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Excerpt from historicplaces.ca:
Description of Historic Place
The Navy Hall stands alone in a carefully manicured park setting just below Fort George National Historic Site. Designed with clear, clean lines, it is a low, rectangular, stone-clad structure with a hipped-roof clad in copper, and with a symmetrical organization of its windows and entry points. The designation is confined to the footprint of the building.
Heritage Value
The Navy Hall is a Recognized Federal Heritage Building because of its historical associations, and its architectural and environmental values.
Historical Value:
The Navy Hall is a very good example of a building associated with the beginnings of the heritage movement in the first half of the 20th century. It illustrates changing approaches to the management of important historic buildings over time. In particular, it illustrates the role of aesthetics in conservation in the 1930s. Originally a commissariat storehouse, regular troops, the militia and also the Boy Scouts used the building, built in 1815. In the 1930s, the building was taken over by the Niagara Parks Commission.
Architectural Value:
The Navy Hall is valued for its good aesthetic design. The exterior fabric of the structure, the stone cladding, the copper clad roof, and the enhanced symmetry of the fenestration are features of the 1930s intervention. These features, clearly of a later era and philosophy, reflect the classical revival tastes of the period and the design idiom of the Niagara Parks Commission. Good functional design is evidenced in the placement of doors and windows, and in the spatial arrangement and planning of the interior.
Environmental Value:
The Navy Hall reinforces the landscaped parkway that runs along the Niagara lakefront and is a familiar landmark to residents and to visitors.
Character-Defining Elements
The character-defining elements of the Navy Hall should be respected.
Its good aesthetic, good functional design and good quality materials and craftsmanship, for example:
-the simple, rectangular massing.
-the low-pitched hipped roof, the copper roof cladding, and the symmetrically placed chimneys.
-the stone cladding of the exterior walls, the small multi-paned windows and large entrances.
-the interior spatial arrangement of the principal rooms.
The manner in which the Navy Hall reinforces the landscaped setting and is a familiar landmark, as evidenced by:
-its simple design and materials that harmonize with the landscaped parkway consisting of well-maintained lawns and walks, all introduced as part of the Niagara Park Commission’s parkway landscaping in the 1930s.
-its visibility and recognition by those frequenting the parkway and the National Historic Site.
Excerpt from www.gananoque.ca/sites/gananoque.ca/files/COW-ED-2018-07-...:
10 KING STREET EAST, GANANOQUE, ONTARIO
Building/Property Name: Visitor Centre/Gananoque Library
Address: 10 King St East
The former Victoria Hotel, currently used as a public library, stands on the north bank of the Gananoque River adjacent to Confederation Park and near the Town centre. It is composed of a two-storey main block facing King Street East, and a single-storey rear wing that runs along the south side of Park Street.
Statement of Cultural Heritage Value or Interest:
Constructed in the 1840s, the two-storey brick main block has design or physical value as a relatively rare and representative example of a Classical Revival style hotel. Its balanced, ‘temple’ front features a central entrance flanked by large shopfront windows, symmetrical fenestration at the second level and gable, and low front gable roof with returned eaves. The design or physical value extends to the rear wing, which includes a cupola with bell cast roof. The property has historical value and associative value not only as an early hotel in the community (originally the Albion Hotel, then Victoria Hotel) but also for its direct association with the Jones Shovel Company, a successful local company that operated in the building between 1906 and 1963. Combined, the architecture of the main block and wing defines and supports the historic commercial character of King Street East in downtown Gananoque, and serves the community as a public library.
Description of Heritage Attributes
Key attributes that express the design or physical value of 10 King Street East include its:
• Combined two-storey main block and storey-and-a-half rear wing;
• Low front gable roof on the main block with returned eaves;
• Second level balcony on the King Street East frontage of the main block that is supported by decorated metal pillars;
• Symmetrical fenestration and door openings on the King Street East front (east) of the main block;
• Symmetrical fenestration and central door on the north façade of the rear wing; and,
• Cupola with a bell cast roof on the rear wing roof.
Key attributes that express the property’s contextual value include its:
• Location in the centre of the Town and siting with minimal setback on a main thoroughfare; and,
• Visual relationships with other 19th century historic properties including the Old Foundry (9-15 King Street East) and Town Hall (30 King Street East).
Excerpt from historicplaces.ca:
Description of Historic Place
Constructed in 1853, this two-storey stone house is located close to the original core of the city.
This building is recognized by the City of Guelph for its heritage value under By-Law (1989) – 13198.
Heritage Value
7 Waterloo Avenue is an early example of Neo-Classical stone construction in Guelph and exhibits both historic and architectural value. Originally serving as both a residence and a grocery store, it was built in 1853 for William Samuel Godwin Knowles. As one of Guelph’s earliest settlers he served as a Town Councillor for the Town of Guelph from 1852 to 1853 and as Reeve of Guelph in 1854 and was only narrowly defeated for the position of Mayor in 1855. He was also the founding first officer of the Guelph Horticultural Society and a founding council member of the Board of Trade.
Situated near downtown Guelph in a group of buildings of similar age, this house is characteristic of Guelph's early development and a part of its limestone-built heritage.
