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Another view of the staircase at the Grand Hotel de l'Opera in Toulouse, France, this time from the bottom of the staircase. The treads down-slope slightly and the handrails are located in interesting spots, so going downstairs can be a bit of adventure...
Oh yes, Colima has a church - Catedral Basílica Menor de Nuestra Señora de Guadalupe de Colima (Minor Basilica).
The Cathedral of Colima was designated on October 12, 1998 by Pope John Paul II, as a minor basilica, as it is the first consecrated to the Virgin of Guadalupe in Latin America.
The church is built in the same place the Spaniards assigned for the parish and the royal houses of the city.
Its origin dates back to 1525 during the colonial era. Its built of adobe with ornaments of gold, brick and stone. So far it has survived the many earthquakes that rock this area of Mexico.
Its the oldest cathedral in Mexico and North America.
The decoration is of Baroque and Neoclassical styles highlighting cedar wood carvings by cabinet makers Manuel Cedeño and Andrés González.
The pulpit is the work of the renowned carver Othón Bustos;
It also houses an ancient sculpture of San Felipe de Jesús, patron saint of the city since 1668.
Permission to use photo - 10 of 11.
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19 Sep 2018
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Hi Ted, my name is Luis Alberto Chacon, I am an architect and I work at the Planning Institute for the Municipality of Colima, we are currently working on a document for the development of the municipality and the city. We want to attach some pictures that you have published, your credits on these photographs will appear in the document if you give us permission to use them, thank you
Eines der ersten Bilder mit meiner neuen Canon 5D Mark II. Das Bild ist jetzt zwar nicht SO aufregend, aber wenn man vier Jahre lang mit Füßen getreten wird hat man zumindest ein Portrait verdient.
One of the first pictures with my new Canon 5D Mark II. Not THAT exciting, but if you get stepped on for four years, you earned at least one portrait.
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Camera: Canon 5D Mark II
Lens: Canon 50mm f1.4
Focal Length: 50mm
ISO: 800
Exposure: 1/4 sec at f / 2.8
Exposure Bias: 0 EV
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Nutzungbedingungen für dieses Bild / Terms of use for this picture
Tasma Terrace, at 2 to 12 Parliament Place and 30 to 34 St Andrews Place in East Melbourne, was built by the distinguished British born Australian architect, Charles Webb (1821 – 1898). Once comprising seven three storey buildings, Tasma Terrace was constructed in two stages in the 1870s and 1880s. The first three buildings, which were originally known as “Parliament Place”, were erected in 1878 by William Ireland for George Nipper, a wealthy grain merchant and shipping magnate. George Nipper and his family lived at the northernmost building in the terrace (which was demolished in 1940) before moving to the Windsor Hotel in 1885. Due to financial difficulties, Mr. Nipper had to sell the terrace in 1885 to Joseph Thompson (1838 – 1909), a flamboyant and prominent Melbourne bookmaker and racehorse owner. The remaining four buildings that made up the terrace, thus extending the building to the corner of St Andrews Place, were constructed in 1886 and 1887 by Dunton and Hearnden for Joseph Thompson.
From the time of its construction, Tasma Terrace was used mainly as rented accommodation and as some of Melbourne’s most up-market guest and boarding houses. It was customary for many women to conduct boarding houses in the period, and Tasma Terrace was no exception. Women who conducted the various guest houses included Miss Sarah Gould, Elizabeth Gow and Jean Borelli. The name “Tasma” was associated first with terrace number 14 (originally the Nipper family residence) in 1905 when Elizabeth Gow conducted it as a private hotel named the “Tasma Guest House”. Tasma Trrace’s proximity to the city made it ideal accommodation for politicians, businessmen, journalists and entertainers.
One of the most famous occupants was lawyer and future Prime Minister Harold Holt who lived at Tasma Terrace in 1934. Other uses for parts of Tasma Terrace included a trained nurses’ home in the late 1890s and medical suites in the 1940s and 1960s. For many years, number 14 was combined with an adjacent three storey building built around 1900 as the Tasma Guest House, but both were demolished for a seven-level office block in 1940. The office block became infamously known as the “Beirut Hilton” because of its dilapidated state and was in turn demolished in 1995 to provide an entry for the new Park Hyatt Hotel.
