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* South western corner. The Art Deco building on this corner is an addition to a 19th century commercial structure. The cement render says est. 1848. Notice the fan shells along the parapet roof line apex and on the corners or ends. These are called acroterions from the ancient Greek word for corner or apexes. The building has the steel framed rectangular windows with pretty Art Deco clear glass designs in the street level windows. Note the thin horizontal lines in the upper story cement render contrasting with the vertical grooved pilasters. If painted in sympathetic Art Deco pastel colours this building could look really dramatic and beautiful.
Mansion house. Core c.1750, extended 1853, c.1896 and in the 1920s. Red brick, tiled roof Plan: the earliest part of the house is at the south-east, where a 3-window range flanked by angled projecting towers or 'bastions' survives from the mid-eighteenth century. This is thought to have been consciously designed in imitation of a fort. The third bastion survives in part, the fourth not at all. The house was extended northwards in two campaigns, from the 1850s and mid-1890s. There are late C18 and C19 stable ranges to a yard, rebuilt in C20. To the east, C20 brick ranges date to occupation as a school. The post-war additions are of no interest. EXTERIOR. South-east front: Two-storey, three window range flanked by two-storey angled bastions. Tall, three-flue stack. To right: Mid-nineteenth century addition. 2-storey, 3- window range, dentilled cornice with brick parapet above. Ground storey: open arcade leading to square tower, 3 storeys with single arched window in each stage. Tiled pitched roof Entrance porch at base of tower. To right, (north elevation) 2-storey range with gable, 3 arched windows with blind tympana. Panel above showing Coat-of-Anns. Smaller gable to right. INTERIOR. Variable in quality and interest. Of particular note: Two mid-Georgian rooms separated by a stack at south west end of house, with timber moulded archways with carved woodwork in the spandrels, moulded cornices and panelling. Polygonal wooden panelled niche. In one room, an early nineteenth-century fire surround has been installed, evidently made up from separate carved marble panels, c.1823. Above this is a late nineteenth-century painted scheme depicting a north European Romantic landscape, An eighteenth-century staircase has been removed from its original place and now leads from the first floor service area to the attic. It is an open-string, two turned balusters to a tread, with fluted newel. The large stair hall in the north-eastern part of the house dates from 1853, with a staircase in the Jacobean style with heavy wooden balusters and newels. Rococo-style fireplace in hall. The stained glass in the large windows lighting the hall date from 1923. HISTORY. Traced in documentary sources from 1780 but thought to be built in 1743, the house has been occupied by many owners, among them Henry Berens, a Dutch barrister who lived there from 1822) When he died in 1852 his nephew Henry Hulse Berens purchased the house and lived there until 1883, extending the house. His daughter and her husband continued enlargements into the early years of this century. The house next became a school and, in the 1920s, Council offices for the Borough of Sidcup and Chislehurst. The London Borough of Bexley still owns and occupies the building. Listed principally for the early Georgian fort plan and interior features. The listing also includes the ha-ha to the east of the house, constructed of flint, c. 1m high and 90m long. The garden walls are not included as they have been largely rebuilt in recent years.
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The State Theater in Sierra Blanca, Texas opened in 1952, closing a little over 30 years later in the mid-1980s. Constructed of adobe with a covering of some material (stucco?), the structure is simple and functional. From the parapet at the roof line on the front facade to the building width band of exposed adobe at street level, there is almost no ornamentation. The marquee angles in above the recessed entrance, which consists of a double-leaf door, each with a vertical wood panel. On either side are examples of glass block, the ticket window flush with the wall and another, larger portion of glass block on a curved surface. A large patch of exposed adobe is on the side (3rd image in this series). Sierra Blanca had a population of 553 in 2010; it is the county seat of Hudspeth County.
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Designated 'Parapet Girder 13' (or maybe 'B'?) this railway bridge at Loders, Dorset, was constructed by Patent Shaft & Axletree Co.Ltd and as far as I know it is the original put in situ between 1855-57 when the railway line opened.
The name of the company can be seen below. It is a photo taken on the other side of the bridge. Markings on other bridges along the line helped to piece together the full name of the company 'Patent Shaft & Axletree Co.Ltd; Constructional Engineers, Wednesbury' You can read about that company's history here
www.historywebsite.co.uk/articles/Wednesbury/PatentShaft3...
The Pack Horse Bridge to the south of Sowerby is one of several found in Yorkshire. It was known as World’s End Bridge when there was a public house of that name nearby. Today it is called Town End Bridge and is built of sandstone and has one arch that spans the Cod Beck. The high arch not only followed the architectural design of the times but allowed for the rise in river levels following heavy rain on the Hambleton Hills which lie to the east.
The bridge, listed by English Heritage, was built in 1672 with the aid of a grant of £20, an enormous sum in those days, and formed part of the transport network when pack horses were used to convey goods around the country. It provided a link, via Oldstead and the Sutton Road, between the Drovers’ Road, which passes along the western edge of the Hambleton Hills and which formed part of an ancient north/south route from the Scottish Borders to Brough, a town on the River Humber, and the larger towns to the west of Thirsk and Sowerby.
The World’s End was the name often given to a public house that stood at an isolated spot. The pub was built by Thomas Dodsworth in1835 close to the Cod Beck and the ancient pack horse bridge. For carters on their way out of Sowerby, it was the last chance for refreshment before setting off down the road to Dalton and for others it was a chance to have a drink while the horses were watered in the beck. Business fell off once the road bridge was built and the pub closed for good in 1911. The building is still there but is now a private house and can be seen in the photograph at the top of the footpath left of the bridge.
In the 17th century pack horses, walking in single file, carried heavy loads in panniers strapped to either side of their body. They travelled some 20 miles a day and the leading horses wore bells to warn of their approach. The string of horses was looked after by a man known as a ‘jagger’. Like many others, this pack horse bridge is narrow, 5 feet (152 cms.) wide and the low parapets 2.5 feet (76cms.) allow clearance for the panniers the horses carried. Some goods carried to this area might include coal, while farm produce, such as butter and cheese, would be taken to the large towns further afield. The bridge was the only dry-shod crossing of the Cod Beck at the south end of Sowerby village and was widely used by pedestrians.
There is another 17th century Pack Horse Bridge on Blakey Lane in the village. This one is still a narrow bridge but wider than the Town End Bridge and can take light vehicular traffic in single file. Both of the 17th century bridges are Grade II Listed buildings.
