View allAll Photos Tagged Parapets
Two boys have a day nap outdoors. They just sleep on the granite parapet of the embankment. An asphalt sidewalk is located on the right side of the parapet, a cold and wet river is running on the left site of it. They sleep but keep balance. This is a true candid street photo. No models, only strangers are presented. The secret is as simple as that: a beer shop is located behind the photographer. Feel free to sing some lullaby to the sleeping handsome fellas in the comment section just under this photo. Do not hesitate to award these heroes with a star.
More parapet photography, this time from the Top Of The Rock (cue Jeremy Clarkson voice) looking at the downtown end of Manhattan. The longer exposure allowed me to capture a bit of movement in the cloud as it passed over and around the Empire State Building. The cloud was condensing out as the air was forced to rise over the city buildings, first time I've ever witnessed a city creating it's own weather :D
A view of The Great Wall of China at Jinshanling. There are less visitors there as most would either go to the Badaling or Mutianyu sections of the wall which are closer to Beijing. Although nice and quiet here, some parts of the wall have not been restored and are without parapets which pose more of a challenge.
On looking over the parapet of Glendine Bridge yesterday, I was greeted by this spectacle.
There are about 200 birds in this photo and they were part of a much larger flock, which I reckoned numbered at least 1,000.
All were waddling along this woodland path and seemed very intent on reaching their destination.
Where they came from and where they were going, I have no idea.Why they chose to walk rather then fly is another little mystery.
"Town hall, free-standing gable roof building on three sides with plastered half-timbered structure protruding on consoles to the west, solid narrow sides, with stepped gables, clock tower with pointed helmet, house Madonna and outside staircase with late Gothic tracery parapet, before 1497 to around 1513, with an eastern, two-story extension with a gable roof and stepped gable, 1514– 1515, with furnishings.
Ochsenfurt (German: [ˈɔksn̩ˌfʊʁt]) is a town in the district of Würzburg, in Bavaria, Germany. Ochsenfurt is located on the left bank of the River Main and has around 11,000 inhabitants. This makes it the largest town in Würzburg district.
Like Oxford, the town of Ochsenfurt is named after a ford where oxen crossed the river.
The town is situated on the left bank of the River Main, 21 kilometres (13 mi) south of Würzburg.
Ochsenfurt was one of the places in Germany where King Richard I of England was detained in 1193 while on his way to England from the Third Crusade.
A monastery, Tückelhausen Charterhouse, dedicated to Saints Lambert, John the Baptist, and George, was founded in 1138 by Otto I, Bishop of Bamberg, as a double canonry of the Premonstratensians. From 1351 it belonged to the Carthusians and was secularised in 1803.
The charterhouse was largely converted for private residential use and since 1991 contains a museum of Carthusian life.
Ochsenfurt also features several Protestant and Roman Catholic churches, among them that of St Michael (Michaelskapelle), a Gothic edifice.
In 1911 there was a considerable trade in wine and agricultural products, other industries being brewing and malting. Ochsenfurt also has one of the largest sugar factories in Germany.
Lower Franconia (German: Unterfranken) is one of seven districts of Bavaria, Germany. The districts of Lower, Middle and Upper Franconia make up the region of Franconia. It consists of nine districts and 308 municipalities (including three cities).
After the founding of the Kingdom of Bavaria the state was totally reorganised and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke, singular Regierungsbezirk), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.
In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Untermainkreis (Lower Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Untermainkreis changed to Lower Franconia and Aschaffenburg, but the city name was dropped in the middle of the 20th century, leaving just Lower Franconia.
From 1933, the regional Nazi Gauleiter, Otto Hellmuth, (who had renamed his party Gau "Mainfranken") insisted on renaming the government district Mainfranken as well. He encountered resistance from Bavarian state authorities but finally succeeded in having the name of the district changed, effective 1 June 1938. After 1945 the name Unterfranken was restored.
Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).
Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.
Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.
Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.
The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Reliefs with erased kings and gods from the quay of Philae, one of the oldest structures surviving from the island sanctuary.
Agilkia Island, Kiosk of Nectanebo, 4th century BC
I am trying four different techniques on this multi-photo panorama.
Town Hall Tower
Wieża Ratuszowa
Town Hall Tower in Kraków, Poland is one of the main focal points of the Main Market Square in the Old Town district of Kraków. The Tower is the only remaining part of the old Kraków Town Hall demolished in 1820 as part of the city plan to open up the Main Square. Wikipedia
Rynek Główny
The main square (Rynek Główny) of the Old Town of Kraków, Lesser Poland, is the principal urban space located at the center of the city. It dates back to the 13th century, and at 3.79 ha (9.4 acres) is the largest medieval town square in Europe. The Project for Public Spaces (PPS) lists the square as the best public space in Europe due to its lively street life, and it was a major factor in the inclusion of Kraków as one of the top off-the-beaten-path destinations in the world in 2016.
The main square is a square space surrounded by historic townhouses (kamienice) and churches. The center of the square is dominated by the Cloth Hall (Sukiennice), rebuilt in 1555 in the Renaissance style, topped by a beautiful attic or Polish parapet decorated with carved masks. On one side of the cloth hall is the Town Hall Tower (Wieża ratuszowa), on the other the 11th century Church of St. Adalbert and 1898 Adam Mickiewicz Monument. Rising above the square are the Gothic towers of St. Mary's Basilica (Kościół Mariacki).
A trackbed walk from Taffs Well to Penrhos Junction and back 21 July 2020.