After the Second World War, in a changed world, Tasma Terrace attracted a very different clientele, of more humble means. Some tenants included those who were marginalised by society and endured a range of health and social problems, including Vietnam War veterans. From 1941 Maurice Branagan conducted the Tasma Guest House in numbers 2, 4 and 6 for thirty years, including a successful restaurant, which specialised in mushrooms home grown in the basement. By the early 1970s all six remaining buildings were the property of the Crown Lands Department, and there were plans to demolish the buildings, which were considered by that time to be very rundown. The terrace was saved by a concerted conservation campaign, led by the National Trust and various organisations and individuals. However the three-storey rear wings, which comprised many small rooms used as bedrooms for the guest houses, kitchens, staff rooms and bathrooms were all demolished. A glass conservatory was erected across the rear of the retained front portions to provide a rear link across the terrace.
The then Victorian Premier Sir Rupert Hamer, who was primarily responsible for securing the terrace for the National Trust, officially opened the completed National Trust headquarters on 24 March 1979, ten years after the battle to save Tasma Terrace began. This event is recorded in a plaque on the exterior southern end of the terrace along the St Andrew’s Place façade.
In 1979 the façade was restored to its original Nineteenth Century appearance. It is believed that the restoration work at Tasma Terrace was the first serious attempt to accurately restore the exterior paint colours of a Nineteenth Century building in Victoria by undertaking paint scrapings. The repainting in browns and greens was almost shocking in 1979, when cast-iron balconies were routinely painted white. The Portland cement render of the façade was left untreated but lower parts were cleaned with a low pressure spray of water. The fine decorative cast iron is unusual. The verandah brackets join to form graceful arches and the circular gothic ‘quatrefoil’ elements within them reflect the churches nearby. The cast iron features include the delicate, balanced leaf motif on the balconies and tassel-like spearheads on the fence railings. The oak wood grain effect of the front doors is a reproduction of the original finish. The main glazing of the doorways is not original but a reproduction of that typical of the period. The ground floor verandahs are paved with encaustic tiles. Replacement tiles were manufactured in England.
There are many surviving Victorian interior elements including heavily modelled cornices, high ceilings and sweeping arches. The National Trust undertook a elaborate restoration for the ground level of numbers 2 and 4 to illustrate how these rooms would have originally appeared. Samples of wallpaper were removed and the original wood-graining, varnishing and paintwork revealed by careful scraping. Redecoration of these areas evolved as closely as possible according to the materials and styles of the original. It should be noted that this is not a restoration of what was originally there but rather a careful recreation of a typical late 19th century decorative scheme.
Wallpapers were chosen from existing English and French ranges in preference to reproduction of original papers which would have been too expensive. Some of these wallpapers, including dadoes, borders and friezes are authentic Victorian designs while others are adapted from earlier designs. The furnishing of these areas has been largely dictated by the intended functions of the rooms and also by the objects available from the Trust’s collections. The curtains and swags were made up and draped in the Victorian manner. Most of the fireplaces are original although some were relocated from other parts of the terrace, including the basement. Some replacement pieces were obtained from wreckers’ yards. The light fittings are not original but are reproductions of both gas and early electric lights. The terrace has Baltic pine tongue and groove floors throughout, except for basement areas. The cast iron, marble topped Prince Albert hall stand (circa 1860) is a valuable piece from the Trust’s Dr E. Graeme Robertson cast iron collection.
Tasma Terrace is an important work of the distinguished architect, Charles Webb, whose other works include the Melbourne Church of England Grammar School (1856), Church of Christ in Swanston Street (1863), Wesley College (1864), the Royal Arcade (1869), the Alfred hospital (1869), Toorak’s “Mandeville Hall” (1876), the South Melbourne Town Hall (1879), East Melbourne’s “Mosspennoch” (1882), the Grand hotel, later the Windsor (1884) and “Charsfield” on St Kilda Road (1889).
Tasma Terrace, at 2 to 12 Parliament Place and 30 to 34 St Andrews Place in East Melbourne, was built by the distinguished British born Australian architect, Charles Webb (1821 – 1898). Once comprising seven three storey buildings, Tasma Terrace was constructed in two stages in the 1870s and 1880s. The first three buildings, which were originally known as “Parliament Place”, were erected in 1878 by William Ireland for George Nipper, a wealthy grain merchant and shipping magnate. George Nipper and his family lived at the northernmost building in the terrace (which was demolished in 1940) before moving to the Windsor Hotel in 1885. Due to financial difficulties, Mr. Nipper had to sell the terrace in 1885 to Joseph Thompson (1838 – 1909), a flamboyant and prominent Melbourne bookmaker and racehorse owner. The remaining four buildings that made up the terrace, thus extending the building to the corner of St Andrews Place, were constructed in 1886 and 1887 by Dunton and Hearnden for Joseph Thompson.
