRIT AND IN TRUTH'.
Exterior
Built in snecked bullnose local brown sandstone, pale Bath limestone quoins and dressings, natural slate roofs. Large rectangular chapel with gable end to the street. In a free version of Northern Italian Romanesque style. Gabled entrance front flanked by two 3-stage towers. Towers have steep hipped roofs with bell-cast and wrought-iron cresting, and clasping buttresses treated as superimposed pilasters in a semi-classical manner. The ground stage has a paired light with a colonette and stiff-leaf capital, heavy cornice band over. The second stage is taller and has a lancet with oculus above. Top stages treated as bell stages with open Romanesque stilted arches. In the central gable, arcading based on Lombardic Italian models, below this a large 8-light rose window is set under arched surround with oculi in lower spandrels. Single-storey open porch has round arched doorways with Romanesque shafts and stiff-leaf capitals, two openings to front, one to sides. Double entrance doorways with pierced tympana. Panelled doors.
Side elevations have six tall recessed bays in two clear storeys, the bays separated by thin pilaster buttresses. Bracketed cornice, enriched as floral capitals on tower buttresses. On first floor, pairs of round arched windows with central columns, on ground floor, pairs of square headed windows. End bay (north-west) is narrower with only one window on each floor. The end bay (south-east) is the return of the towers. These have an arched light on the ground stage and upper stages as on the main front. To rear (north-west), lower projection for vestries with gable chimney.
Reason for Listing
Listed for its special architectural interest as a fine example of George Morgan's Romanesque chapel style and for major townscape importance.
References
John Newman, The Buildings of Wales, Gwent/Monmouthshire, Penguin, 2000, p99.
Louis Bannon, Remember Abergavenny, Vol I, Old Bakehouse Publications, 1995, pps.9-11.
Chris Barber, Abergavenny in Old Postcards, European Library, 1995, pl.9, 10.
Anthony Jones, Welsh Chapels, Alan Sutton, 1996, pps.67-8.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
On a very prominent corner site at junction of Frogmore Street and Pen-y-pound set in small yard behind balustraded dwarf wall.
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
Welcome to Cannery Row, one of the most beautiful coastal areas in the country. Monterey visitors rank Cannery Row as their favorite spot on the Peninsula.
Immortalized by John Steinbeck’s classic novel, Cannery Row’s world-renowned heritage is found in the distinctive architecture that is reminiscent of earlier days. The cross-overs that used to carry sardines are now your path to a wealth of exciting shopping and dining experiences.
The Monterey Bay National Marine Sanctuary is one of our nation’s treasured underwater parks. Each of the 14 marine sanctuaries protects a special underwater or coastal environment. The Sanctuary extends an average of 35 miles offshore, covers over 5300 square miles, and possesses an astonishingly diverse array of marine life, including 26 species of marine mammals, 345 species of fish and 4 species of turtles.
Cannery Row is an ocean side playground filled with fun for everyone. Outdoor recreation abounds on land and in the water. Visitors are invited to explore the beauty of Monterey Bay’s rocky shores and marine life with kayaking, diving and tide pooling.
The lineup of restaurants on the Cannery Row includes award winners and who’s who in the world of culinary trends. You will find temptations for every craving with a collection of restaurants ranging from casual to gourmet.
Cannery Row has long been known as the place to go for distinctive souvenirs of the Monterey Peninsula. What has always remained constant on Cannery Row is the presence of small, independently owned stores, which carry items you are not likely to find anywhere else.
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Set: USA, California, Carmel, Chateau Julien Winery
Tags: "Chateau Julien" "Chateau Julien Winery" Winery grapes "Monterey Pines" "Monterey Pine Trees" "Monterey Bay" "17 Mile Drive" Carmel California
Description:
, Chateau Julien Winery, Carmel, California, USA
The history of Chateau Julien Wine Estate:
In the late 1970's, Bob and Patty Brower set out to fulfill their dream. Originally from the East Coast, they had a passion for wine and admired the French hospitality encountered while traveling in Europe. They saw the potential in Monterey County as a quality wine growing region, and in 1982 began building what is now known as Château Julien Wine Estate in Carmel Valley, California.
The winery's first release came in 1985 with Chardonnay and Merlot from the 1982 vintage. Today, the entire process of wine production takes place on the 16-acre estate, including the aging of nearly 2000 oak barrels of wine. Winemaker Bill Anderson joined the Browers in 1982, and produced the winery's first 100% Merlot with the premier vintage. Bill continues to produce wine at Château Julien Wine Estate, and has played an integral part in establishing Merlot as the winery's flagship varietal.