This view of the parapet of a small underbridge looks across the Nantgarw Gap to Garth Hill. (Garth Hill was the inspiration for the book and film, 'The Englishman who went up a hill and came down a mountain').
This is the trackbed of the Barry Railway line from Tynycaeau Junction (on that company's main line from Barry to the Rhondda Valley) to Penrhos Junction, where it met the Rhymney Railway at the top of the 'Big Hill' from Taffs Well. This section was opened on 1 August 1901 and was extended eastwards across the Rhymney Valley to a junction with the Newport & Brecon Railway north of Bedwas on 1 January 1905.
Despite the massive viaduct to take the BR across the Rhymney Valley, it only had a life from 1 January 1905 until an Act of Parliament on 4 August 1926 permitted closure with immediate effect. There were never any daily passenger services over the BR through Penrhos Junction, but seasonal excursions ran this way until the 1960s. The last section to remain open was to serve the Dolomite quarry and works on the far side of Walnut Tree Viaduct, the end of rail traffic resulting in closure on 18 December 1967, and that saw the end of rail traffic here.
St. Mary's Basilica
Bazylika Mariacka
St. Mary's Basilica
Bazylika Mariacka
St. Mary's Church, or formally the Basilica of the Assumption of the Blessed Virgin Mary, is a Brick Gothic Roman Catholic church located in central Gdańsk, Poland. With its volume between 185,000 m³ and 190,000 m³ it is currently one of the two or three largest brick churches in the world. Wikipedia
Rynek Główny
The main square (Rynek Główny) of the Old Town of Kraków, Lesser Poland, is the principal urban space located at the center of the city. It dates back to the 13th century, and at 3.79 ha (9.4 acres) is the largest medieval town square in Europe. The Project for Public Spaces (PPS) lists the square as the best public space in Europe due to its lively street life, and it was a major factor in the inclusion of Kraków as one of the top off-the-beaten-path destinations in the world in 2016.
The main square is a square space surrounded by historic townhouses (kamienice) and churches. The center of the square is dominated by the Cloth Hall (Sukiennice), rebuilt in 1555 in the Renaissance style, topped by a beautiful attic or Polish parapet decorated with carved masks. On one side of the cloth hall is the Town Hall Tower (Wieża ratuszowa), on the other the 11th century Church of St. Adalbert and 1898 Adam Mickiewicz Monument. Rising above the square are the Gothic towers of St. Mary's Basilica (Kościół Mariacki).
The parapet on the library of King's College, looking towards the old Provost's Lodge; both built by Wilkins in the great 1824-8 expansion.
Incidentally, a friend and old teacher of mine has just been elected provost - well done Ross Harrison!
Circa 1415-26 replacing a wooden bridge of 1110. Barnach ashlar with brick parapet of circa 1716. 6 arches on piers with pointed cutwaters carried up to the parapets to form refuges. 4 original northern arches are pointed but the 2 semi-circular southern ones were rebuilt in 1716, replacing a Civil War drawbridge over the southernmost span. EH Listing
The town bridge is our most famous landmark. The original wooden structure was replaced with the current stone bridge in 1425. A chapel dedicated to St Leger was added in 1426 making it the most striking of only five examples in England. Also unusual are its two southern arches which are a different shape from the others. These resulted from their destruction by Oliver Cromwell during the English Civil War to prevent the troops of King Charles I crossing the Bridge as they approached from their Royalist base in Lincolnshire. A drawbridge covered the gap for many years.
In 1736 two further stories were added to the chapel, which over the years had many uses including toll booth, pub and private home. In the mid 1800s the building was a pub named Little Hell, an establishment with a dubious reputation. Pigs were kept in the cellar, so the ambience must have been somewhat unique. Thereafter the chapel was again occupied as a private residence up to 1927. In 1930 due to their weight unsettling the foundations the top two floors were removed. www.theoldriverportstives.co.uk/st-ives-riverport-cambrid...
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The lopsided Bartley Mansion is about to lose its second parapet, but this time the ornate stone structure will be preserved.
Neighborhoods in Partnership, a nonprofit group that manages the Museum Place apartments, plans to empty its $21,000 reserve fund to save the stone parapet and fix the stairs leading up to the entrance of the Bartley Mansion at 1855 Collingwood Blvd.
“This is the only chateau-esque style building in Toledo,” said Kathleen Kovacs, NIP's executive director.
“We wanted to remove the parapet before it fell so that if we ever find the money, we can put it back.”
Wealthy grocer Rudolph Bartley built the grand mansion in 1905.
After his death about 10 years later, the building was used as a mortuary until the early 1970s, said Matt Wiederhold, NIP's development specialist.
In the late 1970s, the right top parapet crumbled off the mansion and was destroyed.
The building sat vacant for the two decades, falling victim to vandalism and water damage.
A developer renovated the mansion in the mid-1990s, converting it to apartments in the Museum Place complex.
“It's one of the last major mansions left on Collingwood,” Mr. Wiederhold said. “When it was first built, it was pretty stunning and spectacular.”
Probably the most iconic village in the Lofoten, Hamnøy is a bunch of red rorbus hooked to the rocks in Moskenes. This shot is taken from the bridge going southwest to Reine, where the VERY strong wind wouldn't allow to use a tripod. You better had to hang on to the parapet that day!