From the time of its construction, Tasma Terrace was used mainly as rented accommodation and as some of Melbourne’s most up-market guest and boarding houses. It was customary for many women to conduct boarding houses in the period, and Tasma Terrace was no exception. Women who conducted the various guest houses included Miss Sarah Gould, Elizabeth Gow and Jean Borelli. The name “Tasma” was associated first with terrace number 14 (originally the Nipper family residence) in 1905 when Elizabeth Gow conducted it as a private hotel named the “Tasma Guest House”. Tasma Trrace’s proximity to the city made it ideal accommodation for politicians, businessmen, journalists and entertainers.
One of the most famous occupants was lawyer and future Prime Minister Harold Holt who lived at Tasma Terrace in 1934. Other uses for parts of Tasma Terrace included a trained nurses’ home in the late 1890s and medical suites in the 1940s and 1960s. For many years, number 14 was combined with an adjacent three storey building built around 1900 as the Tasma Guest House, but both were demolished for a seven-level office block in 1940. The office block became infamously known as the “Beirut Hilton” because of its dilapidated state and was in turn demolished in 1995 to provide an entry for the new Park Hyatt Hotel.
After the Second World War, in a changed world, Tasma Terrace attracted a very different clientele, of more humble means. Some tenants included those who were marginalised by society and endured a range of health and social problems, including Vietnam War veterans. From 1941 Maurice Branagan conducted the Tasma Guest House in numbers 2, 4 and 6 for thirty years, including a successful restaurant, which specialised in mushrooms home grown in the basement. By the early 1970s all six remaining buildings were the property of the Crown Lands Department, and there were plans to demolish the buildings, which were considered by that time to be very rundown. The terrace was saved by a concerted conservation campaign, led by the National Trust and various organisations and individuals. However the three-storey rear wings, which comprised many small rooms used as bedrooms for the guest houses, kitchens, staff rooms and bathrooms were all demolished. A glass conservatory was erected across the rear of the retained front portions to provide a rear link across the terrace.
The then Victorian Premier Sir Rupert Hamer, who was primarily responsible for securing the terrace for the National Trust, officially opened the completed National Trust headquarters on 24 March 1979, ten years after the battle to save Tasma Terrace began. This event is recorded in a plaque on the exterior southern end of the terrace along the St Andrew’s Place façade.
In 1979 the façade was restored to its original Nineteenth Century appearance. It is believed that the restoration work at Tasma Terrace was the first serious attempt to accurately restore the exterior paint colours of a Nineteenth Century building in Victoria by undertaking paint scrapings. The repainting in browns and greens was almost shocking in 1979, when cast-iron balconies were routinely painted white. The Portland cement render of the façade was left untreated but lower parts were cleaned with a low pressure spray of water. The fine decorative cast iron is unusual. The verandah brackets join to form graceful arches and the circular gothic ‘quatrefoil’ elements within them reflect the churches nearby. The cast iron features include the delicate, balanced leaf motif on the balconies and tassel-like spearheads on the fence railings. The oak wood grain effect of the front doors is a reproduction of the original finish. The main glazing of the doorways is not original but a reproduction of that typical of the period. The ground floor verandahs are paved with encaustic tiles. Replacement tiles were manufactured in England.
There are many surviving Victorian interior elements including heavily modelled cornices, high ceilings and sweeping arches. The National Trust undertook a elaborate restoration for the ground level of numbers 2 and 4 to illustrate how these rooms would have originally appeared. Samples of wallpaper were removed and the original wood-graining, varnishing and paintwork revealed by careful scraping. Redecoration of these areas evolved as closely as possible according to the materials and styles of the original. It should be noted that this is not a restoration of what was originally there but rather a careful recreation of a typical late 19th century decorative scheme.