Formerly known as: No.32 Eagle House WEST STREET. House, now offices. c1730, partly rebuilt and extended 1831-5. Stucco over brick with stone dressings, gable stacks and interlocking tile hipped roof. Early Georgian style. Double-depth plan to main block with flanking blocks, the projecting N wing to right making overall L-plan. 3 storeys and basement; 5-window range, 2-window N extension. Double-fronted with rusticated quoins, cornice and parapet, an early C19 Roman Doric portico with Greek key frieze and steps up to a panelled door with panelled reveals and decorative cast-iron panels. Keyed stone architraves to 6/6-pane and second-floor 3/6-pane sashes. Rear has a cornice, central round-arched doorway and stair windows above with imposts, keyed rubbed brick heads and 6/6-pane sashes. Early C19 N wing has a left-hand doorway with bracketed canopy, panelled reveals and 6-panel door, and first-floor 6/6-pane and second-floor 3/3-pane sashes, with 1-window S return with 8/8-pane sashes. W corner rebuilt early C19, with W front a 3-window range of rubbed brick heads to 6/6-pane sashes, and 2 second-floor S windows with architraves as the front flanking a lateral stack. INTERIOR reported to contain a good rear dogleg stair with moulded ramped rail, column-on-vase balusters, the middle one twisted, very fine newel with 4 fluted columns on an urn, curtail and matching wainscot. SUBSIDIARY FEATURES: attached front area spear-headed iron railings and stone piers. HISTORICAL NOTE: the N wing was a service wing, the S probably for guest accommodation. One of the prominent merchants' houses from Poole's early prosperity.
Public house. Late C17, early C18 building with early C19 elevations. Rough cast elevations with parapet to half-hipped plain tiled roof. 2 storeys; 4 window 1st floor, 3 window ground-floor with segemental heads inserted on both floors. 2 inserted doors with pilastered frames and pedimented entablatures. Catslide extension to rear.
The Inn known as “The Duke Of Wellington” was built during the reign of Henry VIII (1509-1547) in the year 1515.
It was built on the site of a much earlier building, a refectory and chapel dating back to the reign of William I (1066-1087), which is mentioned in the greater volume of the Domesday Book of 1085.
The old refectory was owned and fared by and order of Benedictine monks, who distributed home brewed ales, bread and meat, mainly salt meat, to wayfarers who came for shelter and refreshment, and was later a pilgrims rest.
It is believed that the earlier building was destroyed by fire in the late 15th century.
The first owner of the present building was one Septimus Quylle who is recorded as a farmer, hop grower and a brewer of the Parish of Ryarsh.
Quylle was granted a license in 1516 to sell ales and cider only, and the house was registered as a Kentish “Ale House”.
Although the license was in Quylle’s name, it was his wife Elanor that was responsible for the running of the “House”, and it was Elanor who was granted the License, by widows consent in 1545 when Quylle died age 72.
In 1640, the “House” underwent extensive alterations, the thatch, wattle and daub was removed and replaced with tiles and bricks as is evidenced by the date above the front door between the upper windows.
The work was carried out by J. Dymer and Sons builders of West Malling.
In 1663, the Justice of Peace at Maidstone, granted one Daniel Deeds a licence to sell distilled Gin and other Liqueurs.
In October 1815 the sign of the “Duke of Wellington” was hung in honour of Wellington’s victory at Waterloo in June 1815, the pub was previously known as the ‘Cock & Coney’.
The Inn has seen and undergone many changed since first it was built, but it still retains the same charm and character that it has done for centuries.
As you step into the bar you will notice a portion of the original wattle and daub, encased in glass and preserved by the Kent Historical Buildings Society.
From their website:
Castle of Lindoso
Little is known of the early era. It is believed the fortress was started under the 13th century reign of Afonso III of Portugal, entered in strengthening efforts of the defensive system of borders, undertaken by that ruler. The castle was constructed and was of low importance.
During the time of the Restoration of Portuguese independence, the castle and its location gained importance in view of its border location. For this reason, the location was used as a support base in the context of Portuguese incursions in Galicia by the military forces of Portugal in September 1641. As the war progressed, the castle received modernization and restoration works, which were completed around 1666 (date inscribed on the lintel of a door). It was only three years after briefly falling into the hands of Spanish troops. It is believed that the works have been dragged for a few more decades, since 1720 to date of completion of the main ravelin that defends the main entrance.
The construction fence. The parapet. The curb. The clouds. All lead to one of my favorite trees and the powerful Bank of Brazil building.
This building currently serves as the Lake Worth Beach City hall. It once held an auditorium that had a capacity for 350 people on the third floor. This is clearly seen on the front of the building because it still bears the words municipal auditorium.
The building features Moorish towers that were designed by G. Sherman Childs. He came to this area in 1913 to work for Addison Mizner until he was able opened his own firm.
ThIs building was built to be hurricane resistant as well as to provide shelter since the Great Hurricane of 1928 destroyed so such property before in this area. Money ran but while the building was being built due to the onset of the Great Depression. Local businesses helped financially and the building was finally on dedicated on November 28, 1935.
The basement and first floor rooms of this building were used for assemblies and meetings. During WWII the basement was used to entertain the Lake Worth USO.
In 1953 the Lake Worth Playhouse began performances in the building but then closed in the 1970's.
Today this building is still in use and holds all of the city governmental departments.
Credit for the data above is given to the following websites:
wesblackman.blogspot.com/2012/01/more-on-architect-g-sher...
www.yelp.com/biz/city-of-lake-worth-city-hall-lake-worth
www.waymarking.com/waymarks/WM2RMX
© All Rights Reserved - you may not use this image in any form without my prior permission.
The Huguenot Church, also called the French Huguenot Church or the French Protestant Church, is a Gothic Revival church located at 136 Church Street in Charleston, South Carolina. Built in 1844 by architect Edward Brickell White, it is the oldest Gothic Revival church in South Carolina, and has been designated a National Historic Landmark and listed on the National Register of Historic Places.
Edward Brickell White, a local architect who also designed a number of Greek and Roman buildings in the area, most notably Market Hall, the steeple of St. Philip's Episcopal Church, and the St. Matthew's German Evangelical Lutheran Church. The church was built by local contractor Ephraim Curtis. Ephraim Curtis also worked on the Edisto Island Presbyterian Church. The congregation it serves traces its origins to the 1680s, and is the only independent Huguenot church in the United States.