Character-Defining Elements
Key character defining elements that express the value of the house as an example of Neo-Classical stone construction in Guelph include its:
- local limestone construction with hammer-dressed squared facade and rough-
coursed side and rear walls
- simple massing and fenestration
- sparse and simple decorative features
- gabled roof with parapet end walls and chimneys
Key character defining elements that express the contextual value of the house include its:
- location near the original core of the city
- close proximity and physical relationship to buildings of similar age
House, now public house. C18 with C19 facade. Rendered with left side of red brick with tile hanging over. Plain tiled half-hipped roof with end stacks to left, and right behind. 2 storeys and garrets. Irregular fenestration of two C19 sashes on first floor-with wide segment-headed tripartite sash to left on ground- floor. Two half-glazed doors in centre under continuous deep flat hood. Included for group value only.
I keep posting my last 'leaves on tree' picture, but these 'yellow leaved' trees persist well into November. 'Possibly' a type of Aspen ...! Also, possibly the best coffee house view in Scotland, Europe ...
The Tolbooth Tavwern is part of the original Canongate Tolbooth built in 1591 and used to collect tolls from travellers entering the Burgh. It also served as a Court House and as a Prison.
In 1654, Oliver Cromwell's guard detained several Scottish enemie of the State herebut the made an escape using their blankets as rope to lower themselves out of the upper floor window.The "Covenanters" were also jailed here between 1661 and 1668.
Also in the original tolbooth a Scottish lawyer, Sir Lewis Bellenden (1553-1591) dealt with a suspected 'warlock' called Richard Graham, to "raise the devil, who having raised him in his own yard in the Canongate, he was thereby so terrified, that he took sickness and thereof died’".
Excerpt from pub-oakville.escribemeetings.com/filestream.ashx?document...:
Description of Property – 2405-2411 Ontario Street
The subject property to be designated is bordered by Ontario Street to the south, Jones Street to the east, a walkway and new building to the north and the line of mature existing trees to the west. It consists of three frame heritage buildings, namely, the Glendella Inn and the relocated former Bronte Post Office and former Bronte Police Station. The designated property area is Part 4 of Reference Plan 20R-19463.
Statement of Cultural Heritage Value
The Former Bronte Post Office (2409 Ontario Street)
The former Bronte Post Office, a 1-1/2 storey frame building constructed circa 1870, is of cultural heritage value and interest as it is believed to be the first post office building in the Bronte community. Likely built by John Belyea, the building was used as a residence and shoe store in addition to serving as the post office, and later as a grocery store as well.
The former Bronte Post Office has historic value in its associations with well-known Bronte families, including Belyea, McCraney, Ingledrew, Flumerfelt and Pickard, who either owned or occupied the property between 1870 and 1940.
This building was originally located on the west side of Bronte Road, north of Marine Drive and was then moved to 45-47 Bronte Road where it was used as an art gallery. It was relocated in 2007 to the new heritage precinct at 2411 Ontario Street.
The architectural value of this structure is as an example of a small Ontario Gothic frame cottage, with its characteristic centre wall gable. Clad in horizontal wood siding, this small cottage has remained relatively intact, despite changes made to install shop windows on the first storey during the building’s use as an art gallery.
The Former Bronte Police Station (2411 Ontario Street)
The former Bronte Police Station, a 1 storey frame building, has cultural heritage value in its association with the early history and development of Bronte Village.
The building has been historically associated with the Underground Railroad network. During the 1850s, a number of escaped slaves from the United States settled in the Bronte area, building small cabins along Bronte Creek. The cabins were reputedly small three-room buildings, constructed out of rough lumber and complete with floors, but no foundations. Local legend has stated that this building was one of those cabins, most of which were torn down or reutilized for other purposes by the 1890s.
The building also has historical associations with Taylor's Sawmill, an early industry on Bronte Creek. As it was situated conveniently on the creek bank, the building became one of the outbuildings or sheds for the mill after it was vacated by its original occupants.
The building also has significant associations with members of Bronte’s early community, including the McDonalds and Clemences. Duncan McDonald, a teamster, moved the cabin from the creek bank to 25 Bronte Road where he used it as his residence for many years. After Duncan’s death, the property came to his brother Alex McDonald, who then sold the building to Mr. Clemence. The building continued to be used as a residence and was gradually updated through the years to provide modern conveniences.
In the early 1990s, the building was purchased by the Town of Oakville in order to protect and preserve the building and was converted to the Bronte Village Police substation.
This small structure has architectural value as a simple vernacular cottage that reflected the available local materials and economic status of its builders and occupants. Constructed with local lumber, this small building has, despite several renovations, retained much of its simple design character and details.
Contextual Value of the Heritage Precinct (Part 4 of Plan 20R-19463)
The buildings in the heritage precinct have cultural heritage significance for their contextual value. Although two of the buildings have been relocated to their current locations in the heritage precinct, their original locations were not far away. Both the former Post Office and former Police Station buildings are well-known as part of historic Bronte Village and their respective relocation to the current site has not removed their contextual importance to Bronte Village.
Description of Heritage Attributes
The Reasons for Designation include the following exterior heritage attributes on each of the three buildings in the heritage precinct. Please note that restored and replicated elements are included as they contribute to the overall heritage character
of the existing structures.