Wallpapers were chosen from existing English and French ranges in preference to reproduction of original papers which would have been too expensive. Some of these wallpapers, including dadoes, borders and friezes are authentic Victorian designs while others are adapted from earlier designs. The furnishing of these areas has been largely dictated by the intended functions of the rooms and also by the objects available from the Trust’s collections. The curtains and swags were made up and draped in the Victorian manner. Most of the fireplaces are original although some were relocated from other parts of the terrace, including the basement. Some replacement pieces were obtained from wreckers’ yards. The light fittings are not original but are reproductions of both gas and early electric lights. The terrace has Baltic pine tongue and groove floors throughout, except for basement areas. The cast iron, marble topped Prince Albert hall stand (circa 1860) is a valuable piece from the Trust’s Dr E. Graeme Robertson cast iron collection.
Tasma Terrace is an important work of the distinguished architect, Charles Webb, whose other works include the Melbourne Church of England Grammar School (1856), Church of Christ in Swanston Street (1863), Wesley College (1864), the Royal Arcade (1869), the Alfred hospital (1869), Toorak’s “Mandeville Hall” (1876), the South Melbourne Town Hall (1879), East Melbourne’s “Mosspennoch” (1882), the Grand hotel, later the Windsor (1884) and “Charsfield” on St Kilda Road (1889).
Tasma Terrace, at 2 to 12 Parliament Place and 30 to 34 St Andrews Place in East Melbourne, was built by the distinguished British born Australian architect, Charles Webb (1821 – 1898). Once comprising seven three storey buildings, Tasma Terrace was constructed in two stages in the 1870s and 1880s. The first three buildings, which were originally known as “Parliament Place”, were erected in 1878 by William Ireland for George Nipper, a wealthy grain merchant and shipping magnate. George Nipper and his family lived at the northernmost building in the terrace (which was demolished in 1940) before moving to the Windsor Hotel in 1885. Due to financial difficulties, Mr. Nipper had to sell the terrace in 1885 to Joseph Thompson (1838 – 1909), a flamboyant and prominent Melbourne bookmaker and racehorse owner. The remaining four buildings that made up the terrace, thus extending the building to the corner of St Andrews Place, were constructed in 1886 and 1887 by Dunton and Hearnden for Joseph Thompson.
From the time of its construction, Tasma Terrace was used mainly as rented accommodation and as some of Melbourne’s most up-market guest and boarding houses. It was customary for many women to conduct boarding houses in the period, and Tasma Terrace was no exception. Women who conducted the various guest houses included Miss Sarah Gould, Elizabeth Gow and Jean Borelli. The name “Tasma” was associated first with terrace number 14 (originally the Nipper family residence) in 1905 when Elizabeth Gow conducted it as a private hotel named the “Tasma Guest House”. Tasma Trrace’s proximity to the city made it ideal accommodation for politicians, businessmen, journalists and entertainers.
One of the most famous occupants was lawyer and future Prime Minister Harold Holt who lived at Tasma Terrace in 1934. Other uses for parts of Tasma Terrace included a trained nurses’ home in the late 1890s and medical suites in the 1940s and 1960s. For many years, number 14 was combined with an adjacent three storey building built around 1900 as the Tasma Guest House, but both were demolished for a seven-level office block in 1940. The office block became infamously known as the “Beirut Hilton” because of its dilapidated state and was in turn demolished in 1995 to provide an entry for the new Park Hyatt Hotel.
After the Second World War, in a changed world, Tasma Terrace attracted a very different clientele, of more humble means. Some tenants included those who were marginalised by society and endured a range of health and social problems, including Vietnam War veterans. From 1941 Maurice Branagan conducted the Tasma Guest House in numbers 2, 4 and 6 for thirty years, including a successful restaurant, which specialised in mushrooms home grown in the basement. By the early 1970s all six remaining buildings were the property of the Crown Lands Department, and there were plans to demolish the buildings, which were considered by that time to be very rundown. The terrace was saved by a concerted conservation campaign, led by the National Trust and various organisations and individuals. However the three-storey rear wings, which comprised many small rooms used as bedrooms for the guest houses, kitchens, staff rooms and bathrooms were all demolished. A glass conservatory was erected across the rear of the retained front portions to provide a rear link across the terrace.
The then Victorian Premier Sir Rupert Hamer, who was primarily responsible for securing the terrace for the National Trust, officially opened the completed National Trust headquarters on 24 March 1979, ten years after the battle to save Tasma Terrace began. This event is recorded in a plaque on the exterior southern end of the terrace along the St Andrew’s Place façade.
