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I can take all three elevators to and from the 24th Floor. Thank God I have only had one time in 10 years, when all 3 elevators where down! Walking up and down 24 Floors is not a walk in the park! lol!
This has to be the most complicated elevator button panel I have ever seen. This is in Fassbender & Rausch chocolate store in Berlin. Maybe the abbreviations are German-based, but there were Germans who couldn't figure it out.
The elevator goes from the ground level up to the restaurant on the first floor. There are two doors at the ground level - one into the shop and one onto the street. This means you can go to the restaurant from the street level without entering the shop. There is only one door from the elevator to the restaurant on the first floor.
I assume all the keyhole buttons next to the EG and OG buttons are locks for those doors. They add to the clutter. They aren't buttons, but they look like buttons.
Then you have your usual open and close door buttons. And the not-a-button keyhole button at the top. I don't know what that is for.
This elevator went back and forth very slowly. I believe it was because people had to stop and think which button to push when they entered the elevator.
To add to the confusion, we have the LED display. I believe EG and the up arrow meant you are at EG level and you are heading up. However, I read it as we're going up to the EG level, which we can't because it is the lowest level!
Maybe it is only for younger people in Germany. When we got in, my daughter figured it out quickly while non-German-speaking-me and a group of Germans stood there mesmerized by the display.
Density on field - TWDC - Designing connected places Summer School - Complexity Maps
Turin-Pollenzo 21-29 August
The Korumburra Railway Station complex was constructed in what was subsequently christened, Station Street, by G. Vincent in 1907 on the Melbourne-Port Albert Line for the Victorian Railways.
Designed by architect Charles Norman, the complex comprises of a large predominantly single storey brick station building with an upper level residence. The grand red brick Federation Queen Anne style building features stuccoed banding, terra cotta tiled hip and gable roof with ridge cresting, dormer windows, cantilevered platform verandah and a pedimented entrance to the lobby. No expense was spared on the décor inside the railway station’s public rooms which feature elegant fireplaces in the restaurant, waiting rooms and railway master’s office and waiting room. All these rooms also feature Art Nouveau pressed metal detailing inlaid into the wood panels around the dados. A wooden fire surround can be found in the station master’s waiting room, whilst grander ones featuring mirrors and pressed metal panels may be found in the railway restaurant and waiting room. It is however the ceilings of these rooms which are perhaps their most breathtaking feature. Vaulted and arched, all are completed using Art Nouveau pressed metal and the light well in the restaurant is complimented with its original mirrors to help make the room more light filled. All the interiors have been lovingly restored from years of neglect by a small but dedicated group of local historical and railway enthusiasts. Several false ceilings installed in the 1960s and 1970s to lower heating costs revealed these magnificent features. Other structures in the complex include the corrugated iron clad goods shed, the brick pedestrian subway and the up side building.
The Korumburra Railway Station complex is historically significant as an important element of the Great Southern Railway and for its role as a marshalling point for goods trains that faced steep descents in both directions, as the junction for lines from local coal mines and as the starting point for other branch services. In a local sense, it demonstrates the early significance of Korumburra that, at the time, was the largest and most important town in the Shire of Gippsland. Aesthetically, it is the most outstanding station building and the largest complex in the Shire and demonstrates the importance of Korumburra as the major station on the South Eastern Railway. It is a significant and a rare example of a station building in Federation Queen Anne style. Socially, it played an important role in the development of the Korumburra community and is an important part of the identity of the town. The Korumburra Railway Station complex is also included on the Victorian Heritage Register.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
Located at one of the busiest intersections in Toronto, Yonge & Steels, City Metal Works provided all the steel needs of this complex, From 36 inch high beams to steel stairs, canopies, railings, etc.
I've always loved this type of double exposure pictures. Unfortunally, my camera can't shot double exposures, so I made this composition on Phosothop :)
You can take the four flaps.. and its back to the historical star tessellation, with a new back! Just discovered now February 19, 2018, designed by me. (Variation of this revamped/refold of 90s/late 2000 model, look at previous ones for description). This model was also originally freestyled and improvised in design. Made way before I got into the twisted stuff. Yes there are a lot of early treasures that need to be refolded, it will probably take a while.