Probablement le village iconique par excellence des Lofoten, Hamnøy est constitué de quelques rorbus rouges accrochés aux rochers sur l'île de Moskenes. Cette photo est prise depuis le pont qui descend au sud-ouest vers Reine, d'où le TRES fort vent ne permettait pas d'utiliser le trépied. Il fallait bien se tenir au parapet ce jour-là!
Church of St. Nicholas 26.4.68. GV I Parish church. C11, C12, C13, C14, C15 and C16; restored 1879. Ragstone and tufa with plain tile roof. West tower, nave with north and south aisles, south porch, chancel with north and south chapels terminating short of east end of chancel. West tower: Early C12, large squat, plinthless and battlemented, of 2 stages, with pilaster buttresses and tufa quoins and dressings. Short wooden spire erected 1963; reference to spire from 1492. Round- headed north and south windows to second stage and 2 west lancets to lower stage. Pointed-arched and shifted C13 sandstone west doorway set in round-arched tufa-dressed opening. Studded door with moulded stoup to north side. South aisle: possibly C12 walls with tufa to lower quoins, otherwise C14, with C19 alterations. Plinthless, with roll-and-hollow moulded cornice and stone-coped ashlar parapet. Lean-to roof. Buttress and canted south-east rood- stair loft stair turret. 2-largely C19 south windows in C14 style. South porch: C19 in C13 style. Pointed arched inner door with moulded architrave and hood mould. Ribbed and studded Medieval door. South Chapel: C14, with remains of moulded plinth. Stone quoins, but tufa fragments in walls. Gabled roof. C15 three-light south window in moulded stone architrave with rectangular, possibly C19, door immediately below. C15 east window, with tufa relieving arch below. Chancel: probably rebuilt in C16. On shallow moulded plinth with single-light round-headed north and south windows with rectangular dripmoulds. Cuspless east window. North chapel: late C15, on moulded plinth with roll-and-hollow cornice and stone-coped ashlar parapet. One C15 three-light east and one north window. Gabled roof. Projects slightly north of north aisle. West buttress. North aisle: C12. Plinthless, with cornice and parapet similar to south aisle and north chapel. Stone quoins. 3 north buttresses 2 two-light and quatrefoiled north windows with hoodmoulds, one with heads to label stops. 2 very small blocked north lancets with tufa dressings, rebated to outside and deeply splayed to much larger three-centred arched inner architraves. Small blocked rectangular window to west end of north elevation, with hollow-chamfered jambs and iron grille. Small west lancet with tufa dressings, set higher, with later stone inner archi- trave and leaded light. Interior: Structure: partly restored early C12 tower arch; 3 orders to each side with plain round-headed arches and fat roll either side of inner order. Cushion capitals to all but outer order. 3-bay C15 north and south nave arcades; hollow-chamfered octagonal piers with moulded capitals and bases, (the latter somewhat irregular) and arches of 2 hollow chamfers with cove between. C15 chancel arch and west arches to chancel chapels, each of 2 hollow chamfers, inner order springing from corbelled imposts. Single arch between chancel and each chapel, each with 2 hollow chamfers and attached columns, those to north round, those to south semi-octagonal; moulded capitals and bases. 2-centred arched doorway with hollow chamfer and broach stops to rood-loft stair turret, with cill about 4' above ground. 2 short blocked Saxon windows with eliptical heads high up in north wall of north arcade. C15 three-light squint between north chapel and chancel, with hollow-chamfered mullions, three-centred arched heads and hollow spandrels. Plain squint between south chapel and chancel behind sedilia. Roof: Nave has 6 plain, chamfered crown-posts with 4 curved upward braces and straight chamfered tie-beams. Ashlar-pieces and moulded cornice. Pendant posts arch-braced to cornice with C20 traceried spandrels. South chapel has one octagonal crown-post with moulded capital, square moulded base and 4 squat upward braces. Chancel roof barrel-vaulted with moulded members and central boss. Fittings: 3-seat sedilia in south wall of chancel with 4 slender off-set buttresses and moulded cornice, cuspless and possibly C16. Pillar piscina to south wall of chancel. Moulded opening, probably for piscina, in south wall of north aisle. Cusped ogee-headed piscina to south wall of south chapel and by south aisle door. Plain octagonal stone font. C15 eleven-bay rood-screen across east end of nave and both aisles, with finely-cusped tracery. Slender attached columns between bays with moulded capitals providing springing for intri- cately carved C19 fan vault and corniced walkway. Woodwork of 3 of bays split to form double doorways to north and south chapels and chancel. Partly restored C15 parclose screen to each chapel. North chapel screen provides front for C17 pew with lozenge panelling and carved frieze. C17 staircase with turned balusters against north wall of tower, leading to bell chamber. Brass chandelier in nave dated 1778. Monuments: 2 small early C16 brasses to centre of nave, one to William Merden, d. 1509, the other to Katherine Lambe, d. 1514. Marble wall tablet on south wall of south chapel to Sr. Roger Meredith, Baronet, d. 1738. Erected after 1742. By Palmer,with ionic columns flanked by elongated scrolls, with moulded cornice and open-topped segmental pediment with urn. Large standing wall monument on north wall of north chapel to the Rt. Hono'ble Jane Countess Dowager of Carbery, d. 1643, erected after death of son, Sir William Meredith, d. 1675. In black and white marble, with elongated scrolls, ionic capitals, bolection moulding to tablets, large coat of arms with achievements breaking through open- topped segmental pediment and surmounted by imposing vase. Wall monument on north wall of north chapel to Henry Meredith Esq., d. 1710, erected at direction of daughter, d. 1758. Marble tablet with 2 cherubs, urn and broken-base triangular pediment, following a design in Gibb's Book of Architecture, 1728, p. 123 (J. Newman, Buildings of England Series, West Kent and the Weald, 1980).