As Protestants in predominantly-Catholic France, Huguenots faced persecution throughout the 16th and 17th centuries. Following the Revocation of the Edict of Nantes in 1685, many Huguenots fled France for various parts of the world, including Charleston. The early congregation of Charleston's Huguenot Church included many of these refugees, and their descendants continued to play a role in the church's affairs for many decades.
The church is located in the area of Charleston known as the French Quarter.
One family associated with the church in its early decades was the Ravenel's. The church sustained damage during the Civil War and the Charleston Earthquake of 1886, and was restored with funds from Huguenot descendant Charles Lanier of New York. The church is surrounded by a graveyard where many Huguenots are buried.
The three front windows are topped with cast-iron crockets, and a battlement parapet surrounds the top of the church.
The stencilled parapet of the road over bridge a Bredicot bears witness to the passing of another Cross Country Class 170. This one was working 1V09 1210 Nottingham to Cardiff Central.
For alternative railway photography, follow the link:
www.phoenix-rpc.co.uk/index.html to the Phoenix Railway Photographic Circle.
A view south from the parapet of Upperton Road bridge of the former Great Central Railway wagon works and its green metal extension still used as a workshop in 2001. The former GC main line to London Marylebone ran behind the bushes on the right
Just visible, far right middle, are the rusting tracks of the former goods line which connected to the spur from the Midland Railway Burton-on-Trent line in the distance down to the Great Central Railway. It was built when the GCR closed as a through route in 1966 & was used latterly for scrap trains to Vic Berry's scrapyard on the site of the GCR South Goods yard.
Today the wagon works building survives as a bike shop and coffee outlet but nothing else does. A huge Lidl supermarket has been built on the right and the multi-story student accommodation built above it dominates the skyline. Even Upperton Road bridge has been demolished.
Universität Potsdam, Neues Palais, Sanssouci, Potsdam, Brandenburg, Deutschland.
Neues Palais es un palacio localizado en el extremo oeste del parque de Sanssouci, en la ciudad de Potsdam, Alemania. Se construyó entre 1763 y 1769 gracias al trabajo de varios arquitectos: Jean-Laurent Le Geay, Johann Gottfried Büring, Heinrich Ludwig Manger y Carl Philip Christian von Gontard. Dado su entorno, esta fue una residencia de verano, cuya edificación se produjo después de la guerra de los Siete Años para representar la victoria de Prusia. En 1990, la Organización de las Naciones Unidas para la Educación, la Ciencia y la Cultura lo declaró Patrimonio de la Humanidad como parte de los Palacios y parques de Potsdam y Berlín.
Para Fraser (1996) la escala de esta residencia «reflejó la ambición de Federico el Grande y el estatus de su nueva Prusia». Contraparte del más modesto Palacio de Sanssouci —preferido por el monarca—, tiene una fachada de 213 metros de largo y un total de 200 habitaciones, entre las que se encuentra un teatro de estilo Rococó construido por el arquitecto von Gontard. Por su parte, Duffy (2016) apunta que este palacio se construyó para dar empleo a artesanos locales y fungir como «Fanfarronade, o gesto de desafío, de parte de la monarquía prusiana luego del calvario que fue la guerra de los Siete Años». La fachada del edificio es de ladrillo rojo con pilastras corintias de orden colosal. Hay además una alta cúpula de tambor.
En su porción posterior, el Cour d'honneur forma un conjunto arquitectónico con una columnata y dos construcciones edificadas para los sirvientes, oficiales visitantes y para ocultar los páramos traseros. Estos elementos, de acuerdo con Fraser (1996), ejemplifican la planificación barroca y provén un trasfondo arquitectónico a la porción oeste del parque. Alrededor de cuatrocientas esculturas de las mitologías antiguas se encuentran en la azotea, jardín y parapetos. En el siglo siguiente de su edificación se construyó el Palacio de la Orangerie, el más grande en extensión, entre el Nuevo Palacio y el Palacio de Sanssouci. En conjunto, forman un amplio parque que cuenta con esculturas y otras construcciones secundarias.
Al interior del palacio hay varias salas, como la Grottensaal, cuyas paredes de mármol tienen incrustados fósiles, piedras semipreciosas y 24 000 conchas, la Marmorsaal, con pisos de mármol, y en el sur, las habitaciones de Federico y el teatro, donde se llevaron a cabo obras francesas y óperas italianas. Las habitaciones tienen algunas decoraciones neoclásicas, como medallones arriba de las puertas, y cuentan con muebles, porcelanas, artesanías y pinturas del siglo XVIII.7
Federico II no habitó el palacio. En su lugar, esta edificación cumplió la función de albergar celebraciones, asuntos oficiales y apartamentos de invitados. Este fue, además, el lugar de residencia preferido por el último emperador alemán, Guillermo II, al menos hasta su abdicación en 1918. Desde los tiempos de la República de Weimar ha funcionado como museo, aunque durante la Segunda Guerra Mundial los soviéticos se llevaron algunos objetos. El Nuevo Palacio también fue el sitio de nacimiento —18 de octubre de 1831— del emperador Federico III, que reinó entre el 9 de marzo y el 15 de junio de 1888.
Neues Palais is a palace located at the west end of Sanssouci Park, in the city of Potsdam, Germany. It was built between 1763 and 1769 thanks to the work of various architects: Jean-Laurent Le Geay, Johann Gottfried Büring, Heinrich Ludwig Manger, and Carl Philip Christian von Gontard. Given its surroundings, this was a summer residence, which was built after the Seven Years' War to represent the victory of Prussia. In 1990, the United Nations Educational, Scientific and Cultural Organization declared it a World Heritage Site as part of the Palaces and Parks of Potsdam and Berlin.
For Fraser (1996) the scale of this residence “reflected the ambition of Frederick the Great and the status of his new Prussia.” Counterpart of the more modest Palace of Sanssouci - preferred by the monarch -, it has a facade of 213 meters of long and a total of 200 rooms, including a Rococo-style theater built by the architect von Gontard. For his part, Duffy (2016) points out that this palace was built to employ local artisans and serve as « Bragging, or gesture of defiance, on the part of the Prussian monarchy after the Calvary that was the Seven Years' War. ”The building's facade is made of red brick with colossal Corinthian pilasters. There is also a tall drum dome.