Former Bronte Post Office
- Form and structure of 1-1/2 storey wood frame building;
- Steeply pitched ‘Ontario Gothic’ gable roof profile with centre wall gable on front and rear elevations;
- Returned eaves on side elevations;
- Exterior walls clad in horizontal clapboard wood siding;
- Wood trim, soffits, fascia and corner boards;
- Historic and original fenestration of windows and doors;
- Design of wood 2/2 sash windows;
- Wood window surrounds and sills;
- Design of wood doors and surrounds.
Former Bronte Police Station
- Form and structure of 1 storey wood frame building;
- Form of side gable roof;
- Cedar shingle cladding on roof;
- Exterior walls clad in clapboard siding with an ogee profile;
- Simplified Doric pilasters, trim and window pediment mouldings;
- Historic fenestration of windows and doors;
- Design of wood 2/2 sash windows and shutters;
- Wood trim, soffits, fascia and corner boards;
- Brick chimney at end of gable roof.
It is thought that the site on which St Nicholas’ Church in the Wiltshire village of Bromham stands may well have been a site of religious worship prior to the founding of the present church, as in 1086 the Domesday Book records a priest as having “lands and messuages” in Bromham. The building of the church we see today was begun between 1086 and 1094 during the latter years of the reign of William I (William the Conquer) and the early years of his son William II, and has been extensively added to and altered over the centuries. However, there remain considerable areas of original Norman and medieval as well as later 17th, 18th and 19th century alterations and re-construction.
St. Nicholas’, Bromham, is considered to be one of the finest parish churches in Wiltshire. The church sits on a prominent site in the centre of the village overlooking the Avon valley towards Melksham, Trowbridge and Westbury. St Nicholas church was originally built in the linear form consisting of nave, a tower or crossing (no spire) and chancel. In the 14th century a transept was built to the south of the tower or crossing and was completed by 1380 not visible from this angle). At this time the tower or crossing was increased in height. The south transept was substantially altered during the 15th century and rebuilt as an antechamber to the newly built chantry chapel completed in 1491. There is no evidence or records of a north transept ever being built. Major additions and alterations to the church were carried out in the late 14th, 15th and early 16th centuries. This work resulted in the addition of a south aisle completed in 1390 together with a new south entrance and porch, re-fenestration (the redesign) of some of the windows in the gothic style and the addition of an octagonal spire in 1510. In the 17th century the parvis chamber for the Assistant Curate was built over the entrance porch and in the19th century the chancel was rebuilt and a new vestry constructed. At the same time a new pulpit and reading desk were installed and a re-ordering of the pews was carried out.
This description incorporates, with gratitude, information from the church’s website.
Excerpt from historicplaces.ca:
DESCRIPTION OF HISTORIC PLACE
Gairloch Gardens is located at 1306 Lakeshore Road on the south side of Lakeshore Road, along the shore of Lake Ontario in the Town of Oakville. The property consists of a three storey stone and stucco residence that was constructed from 1923 to 1924.
The property was designated by the Town of Oakville in 1986 for its heritage value under Part IV of the Ontario Heritage Act (By-law 1986-192).
HERITAGE VALUE
Located at 1306 Lakeshore Road, Gairloch Gardens is a lake estate associated with two prominent Oakville locals. Colonel W.G. MacKendrick had the home built for his family in 1923. Upon his death, Toronto investment banker, James Gairdner, purchased the estate. Gairdner named the estate “Gairloch” after a small Scottish town. Upon Gairdner's death in 1972 the estate was bequeathed to the Town of Oakville for use as a park and gallery for contemporary artists.
Gairloch Gardens is a good example of Tudor style residence. Typical of this style is the stone and stucco exterior and steeply pitched roof. Continuing with this style are the tall narrow fenestrations with multi paned windows. The hip roof features a prominent cross gable with exposed beams between the first and second storey. The estate has many unique attributes such as a meandering stream, pond and formal gardens.
CHARACTER-DEFINING ELEMENTS
Character defining elements that contribute to the heritage value of Gairloch Gardens include the:
- proximity to Lake Ontario
- three storey stone and stucco exterior
- hip roof
- prominent cross gable
- original twelve and eighteen paned windows
- two large stone chimneys with decorative chimney pots
- exposed beams
- meandering stream
- pond
- formal garden areas within the park setting
In a striking close-up of Sarracenia minor, also known as the Hooded Pitcher Plant, immerses the viewer in a vibrant tapestry of color, detail, and natural design. Here it sits in its natural habitat and boasts a rich, enchanting palette of deep magentas and crimson reds, creating an immediate focal point amidst the lush, chaotic green of surrounding grasses.
Light and shadow intermingle on the petals and hoods, accentuating the elegant, arching forms and highlighting the intricate windowed patterns of the pitchers—biological “craftsmanship” that feels both mysterious and meticulously purposeful, an exhibit of nature’s artistry. The unusual combination of vivid magenta and crimson hues against the tangled green grasses makes the scene feel almost otherworldly, encouraging closer inspection. The intricate white fenestrations (window-like markings) on the hoods of the pitchers hint at biological functions, and the imperfections of the petals remind us of life’s impermanence and the wild context in which this plant thrives.