The Grade II Listed Priory Gate Arch on Priorygate in Lincoln, Lincolnshire.
A stone gate arch alongside Lincoln Cathedral built in Medieval Revival style in 1816. It reused stone from the demolished medieval North Gate gatehouse, which had been located 50 meters to the north in.
It has a central single-carriageway arch with a pedestrian postern on each side and a crenelated parapet. Two 14th-century drain spouts are set on the south-east and south-west corners.
Information Source:
britishlistedbuildings.co.uk/101388683-priory-gate-lincol...
www.heritageconnectlincoln.com/character-area/cathedral-a...
À partir de 2008, les parapets grillagés du pont des Arts deviennent le support de nombreux « cadenas d'amour » accrochés par des couples. Cette pratique, s'étend ensuite à la passerelle Léopold-Sédar-Senghor, au pont de l'Archevêché ainsi qu'à la passerelle Simone-de-Beauvoir.
Devant la polémique sur la dégradation du patrimoine engendrée par la présence de ces tonnes de cadenas qui, d'après certains, alourdiraient le pont et pourraient provoquer son effondrement, et sur leur aspect jugé particulièrement inesthétique par d'autres, la mairie de Paris décide d'y mettre fin en septembre 2014. Ainsi, les grillages sont définitivement retirés le 1er juin 2015 et sont d'abord remplacés par une exposition temporaire d'œuvres de street art de Jace, eL Seed, Pantonio et Brusk, puis par des panneaux en verre à partir de l'automne 2015.
The Federal Building located at 111 South Orange Avenue was constructed as a U.S. Post Office with a WPA federal subsidy of $175,000 appropriated by Congress in 1931. Plans for the Neoclassical Revival Style Post Office were prepared by George Albree Freeman, his associate, Harold N. Hall, and supervising architect, Louis A. Simon. The test borings for the foundation were prepared by the local Sarasota contractor, C.W. Matheny, and the plans of George Albree Freeman and H.N. Hall were approved at the Washington D.C. level by August of 1932.
A contemporary newspaper clipping described the building as a “Classical design of the Corinthian type, fireproofed throughout with steel structure piling in the foundations. The most modern plumbing, heating, and ventilating equipment will be installed. One radical innovation in the new Post Office will be the use of marble and aluminum where metal is ordinarily employed in parts of the building used by the public.” Although Neoclassical Revival in style, several design elements and materials were indeed innovative for the time; in particular, the suppressed or implied parapet which appears at the western elevation and the use of aluminum in the interior.
The Federal Building or Post Office is an example of the fourth building period phase (1930 – 1935) in the city of Sarasota. Following a collapse of the land boom in Sarasota and the subsequent national Depression, new construction projects signaling recovery were heralded in the local press. The arrival of the S.H. Kress Company building in Sarasota received major press coverage in 1931 and the allocation in 1931 of Federal funds for the erection of the Post Office received equally enthusiastic coverage. Although the supervising contracting firm was the Worsham Brothers of Knoxville, Tennessee, Federal money and new construction created construction jobs in Sarasota.
The Post Office designs were created by George Albree Freeman who was born in 1859 in New York and practiced architecture in Stanford, Connecticut the latter part of the 19th Century. Mr. Freeman also practiced architecture in New York City where he shared an office at 28 West 23rd Street with the nationally prominent architect Bruce Price. Together Freeman and Price designed a Shingle Style residence (Seacroft) located near Seabright, New Jersey. The drawings for the resort shingle-style house are dated 1882. Freeman's architectural commissions in New York include a Neo-Georgian building dated 1904, extant at 128 East 44th Street.
George Albree Freeman first appears in Polk's Sarasota City Directory in 1926 with an office listed as 12 Blackburn Building located at 113 South Palm Avenue. George Albree Freeman was also the architect of record for the residence of Mr. Powell Crosley, Jr., located in greater Sarasota with plans prepared June 1929. The residence of Mr. Powell Crosley, also known as Seagat, was officially listed on the National Register of Historic Places in February of 1983. Freeman was a versatile and eclectic architect designing everything from Shingle Style seasonal residences to high style Mediterranean Revival mansions such as Seagate, as well as a Neo-Georgian townhouse in New York City, and finally, the Neoclassical Post Office or Federal Building in Sarasota, Florida. George Albree Freeman died on February 22, 1934. The Federal Building or new Post Office was presumably Mr. Freeman's last executed design.
The associate architect of the Federal Building, Harold N. Hall, was a local engineer and architect who was the architect of record for the Woman's Club located at 1241 North Palm Avenue.