In 1979 the façade was restored to its original Nineteenth Century appearance. It is believed that the restoration work at Tasma Terrace was the first serious attempt to accurately restore the exterior paint colours of a Nineteenth Century building in Victoria by undertaking paint scrapings. The repainting in browns and greens was almost shocking in 1979, when cast-iron balconies were routinely painted white. The Portland cement render of the façade was left untreated but lower parts were cleaned with a low pressure spray of water. The fine decorative cast iron is unusual. The verandah brackets join to form graceful arches and the circular gothic ‘quatrefoil’ elements within them reflect the churches nearby. The cast iron features include the delicate, balanced leaf motif on the balconies and tassel-like spearheads on the fence railings. The oak wood grain effect of the front doors is a reproduction of the original finish. The main glazing of the doorways is not original but a reproduction of that typical of the period. The ground floor verandahs are paved with encaustic tiles. Replacement tiles were manufactured in England.
There are many surviving Victorian interior elements including heavily modelled cornices, high ceilings and sweeping arches. The National Trust undertook a elaborate restoration for the ground level of numbers 2 and 4 to illustrate how these rooms would have originally appeared. Samples of wallpaper were removed and the original wood-graining, varnishing and paintwork revealed by careful scraping. Redecoration of these areas evolved as closely as possible according to the materials and styles of the original. It should be noted that this is not a restoration of what was originally there but rather a careful recreation of a typical late 19th century decorative scheme.
Wallpapers were chosen from existing English and French ranges in preference to reproduction of original papers which would have been too expensive. Some of these wallpapers, including dadoes, borders and friezes are authentic Victorian designs while others are adapted from earlier designs. The furnishing of these areas has been largely dictated by the intended functions of the rooms and also by the objects available from the Trust’s collections. The curtains and swags were made up and draped in the Victorian manner. Most of the fireplaces are original although some were relocated from other parts of the terrace, including the basement. Some replacement pieces were obtained from wreckers’ yards. The light fittings are not original but are reproductions of both gas and early electric lights. The terrace has Baltic pine tongue and groove floors throughout, except for basement areas. The cast iron, marble topped Prince Albert hall stand (circa 1860) is a valuable piece from the Trust’s Dr E. Graeme Robertson cast iron collection.
Tasma Terrace is an important work of the distinguished architect, Charles Webb, whose other works include the Melbourne Church of England Grammar School (1856), Church of Christ in Swanston Street (1863), Wesley College (1864), the Royal Arcade (1869), the Alfred hospital (1869), Toorak’s “Mandeville Hall” (1876), the South Melbourne Town Hall (1879), East Melbourne’s “Mosspennoch” (1882), the Grand hotel, later the Windsor (1884) and “Charsfield” on St Kilda Road (1889).
January 26, 2020 - Guided tour of the Teatro Colón
"The tour takes in the following rooms: Foyer, Bustos Gallery, Golden Hall and Main Hall (the circuit may be affected due to live performances, rehearsals, repairs, special events or other common activities of the Theater without this supposes return.
Foyer: important double-height entrance hall dominated by an honor staircase with marbles of different colors and crowned by French stained glass.
Golden Hall: richly decorated according to French style, it is a permanent center for concert chamber music, conferences and parallel exhibitions to the activity of the Main hall.
Main Hall: The most important hall in the country, famous throughout the world for its acoustics and decorative richness. The most relevant personalities of lyric, ballet and music have passed through its stage." Previous text from: teatrocolon.org.ar/en/visit-us/guided-tours
"The Teatro Colón of Buenos Aires city is considered one of the best theaters in the world. Recognized for its acoustics and for the artistic value of its construction, its current building turned 100 years old in 2008. Located between the streets of Cerrito, Viamonte, Tucumán and Libertad, in the heart of the city of Buenos Aires, it was inaugurated on May 25, 1908 with the opera Aida by Giuseppe Verdi.