In its rear portion, the Cour d'honneur forms an architectural ensemble with a colonnade and two buildings built for servants, visiting officers, and to hide the back moors. These elements, according to Fraser (1996), exemplify Baroque planning and provide an architectural backdrop to the western portion of the park. Around four hundred sculptures from ancient mythologies are found on the roof, garden and parapets.In the century following its construction, the Palace of the Orangerie was built, the largest in extension, between the New Palace and the Palace of Sanssouci. Together, they form a large park that has sculptures and other secondary constructions.
Inside the palace there are several rooms, such as the Grottensaal, whose marble walls are encrusted with fossils, semi-precious stones and 24,000 shells, the Marmorsaal, with marble floors, and in the south, the rooms of Federico and the theater, where French plays and Italian operas were performed.The rooms have some neoclassical decorations, such as medallions above the doors, and feature 18th century furniture, porcelain, handicrafts and paintings.7
Frederick II did not inhabit the palace. Instead, this building fulfilled the function of hosting celebrations, official business and guest apartments. This was also the preferred place of residence for the last German emperor, Wilhelm II, at least until his abdication in 1918. Since the time of the Weimar Republic it has functioned as a museum, although during World War II the Soviets were Some objects were brought in. The New Palace was also the birthplace - October 18, 1831 - of Emperor Frederick III, who reigned between March 9 and June 15, 1888.
By the early 14th century, Rye was one of the most important ports on the South Coast of England. With the start of the Hundred Years War with France, it was very vulnerable to attack by raiding French warships.
In 1339 the French attacked the town, and burnt 52 houses and a mill. It was at about this time that the mayor and corporation made a start on the town walls and gates, aided by ‘murage’ granted by the King.
According to HIstoric England, the two lower storeys date to 1340, whilst the top storey is from 1380. The gate has two round towers, built of stone rubble, on moulded plinths flanking it.
The parapet has disappeared, but the string course and machiolations with moulded corbels remain on the north front (seen above). The latter has a pointed arch with grooves for the portcullis (which was removed in 1735).
The south front has an elliptical arch flanked by buttresses, of which that on the west (to the right above) has been removed. In the reveals of the inner arch are pointed doorways giving access to the side towers.
Rectangular loop windows with ashlar dressings can be seen in the towers, with trefoil-headed lancets over the gate. The floors and roof of the gate and towers have disappeared. The tile clock was added in 1862.
The Landgate was given Grade I listed status as an ancient monument in 1951.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The State Theater in Sierra Blanca, Texas opened in 1952, closing a little over 30 years later in the mid-1980s. Constructed of adobe with a covering of some material (stucco?), the structure is simple and functional. From the parapet at the roof line on the front facade to the building width band of exposed adobe at street level, there is almost no ornamentation. The marquee angles in above the recessed entrance, which consists of a double-leaf door, each with a vertical wood panel. On either side are examples of glass block, the ticket window flush with the wall and another, larger portion of glass block on a curved surface. A large patch of exposed adobe is on the side (3rd image in this series). Sierra Blanca had a population of 553 in 2010; it is the county seat of Hudspeth County.
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Satané parapet au premier plan à droite dont je n'ai pas pu (ou su) m'affranchir. Bref, ça gâche un peu tout mais je poste cette photo quand même.
Comme dit avec humour un photographe que j'ai croisé un jour "la photographie c'est que des embêtements" :-))))))
Ivy climbing over the parapet of the Duke's Bridge at Chatelherault near Hamilton.
366/253 - Year 8 Photo 2809
The beautifully restored Restoration Hardware building at Crane Cove Park glows like a beacon during the blue hour, its classical white facade brilliantly illuminated against the deepening twilight sky. This commanding structure anchors the waterfront edge of Pier 70, marking the transition between the historic shipyard district and the newly created public parkland along San Francisco Bay.This Beaux-Arts building represents one of Pier 70's most architecturally refined structures, with its symmetrical composition, ornate cornice work, decorative pilasters, and that distinctive stepped parapet at the corners creating visual interest against the sky. The three visible stories feature tall, multi-paned windows arranged in rhythmic bays—those arched openings on the upper floors are particularly striking. The warm glow emanating from within each window creates a honeycomb effect across the white painted facade, with some rooms showing warmer orange tones and others cooler whites, suggesting the varied interior spaces and lighting within.The signage for Crane Cove Park is prominently displayed on the left, identifying this waterfront public space that opened as part of the Pier 70 redevelopment. The park provides crucial public access to the Bay shoreline, fulfilling San Francisco's commitment to making its waterfront accessible to all residents and visitors. The manicured landscaping, young street trees, and contemporary infrastructure visible in the foreground show how this formerly industrial site has been thoughtfully transformed into a mixed-use district balancing preservation, development, and public amenity.The architectural context is fascinating. Behind and to the right, modern residential buildings rise with their contemporary glass and metal facades—representing the new construction that's part of Pier 70's evolution into a mixed-use neighborhood. These sleek buildings contrast dramatically with the historic white structure in the foreground, creating a visual dialogue between past and present, industrial heritage and contemporary urban living. The juxtaposition shows how San Francisco is managing growth while preserving significant historic resources.That bright street lamp in the right foreground creates a dramatic starburst effect, its LED light casting sharp illumination across the intersection. The bicycle lane markings painted on the street emphasize the district's commitment to alternative transportation and the broader San Francisco vision of creating bike-friendly neighborhoods. Empty streets at this twilight hour allow the architecture to command full attention without the clutter of traffic or activity.The blue hour timing is perfect for architectural photography—that brief window when the sky retains rich blue color while artificial lights register strongly on camera. The balance between natural and artificial illumination creates depth and dimension impossible to achieve in full daylight or complete darkness. The graduated sky, darker blue at top transitioning to lighter tones near the horizon, provides a painterly backdrop for the illuminated building.Looking at the building's massing and proportions, you can see it was designed to impress. The generous floor-to-ceiling heights, the formal symmetry, the classical detailing—all suggest this served an important administrative or commercial function within the shipyard rather than housing heavy industrial operations. Buildings like this were meant to represent the company's stability and success to visitors, clients, and investors.The Restoration Hardware tenant represents the premium retail strategy that's helped fund Pier 70's restoration. By attracting high-end commercial tenants willing to invest in these spaces, the development has secured the economic resources necessary to preserve buildings that might otherwise have been demolished. It's adaptive reuse as economic engine—the historic character becomes a marketable asset rather than a preservation burden.The empty parking area and quiet streets suggest this photo was taken during early morning hours when the district is between its daytime business activity and evening residential life. A single car visible on the right and what appears to be a parked vehicle or cart on the left are the only signs of human presence, creating an almost cinematic quality where the architecture performs without distraction.The contrast between the warm interior lighting and the cool blue exterior light creates visual drama. The orange and yellow tones glowing through the windows suggest occupancy and life, while the exterior blue hour light provides that magical quality that makes twilight photography so compelling. This interplay of warm and cool, interior and exterior, historic and contemporary defines the image's emotional impact.From an urban planning perspective, this scene represents successful waterfront redevelopment. The historic building is preserved and activated, new housing increases density and brings residents to a formerly closed area, public park space provides community amenity, and infrastructure improvements support multiple transportation modes. It's textbook smart growth—mixing uses, preserving heritage, creating public realm, and building sustainably on already-developed land.