The contrast between the plant’s delicate, artistic appearance—with its elegantly arched hoods and almost theatrical petal structures—and its status as a carnivorous species challenges expectations and piques intellectual curiosity about adaptation and survival. Subtle imperfections, such as the slightly torn petals, imbue the subject with a sense of authentic wilderness and life’s ongoing processes, deepening the sense of discovery. Together, these qualities invite contemplation about nature’s inventiveness and the complex relationships between beauty and function in wild places.
McIntosh County, Georgia USA
[6869-D7100]
© 2025 Mike McCall
Classic Stockholm building at Torsgatan. Designed my the architect Ferdinand Boberg. Snapped last month on a sunny late Autumn day.
The Capital Theatre was designated as a Local Historic Place because it is a good example of Italianate opera house architecture from the 1920’s era in Canada and for its current restored condition. The Capitol Theatre is the oldest surviving theatre in Moncton, and one of only three pre-World War II theatres in the province. It is also one of the only remaining theatres of this era that was designed by a Canadian architect, René-Arthur Fréchet. It is one of only eight theatres in Canada to be authentically and historically restored to its original 1920’s style.
The exterior of the building includes:
- brick two-story façade with symmetrical fenestration;
- cantilevered marquee in the style of the period;
- paired doors;
- 2 over 2 windows with 12 light rectangular transoms;
- brick stringcourse;
- plain lug sills;
- central pilaster;
- common bond red brick rear and side walls.
Excerpt from www.thecounty.ca/wp-content/uploads/2020/08/Picton-Main-S...:
Heritage Attributes of the Character Areas
Main Street West
• Its role as the western gateway to Main Street and the Down- town Core.
• The predominance of 19th century residential buildings, in particular on the north side of the street, many of which have been adapted to accommodate commercial uses.
• The 2 to 2½ storey heights of the buildings.
• The varied and deeper setbacks of the buildings and larger lots, than are found elsewhere on Main Street.
• The remaining mature trees, grassed verges and front yards, creating a softer character in selected areas.
• The cenotaph and surrounding parkette.
Downtown Core:
• The consistent street wall created by the 2 and 3-storey commercial blocks.
• The punctuation of the street wall by landmark buildings, including the Regent Theatre, the Carnegie Library, the Armoury, the Royal Hotel and the North American Hotel.
• The “civic centre” created by the Armoury, the Carnegie Library and former Post Office building, and the community activities and functions that they accommodate.
• The pedestrian connections and views to adjacent streets and residential neighbourhoods created by the mid-block laneways.
• The visual coherence created by the consistent (2 and 3 storey) height, massing, parapets, roof forms, regular pattern of fenestration, materials (most commonly brick), detailing and setbacks of the buildings.
• The pattern of ground-floor storefronts.
• The quality of the pedestrian realm created by the intimate scale, sense of enclosure and street amenities.
Angelica is celebrating my baby monstera's new fenestrations. I bought this plant as a treat for myself in January and at the time none of the leaves had the characteristic holes or fenestrations ("windows"). Now two leaves are growing large enough to develop them. This plant gets HUGE! Right now it is in a small 6 inch pot.
Blythe a Day - Painting and Plant - April 27-28 2025
I'm catching up on prompts. It has been a bit of a nutty week.
Angelica Nurse of Compassion
My monstera plant
Impressionist filter from Be Funky
Excerpt from heritageburlington.ca:
A distinctive two-storey cross-gabled gambrelled-roof brick structure. The fenestration is also unusual: in the front gable an oval bulls-eye window with radiating voussoirs and decorative keystones at top, bottom and sides. Beneath this is a square window with muntins, flanked by larger 3/1 wood sash windows. All have stone headers and sills below projecting brick labels. On the first level, the asymmetrical arrangement has a center door, a large window to the east side and to the west an unusual bay with a small higher leaded-glass window in the centre and tall narrow windows on either side. The wrap around verandah is supported by Doric columns and has a low pedimented gable above the entrance, and the original railing.
Cottage. Early C16. Exposed timber-framing with roughcast brick infilling. Hipped plain tiled roof with brick stack off-ridge to front at rear. 2 storeys; irregular fenestration of 4 windows on lst floor, and 5 windows on ground-floor casements. C20 boarded door to right. Catslide extensions to left and right.
II* Hall-house. Circa 1450, restored 1932. Timber-framing with plaster-infilling; some close-studding in first floor central recess and curved braces over jettied overhangs. Classical Wealden hall-house with first floor jetties and recess in centre over which the roof-eaves are supported on curved side braces and single brace rising from off-centre wall-post. Plain tiled roof, hipped with gablets. Hipped dormer off-centre to right and brick stacks, off-centre to left and at right end. Two storeys; irregular fenestration of seven windows on first floor, (five windows continuously under eaves in recess) and seven windows on ground-floor, (four windows continuously under jetty to right). Front frame lattice casements. Entrances at rear, both C16 boarded and ribbed doors in moulded wooden Tudor arch surrounds.
Interior: evidence of substantial timber-frame. Low arched moulded bressummer over drawing-fireplace. Framed and plaster-infilling smoke bay. Crown-post, collar-purlin roof with moulded octagonal crown-post.