When interpersonal trauma occurs within the family between family members, it is usually repeated and can become chronic over time. Child abuse of all types (physical, sexual, emotional, and neglect) within the family is the most common form of chronic interpersonal victimization. Such abuse is often founded on problematic and insecure attachment relationships (between parent and child or others who have primary caretaking responsibilities). Parents and other caregivers who abuse exploit a child's physical and emotional immaturity and dependent status to meet their own needs or do so in response to their own inadequacies or distress, quite often have their own history of unresolved trauma and/or loss.
Rather than creating conditions of protection and security within the relationship, abuse by primary attachment figures instead becomes the cause of great distress and creates conditions of gross insecurity and instability for the child including misgivings about the trustworthiness of others. When it occurs with a member of the family or someone else in close proximity and in an ongoing relationship with the child (i.e., a clergy member, a teacher, a coach, and a therapist), it often occurs repeatedly and, in many cases, becomes chronic and escalates over time. The victimization might take place on a routine basis or it might happen occasionally or intermittently. Whatever the case, the victim usually does not have adequate time to regain emotional equilibrium between occurrences and is left with the knowledge that it can happen again at any time. This awareness, in turn, leads to states of ongoing vigilance, anticipation, and anxiety. Rather than having a secure and relatively carefree childhood, abused children are worried and hypervigilant. The psychological energy that would normally go to learning and development instead goes to coping and survival.
Entrada somente com convite ou nome na lista. Enviar email com nome para lista@complexomaster.com
Um novo espaço cultural abre suas portas no próximo dia 21, em vernissage para convidados, e dia 22 para o público em geral. É o Complexo Master, uma iniciativa de Emiliano Poglia, empresário que está à frente da casa noturna Oito e Meio, uma das baladas mais famosas da Cidade Baixa. O novo empreendimento também fica no bairro boêmio de Porto Alegre, num casarão na Venâncio Aires, em frente à Praça Garibaldi e vai reunir música e artes visuais em um formato sem precedentes na capital gaúcha. Lá funcionará a novíssima galeria de arte FITA TAPE, administrada por Lucas Ribeiro, um estúdio de gravações e ensaios, um pub super charmoso e, ainda, um espaço para eventos culturais. Para a abertura do centro cultural foi programada uma grande exposição coletiva e um show especial da Pata de Elefante.
No Complexo Master a arte está presente desde a comunicação visual e pintura da casa. Esse é o trabalho da agência Möve que aplicou a arte explosiva, emblemática e angular do artista Emerson Pingarilho tanto nas peças gráficas quanto na fachada externa. A arte de “Pinga” também está em posters customizados que decoram as paredes, fotos clássicas do universo POP que receberam a intervenção do artista.
No piso superior fica a FITA TAPE, a nova galeria do curador Lucas Ribeiro “Pexão”, uma proposta inovadora que traz a experiência de sua galeria anterior, a Adesivo, onde realizou mais de 25 exposições. Lucas também assinou a autoria do projeto e curadoria da mega mostra internacional de cultura urbana e arte contemporânea Transfer, realizada no Santander Cultural, a maior exposição sobre o assunto já realizada no país. Nesse novo espaço segue a relação com a arte e cultura urbana, principalmente com street art, skate e produção independente, mas assumindo essas expressões como arte contemporânea de fato e, portanto, tratando as obras, exposições e artistas como uma grande galeria deve tratar. Em conjunto com a galeria vai operar o escritório do estúdio criativo NOZ.ART, com a publicitária, jornalista e produtora cultural Ana Ferraz, na produção da galeria e coordenação dos eventos no Complexo Master. A FITA TAPE faz parte da seleta rede internacional de galerias Artspace Network, organizada pela revista espanhola ROJO.
Para a inauguração, dia 21 de agosto, está prevista uma reunião de artistas locais e nacionais de diversas gerações, apresentando trabalhos inéditos. A mostra coletiva NOZ NA FITA 2009 - uma brincadeira com o nome da galeria e da produtora sediada no casarão -, apresenta os artistas Mateus Grimm, Luis Flavio Trampo, Diogenes DSM, Fabio Zimbres, Lidia Brancher, Giovanni Mad, James Zortea, Lilian Maus, Nina Moraes, Marcelo Monteiro, Claudia Barbisan, Talita Hoffmann, Bruno 9li, Luisa Ritter, Eduardo Haesbaert, Gelson Radaelli, Rimon Gumarães (Curitiba), Valério Ciqueira (Curitiba), Fabiano Lokinho (SP), Luciana Araujo (SP), Alberto Monteiro (RJ) e Weaver Lima (Fortaleza).