If you pass through Heybridge you won't fail to notice the huge warehouse built alongside the Chelmer and Blackwater navigation in 1866 for the Bentall agricultural works.
William Bentall came from a long line of yeoman farmers who were born and bred to the land. He designed a plough that would become the foundation of Heybridge’s main industry.
Bentall was farming in Goldhanger, just outside Heybridge, when he made his new plough for use on his own land. So successful was his design that he went on to re-equip his whole farm with them.
These ploughs were probably made by the local blacksmith but within a few years their reputation led to other farm owners asking Bentall to equip their farms too. In order to satisfy their demands, Bentall opened a small foundry and smithy on land opposite his farmhouse and demand grew so much that in around 1795 with the support of his wife, Bentall decided to concentrate his efforts on this manufacturing business. He enlarged his foundry facilities and launched the Goldhanger plough on the farming community.
The plough achieved a reputation for outstanding excellence and Bentall found the village of Goldhanger restricting his growth. Raw materials had to be brought by sea to the Blackwater estuary and then transported by lighter and road to the foundry.
Bentall found land available beside the recently opened Chelmer and Blackwater canal at Heybridge, just three miles away, and in 1805 the first buildings were erected on this new site. Raw materials could now be brought directly up the canal in lighters to his new works.
The innovation continued and in the year following the move to Heybridge William Bentall introduced the first steam powered threshing machine followed by a selection of other agricultural implements. Bentall never took out patents on his designs but relied on customer satisfaction to ensure the continued success of his products. The Bentall name stood for quality and his factory ran at maximum capacity.
In 1814 the country was engaged in the Nepoleonic war and due to the restriction on importing wheat from Poland, vast areas of land were being broken up for grain production. The demands for agricultural equipment was at a peak. Finding no problem selling the output of his factory, Bentall was becoming a wealthy man.
In 1814, William Bentall had a son Edward Hammond Bentall who succeeded his father to run the management of the business twenty two years later.
Edward Hammond Bentall had inherited his father’s aptitude for engineering and had been born to a period of intense engineering expansion leading to an insatiable demand for the products coming out of the Heybridge works. His mother had already seen to it that he was taught the workings of the foundry and was taught to make a ploughshare.
At the age of 22, Edward had an inquiring mind and a sense of adventure as well as having inherited his father’s engineering genius. These qualities led to business into rapid expansion after years of gradual growth.
In order to safeguard this expanding business in 1839 Edward began to trade under the name of E.H.Bentall & Co adding status to the name and in 1841, a patent was taken out for an “improved” Goldhanger plough to protect the product against imitations.
Another new design was patented in 1843 and that was the Broad Share Cultivator which was a tremendous success when it was put on the market. Sales of Bentall products had been mainly in the local counties but this new plough began to find markets throughout Britain and across the seas in the Colonies.
Expansion went side by side with demand and new buildings were erected at the works and more staff trained. The quality however, never changed and the Broadshare plough was awarded a gold medal at the Great Exhibition at the Crystal Palace in 1851.
Edward Bentall continued to further improve this plough until it gained three first prizes at the Royal Agricultural Society’s show in Warwick in 1859. The word of its reputation spread and orders started coming in from all over the world.
The next innovation at the Bentall works was for the design and manufacture of a semi automatic machine to produce nuts and bolts. These were a large proportion of the manufacturing costs and Bentall built a new workshop to supply his own factory and an eager outside market. By now, Bentalls were producing a range of products which also included turnip cutters, root pulpers and oilcake breakers. Over the coming years the business prospered and, by 1870, the works were producing some twenty thousand assorted pulpers, cutters and cake breakers as well as the manufacture of a wide range of ploughs, threshers and reaping machines
In 1871, the products were modified to enable them to be marketed in Europe and Edward Bentall became a very wealthy man. Edmund Ernest Bentall started to take over the management of the business from his father, Edward, in 1889. Edward Hammond Bentall died in 1898. Edmund had taken over a very successful business now nearing it’s centenary and in the early 20th century, under his leadership, Bentall’s rose to the challenge of the new internal combustion engine.