The Halászbástya or Fisherman's Bastion is one of the best known monuments in Budapest, located in the Buda Castle, in the 1st district of Budapest. It is one of the most important tourist attractions due to the unique panorama of Budapest from the Neo-Romanesque lookout terraces. The Fishermen's Bastion's main façade, parallel to the Danube, is approximately 140 meters long, of which the southern aisle is about 40 meters long, the north is 65 meters long, and the ornate central parapet is 35 meters long. Its seven high-pitched stone towers symbolize the seven chieftains of the Hungarians who founded Hungary in 895.
It was built between 1895 and 1902,in Neo-Romanesque style, on the base of a stretch of the Buda Castle walls, by architect Frigyes Schulek, who was also responsible for the restoration of the Matthias Church. Several historians say that in the Middle Ages this part of the castle walls was protected by the guild of fishermen (halász), who lived under the walls in the so-called Fishtown. Since 1987 it has been part of Budapest's World Heritage Sites as part of the Várkerület District (Buda Castle District).
Grade I listed. Banqueting house, Wren, circa 1700. On perimeter wall to south of the Palace. Brown brick with red dressings. Single storey with castellated parapet. Two windows wide with door between which has semi-circular split pediment carrying bronze female bust, on carved consoles. Square headed sash windows. Moulded stone band at base of parapet. Two corniced chimneys.
Interior - Painted Room by Antonio Verrio.
It's now open to the public which was a great treat.
The 26-story, neo-gothic Pacific Telephone Building, also known as the PacBell Building, was vacated in 2005.The now-abandoned building was designed by James Rupert Miller and Timothy L. Pflueger in 1925.
Special thanks go to Stephen for inspiring this exploration and Scott for the logistical support and accompaniment!
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.
parapetar el libre albedrío como dogma coartador de la libertad; y, en el abismo, resuena el ‘carpe diem’, susurro de agonía.
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.
Paris, France.
The converging lines of a grubby, uncared for parapet and its equally ignored utilities deck cantilevers.
Cornice & parapet of Crown (now Atlantis) Theatre. Mobile, AL.
Crown Theatre, circa 1909
The Crown Theatre has recently been renovated. It has a fanciful stucco façade with a broken cornice and curved parapet.
The railway arch near Conwy station represents an exceptional effort to mitigate the damage caused by building the Chester & Holyhead Railway through the walled town in the 1840s. Robert Stephenson oversaw the main engineering elements.
The railway company erected a broad, Gothic archway over the tracks. They emulated the walls’ castellated parapet and continued the line of the wall walk – the elevated footway designed for medieval soldiers to defend the town. A small section of the original arch was later hacked away at the eastern end as trains became larger and the arch threatened to foul coach roofs as they rounded the curve.
¡Estaba en Colombia! Parapetista venezolano murió tras accidente en cerro El Castillo t.co/oVQnoZVhX1 #acn (via Twitter twitter.com/AgenciaCN/status/820977623144812544)
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.
As stated before, the parapet wall was renewed in the 17th century. It is carried on continuous corbelling, the angles being provided with open rounds for defence. Tranter observed that the parapet wall is very narrow and that in order to pass round the projecting chimney stack on the east gable (visible here), the parpaet was projected out slightly further, on five individual corbels.
The amount of space available for a parapet wall and walkway is of course dictated by the width of the wall they are built on top of - plus any amount of extra room provided by partially projecting the parapet wall out on corbelling. While tower-house walls are nearly always very thick at the bottom for defence, they get narrower as they go up. The ledges or scarcements formed as the wall gets narrower, are used to support floor joists at different levels.
This mannequin of the Pope was wheeled out for his visit to Dublin in 2018. It was placed on this parapet to face the real Pope's motorcade as it crossed the River Liffy.
Print on Ilford Multigrade IV,
Hasselblad X-Pan, 45mm, Ilford HP5+, scanned silver gelatin print, Durst M805,
on the way up to the rooftop of the Duomo of Milan. It was supposed to have been a stormy day but luckily, the weather cleared after a little rain and we got to visit its roof.
This dramatic rear view of the Art Deco tower at 851 Eddy Street in San Francisco reveals the elegance of mid-20th-century urban housing architecture from an angle often unseen. Rising above the leafy streets of the Tenderloin/Van Ness corridor, the building’s brilliant white façade glows under the sharp California sun, its form framed by geometric fire escapes, stacked windows, and intricately ornamented parapets.
Completed in the 1930s, this Art Deco residential high-rise is part of a small cluster of Deco structures in central San Francisco—a stylistic holdover from an era when modernist optimism met urban density. Unlike the decorative excesses of Victorian and Edwardian styles that surround it, Art Deco emphasized bold lines, repetition, and geometric precision, all of which are proudly on display in this structure.
From this vantage point, the eye is drawn upward along twin fire escape towers, both executed in delicate white-painted steel. These ladders and landings mirror the vertical thrust of the building’s fluted pilasters, creating a rhythmic choreography of line and light. Each story of the façade is punctuated by rectangular windows framed in subtle relief—many of them reflecting the blue sky or revealing quiet glimpses of residential life within.
The real artistry, however, lies at the top. Crowning the building is a stepped, scalloped parapet, intricately decorated with floral and geometric motifs. These flourishes transform the rooftop into a sculptural finish, giving the structure the appearance of a white crown or frozen wave cresting against the sky. The detailing, both elegant and assertive, reflects the Deco era’s fascination with machinery, symmetry, and progress.