ESTRUTURA
O Complexo Master é master pela qualidade de som e arte que vai apresentar, mas também por sua estrutura. O casarão foi inteiramente reformado e teve todo mobiliário especialmente projetado pela Unidade de Criação, escritório de arquitetura que tem o artista e arquiteto Mateus Grimm em seu staff. Além disso, pub, lounge, estacionamento interno para 15 carros, wi-fi e climatização são mais alguns detalhes que vão facilitar a produção e apreciação de cultura.
MÚSICA
Para o som, o Complexo Master conta com o Estúdio Master, coordenado pelo músico e técnico Tersius Marques e pelo próprio Emiliano. Esse espaço para ensaio e gravação possui tecnologia de ponta, conforto para os músicos e integração com outras partes da casa através de TVs de plasma que podem exibir os ensaios e gravações. O projeto do estúdio é assinado pelo prestigiado arquiteto Flavio Simões, que tem no currículo o projeto acústico do Multipalco do Theatro São Pedro.
WEB
Na Internet, o site complexomaster.com vai divulgar, informar e fazer a cobertura de tudo que acontece no centro cultural. Essa presença virtual do Complexo Master foi desenvolvida pela WNOVA, com um design que valoriza as notícias, o calendário de eventos, suporta podcasts e vídeos e pode ser acessado perfeitamente em qualquer plataforma, inclusive telefones celulares. O site será atualizado pelo NOZ.ART, profissionais que já colaboram com diversos veículos de comunicação, nacionais e internacionais, como as revistas Vista, Void e a americana Juxtapoz.
EVENTOS
Funcionando como um centro cultural, o Complexo Master será um local para eventos ligados as artes, à cultura e ao underground. Lançamentos de revistas, livros e discos, exibições de filmes e documentários, pocket shows, festivais/encontros, workshops, live paintings e outras performances serão algumas das atrações. Os eventos periódicos confirmados incluem os lançamentos das revistas Vista Skateboard Art, +Soma, Void e ROJO.
Its good to see the second floor taking shape now and exciting that the building is going up so fast. The weather has been the best we've had for at least 6 years so no problems there, it will be interesting to see how much gets done before autumn/early winter as this may be the riviera but its still an english seafront and the weather can be pretty brutal sometimes at that time of year. But so far so good!
PROGRESS ALBUM: www.flickr.com/photos/torquay-palms/sets/72157644051257090/
The 'Reputation Complex' is a moving combination of various factors, components and drivers that are linked in a close and complicated way. This combination brings with it, for all organizations, equal risks and opportunities – the first to be managed and the second to be exploited in the right manner.
MSLGROUP's Chief Strategy Officer Pascal Beucler shares his thoughts on the fast transformation of reputation management and what it means for our clients and for us.
So I decided to try making a cat complex for my little neko pals but I adit my diorama skills are far below my sculpting and doll customizing skills.
But hey I used up a bunch of scrap paper and cardboard and some leftover embroidery floss…
Commercial Complex Design in 96 sq. mt. area (8m X 12m).
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For years, these buildings were the home of Digital Equipment Corporation. Now several different businesses are housed here. Years ago, these were woolen mills. The floors were wood, and the oil from the wool soaked into the wood. So the place smelled a bit like lanolin even after it went hi-tech. Digital used to give their employees turkeys for Thanksgiving. These large trucks would pull in, and workers would toss thousands of boxed birds to folks down below. It was quite a sight.
This statue of Johann Sebastian Bach, located in front of Carnegie Music Hall was designed by John Massey Rhind in 1907. It is part of a grouping of sculptures created for the Carnegie Institute and Library Complex, including a set of four allegorical figures, representing the four disciplines housed by the Institute, on the roof and the earthly embodiments of those disciplines, located located at each of the two main entrances-- representing the Art (Michelangelo), Literature (Shakespeare), Music (Bach) and Science (Galilelo). The statues were cast in lost wax in Italy and assembled and finished by Rhind in New York.
The Carnegie Music Hall was built in 1895 as part of the Carnegie Institute and Library Complex by Longfellow, Alden & Harlow.
The Carnegie Institute and Library Complex was designated a landmark by the Pittsburgh History and Landmarks Foundation in 1970.
National Register #79002158 (1979)
City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.
Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.
Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.