In summary, the Post Office or Federal Building, located at 111 South Orange Avenue is significant in the use of stylized Neoclassical Revival Style ornamentation. Quality of craftsmanship is represented in the carved elements, in particular, the handling of the acanthus leaves of the Corinthian capitals which appear at the colonnade of the west elevation. The interpretation of Neoclassical Revival Style motifs is academic in handling. Neoclassical elements are applied to the building in an academic and accurate manner, such as the string courses, modillioned entablatures, and columns in antis. The Neoclassical ornamentation, however, is not “parroted.” Stylized elements appear, including the use of an implied pediment, which appears above the 9-bay loggia doors located at the west elevation, the modern material grilles being Neoclassical in form, the material being innovative. The Federal Building is a prominent building on a landmark site. Number 111 South Orange Avenue is significant as an example of the building industry in Sarasota and a product of the Works Progress Administration. Finally, it is the last monumental design project executed by the architect, George Albree Freeman.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/United_States_Post_Office%E2%80%93F...(Sarasota,_Florida)
www.sarasotahistoryalive.com/history/buildings/federal-bu...
www.emporis.com/buildings/387504/federal-building-sarasot...
www.sarasotahistoryalive.com/history/videos/federal-build...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Hooded Mantis Nymph (Rhombodera sp., Mantidae)
Pu'er, Yunnan, China
see comments for additional image (different individual).....
Looking down from Mehrangarh Fort. To be honest, there aren't too many blue roofs and walls in this view but we were on a flying visit and this was the best outside shot I could grab.
This is a 3-story, 3-bay domestic building in the Art Deco style built in 1939. The structural system is concrete block stucco. The foundation is spread footing. The exterior walls are stucco. The building has a flat with a parapet roof. Windows are replacement aluminum jalacy casement. At the second and third floor levels on the primary facade, two adjoining casement windows in each bay There is a single-story, full-span open porch characterized by an integrated (under the main) roof with fluted stuccoed posts. The porch is particularly distinguishable for its highly ornamented terrazzo floor designs and highly ornamented balustrade that includes curvilinear design and portholes Glass double-doors framed in dark wood; Directly centered on east elevation; Primary entryway is particularly grand because of the unique terrazzo floor designs on either side of the door that are quite unlike the designs of many other buildings
Symmetrical tripartite primary facade; Stepped ziggurat parapet roofline; Horizontal banding at the cornice and corner windows; Continuous wrap-around eyebrows rounded at corners; Multi-colored terrazzo floor designs in the interior and on the porch; Slight use of glass block; Two mirroring fine bass relief "fountain" carvings in narrow rectangles that extend from the second floor level to just below the roofline ornament the central bay; Three masonry portholes at the apex of ziggurat roofline (center bay); Bow fluted spandrels in the center bay above, below and in-between second and third floor level windows; Porch railing design alternates between curved balustrade and solid wall with portholes
Credit for the data above is given to the following websites:
www.pinterest.com/pin/577797827165319518/
lynxconstructionmanagement.com/historical-restorations-pr...
en.wikipedia.org/wiki/Lawrence_Murray_Dixon
en.wikipedia.org/wiki/Ocean_Drive_(South_Beach)
www.ruskinarc.com/mdpl/all/list?page=7
www.oceandrivemiamibeach.com/art-deco-architecture-on-oce...
www.ruskinarc.com/mdpl/all/4629-650%20Ocean%20Dr/view
© All Rights Reserved - you may not use this image in any form without my prior permission.
Scarface, the dominant dog fox around St James Clerkenwell churchyard, emerged from the bushes above the parapet entrance from Clerkenwell Green. A small patch of light on the wall had been my hoped for focus area but even with that faint illumination the shot was still going to be at 10,000 ISO, aperture as wide as possible (f4) and even then only 1/13th of second. Luckily, the busy Zapp delivery bike and moped riders opposite the entrance caused him to pause for the briefest moment and observe, oblivious to me.
[The Clerkenwell Community Photography Competition is held annually and open to anyone with a picture that relates to Clerkenwell and nibbles of its neighbours, such as Smithfield. It offers prizes for a variety of categories including this year Under 12, 12-18, 19-34, 35-65, 65+, tryptychs/quadriptych (new word of the day) and two theme categories. This year had 700+ entries and one winner under the age of TWO.
A selection of the judges' choices are on display now until the end of September at the Bindery at 51-53 Hatton Garden. A number of local sponsors support the competition and LEAP LONDON kindly prints the photographs exhibited so they are of excellent quality.
Never having entered a competition in my life, and after nagging from a neighbour, I concluded that having "your pictures" only on computer or better on Flickr was still not taking the chance to let others see something of what I/you see. I took the plunge in the hope it might make the cut/wall but having seen so much moaning in photographic magazines about judges' sometimes baffling choices, I kept my expectations firmly low about anything else.
Fortunately for me, the judges were kind enough to grant me beginners' luck, winning the 35-65 category much to my surprise, but no little gratitude.
All I can say is don't wait decades to try a competition, be brave and bold and let others see and judge your work. If you don't expect a win, a place or wall space, you won't be disappointed and if you are recognised in some way, even just being printed and hung, enjoy it. The Pulitzer may take a little more effort, and Magnum may not add you instantly to their hallowed halls, but it is a good creative challenge on its own and may inspire you to go further and can only be recommended.
Thanks to Chris Walker and others at CCPC for their huge effort, the sponsors for their generosity in supporting a local community project, LEAP LONDON for their immaculate printing and the Bindery for beautiful airy gallery space in the middle of the bustle. ]
The Federal Building located at 111 South Orange Avenue was constructed as a U.S. Post Office with a WPA federal subsidy of $175,000 appropriated by Congress in 1931. Plans for the Neoclassical Revival Style Post Office were prepared by George Albree Freeman, his associate, Harold N. Hall, and supervising architect, Louis A. Simon. The test borings for the foundation were prepared by the local Sarasota contractor, C.W. Matheny, and the plans of George Albree Freeman and H.N. Hall were approved at the Washington D.C. level by August of 1932.