This particular composition captures the structure’s corner cut, a formal device used by many Art Deco architects to emphasize verticality and enhance light penetration to adjacent units. The angle of the sun, the crisp shadows, and the building’s interplay with the deep blue sky all contribute to a sense of timelessness and urban grace.
As with many historic residential towers in the Tenderloin and Lower Polk, this building has seen waves of change. Once likely home to middle-class tenants during San Francisco’s early 20th-century expansion, it may now serve a range of uses, from market-rate housing to rent-controlled apartments. Regardless of its function, its form endures—speaking to a time when design ambition wasn’t reserved for luxury alone.
For photographers, architecture fans, or lovers of hidden gems in San Francisco’s built environment, the Art Deco gem at 851 Eddy Street offers endless inspiration. Its scale, detail, and placement are an enduring reminder of how beauty lives not only in grand monuments, but also in the city’s quiet, lived-in corners.
4S42 Garston-Hunterston. (Coal empties)
at Winwick, on a sunny Oct 26 2015.
In the days before the bridge parapet was raised, on Old Alder Lane, ;-))
South western corner. The Art Deco building on this corner is an addition to a 19th century commercial structure. The cement render says est. 1848. Notice the fan shells along the parapet roof line apex and on the corners or ends. These are called acroterions from the ancient Greek word for corner or apexes. The building has the steel framed rectangular windows with pretty Art Deco clear glass designs in the street level windows. Note the thin horizontal lines in the upper story cement render contrasting with the vertical grooved pilasters. If painted in sympathetic Art Deco pastel colours this building could look really dramatic and beautiful.
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Abandoned Abused Street Dogs.
Pumpkin checking out No# 1 real carefully.
Didn't take long and Pumpkin gave her the
big A-OK .. ;-)
Of course Mama & Rocky are keeping a
real close eye on Pumpkin.
As you can see no# 1 is cautious while next
to the parapet wall, it's a long long way down.
I'm sitting on the wall in order to take this photo.
Heights don't bother me, but I'm not stupid either ..;-)
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Thank You.
Jon&Crew.
Please help with your donations here.
www.gofundme.com/saving-thai-temple-dogs.
Please,
No Political Statements, Awards, Invites,
Large Logos or Copy/Pastes.
© All rights reserved.
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n Johnson, Rooster Blues.
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The Queensland Government Printing Office (former) was located between George Street and William Street, south-east of Stephens Lane, between 1862 and 1983, and consisted of a number of buildings. As the first purpose-built government printing office in Queensland, the Government Printing Office played an important role in administration of the colony and then the state of Queensland. The former Government Printing Office complex, which demonstrates the quality and evolving styles of the work of the Colonial/Government Architect's Office between the 1870s and the 1910s, currently consists of two buildings, built over three different periods: a three storey brick building facing William Street constructed 1872-74; a three storey brick building erected along Stephens Lane between 1884-87; and a three storey brick extension to the Stephens Lane building, constructed along George Street between 1910-12.
A government printing office was required in Queensland after separation in 1859 when the establishment of the new Colonial Government generated a need for the printing of Hansard, the official report of the proceedings of the Houses of Parliament. Many other items were also printed on the premises, including postage stamps, Government Gazettes, Acts of Parliament, annual reports of departments, survey maps, text books, electoral rolls, school readers, and banknotes.
The dissemination of Hansard and other government information to the public is vital to the healthy operation of a democracy, ensuring that the business of parliament is accessible to all, and facilitating transparency regarding government decisions. The printing office was therefore integral to the operation of the Queensland Government - and its importance was reflected by its proximity to Parliament, the quality and scale of the printing office buildings, and the quality of the documents produced.
The Queensland Government Gazette was first printed by Theophilus Pugh, publisher of the Moreton Bay Courier. Pugh was replaced by William C Belbridge of the Queensland Guardian, who became the first official Government Printer by March 1862. That year the first purpose-designed government printing office in Queensland, a two storey timber building (not extant) designed by Queensland's first Colonial Architect, Charles Tiffin, was built facing William Street on a ridge running parallel to both William Street and George Street.
Since the 1820s the north bank of the Brisbane River and the adjacent ridgeline has featured a concentration of government and associated activities and uses. This ridge was the site of administration buildings for the Moreton Bay penal settlement, which relocated from Redcliffe to Brisbane, occupying this site from 1825-1839. When the penal settlement closed, the remnant infrastructure was used by surveyors as a basis for the layout for the new town of Brisbane. Set at right angles to the river, the prisoner's barracks determined Queen Street, while the line of buildings along the ridge determined William Street. Streets surveyed parallel to these streets, including George Street, formed Brisbane's rectangular grid. The house and kitchen of the Commandant of the penal settlement stood on land just south-east of the Government Printing Office, until the Commandant's buildings were demolished c.1861
While a range of buildings and activities occurred along George and William Streets after Free Settlement began in 1842, the government maintained its dominant presence in the area. At some sites, such as the Commissariat Stores and Botanical Gardens, earlier uses were continued. The establishment phase following the creation of Queensland in 1859 saw the new colonial government reserve land parcels and construct a range of buildings to facilitate its functions. The building of Government House and Parliament House along the eastern end of the George Street alignment in the 1860s firmly entrenched the physical reality of a government precinct in the area.
Due to this government precinct, the Government Printing Office's immediate neighbour to the north-west, the 1851 United Evangelical Church, became a government telegraph office in 1861; hence the naming of ‘Telegraph Lane' between the telegraph office and the printing office. This laneway from William Street to George Street was later renamed Stephens Lane.
As Queensland grew, so did demands on the Government Printing Office. The 1862 timber building was altered in 1863 and 1864, and in 1865 an ‘L' shaped three storey brick and stone building (not extant), also designed by Tiffin, was constructed to the rear (north-east), using day labour It included an underground cistern with a domed top (location unknown) and was connected to the 1862 building. By 1872 the complex included a small engine room, workshop and stables (none of which are extant) behind the 1865 building. That year James Beal (Government Printer 1867 to 1893) requested a new building to cope with the increased work of the Government Printing Office and in August 1872 the Secretary for Public Works recommended that Francis Drummond Greville (FDG) Stanley prepare a plan.