The Auschwitz concentration camp was a complex of over 40 concentration and extermination camps built and operated by Nazi Germany in occupied Poland during World War II and the Holocaust. It consisted of Auschwitz I, the main camp and administrative headquarters in Oświęcim; Auschwitz II–Birkenau, a combined concentration and extermination camp three kilometers away in Brzezinka; Auschwitz III–Monowitz, a labor camp created to staff an IG Farben synthetic-rubber factory; and dozens of other sub camps.
After Germany invaded Poland in September 1939, sparking World War II, the Germans converted Auschwitz I, a former army barracks, to hold Polish political prisoners. The first prisoners, German criminals brought to the camp as functionaries, arrived in May 1940, and the first gassing of prisoners took place in block 11 of Auschwitz I in September 1941. Auschwitz II–Birkenau went on to become a major site of the Nazis' Final Solution to the Jewish Question. From early 1942 until late 1944, transport trains delivered Jews from all over German-occupied Europe to the camp's gas chambers. Of the estimated 1.3 million people sent to Auschwitz, at least 1.1 million died, around 90 percent of them Jews. Approximately one in six Jews killed in the Holocaust died at the camp. Others deported to Auschwitz included 150,000 non-Jewish Poles, 23,000 Roma, 15,000 Soviet prisoners of war, 400 Jehovah's Witnesses, tens of thousands of others of diverse nationalities, and an unknown number of gay men. Many of those not killed in the gas chambers died because of starvation, forced labour, infectious diseases, individual executions, and medical experiments.
Information taken from wikipedia
Leaders from U.S. Army Corps of Engineers Europe District, U.S. Army Garrison Bavaria; Family and Morale, Welfare and Recreation; the Bavarian state ministry and Installation Management Command-Europe cut the ribbon on the new Outdoor Recreation Complex at Grafenwoehr Training Area, Germany, during a grand opening ceremony Sept. 24. Known as the Wild B.O.A.R., which stands for Bavaria Outdoor Adventure & Recreation, the $11.6 million facility boasts a bevy of services, amenities and attractions. They include a high-ropes team adventure course, indoor rock-climbing hall, lodges, campsites, a playground, sports facilities and boat dock on Dickhaeuter Lake. The main center consists of a reception area, snack bar and multipurpose room that can be rented for receptions, parties and other functions. Construction began in May 2011. The project was managed by Europe District’s Grafenwoehr Resident Office, which incorporated numerous sustainable design and energy-saving features to increase the complex’s life span. (U.S. Army Corps of Engineers photo by Vince Little)
13th Annual White Rose Gala NYE Denver
Roaring 20’s Theme
Wednesday, December 31st, 2014
9pm-2am
Ellie Caulkins Opera House
Denver Performing Arts Complex
1101 13th St, Denver, CO 80204
21+
#1 Venue in Colorado - Denver Performing Arts Complex - Ellie Caulkins Opera House
Denver Post says it all - “Top 10” Denver New Year’s Eve Party
We are bringing back Elegance and Class for NYE Denver.
Ring in New Year the way it was meant to be!! Spend your night listening to our 10 piece Big Band “Colorado Swing Cats” with classic 20’s music, or pop over and listen to the Vegas style DJ’s. Put on your best attire and attitude and purge the prior year with us. Chill out in the Speakeasy or play craps and blackjack in the VIP area.
•Top Flite Empire performing LIVE
•Live 10 piece Big Band Colorado Swing Cats with full horn section
•HER Roaring 20's Dance Troop
Flapper Girls, Ballroom Dance Exhibitions, 40+ performers, 2,000 guests, Confetti Blast at midnight, multiple DJs, multi-levels and balconies, ultra décor throughout. NYE Party Hats & Noise Makers! Coat Check will be available. New Years Eve will never be the same in Denver!! Vegas style mash-up club music, swing, big band and 80’s music!
Love Hope Strength will have a sign up for bone marrow database!
Clear The Air Foundation - Check out more info at www.cleartheairfoundation.org
TICKETS:
GA – $69
VIP – $109
Table – $99
Couch Pit – $299 – SOLD OUT
Dress Code - Elegant Attire - No Jeans - Roaring 20’s Theme; Flapper dress, suit, hats. 95% of crowd comes dressed to the 9’s.
Ticket Outlet:
Wizard’s Chest - 303-321-4304 - 230 Fillmore Street, Denver, CO 80206
Sell out event EVERY year - 12 years running!!!