A contemporary newspaper clipping described the building as a “Classical design of the Corinthian type, fireproofed throughout with steel structure piling in the foundations. The most modern plumbing, heating, and ventilating equipment will be installed. One radical innovation in the new Post Office will be the use of marble and aluminum where metal is ordinarily employed in parts of the building used by the public.” Although Neoclassical Revival in style, several design elements and materials were indeed innovative for the time; in particular, the suppressed or implied parapet which appears at the western elevation and the use of aluminum in the interior.
The Federal Building or Post Office is an example of the fourth building period phase (1930 – 1935) in the city of Sarasota. Following a collapse of the land boom in Sarasota and the subsequent national Depression, new construction projects signaling recovery were heralded in the local press. The arrival of the S.H. Kress Company building in Sarasota received major press coverage in 1931 and the allocation in 1931 of Federal funds for the erection of the Post Office received equally enthusiastic coverage. Although the supervising contracting firm was the Worsham Brothers of Knoxville, Tennessee, Federal money and new construction created construction jobs in Sarasota.
The Post Office designs were created by George Albree Freeman who was born in 1859 in New York and practiced architecture in Stanford, Connecticut the latter part of the 19th Century. Mr. Freeman also practiced architecture in New York City where he shared an office at 28 West 23rd Street with the nationally prominent architect Bruce Price. Together Freeman and Price designed a Shingle Style residence (Seacroft) located near Seabright, New Jersey. The drawings for the resort shingle-style house are dated 1882. Freeman's architectural commissions in New York include a Neo-Georgian building dated 1904, extant at 128 East 44th Street.
George Albree Freeman first appears in Polk's Sarasota City Directory in 1926 with an office listed as 12 Blackburn Building located at 113 South Palm Avenue. George Albree Freeman was also the architect of record for the residence of Mr. Powell Crosley, Jr., located in greater Sarasota with plans prepared June 1929. The residence of Mr. Powell Crosley, also known as Seagat, was officially listed on the National Register of Historic Places in February of 1983. Freeman was a versatile and eclectic architect designing everything from Shingle Style seasonal residences to high style Mediterranean Revival mansions such as Seagate, as well as a Neo-Georgian townhouse in New York City, and finally, the Neoclassical Post Office or Federal Building in Sarasota, Florida. George Albree Freeman died on February 22, 1934. The Federal Building or new Post Office was presumably Mr. Freeman's last executed design.
The associate architect of the Federal Building, Harold N. Hall, was a local engineer and architect who was the architect of record for the Woman's Club located at 1241 North Palm Avenue.
In summary, the Post Office or Federal Building, located at 111 South Orange Avenue is significant in the use of stylized Neoclassical Revival Style ornamentation. Quality of craftsmanship is represented in the carved elements, in particular, the handling of the acanthus leaves of the Corinthian capitals which appear at the colonnade of the west elevation. The interpretation of Neoclassical Revival Style motifs is academic in handling. Neoclassical elements are applied to the building in an academic and accurate manner, such as the string courses, modillioned entablatures, and columns in antis. The Neoclassical ornamentation, however, is not “parroted.” Stylized elements appear, including the use of an implied pediment, which appears above the 9-bay loggia doors located at the west elevation, the modern material grilles being Neoclassical in form, the material being innovative. The Federal Building is a prominent building on a landmark site. Number 111 South Orange Avenue is significant as an example of the building industry in Sarasota and a product of the Works Progress Administration. Finally, it is the last monumental design project executed by the architect, George Albree Freeman.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/United_States_Post_Office%E2%80%93F...(Sarasota,_Florida)
www.sarasotahistoryalive.com/history/buildings/federal-bu...
www.emporis.com/buildings/387504/federal-building-sarasot...
www.sarasotahistoryalive.com/history/videos/federal-build...
© All Rights Reserved - you may not use this image in any form without my prior permission.
This is a 3-story domestic building in the Art Deco style built in 1941. The structural system is concrete block. The foundation is spread footing. The exterior walls are stucco. The building has a flat parapet roof and unspecified dormers. 4 decorative panels just below the recessed roof cornice line Windows are replacement aluminum single-hung sashes. SHS; Metal casement; Paired; Corrugated stucco moldings underneath window panes on the tower; Continuous eyebrows over the whole 2nd and 3rd story windows; Eyebrows of corner windows of tower are unattached to the eyebrows extending towards northern side There is a single-story, wrap-around open porch characterized by a flat roof clad in stuccoed with rectangular stuccoed posts. Porch facing East is incised into main building structure; Porch facing South is open, colored terrazzo flooring with the title of building inlaid; 3 massive columns supporting concrete covering; Balustrade delimitating porch area are thick stucco casts with block pattern hinting the same patterns found in the five bar-shaped decorative elements above third story eyebrow Three steps lead to entrance lobby; Racing tracks carved in the upper portion of the wall (3) and ceiling (2); Decorative moldings on top of openings of main lobby wall composed of 6 horizontally aligned roundels; Black marble-like entrance desk; Colored and patterned terrazzo flooring.
Late Art Deco structure; Five horizontal decorative bar-shaped elements; Tower extending in height above roofline on the southern side of East elevation and creating 4th story space; Long concrete covering above main floor and wrapping around the south side of elevation; Neon hotel sign just above concrete covering; Asymmetrical in composition on the facade facing East; Terrazzo floor design; Decorative sculptural panels below the roofline on the east and south elevations; Three-part stacked cantilevered ledge ornaments parapet; Corner, wrap-around windows and eyebrows; Three-part stacked eyebrow for ornamentation at the southeast corner.
