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Governor Charlie Baker and Lieutenant Governor Karyn Polito joined Highway Administrator Jonathan Gulliver, members of the Massachusetts Legislature, municipal officials, and local leaders on October 30, 2018, at a ribbon cutting event in Newburyport to celebrate the completion of the $318 million Whittier Bridge/I-95 Improvement Project. This major construction project consisted of replacing the existing Whittier Bridge as well as widening and improving a 4-mile section of I-95 in Newburyport, Amesbury, and Salisbury, and replacing four adjacent bridges.
(Photographs by Josephine Pettigrew, Office of the Governor)
The former Treasury Building was built in stages from 1839 to 1907. The buildings we see today took nearly twenty years to reach completion, though their unity of conception suggests that they were designed as a whole by E. A. Hamilton who was Colonial Architect at the time when it was begun and who supervised the erection of the three earliest sections. The northern two-storied section of the Treasury Building in King William Street was built in 1858, followed by the corner two-storied section in 1859, and the central three-storied King William Street section in 1860. In 1867 the two-storied eastern Victoria Square section was completed. Finally in 1876 the three-storied Victoria Square block completed the structure. In order to make that possible a one-storied office building erected about 1842 to the design of Sir George Kingston, architect, was demolished. No doubt the design of that now forgotten Kingston building to some extent affected the general design, although this stuccoed pile with its urn-capped parapets is reminiscent of Nashâs terraces in Regentâs Park, London.
When the goldfields of Victoria opened up in 1851, some 17,000 South Australians left their homes and employment to seek riches in the east. Many who made their fortunes returned to South Australia and invested in land.
Meanwhile others took advantage of the Bullion Act of 1852 by selling gold in Adelaide at a higher price than was being offered on the diggings. This was made possible by the pioneering of a gold escort route from Mount Alexander, Bendigo, and Ballarat to Adelaide by Alexander Tolmer, South Australian Inspector of Mounted Police. During these escorts some 327,000 ounces of gold was brought to Adelaide without loss through wild lonely country inhabited by bushrangers. The escorts were welcomed by large crowds in the quadrangle of the Treasury Building on the north-east corner of Victoria Square.
The Treasury stood at the centre of South Australiaâs administrative and governmental affairs for more 130 years. It housed the Cabinet Room from 1876 until 1968. The building has a strong association with exploration and surveying the sale and management of land the development of the Stateâs agricultural and pastoral industries and executive government. The building has now been restored and redeveloped as Medina Grand Hotel. The National Trust runs tours of the old Cabinet Room and tunnels under the building used for the secure transport of gold.
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The FoiÈor Church is located at 119 FoiÈorului Street in Bucharest, Romania.
It is dedicated to the Nativity of Mary.
Situated on a hillock, the church was founded by Smaranda, the third wife of Prince Nicholas Mavrocordatos, as a chapel for her houses.
The pisanie is from November 1745, marking the date of completion.
The princely houses offered a fine view of the DâmboviÈa River.
They were linked to the VÄcÄreÈti Monastery over the swampy ground in between by a wooden bridge provided with a turret or foiÈor.
This foisor gave rise to the name of the district and church.
The church and houses were placed under the authority of Radu VodÄ Monastery, which owned the area.
Ban Mihail Cantacuzino mentioned the church as possessing an inn, namely the houses.
By 1813, the building was in ruins and needed repairs, carried out in 1849.
The iconostasis of the church was damaged by the 1838 earthquake.
Until 1880, the open portico served as a church school for the children of parishioners; a church singer would teach pupils to read the Horologion and the psalter.
In 1888-1889, the portico was enclosed with glass and the windows enlarged.
An ambon was installed and the old frescoes covered in oil paintings by Gheorghe Tattarescu.
A lead roof was added in 1914-1915, while an altar entrance room was added to the southeast.
Serving as a vestry and, in the basement, as a deposit for liturgical items, the small area is decorated similarly to the facade.
The interior, maintaining much of its original appearance, is in contrast with the exterior, modified during the 19th century.
In the 1980s, when the neighborhood underwent systematization, the architect in charge deliberately omitted the church from the plans he presented to dictator Nicolae CeauÈescu, in order to protect it from demolition.
The cross-shaped Foisor church measures 20.3 meters long by 8.7 meters wide, with an ample dome above the nave and a bell tower above the narthex.
The octagonal domes sit on square bases; their windows fit into recessed semicircular arches.
The narthex and portico area is significantly broader than the nave.
There is a cornice between the side apses and the narthex, beneath the joint roof.
The portico features three frontal three-lobed arches; the pediment above ends in a cross.
The portal leading to the narthex has a Brâncovenesc frame with floral motifs.
The pisanie sits above, displaying the Wallachian coat of arms.
The door, from 1757, has a special lock, signed by its maker, the carpenter Andrei.
The facades are divided into two sections of unequal size, separated by a simple string course.
On the lower side, there is a series of arched frames resting on simple columns; the windows, ending in arches, are between these.
The upper part is narrow.
On the west and north sides, there are medallions, once painted; on the south, horizontal fluting in the masonry and tracery carved in stone.