For more details and full info please visit www.WhiteRoseGala.com
Little Folks pre-school. Jeff doesn't seem too happy, but it was pretty good as far as these kind of places go. I have quite a few memories from this place. I remember this place as being a massive complex with many rooms and levels, but of course thats only because I was so small.
My shoes kept coming untied and the ladies there tied and retied them endlessly. One day a kid said he was going to get his dad's M-16 and "get you" to a teacher. She laughed and said "I don't think you could pick up an M-16."
There was a time called "Snack Time" during which they gave us a beverage that was "never enough." We sang songs like the ABCs and also something in French, which I can't remember now. I didn't like singing the ABCs because I felt that we had done it too many times and it wasn't really a song, just the letters to a tune.
Nearly all the kids were kind except for two assholes who would go around messing up whatever you were working on. I wonder how they turned out as adults.
There were some big wheels to ride on, they were fun. Then there was nap time. I hated nap time. One of my happiest moments came at the beginning of nap time when my mom came and sprang me out of there. It has to be how a prisoner feels when he's sprang from jail. Anyway, we went to Dunkin' Donuts and I was happy to have a half day.
There was one kid who would cry for a few minutes every time he was dropped off. The other kids and I felt bad for him, but also wanted him to shut up. One day we blew on water with straws and made waves and the teacher explained that this is how wind makes waves on the lakes. When a kid got into trouble the other kids would make a specific sound "ooooooooaaaaaaaaahhhhhhhh!" that started with low pitch and moved to high pitch. If a kid was really bad there might be multiple cycles of this sound. I only received this sound of guilt once and that was for not sharing enough. It worked, though, because I shared more after that. There was a playground out back and I remember asking and telling other kids our ages. Kids would give answers like "Four and three quarters" since most kids were 3 or 4 years old. I recall noticing how the ladies that watched us would toss their hair a lot and though that was an odd thing to do. Anyway, I went here from age 3 and 1/2 to 5 and 1/4 by my best recollection.
Extract frpm the Friends of Callan Park website:
Callan Park was initially a combination of purchases by Crown Solicitor and Police Magistrate John Ryan Brenan. In 1839 he bought what he then named the Garry Owen estate.
His residence, Garry Owen House, built about then and possibly designed by Colonial Architect Mortimer Lewis, was on an elevation overlooking the Parramatta River, with a tree lined avenue (part of which survives) from wrought iron gates on Balmain Road through spacious gardens. In 1841, Brenan bought an additional three acres west of his estate and built Broughton House, which he sold with its extensive grounds in 1845.
For many years, Garry Owen was a focus for social life in the area until Brenan’s bankruptcy in 1864 forced him to sell the estate to Sydney businessman John Gordon. Gordon renamed the property Callan Park, and in 1873 subdivided the land for auction as a new waterfront suburb.
The beginning of Callan Park Mental Hospital
Instead, with remarkable foresight, the Colonial Government bought the whole 104.5 acres as a site for a new lunatic asylum to be designed according to the enlightened views of the American Dr Thomas Kirkbride.
Colonial Architect James Barnett worked in collaboration with Inspector of the Insane Dr Frederick Norton Manning to produce a group of some twenty neo-classical buildings, completed in 1885 and subsequently named the Kirkbride Block, offering progressive patient care.
Built of sandstone mainly quarried on site, the buildings have slate roofs, timber floors, and copper down pipes. Spacious rooms lead to verandahs linking several courtyards. The verandahs are supported by hundreds of cast iron columns acting as down pipes for water which is fed into an underground reservoir.
Architecural Masterwork
Dominating the complex is a venetian clock tower with a ball which rises and falls according to the water level of the reservoir. Essential to testament was the calming influence of natural beauty and pleasant parklands, designed by Director of the Botanic Gardens, Charles Moore.
Further landscaping in the 1890’s included the planting of palms and and rainforest trees, and the conversion of an informal pond to the curious sunken garden, which although waterless, survives.
Present day Callan Park
The Kirkbride complex continued to be used for patients until 1994 when the last remaining services were transferred to other buildings in the expansive grounds, towards the Broughton Hall (southern) end of the site. After massive renovations, the Sydney College of the Arts took possession in 1996.
The historic sandstone buildings and linking courtyards have been beautifully restored and new occupants provide an illustration of sympathetic use of a heritage complex. Some of the other historically significant buildings on the Callan park estate were not so fortunate, being allowed to fall into disrepair after being vacated.