Excerpt from historicplaces.ca:
DESCRIPTION OF HISTORIC PLACE
Gairloch Gardens is located at 1306 Lakeshore Road on the south side of Lakeshore Road, along the shore of Lake Ontario in the Town of Oakville. The property consists of a three storey stone and stucco residence that was constructed from 1923 to 1924.
The property was designated by the Town of Oakville in 1986 for its heritage value under Part IV of the Ontario Heritage Act (By-law 1986-192).
HERITAGE VALUE
Located at 1306 Lakeshore Road, Gairloch Gardens is a lake estate associated with two prominent Oakville locals. Colonel W.G. MacKendrick had the home built for his family in 1923. Upon his death, Toronto investment banker, James Gairdner, purchased the estate. Gairdner named the estate “Gairloch” after a small Scottish town. Upon Gairdner's death in 1972 the estate was bequeathed to the Town of Oakville for use as a park and gallery for contemporary artists.
Gairloch Gardens is a good example of Tudor style residence. Typical of this style is the stone and stucco exterior and steeply pitched roof. Continuing with this style are the tall narrow fenestrations with multi paned windows. The hip roof features a prominent cross gable with exposed beams between the first and second storey. The estate has many unique attributes such as a meandering stream, pond and formal gardens.
CHARACTER-DEFINING ELEMENTS
Character defining elements that contribute to the heritage value of Gairloch Gardens include the:
- proximity to Lake Ontario
- three storey stone and stucco exterior
- hip roof
- prominent cross gable
- original twelve and eighteen paned windows
- two large stone chimneys with decorative chimney pots
- exposed beams
- meandering stream
- pond
- formal garden areas within the park setting
Stourhead Estate (The Stable Yard) This wisteria clad stone built barn/stable with oval fenestrations is now used for storage and maintenance purposes
King's Manor was originally built to house the abbots of St Mary's Abbey, York. The Abbot's house probably occupied the site since the eleventh century, but the earliest remains date from the fifteenth century. When the abbey was dissolved in 1539, Henry VIII instructed that it be the seat of the Council of the North. It performed this role until the Council was abolished in 1641. From 1667 to 1688, it was the residence of the Governor of York. During the Glorious Revolution of 1688, the Governor, Sir John Reresby, 2nd Baronet, remained loyal to the King, James II, but a party of armed men, led by Thomas Osborne, Earl of Danby, captured the Manor and the City of York, and held them for William of Orange. After 1688, the building was hired out to private tenants until the nineteenth century, when it was taken over and expanded by the Yorkshire School for the Blind.
It is now a part of the University of York.
BLOCK OF INDUSTRIAL UNITS LA DÉFENSE
UN STUDIO, Almere-Stad
he volumes comprising this multi-company building are grouped round an elevated central courtyard area atop a parking facility. Together they contain 23,000 square metres of office space. The largely unmodulated pentagonal main block, which rises from three to six storeys, is accessed from the street by two gateways themselves linked by an S-shaped route across the courtyards. The exterior is a taut design in silver-coloured aluminium cladding panels and uninterrupted strips of fenestration. It makes a stark contrast with the riot of colour inside. A special iridescent foil on the glazing is a constant source of changing colour effects depending on the sun's position in the sky and the angle at which the observer passes the building.
Excerpt from www.gananoque.ca/sites/gananoque.ca/files/meetings/suppor...:
Evaluation of Heritage Significance
185 Mill Street
Design/physical Value
• Good surviving examples of mid-late 19th century factory buildings
Historical/associative Value
• Associations with mid-late 19th century industrial development
• Associations with McLaughlin, Link
Contextual Value
• Surviving parts of a former industrial complex in Lowertown
Statement of Cultural Heritage Value or Interest
• As a good surviving example of industrial architecture and its evolution in the mid-to-late 19th century with the stone building in particular exhibiting unusually fine features for a building of its type suggesting the prominence of its original owner;
• As an excellent representative of the industrial heritage of Gananoque (its original raison d’etre) and its development at the confluence of the Gananoque River and the St. Lawrence. The buildings housed many important industries including E. E. Abbott’s pioneering foundry, the nascent Steel Company of Canada and, most importantly, Link Manufacturing. The association with Link and the manufacture of the Link trainers is a theme of international significance.
• As a visual landmark, since at least the 1870s, as viewed from the mouth of the Gananoque River, a scene continuously depicted in published engravings and photos from that time to the present.
Description of Heritage Attributes
• General multi-bay longitudinally oriented form of both structures under parapeted shallow gable roofs;
• The fenestration, i.e. paired multi-paned wooden window sash of both structures;
• The stonework on the more northerly structure combining the general rubble coursing with cut stone accent elements including the voussoired arches at door and window openings, the window sills, quoins, parapet caps and console type corbels at the base of the parapets;
• The stonework of the foundation of the more northerly structure including the composite rowlock arches;
• Particular evidence of their early industrial functions such as the loading bay openings and pulley arm extending from the upper door of the stone structure; and
• Its setting down [sic] to the Gananoque River and as viewed from the river mouth.
I keep posting my last 'leaves on tree' picture, but these 'yellow leaved' trees persist well into November. 'Possibly' a type of Aspen ...! Also, possibly the best coffee house view in Scotland, Europe ...