Credit for the data above is given to the following website:
www.ruskinarc.com/mdpl/all/4801-700%20Ocean%20Dr/view
© All Rights Reserved - you may not use this image in any form without my prior permission.
A candid street photo of a blonde lady who sits on a bridge parapet near the lighting pole and against the background of blue sky and white clouds. She is young and free as the wind. May the happiness be with her.
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I want to get stuck into processing some new images over the coming weekend but in the meantime here's one from my 'Rainy Day' collection, i.e. images which I keep as a back-up for when I run short of new images to upload.
This is an alternative version of a previously upload photo of the iconic Bodleian Library Radcliffe Camera in Oxford. This is maybe verging on underexposure / too much contrast / overly saturated but as a result it has considerably more impact than the original.
A big thank you to the Oxford Flickr Group's Duncan Taylor who just before lockdown gave me access to the interior. No photos were allowed, and probably due to my reputation my camera was safely stored away in a locker, to I guess now my next ambition is to be allowed to shoot some interior shots of this beautiful building.
Click here for my images of this building taken over the 30 years I've been in Oxford : www.flickr.com/photos/darrellg/albums/72157629238398412
I even started a flickr group for such images : www.flickr.com/groups/2334778@N23/
From Wikipedia : "The building is the earliest example in England of a circular library. It is built in three main stages externally and two stories internally, the upper one containing a gallery. The ground stage is heavily rusticated and has a series of eight pedimented projections alternating with niches. The central stage is divided into bays by coupled Corinthian columns supporting the continuous entablature. The pedimented windows stand above mezzanine openings, reflecting the interior arrangement. The top stage is a lanterned dome on an octagonal drum, with a balustraded parapet with vases.
The construction used local stone from Headington and Burford, which was then ashlar faced. The dome and cupola are covered with lead. Inside, the original walls and dome were distempered but this was later removed, revealing the decorations to be carved in stone. Only the decorative work of the dome is plaster.
Originally, the basement was an open arched arcade with a vaulted stone ceiling, with Radcliffe's coat of arms in the centre. The arcade arches were fitted with iron grilles: three of them were gates which were closed at night, and which gave access to the library by a grand staircase. In 1863, when the building had become a reading-room of the Bodleian, the arches were glazed, a new entrance was created on the north side in place of a circular window, with stone steps leading up to the entrance."
© D.Godliman
The North Caponier, Crownhill Fort, Plymouth. Ditch, full/double caponier with a miniature caponier and a countermining gallery. The latter had tunnels pre dug that explosives could be placed and set off to destroy enemy tunnels.
Crownhill Fort was built in the 1860's to defend Plymouth and it's naval base from French attack. There are many in and around Plymouth. They are commonly called Palmerston's Follies. This one was in military use until 1986.
BUILDING HISTORY:
The Lake Wales Scenic Theater (254 E Stuart Avenue) was built by a group of local businessmen organized as the Lake Wales Amusement Company. It seated 400 people, about half the town's population at the time. A 2-part Masonry Vernacular commercial building, the Scenic Theater contains decorative features that were borrowed from the Mission style. They include a curvilinear parapet and barrel tile covering over the flared eaves.
This is currently a historical 2 story concrete office building located in downtown Lakes Wales, Florida that has been recently remodeled. The building has a mural on the east wall of the building depicting city life in downtown Lake Wales during the early years of the 20th Century.
Credit for the data above is given to the following websites:
www.polkpa.org/CamaDisplay.aspx?OutputMode=Display&Se...
www.redfin.com/FL/Lake-Wales/254-E-Stuart-Ave-33853/unit-...
www.cityoflakewales.com/525/Scenic-Theater
www.flickr.com/photos/132008772@N02/52826128554/in/datepo...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Fort San José El Alto includes a moat, drawbridge, observation parapets and a museum.
Museo Historico Reducto San Jose El Alto “Arms and Sailors,” which opened in 1995, promotes the general history of the state of Campeche, with emphasis on maritime trade and piracy.
Its collections exhibit original weapons from the 16th to 19th centuries, scale replicas of various ships, a room dedicated to colonial trade, and a model of the walled fort in its original form.
South of Cromford Wharf is this coursed stone accommodation bridge with a string course and parapet, believed to have been built c.1792. There are others of similar design along the line of the canal. A notable feature of this bridge is the evidence in the stonework of wear caused by the canal boat tow ropes.
The Cromford Canal ran 14.5 miles (23.3 kilometres) from Cromford to the Erewash Canal in Derbyshire, England with a branch to Pinxton. Built by William Jessop with the assistance of Benjamin Outram, its alignment included four tunnels and 14 locks.
From Cromford it ran south following the 275-foot (84 m) contour line along the east side of the valley of the Derwent to Ambergate, where it turned eastwards along the Amber valley. It turned sharply to cross the valley, crossing the river and the Ambergate to Nottingham road, by means of an aqueduct at Bullbridge, before turning towards Ripley. From there the Butterley Tunnel took it through to the Erewash Valley.
From the tunnel it continued to Ironville, the junction for the branch to Pinxton, and then descended through fourteen locks to meet the Erewash Canal at Langley Mill. The Pinxton Branch became important as a route for Nottinghamshire coal, via the Erewash, to the River Trent and Leicester and was a terminus of the Mansfield and Pinxton Railway.