The portico has a vaulted ceiling and consolidated arches.
The narthex ceiling, typical for the 18th century, is also vaulted, ending in pendentives and wide lateral arches.
Portico and narthex are separated by a wall with three three-lobed arches held up by stone columns with slightly twisted double fluting.
The capitals, bases and two supports of the columns, decorated with flowers in relief, are characteristic of the Mavrocordatos era.
The columns on the side walls are worked simply in masonry.
The main dome rises above the austere nave, held up by arches and pendentives.
The 18th-century masonry iconostasis has door frames with accolades.
The bishopâs throne to the right and the side seats are finely carved in wood.
The ktetorsâ portraits are on the right side of the narthex.
The churchyard is entered beneath a belfry built later.
Fragments of the old houses, built using narrow bricks, survive.
There are two old stone crosses inscribed in Romanian Cyrillic.
The church is listed as a historic monument by Romania's Ministry of Culture and Religious Affairs.
Rescatando fotos del pasado y dándoles algo de vida (si, lo se, es un vicio que no se puede dejar ni en fin de año).
A pesar de lo triste, tormentoso, lluvioso y frÃo que fue aquel dÃa y tener que ir a hacer fotos casi por obligación se pudo sacar alguna cosilla como esta que inspira más bien todo lo contrario: tranquilidad, silencio y reflexión. Aunque no fue nada de eso.
Sin firma ni nada para no ensuciarla.
Underoath - In Completion
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Virginia Guard Soldiers and family members gather Sept. 23 at Fort Pickettâs 183rd Regiment, Regional Training Institute for both a family day event and to celebrate the opening of the second phase of the new RTI facility. Phase II is comprised of three two-story barracks buildings which can provide lodging for more than 300, is equipped with high speed wireless internet, free laundry facilities and various room configurations, including private suites for honored guests, 10-person open bays with adjoining shower and latrine facilities, as well as one and two person rooms with shared bathrooms. The opening of the new barracks marks the completion of the two phase, $57 million project. (Photo by Staff Sgt. Terra C. Gatti, Virginia Guard Public Affairs
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Crews are building this bridge to carry Ridge Road traffic, as part of the I-485 Completion in northeast Charlotte. Underneath is the future Odell School Road alignment.
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Guest-of-Honour Dr Lee Boon Yang accompanied by other VIPs to unveil the precinct plaque which signifies the completion of City View @ Boon Keng.
Left to right: Boon Keng RC Chairman Mr Ong Keng Thiam, HDB Deputy Chief Executive Officer (Estates & Corporate) Mr Yap Chin Beng, Guest-of-Honour Dr Lee Boon Yang and Jalan Besar CCC Chairman Mr Eric Chia.
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Prep Work: Sherwin Williams Multi-Purpose Oil Base Primer was used after Homeowner removed wallpaper
Ceilings:
Company - Sherwin Williams
Product & Color Name - Pro Mar 200 - Ultra White
Finish - Flat
Main Walls:
Company - Sherwin Williams
Product & Color Name - Duration - Basket Beige
Finish - Matte
Kitchen (gray):
Company - Sherwin Williams
Product & Color Name - Duration - Silver Plate
Finish - Matte
Built in 1912, this Beaux Arts-style 14-story skyscraper was designed by Esenwein and Johnson and Edward B. Green. Inspired by the landmark centerpiece of the 1901 Pan-American Exposition and the Pharos Lighthouse that was a wonder of the ancient world in Alexandria, Egypt, the tower became the tallest building in Buffalo upon its completion, surpassing the earlier St. Johnâs Episcopal Cathedral, which had been Buffaloâs tallest building since 1851, and remained the tallest building until the Liberty Building was built in 1925. The building originally was home to the Buffalo General Electric Company after which it was named, and was expanded with seven-story additions to the east and northeast of the original building in 1924-1927, designed by Edward B. Green and Sons, and a three-story addition to the roof of the buildingâs original east wing. The building was renovated in the 1930s, adding several Art Deco elements to the buildingâs interior. The building utilized electric lighting to help it stand out on the cityâs skyline, and housed a series of local electrical utility companies, with Buffalo General Electric being absorbed into Niagara Hudson, and eventually becoming Niagara Mohawk Power Corporation, remaining in the building until they sold it in 2003. The buildingâs lobby and office spaces were altered between the 1970s and 1990s in a series of renovations attempting to modernize the space, covering up and removing several decorative elements, while the exterior terra cotta was treated with care and repaired or replaced in a long-term maintenance program.