Excerpt from historicplaces.ca:
Description of Historic Place
Hopedale Mission National Historic Site Canada is a complex of large, wooden buildings constructed by the Moravian Church at Hopedale, Labrador. These large, wooden structures stand starkly silhouetted against the rocky shoreline of the vast, barren landscape. Official recognition refers to the cultural landscape comprised of the mission buildings on their shoreline site.
Heritage Value
Hopedale Mission was designated a National Historic Site of Canada because:
- it symbolizes the interaction between the Labrador Inuit and Moravian missionaries; and,
- singularly and collectively, the mission buildings are fine representative examples of Moravian Mission architecture in Labrador.
The heritage value of Hopedale Mission National Historic Site of Canada lies in the common purpose, spatial, architectural, and functional relationships of the grouped buildings in this complex, and in their architectural expression as illustrations of Moravian mission architecture.
The Moravian Mission at Hopedale was established in 1782. Today Hopedale Mission National Historic Site of Canada contains seven buildings: the Early Mission Building, the Mission House (workshop wing), the Mission House (main wing), the Church, a connecting link between the Church and the Mission House (all completed by 1850-1861), the Reserve Storehouse (1892), and the Dead House (1861). The Oil and Salt Storehouse that was in this complex of buildings when they were designated in 1970 and was demolished in 1999.
Character-Defining Elements
Key elements that contribute to the heritage character of the site include:
- the irregular profile of the complex with buildings of varied heights, rooflines, and massing;
- the tight grouping of buildings;
- the evidence of Moravian construction techniques, including brick in-filling;
- the original wooden construction materials, including clapboarding covered with a lime wash, and shake roofing;
- the evidence of hand craftsmanship on most wood materials,
- the evidence of the evolution of functional design over time;
- the spatial relationships between buildings and evidence of its evolution over time;
- the line of the present fence around the complex;
- the viewscapes from the Mission House of the present and former buildings, to the wharf and to dock remnants;
- the early mission building with its two-storey, rectangular massing with end-gabled roof and the irregular definition of its apertures;
- the Mission House (workshop wing) with its two-storey, rectangular massing with end-gabled roof, regularly spaced, square headed windows on its second storey, and the large utility door on its first storey;
- the Mission House (main wing) with its two-storey, rectangular massing with a steeply pitched end-gable roof, eyebrow dormers and symmetrical chimneys, and the irregular pattern of fenestration with standard-size, square headed windows;
- the Church with its rectangular massing under a steeply pitched roof with a truncated gable and central cupola, the regular placement of windows between flanking doors on its side façades, arched transoms above doors and the found form, features and materials of the connecting link between the Church and the Mission House in its single storey height and irregular footprint;
- the Reserve Storehouse with its found scale, massing, form, features and materials;
- the Dead House with its found scale, massing, form, features and materials;
- the archaeological remains, including remnants of earlier buildings within the complex such as the Oil and Salt Storehouse, remnants of a garden between the Mission House and the Church, remnants of the Blubber Yard, and remnants of the historic fences within the complex.
Another variation on a theme...... As you can maybe tell I was rather taken with the abstract shapes the Sonnenveld House stairs made.
Click here for more shots of Rotterdam : www.flickr.com/photos/darrellg/albums/72157700872931264
From the Sonneveld House website : "Sonneveld House is one of the best-preserved houses in the Dutch Functionalist style. The villa was designed in 1933 by architecture firm Brinkman and Van der Vlugt for Albertus Sonneveld, a director of the Van Nelle Factory. The architects designed a total concept in which architecture, interior and furnishings are perfectly coordinated and reinforce one another. Light and spacious, the house features numerous balconies and large areas of fenestration that offer views of the surrounding garden. Almost all items of furniture and lamps in the house were made by the firm of Gispen, some of them specially for the Sonnevelds. This customization reveals the family’s appreciation of luxury and comfort. Sonneveld House is therefore not a dogmatic example of functionalism, but a personal environment."
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© D.Godliman
ID
3476
Listing Date
16 March 1976
History
1900; designed by J Francis Doyle of Liverpool; built on rock plateau on sea shore and on the site of the Baths Hotel of 1870s. For many years the largest hotel in Wales with 156 bedrooms. Severely damaged by arson attck on 5 December 1977 which caused damage estimated at £200,000.
Exterior
Hotel building of six storeys and attic, ornamented with pyramidal roofs and tower; of greatest depth at south-west end and tapering inwards to North-east end. Slate roof; lower 2 storeys rock-faced stone, upper storeys stucco; generally modern glazing and balconies, following fire. From South-west end, first eight bays of South-east elevation with upper storeys of both pairs of end bays in the form of towers with parapets and pyramidal roofs, with pairs of rounded-headed windows beneath parapets and transom two-light windows below. Ninth bay from South-west is set back and has a mansard roof and three-light windows. Modern two-storey veranda to two lower floors (to pier) of first nine bays with rounded arched head to each bay. Tenth and eleventh bays are set back from ninth bay; mansard slate roof with pyramidal tower behind it. Two-light windows except on first and ground floors which are faced with rusticated stone; round-headed openings to first floor and veranda to ground floor. Bays 12 to 15 are set back behind bay 11, bay 15 canted at an angle; mansard roof, fenestration pattern as in bays 10 and 11. The remaining four or five bays are set back in turn further still, culminating in a semi-octagonal tower at North-east end with roof in form of a spire. The NW elevation is in similar style, but due to rise in ground level has only single rock-faced storey.