FDG Stanley immigrated to Queensland in 1861 and became one of the most prolific and well known Queensland architects of the late nineteenth century. In 1863 he became a clerk of works in the Office of the Colonial Architect. Upon Tiffin's retirement in 1872, Stanley became Colonial Architect, holding the position until 1881 when he entered private practice.
Stanley wanted the new building at the Government Printing Office to be constructed with machine-pressed bricks, which were not yet produced in Brisbane. At the time it was reported that he wanted ‘to provide as much accommodation as possible in a plain substantial building, without striving after architectural display. The structure, however...will have really a handsome and imposing appearance'. Tenders were called in October 1872 and the tender of John Petrie, for £4,751 plus £170 for machine pressed bricks and £50 for internal dressing, was accepted. The building included stone footings, brick walls, cast iron airbricks to the understorey and at the ceilings, cast iron columns (ground and first floors, front wing only), and water closets (WCs) and a lift at the end of the rear wing on each floor. The roof was steeply pitched to assist ventilation. Construction was estimated to take six months, but the new office was not completed until 1874, with delays being blamed on a shortage of bricklayers. The machinery was installed and gas lights were fitted by April 1874, and the finished cost was £5331/3/6
The front (William Street) wing of the new building stood on the site of the 1862 building, which had been demolished in late 1872. The new William Street building had an ‘L' shape and extended onto the (recently repurchased) land previously occupied by the Commandant's residence, wrapping around the south-east side of the 1865 building. It had an arcade to the street frontage of the ground floor, and the roof was covered in Welsh slate to reduce the risk of fire. Narrow rear verandahs were located on the north-west side of the first and second floors of the rear wing. The ground floor included a public counter, offices, newspaper room, and a large publishing room in the front wing, with a store in the rear wing. The first floor consisted of a composing room in the front wing, with a drying room in the rear wing; while the second floor contained a binding room in the front wing and a ruling room in the rear wing. It was connected to the 1865 building, which included a machine printing room on the ground floor, the engraving and lithographic work on the first floor, and machine ruling and book binding on the second floor.
In 1879 the neighbouring telegraph office (former church) was converted into the residence of the Government Printer, and in 1880 the engine room at the rear of the 1865 building was enlarged and the stables were demolished. More land was purchased in 1883, prior to further expansion of the Government Printing Office complex onto land to the south-east. A master plan for the Government Printing Office, drawn in 1884, planned a ‘U' shaped building along Telegraph Lane, George Street, and returning along the south-east side of the complex, wrapping around a new engine room. It also planned a replication of the William Street building on the other side of a ‘cart entrance' from William Street to the engine room, but this never occurred.
Instead, between 1884 and 1887 three new buildings were constructed, all by John Petrie: a three storey brick building along Telegraph Lane, with a short elevation to George Street; a two storey brick engine room (not extant) to the south-east; and a two storey brick Lithographic Office (not extant) south-east of the engine room. The 1880 engine room extension to the rear of the 1865 building was demolished around this time.
John Petrie's tender of £13,043 (initially for a two storey building on Telegraph Lane and the engine room) was accepted in July 1884, plus an extra £8000 in 1885 for the addition of a third storey to the Telegraph Lane building, plus the Lithographic Office. The Telegraph Lane building, which was separated from the 1865 building by a yard, included a basement; a machine room on the ground floor; reading rooms, fount, paper, material and store rooms on first floor; and a composing room on the second floor. The design has been attributed to John James Clark, Colonial Architect from 1883-85. The engine room was completed in late 1885, and housed steam engines and generators which supplied electricity for Queensland's Parliament House from 1886, plus smaller steam engines for powering the Government Printing Office's machinery. The other two new buildings were finished in early 1887.
Changes were later also made to the older buildings within the complex, including the addition of four cast iron columns on the first floor of the front wing of the William Street building in 1890; increasing the height of the 1865 building in 1891 to improve ventilation; and lowering the level of William Street in 1892, requiring construction of a concrete plinth to protect the foundations of the William Street building. In 1897 the brick wall between the public office and accountant's office in the William Street building was removed, with the addition of an extra iron column in its place. In 1900 zinc roof sheets on the flatter section of the roof of William Street building were replaced with galvanised rib and pans steel. In 1903 the level of Telegraph Lane, which by now had been renamed Stephens Lane, was lowered. Nearby, in 1901 the neighbouring former church was demolished to allow construction of an Executive Building which later became the Land Administration Building.
The ongoing development of the city and its wharves downstream from the original convict site meant that George Street had become more important than William Street by this time. A three storey brick extension of the Stephens Lane building along George Street, which became the new ‘front' for the Government Printing Office, was commenced in 1910, while an additional three storey brick extension (not extant) between the Stephens Lane building and the William Street building required the demolition of (with possible incorporation of parts of) the 1865 brick building. The George Street wing was built by Thomas Hiron, who tendered £21,450, while the Stephens Lane infill building was constructed by J Maskrey, who tendered £2896. The George Street wing was finished around mid 1912.
The 1910 plans for the George Street wing were signed by AB Brady, Government Architect, and by Andrew Irving, acting deputy Government Architect, while 1911 plans are signed by Thomas Pye, Deputy Government Architect. However, the design of the George Street wing has been attributed to Edwin Evan Smith, a draughtsman who had assisted Thomas Pye with the design of the Executive Building, and who later became the State Government Architect for Victoria. Smith, also a painter, potter and sculptor, and an examiner in modelling for the Brisbane Technical College, designed the sculptures on the building. These include two freestanding devils on the parapet above the main entrance and a relief carved devil's head, directly above the entrance. Traditionally, devils are a symbol of the printing trade, generally accepted as representing printer's apprentices.
These details were sculpted by well known Sydney sculptor, William P Macintosh who arrived in Sydney from Edinburgh in 1880 and from 1890 was Sydney's leading architectural sculptor. He received many commissions in New South Wales; his major work being the Queen Victoria Markets. Macintosh arrived in Brisbane in 1903 to complete his major Queensland work, the Executive Building, and was also responsible for the sculptural details on the former Government Savings Bank.