The building features two seven-story wings forming a âpodiumâ to the east of the tower, which feature large banks o windows, pilasters, white terra cotta cladding, simple cornices, and storefronts along Genesee Street and part of Huron Street, with a light well capped by a skylight sitting in the middle of this section of the building. The most iconic part of the structure, however, is the octagonal white terra cotta-clad tower that rises from the corner of Washington Street and Huron Street, which features a tripartite composition to the main section, and a spire on top. The base features large arched bays with storefronts surrounded by decorative trim and featuring metal mullions and spandrels, with the most decorative trim being at the bay on the Genesee Street side of the tower, which projects from the building and features a rooftop terra above flanked by decorative margents, with all of the openings at the base featuring decorative keystones with wreaths. Additionally, decorative multi-globe metal lampposts flank the main entrance. Above this, the building features four window bays per side flanked by common pilasters an featuring terra cotta spandrels with triglyphs and roman lattice motif, with larger pilasters at the corners, terminating at massive oversized headers at the top of the thirteenth floor windows, with large decorative keystones featuring wreaths. Above this are five smaller recessed windows on each side of the fourteenth floor, flanked by large margents, with the capitals of the pilasters featuring decorative trim including smaller margents, and half-sphere caps atop the pilasters, with the parapets on each side featuring rounded middle sections and terra cotta caps. Above the fourteenth floor is the buildingâs two-story spire, which features doric columns at the corners with margents and egg and dart motif at the capitals on the first level, ionic columns with margents at the corners of the second level, large roman lattice screens on each side of the levels, decorative terra cotta cladding, keystones with argents, cornices with dentils, parapets with square sections above the columns and arched sections over the windows with margents, and low-slope roofs around the base of each level of the spire, with each level getting smaller and having a setback as the building gets taller. At the top, the building is crowned with a domed terra cotta open lantern with corinthian columns and pilasters, a cornice with dentils, ribbed dome with festoons, and a copper finial with a cylindrical lower section and a spherical upper section.
The buildingâs interior was partially restored after it was purchased by developers in 2004, and features Art Deco elements in the lobby, including aluminum trim and doors, plaster medallions on the ceilings, geometric motifs, stone cladding on the walls, decorative plaster trim at the transition between the ceilings and walls, an aluminum letterbox, chrome grilles, terrazzo floors, and a restored second-story balcony ringed by an Art Deco railing, creating an octagonal two-story space in the middle of the lobby with chrome wall sconces and light fixtures, art deco ceiling ornament, and a staircase with an art deco railing being present in this space as well. The lobby was partially modernized as part of the renovation, but any remaining historic material was maintained and reproduced to create a more cohesive visual character in the space. Additionally, the building features an intact original staircase with a Beaux Arts-style railing, Beaux Arts-style board rooms with intact original wooden paneling and trim on the walls, plaster ceilings with decorative plasterwork trim, plaster grilles, wall sconces, and a Classical Revival-style board room in one of the wings added in the 1920s, which features corinthian pilasters, wooden paneling, a decorative fireplace surround, and an arcade made up of wooden arches supported by wooden doric columns. The remnants of a photo room can be found on the fourteenth floor, which was originally the menâs lounge and steam room, with the space now being occupied by mechanical equipment. The remnants of a small lecture hall remain in the form of a concrete stage and concrete risers within the fifteenth floor, one of the spaces within the lantern, though structural elements added in 1995 during building renovations now cut through the space. This room now functions as utility space for the building. The interior was further modified in the conversion of the building to apartments in the 2000s.
The building was listed on the National Register of Historic Places in 2008, and is presently owned by the Iskalo Development Company, and today is home to a variety of commercial office tenants. The building today is regularly lit up with various colored lights to commemorate special events, and is where the Buffalo Ball Drop is held on New Years Eve each year. The building remains the 7th tallest building in Buffalo, today succeeded by several towers built in the 1920s and 1930s, as well as those built later in the 1960s and 1970s. The building anchors the east side of Roosevelt Square.
One WTC getting closer to being finished, photographed on October 13, 2012, at the foot of Grand St. JCNJ 07302
LUC has worked with a large multi-disciplinary team to deliver a sustainable infrastructure and development masterplan to guide the long term transformation of Shawfield in Glasgowâs East End. LUC also led the design and implementation of an advanced phase of public realm and landscape works that now forms a framework for new development to be realised over a 20-25year horizon.
Prior to construction the site was heavily contaminated and consisted of large areas of vacant and derelict land together with dated business and industrial premises. The site was completely cleared and underwent significant ground remediation in advance of the public realm works to ensure the site is âdevelopment readyâ.
LUC developed a green infrastructure strategy to inform the masterplan design with an emphasis on integrated surface water drainage and pedestrian connectivity to surrounding communities, transport nodes and the River Clyde corridor.
The Clyde riverbanks have been manipulated to provide new pedestrian and cycling infrastructure and this now provides an extension to the strategically important Clyde Walkway.
An ecologically diverse mosaic of riparian woodland, grassland and wetland habitats has been created that will improve the biodiversity of the River Clyde corridor.
A new strategic pedestrian and cycling link has been created linking the new South Dalmarnock Smart Bridge with the centre of the masterplan site, improving connectivity in the area. In contrast with the more naturalistic riverside treatment this link is more formal in character with strong tree avenue planting, lighting and paving patterns.
For more information, visit: www.landuse.co.uk
Following the completion of the new east end of the cathedral in 1970 this chapel at the north-east corner remained unfinished for the next few decades, a reminder of work yet to be done. It was an incongruous sight on my first visits with a plain brick temporary wall where the columns now stand, which was finally removed at the beginning of the 21st century when work recommenced on completing the cathedral. A further chapel has now been built and the appearance of this corner of the church greatly improved.
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.