Reasons for Listing
Included, despite some loss of character after fire, as grand building important for its massing and picturesque roofline in this position at the north end of the Promenade. Group value with Pier.
britishlistedbuildings.co.uk/300003476-the-grand-hotel-ll...
Three open windows stand out against the wall geometry of a highrise commercial building in Melbourne's CBD. Shot with the EF 70-200mm f/4L USM zoom.
Excerpt from en.wikipedia.org/wiki/Kinkaku-ji:
Kinkaku-ji (金閣寺, 'Temple of the Golden Pavilion'), officially named Rokuon-ji (鹿苑寺, lit. 'Deer Garden Temple'), is a Zen Buddhist temple in Kyoto, Japan. It is one of the most popular buildings in Kyoto, attracting many visitors annually. It is designated as a National Special Historic Site, a National Special Landscape and is one of 17 locations making up the Historic Monuments of Ancient Kyoto which are World Heritage Sites.
The Golden Pavilion (金閣, Kinkaku) is a three-story building on the grounds of the Rokuon-ji temple complex. The top two stories of the pavilion are covered with pure gold leaf. The pavilion functions as a shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji, which are also located in Kyoto. When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors.
The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor. Each floor of the Kinkaku uses a different architectural style.
The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy. It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster. This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ), is built in the style of warrior aristocrats, or buke-zukuri. On this floor, sliding wood doors and latticed windows create a feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon. The third floor is built in traditional Chinese chán (Jpn. zen) style, also known as zenshū-butsuden-zukuri. It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.
The roof is in a thatched pyramid with shingles. The building is topped with a bronze hōō (phoenix) ornament. From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines. The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.
The Golden Pavilion is set in a Japanese strolling garden (回遊式庭園, kaiyū-shiki-teien, lit. a landscape garden in the go-round style). The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over a pond, called Kyōko-chi (鏡湖池, Mirror Pond), that reflects the building. The pond contains 10 smaller islands. The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature. Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion. A small fishing hall (釣殿, tsuri-dono) or roofed deck is attached to the rear of the pavilion building, allowing a small boat to be moored under it. The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth. The largest islet in the pond represents the Japanese islands. The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.
The garden complex is an excellent example of Muromachi period garden design. The Muromachi period is considered to be a classical age of Japanese garden design. The correlation between buildings and its settings were greatly emphasized during this period. It was an artistic way to integrate the structure within the landscape. The garden designs were characterized by a reduction in scale, a more central purpose, and a distinct setting. A minimalistic approach was brought to the garden design by recreating larger landscapes in a smaller scale around a structure.
Nice old Queenslander near Laidly, SE Qld.
"Queenslander buildings are primarily of timber construction and can be low or high-set, one to two storeys. All have one or more veranda spaces, a sheltered edge of the building that is typically only part-enclosed and used as another living zone. This consideration for climate is the defining characteristic of the Queenslander type.
The raising of the main living spaces off the ground can be seen as both a stylistic and practical device. The vertical "stumps", initially of timber, allow the building to "float" above the terrain. Queenslanders all have this underfloor area that is used to cool the building through ventilation and also for protection of the main structure from termite attack and other pests. The stumps also help to overcome any variations in the terrain that would normally require earthworks to flatten for construction and allow for the natural flow of water across the terrain in the event of excessive rain and downpours. The underfloor space is often high enough for additional uses such as storage, carport or even as extra living area in the cool, dark spaces beneath the building. The underfloor area was sometimes decoratively screened at the perimeter with timber battens. Another advantage of being constructed on stumps is that the buildings are highly adaptive. It is relatively easy to raise, lower, reorient or completely relocate Queenslanders.
The main living areas of the house, being raised from the terrain, are a series of rooms on a platform floor. Traditionally, planning and fenestration encouraged cross-ventilation for passive cooling in a variety of innovative methods including fanlights, ceiling roses, and alignment of doors and windows to allow uninterrupted air flow. The verandah is the most typical inclusion in the plan and can be used day and night as a semi-external living space. In Brisbane, many people have tables and chairs for dining and a daybed or 'sleepout' on their verandah.
The roof is a large and visible presence externally and was traditionally steeply pitched. They are of varied materials including slate and tiles but are most characteristically sheeted with corrugated iron. The iron roofs could withstand torrential rains and be re-used if damaged by cyclonic winds.
Typically, the Queenslander is suited to the sub-tropical climate of Queensland of high rainfall and mild to hot, humid climate with average summer temperatures in the range of 23–36 degrees Celsius (73–97 degrees Fahrenheit). "
By renowned architect W H Playfair designed 1821, built by William Cullen, 1825. 3-storey basement and attic (6 bays to Blenheim Place, 5 bays facing Leith Walk) classical, curved corner tenement block with 2-storey tetrastyle Ionic portico to E; 2-storey quadrant colonnade facing Leith Walk. Polished ashlar (painted droved ashlar to basement, painted to ground floor). Dividing band between ground and 1st floor; dividing band course and dentilled main cornice between 2nd and attic floor; eaves cornice and blocking cornice. Giant pilasters dividing bays to 1st floor; pilaster-strips dividing bays to attic floor. Round-arched openings to ground floor; regular fenestration. Polished cladding to ground floor.