This building replaces the old Teatro Colón built in front of the Plaza de Mayo where today stands the Banco Nación. The construction of the new building took around 20 years, its foundation stone was placed on May 25, 1890, with the intention of inaugurating it before October 12, 1892 coinciding with the fourth centenary of the discovery of America. The initial project belonged to the architect Francesco Tamburini and, upon his death in 1891, it was continued and modified by his partner, the architect Víctor Meano, author of the palace of the National Congress. The works advanced until 1894, but then stagnated for financial reasons. In 1904, after the death of Meano, the government commissioned the Belgian Jules Dormal to complete the work. Dormal introduced some structural modifications and definitely left his stamp on the French style decoration.
At the end of 1907, the first lease of the Teatro Colón was signed, although the works of completion of the building were delayed in relation to the date set for the inauguration of the hall, on May 25, 1908. In any case, in that date was the first opera performed in the main hall of the Theater by the Great Italian Lyric Company, although with some unfinished spaces of the building such as the Golden Hall and the iron canopies on Libertad and Cerrito streets." Previous text from the following website: teatrocolon.org.ar/en/theater/theater
Tasma Terrace, at 2 to 12 Parliament Place and 30 to 34 St Andrews Place in East Melbourne, was built by the distinguished British born Australian architect, Charles Webb (1821 – 1898). Once comprising seven three storey buildings, Tasma Terrace was constructed in two stages in the 1870s and 1880s. The first three buildings, which were originally known as “Parliament Place”, were erected in 1878 by William Ireland for George Nipper, a wealthy grain merchant and shipping magnate. George Nipper and his family lived at the northernmost building in the terrace (which was demolished in 1940) before moving to the Windsor Hotel in 1885. Due to financial difficulties, Mr. Nipper had to sell the terrace in 1885 to Joseph Thompson (1838 – 1909), a flamboyant and prominent Melbourne bookmaker and racehorse owner. The remaining four buildings that made up the terrace, thus extending the building to the corner of St Andrews Place, were constructed in 1886 and 1887 by Dunton and Hearnden for Joseph Thompson.
From the time of its construction, Tasma Terrace was used mainly as rented accommodation and as some of Melbourne’s most up-market guest and boarding houses. It was customary for many women to conduct boarding houses in the period, and Tasma Terrace was no exception. Women who conducted the various guest houses included Miss Sarah Gould, Elizabeth Gow and Jean Borelli. The name “Tasma” was associated first with terrace number 14 (originally the Nipper family residence) in 1905 when Elizabeth Gow conducted it as a private hotel named the “Tasma Guest House”. Tasma Trrace’s proximity to the city made it ideal accommodation for politicians, businessmen, journalists and entertainers.
One of the most famous occupants was lawyer and future Prime Minister Harold Holt who lived at Tasma Terrace in 1934. Other uses for parts of Tasma Terrace included a trained nurses’ home in the late 1890s and medical suites in the 1940s and 1960s. For many years, number 14 was combined with an adjacent three storey building built around 1900 as the Tasma Guest House, but both were demolished for a seven-level office block in 1940. The office block became infamously known as the “Beirut Hilton” because of its dilapidated state and was in turn demolished in 1995 to provide an entry for the new Park Hyatt Hotel.
After the Second World War, in a changed world, Tasma Terrace attracted a very different clientele, of more humble means. Some tenants included those who were marginalised by society and endured a range of health and social problems, including Vietnam War veterans. From 1941 Maurice Branagan conducted the Tasma Guest House in numbers 2, 4 and 6 for thirty years, including a successful restaurant, which specialised in mushrooms home grown in the basement. By the early 1970s all six remaining buildings were the property of the Crown Lands Department, and there were plans to demolish the buildings, which were considered by that time to be very rundown. The terrace was saved by a concerted conservation campaign, led by the National Trust and various organisations and individuals. However the three-storey rear wings, which comprised many small rooms used as bedrooms for the guest houses, kitchens, staff rooms and bathrooms were all demolished. A glass conservatory was erected across the rear of the retained front portions to provide a rear link across the terrace.
The then Victorian Premier Sir Rupert Hamer, who was primarily responsible for securing the terrace for the National Trust, officially opened the completed National Trust headquarters on 24 March 1979, ten years after the battle to save Tasma Terrace began. This event is recorded in a plaque on the exterior southern end of the terrace along the St Andrew’s Place façade.