A 6-mile (9.7 km) long section of the Cromford canal between Cromford and Ambergate is listed as a Biological Site of Special Scientific Interest and a Local Nature Reserve.
In addition to purely canal traffic, there was a lively freight interchange with the Cromford and High Peak Railway, which traversed the plateau of the Peak District from Whaley Bridge in the north west, and which descended to the canal at High Peak Junction by means of an inclined plane.
White-throated kingfisher (Halcyon smyrnensis) <3
At 120 mm it is hard to get good photos of birds since I have to be so close to get a shot. I was literally lying on the terrace, hiding behind the parapet to get this shot. (Thankfully it's not summer, I would have got 3rd degree burns..!!)
And this kingfisher is the culprit that has been bathing daily in my lily pond,, upturning all the lily leaves..!! Hopefully it is not there for the guppies inside :o
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Built in 1923, this Pueblo Revival-style building was designed under the purview of superintendent Jesse L. Nusbaum, and built to serve as the Headquarters for Mesa Verde National Park. The building is clad in rough-hewn stone with casement windows, porches with wooden and stone columns, vigas, and parapets. The building is a contributing structure in the Mesa Verde Administrative District, listed on the National Register of Historic Places and designated a National Historic Landmark in 1987.
The Fowler's "Lion" Factory, with its distinctive parapet topped by a statue of a lion, was designed by architect Frank Counsell in federation style for D. & J. Fowler Ltd in 1906. The brickwork was built by W. Sander & Sons, while the lion statue took three months to be carved by a Melbourne stonemason, John Patrick Jackson. The building is noted for its high-quality brick detailing and the well-designed composition of the facade. The building was used for packaging Fowler's Lion brand of flour, and the (original and now restored) signage on the parapet still says 'Fowler's "Lion" Factory'. Fowler's wide range of Lion brand products, trademarked in 1886, were very popular.
The original symmetrical shape of the facade was destroyed in 1966, when the eastern wing was demolished for the widening of Morphett Street and the construction of two new bridges across North Terrace and the River Torrens.
After its use as a factory ceased, the building started being used as a performance space. It was known as the Living Arts Centre from about 1986 until 1992, during which time the building was renovated, converted and renamed to Lion Arts Centre.
Built in a stripped back, Gothic style, the former Catholic Church on River Road in the tiny country town of Woodford is a classic example of an unassuming and elegant country church.
Although now used for commercial premises, the former Woodford Catholic Church remains intact and maintains many of its original Gothic features including its parapeted gables, the vertical element of the cross on the skyline and the tracery around the lancet windows. All of these are typical Gothic architectural features. It also still retains its original Gothic style stained glass windows.
Sadly, with no foundation stone or memorial plaque it is impossible to date the church, and I can find no record of it.
Woodford is a very small township in the Western District of Victoria, located nine kilometres north of Warrnambool. The town is home to Woodford Primary School which opened on the first of May 1854. Woodford Post Office opened on 1 January 1854, and closed sometime in 1975. It's population consists of only a few hundred people these days.
Built between 1814 and 1819, this Classical Revival-style granite-faced building serves as the State House, or Capitol, for New Hampshire. The building has undergone many changes since it was built, though it remains the oldest US State Capitol building to still have the legislatures meeting in their original chambers.
The building was originally designed by Stuart Park as a Federal-style building, and originally was two stories tall, lacking the present portico, domed cupola, third floor, boxy shape, west (rear) wing, and parapet. The building's original profile had a hipped roof with a central gabled wing, with a fanlight attic window on the front gable of the central wing, a small entrance portico that functioned as a door surround, and two doors on the wings to either side of the central wing. The building featured a two-tier tower on the roof with columns clustered at the corners, a small dome atop the upper tier, a finial with a large sculpture of an eagle atop the dome, and arched windows only in the second-story bays of the central wing of the building.
The building had become inadequate for the needs of the growing state population and government by the mid-19th Century, and there were calls to relocate the state capitol to Manchester, though these were not realized. In 1866, the building was renovated under the direction of architect Gridley J. F. Bryant, heavily modifying the central wing by adding a parapet and projecting the front gable forward into a pediment, adding the present domed cupola, two-story front portico with its paired doric and corinthian columns and second-story balcony, removing the two entrance doors on the wings, adding arches to the second-story windows on the wings, and adding a mansard roof atop the building's wings to allow for a large third floor space, while not changing the hierarchy of the wings compared to the central wing of the building. A one-story wing was added on the rear of the building, which has since been removed.
The building had become inadequate for the growing state once again by the early 20th Century, and again a proposal was put forth to move the capitol to Manchester, but this was once again rejected in favor of keeping the capitol in Concord. To solve the issue of inadequate facilities, in 1910, the building was again renovated, this time in the Classical Revival style, under the direction of the notable architecture firm Peabody and Stearns, which removed the mansard roof, flattened out the building's roofline and added a parapet with a balustrade, added a third floor faced in granite, and removing the building's original hierarchy of the lower wings flanking a central, taller wing. The portico, arched windows, and cupola added in the 1866 renovation were retained, while the building was expanded to the rear with a massive wing that was faced with granite and designed to match the renovated original front wing of the building, and features a light court at the rear of the original building. The addition housed offices for the governor and chambers for the executive council, as well as offices for the state government and legislature.
The State House is a contributing structure in the Concord Civic District Historic District, listed on the National Register of Historic Places in 1983. The building remains the state capitol building for New Hampshire, and its evolution over time has followed that of the state's growth and continued development.