A Bentall designed engine with many advantages over other designs became a very important addition to the work’s output. It was a slow running machine with small fuel consumption and was also one of the cheapest petrol engines on the market. Designed for ease in repair, the engines found themselves used for purposes as varied as driving chaff-cutters, crushers, pumps and even milking machines. The Bentall engine won medals at the great Brussels Exhibition and the International Exhibition in Turin.
Edmund Bentall was a keen motorist, the first man to own and drive a motor car in Maldon and set about designing a car that would incorporate a Bentall design petrol engine.
When he began to work on the design of the engine, petrol engines for cars were made with separate cylinders and he based his design on this principle. Unfortunately, by the time the car came into production, the monobloc system had come into fashion but it was too late for Bentall to change the design as all the necessary jigs and tools had been made. The new monobloc engines had a smaller bore than the Bentall engine which was put at a disadvantage when the new system of horse power tax was devised. The Bentall engine had a diameter and stroke very nearly equal and attracted a higher rate of tax and few buyers were to be found willing to face paying the heavy road fund tax.
The car was a costly failure to the company and although around one hundred were sold it was considered that redesigning the engine would be too costly and car manufacture at Heybridge was discontinued. The experience was not wasted, however, and Bentalls continued to improve the design of small petrol and paraffin engines and produced the first horizontal petrol engine in this country and sold many thousands. It was also the start of a large trade in the manufacture of valves and, from 1904, formed an important part of the output of the factory. Bentalls were pioneers in valve manufacture and went on the produce over a million a year.
E. E. Bentall was an innovator in other ways and equipped the factory with it’s own generator for electric power. The business also saw the increasing use of the railway because of reduced cost and the barges disappeared.
By 1914, the works was employing some six to seven hundred hands with the works covering an area of about fourteen acres. Despite the losses due to the failed car manufacturing venture, the business continued to prosper with the output of agricultural machinery expanding each year.
During the years of the Great War, a large proportion of the work’s output was switched to production of shell cases and many million were made during the four years of fighting. Women workers were introduced into the works as moulders and the shop was equipped with pneumatic hoists so that they would not have to lift heavy weights.
The fortunes of the company took a disasterous turn at the end of the war. An association of engineering firms was formed under the name of Agricultural & General Engineers Ltd and Bentall was persuaded to to merge his firm into it. Although Bentall & Co was the largest company in the association and the whole of the share capital was turned over to the new group the company had only one vote on the board.
The association did well during the boom years following the war but things were not looking too good for the future. The boom was followed by a slump and the association tried to counter the shrinking trade by launching further ambitious schemes including the formation of new companies in the Dominions. The association failed and the venture ended in total loss. Bentall, being the largest shareholder was hardest hit. All his money that might have used to put Bentalls back on it’s feet was lost.
Bentalls were in for a difficult time and had to start almost all over again. Sales had fallen to an unprecedented low and confidence in Bentalls had taken a severe blow. In 1933, E. E. Bentall purchased the ordinary shares of the company from the receivers of A.G.E.Ltd with the help of a little capital borrowed from friends and began the task of rebuilding the company. Charles Bentall became managing director with his father as chairman.
Some years of hard work were ahead but with the help of loyal staff who were prepared to work for reduced wages the business showed yearly improvements and the company’s debts were finally paid. Bentalls was prospering once more. The revived company played an important role in the second world war. Production set up for the manufacture of small machine parts for the aircraft manufactured by Handley-Page. The works went on to also produce complete assemblies such as tail fins and bomb floor for the new Halifax bombers and before the war ended some one thousand men and women were employed in the works. Also, because of the difficulty in importing food stuffs during the war years, output of agricultural machinery doubled to meet demand.
In 1946 E.H.Bentall & Co was recognised as a public company with Charles Bentall as Chairman. It continued to produce increasing volumes of agricultural machinery and valves for combustion engines. Although trade with the coffee plantations had suffered during the war the business was recaptured and rose six fold. Bentall technicians travelled to many countries advising on mechanised coffee processing. The works were modernised with more buildings added and, in 1949, a new foundry was built to meet demand for products. The year also saw the purchase of Tamkin Bros & Co of Chelmsford and the manufacture of their products switched to the Heybridge works. In 1955, the year the firm celebrated it’s 150th anniversary, Charles Edward Bentall died.
Thanks to it's about Maldon
Having spent many happy days in Heybridge where my grandparents lived as a child this building always stood out as a fabulous structure and well over a hundred years later it is still going strong!!! The Victorians could teach us a thing or two!!