In 1979 the façade was restored to its original Nineteenth Century appearance. It is believed that the restoration work at Tasma Terrace was the first serious attempt to accurately restore the exterior paint colours of a Nineteenth Century building in Victoria by undertaking paint scrapings. The repainting in browns and greens was almost shocking in 1979, when cast-iron balconies were routinely painted white. The Portland cement render of the façade was left untreated but lower parts were cleaned with a low pressure spray of water. The fine decorative cast iron is unusual. The verandah brackets join to form graceful arches and the circular gothic ‘quatrefoil’ elements within them reflect the churches nearby. The cast iron features include the delicate, balanced leaf motif on the balconies and tassel-like spearheads on the fence railings. The oak wood grain effect of the front doors is a reproduction of the original finish. The main glazing of the doorways is not original but a reproduction of that typical of the period. The ground floor verandahs are paved with encaustic tiles. Replacement tiles were manufactured in England.
There are many surviving Victorian interior elements including heavily modelled cornices, high ceilings and sweeping arches. The National Trust undertook a elaborate restoration for the ground level of numbers 2 and 4 to illustrate how these rooms would have originally appeared. Samples of wallpaper were removed and the original wood-graining, varnishing and paintwork revealed by careful scraping. Redecoration of these areas evolved as closely as possible according to the materials and styles of the original. It should be noted that this is not a restoration of what was originally there but rather a careful recreation of a typical late 19th century decorative scheme.
Wallpapers were chosen from existing English and French ranges in preference to reproduction of original papers which would have been too expensive. Some of these wallpapers, including dadoes, borders and friezes are authentic Victorian designs while others are adapted from earlier designs. The furnishing of these areas has been largely dictated by the intended functions of the rooms and also by the objects available from the Trust’s collections. The curtains and swags were made up and draped in the Victorian manner. Most of the fireplaces are original although some were relocated from other parts of the terrace, including the basement. Some replacement pieces were obtained from wreckers’ yards. The light fittings are not original but are reproductions of both gas and early electric lights. The terrace has Baltic pine tongue and groove floors throughout, except for basement areas. The cast iron, marble topped Prince Albert hall stand (circa 1860) is a valuable piece from the Trust’s Dr E. Graeme Robertson cast iron collection.
Tasma Terrace is an important work of the distinguished architect, Charles Webb, whose other works include the Melbourne Church of England Grammar School (1856), Church of Christ in Swanston Street (1863), Wesley College (1864), the Royal Arcade (1869), the Alfred hospital (1869), Toorak’s “Mandeville Hall” (1876), the South Melbourne Town Hall (1879), East Melbourne’s “Mosspennoch” (1882), the Grand hotel, later the Windsor (1884) and “Charsfield” on St Kilda Road (1889).
September 29, 2016 - Hotel Boutique Carvalho located at Gran Colombia 9-52 entre Padre Aguirre y Benigno Malo. It dates from 1917 when it was built as a colonial house. It is known as an architectural jewel in Cuenca. In 2003 it received the Fray Jose Maria Vargas Award, for best achievement in restoration. Cuenca, Ecuador.
...the newly redone stairs.
Note the blue walls and the white trim (in the hall and on the ceiling, too).
Jamie put down the carpet runner.
Kilims are known for their signature flatweave knotting style, which gives the rug a very short pile and natural, rustic look.
Silk rugs are made of a delicate wool and silk blend. These plush, lustrous rugs come in a variety of colors and patterns.
This is a stair system with open tread caps and wall caps. Oil rubbed bronze wrought iron balusters.
Rugknots is a name of inspiration and innovation. We have been importing and distributing finely made, hand-knotted carpets and handmade furniture pieces since 1980. Our sister company Azra Imports imports Kilim poufs. Each one of our pieces is a totally unique, handcrafted masterpiece made by master artisans. We use the finest wool and silk available, combined with past artistry and modern trends to
rugknots.com/rugknotsroom : We know it can be extremely challenging finding the best rug options to match the specific decor in your room without first visualizing them in person. Selecting rug designs, styles, colors, patterns and sizes for your room can be a difficult decision to make online.
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L-shaped seating in the cockpit not only offers comfort but utility as well. Notice the optional carpet runners instead of the usual snap-in carpet. The filler cushion is also optional.
For more tests, reviews, captain's report go to Bayliner 210 DB model page
We know it can be extremely challenging finding the best rug options to match the specific decor in your room without first visualizing them in person. Selecting rug designs, styles, colors, patterns and sizes for your room can be a difficult decision to make online.