The impressive curved Ionic quadrant of Blenheim Place, in conjunction with its Doric counterpart on the other side of the road at Leopold Place, forms one of the architectural set-pieces of Playfair's Calton scheme, set on a commanding corner site framing the Eastern exit and entry to the city via the then newly built London Road. It is important for its streetscape value, as an example of the work of one of Scotland's leading early 19th century architects, and as a significant element of the Eastern New Town scheme. The railings are important as their design is a distinctive element which Playfair repeated in large areas of the Calton scheme.
Excerpt from en.wikipedia.org/wiki/Kinkaku-ji:
Kinkaku-ji (金閣寺, 'Temple of the Golden Pavilion'), officially named Rokuon-ji (鹿苑寺, lit. 'Deer Garden Temple'), is a Zen Buddhist temple in Kyoto, Japan. It is one of the most popular buildings in Kyoto, attracting many visitors annually. It is designated as a National Special Historic Site, a National Special Landscape and is one of 17 locations making up the Historic Monuments of Ancient Kyoto which are World Heritage Sites.
The Golden Pavilion (金閣, Kinkaku) is a three-story building on the grounds of the Rokuon-ji temple complex. The top two stories of the pavilion are covered with pure gold leaf. The pavilion functions as a shariden (舎利殿), housing relics of the Buddha (Buddha's Ashes). The building was an important model for Ginkaku-ji (Silver Pavilion Temple) and Shōkoku-ji, which are also located in Kyoto. When these buildings were constructed, Ashikaga Yoshimasa employed the styles used at Kinkaku-ji and even borrowed the names of its second and third floors.
The pavilion successfully incorporates three distinct styles of architecture, which are shinden, samurai and zen, specifically on each floor. Each floor of the Kinkaku uses a different architectural style.
The first floor, called The Chamber of Dharma Waters (法水院, Hō-sui-in), is rendered in shinden-zukuri style, reminiscent of the residential style of the 11th century Heian imperial aristocracy. It is evocative of the Shinden palace style. It is designed as an open space with adjacent verandas and uses natural, unpainted wood and white plaster. This helps to emphasize the surrounding landscape. The walls and fenestration also affect the views from inside the pavilion. Most of the walls are made of shutters that can vary the amount of light and air into the pavilion and change the view by controlling the shutters' heights. The second floor, called The Tower of Sound Waves (潮音洞, Chō-on-dō ), is built in the style of warrior aristocrats, or buke-zukuri. On this floor, sliding wood doors and latticed windows create a feeling of impermanence. The second floor also contains a Buddha Hall and a shrine dedicated to the goddess of mercy, Kannon. The third floor is built in traditional Chinese chán (Jpn. zen) style, also known as zenshū-butsuden-zukuri. It is called the Cupola of the Ultimate (究竟頂, Kukkyō-chō). The zen typology depicts a more religious ambiance in the pavilion, as was popular during the Muromachi period.
The roof is in a thatched pyramid with shingles. The building is topped with a bronze hōō (phoenix) ornament. From the outside, viewers can see gold plating added to the upper stories of the pavilion. The gold leaf covering the upper stories hints at what is housed inside: the shrines. The outside is a reflection of the inside. The elements of nature, death, religion, are formed together to create this connection between the pavilion and outside intrusions.
The Golden Pavilion is set in a Japanese strolling garden (回遊式庭園, kaiyū-shiki-teien, lit. a landscape garden in the go-round style). The location implements the idea of borrowing of scenery ("shakkei") that integrates the outside and the inside, creating an extension of the views surrounding the pavilion and connecting it with the outside world. The pavilion extends over a pond, called Kyōko-chi (鏡湖池, Mirror Pond), that reflects the building. The pond contains 10 smaller islands. The zen typology is seen through the rock composition; the bridges and plants are arranged in a specific way to represent famous places in Chinese and Japanese literature. Vantage points and focal points were established because of the strategic placement of the pavilion to view the gardens surrounding the pavilion. A small fishing hall (釣殿, tsuri-dono) or roofed deck is attached to the rear of the pavilion building, allowing a small boat to be moored under it. The pavilion grounds were built according to descriptions of the Western Paradise of the Buddha Amida, intending to illustrate a harmony between heaven and earth. The largest islet in the pond represents the Japanese islands. The four stones forming a straight line in the pond near the pavilion are intended to represent sailboats anchored at night, bound for the Isle of Eternal Life in Chinese mythology.
The garden complex is an excellent example of Muromachi period garden design. The Muromachi period is considered to be a classical age of Japanese garden design. The correlation between buildings and its settings were greatly emphasized during this period. It was an artistic way to integrate the structure within the landscape. The garden designs were characterized by a reduction in scale, a more central purpose, and a distinct setting. A minimalistic approach was brought to the garden design by recreating larger landscapes in a smaller scale around a structure.