The George Street wing connected with both the 1887 Stephens Lane building and the 1887 Lithographic Office, forming a ‘U' around the engine room. It was symmetrical, with the main entrance in the centre and secondary entrances and stair halls either side of the central section. There was an electric lift adjacent to each stair hall, and a basement. Whereas the roof of the Stephens Lane wing was supported on timber queen bolt trusses, the George Street wing used timber queen post trusses; and while cast iron columns had been used to support the main floor beams in the Stephens Lane wing, hardwood columns were used in the George Street wing. It appears that the new building was considered a model for Government Printing Offices, as the South Australian Government Printer requested copies of the plan to assist in the design and extension of the Adelaide Printery building.
Two storeys were also added to the engine room c.1910, and its use appears to have changed at this time to include a Sterro Room and workshop on the ground floor; men's and women's clubs, dining rooms and lavatories on the first floor; reading rooms on the second floor; and lavatories and toilets on the third floor.
In 1910 plans the George Street wing's basement included stock rooms and a strong room; the ground floor (from the south-east to the north-west) contained an extension to the lithographic room (from the adjacent Lithographic Office), dispatch room, offices and a public counter; while the first floor contained another extension to the lithographic room plus bookbinding (an extension to the Stephens Lane wing's bookbinding floor). The second floor was used by compositors, in an extension of the function of the second floor of the Stephens Lane wing.
By this time the William Street building had been reduced to secondary or service functions, including printing of railway tickets. The ground floor was a store, the first floor was used as a machine ruling room, and the second floor was the artists and process workroom. Around this time new windows were inserted to the top floor and new dormers were added to the roof (all since removed), and the toilets and lift at the end of the rear wing were demolished. From the end of the first floor rear verandah, a gallery ran to the former engine room and the Lithographic Office.
In 1912 electricity was connected to all buildings on the site by the Edison and Swan United Electric Light Company Ltd. Various other improvements were made to the building over the years, including strengthening of the floors and installation of fire sprinklers. By 1916 there were three small, one-storey buildings (stores and a workshop, not extant) in the corner of the complex, located between the William Street building and the Lithographic Office. Soon afterwards, the importance of the Government Printing Office in disseminating information to the public was demonstrated. In November 1917 the Australian military conducted a night raid on the Government Printing Office to seize copies of Hansard which the Federal Government did not wish circulated, as they covered debates in the Queensland Parliament on military censorship and the conscription issue. The military also temporarily took possession of the Government Printing Office in August 1918, this time to prevent coverage of statements made in the Queensland Parliament about the treatment of Irish and German internees.
Changes to the site continued before and after World War II. In 1924 some of the roof slates of the William Street building were replaced with iron sheets, and more were replaced in 1933. In 1952 toilets were built at the rear of William Street building, and in 1959 the Lithographic Office was extended towards the engine room and a concrete floor was laid to most of the ground floor of the Stephens Lane wing. In 1970 a new metal-clad building (not extant) was constructed south-west of the Lithographic Office, demolishing the c.1916 workshop.
Meanwhile, the immediate post-war years of the late 1940s saw the Queensland Government begin to expand their activities considerably in Brisbane city. Most public servants were then located in the Treasury and Executive Buildings in George Street and in offices in Anzac Square. The shortage of office accommodation in the centre of Brisbane, and the need to address future requirements, led to a phase of governmental property acquisition in the city. The purchase of properties on George and William Streets between the Government Printing Office and Parliament House was a key focus, in addition to other acquisitions on Charlotte, Mary and Margaret Streets.
The consolidation of government ownership and usage along George and William streets led to a number of schemes being investigated by the state to further the development of a ‘government precinct'. By 1965, a masterplan had been developed that involved the demolition of all buildings between the old Executive Building and Parliament House, to enable the construction of three high-rise office buildings in a ‘plaza setting'. However, only one of these was built - between 1968 and 1971 a new Executive Building was constructed south-east of the Government Printing Office. By the early 1970s the 1960s plan for the precinct was considered no longer suitable and a number of other proposals for the area were explored.
A 1974 ‘George Street Masterplan' involved lower-rise buildings spread out over greater areas and the demolition of the Belle Vue Hotel and the Mansions. A major influence in ultimately shaping the layout of the area during the 1970s was the growing community support for the retention of older buildings within the government precinct, especially the Belle Vue Hotel and the Mansions. Spearheaded by the National Trust, the government-related associations and links between buildings, their architectural qualities, and aesthetic contributions to the area were highlighted in submissions to the government and in the public sphere. The unannounced June 1974 removal of the balconies of the Belle Vue Hotel was a deliberate action by the State government to degrade the visual appearance of the area, and drew further attention to the conservation cause.
In April 1979 Cabinet adopted a recommendation for a schedule of demolition work to further the development of the government precinct. The Belle Vue Hotel was to be demolished, but the Mansions and the original section of Harris Terrace were to be retained, renovated and adapted. On 21 April, three days after this decision, the Belle Vue Hotel was demolished in the early hours of the morning, a notorious event in the history of heritage conservation in Queensland.
The Government Printing Office moved to new premises in Woolloongabba in October 1983, and a number of former Government Printing Office buildings were demolished in 1986-87 to make way for a four storey Executive Annex, connected to the 1971 Executive Building, and a four-level underground car park. The Lithographic Office, former engine room, the two remaining c.1916 buildings, the 1970s building, the toilets at the rear of the William Street building and the Stephens Lane infill building were demolished. The construction of the car park under the site of the engine room and up to the south-east side and rear of the rear wing of the William Street building removed the remaining archaeological traces of the Commandant's cottage and kitchen with cellar, although the material was recorded by staff from the Queensland Museum. The Commandant's cottage and kitchen wing are defined in outline by contrasting coloured bricks and sandstone in the new paving laid in 1987. The remaining section of the Commandant's cottage would have been under the footprint of the rear wing of the William Street building, but construction of a small basement (c.1987) of reinforced concrete beneath the rear wing would have destroyed any surviving material.
In 1989 the Queensland Museum Sciencentre moved into the William Street building, and prior restoration and renovation work undertaken in 1986-88 included: the demolition of non-original dormer windows and restoration of the clerestory, reconstruction of the roof framing and replacement of the corrugated iron roofing with slate and galvanised steel sheeting, and reconstruction of the rear verandah. Removal, reconstruction or restoration of doors and windows took place, and some external openings were sealed, while some new windows and doors were inserted. The existing ground floor slab and flooring was replaced, along with sections of the front wing's timber flooring on the first and second floors. The rear wing's floors were replaced with reinforced concrete suspended slabs. Other strengthening of floors utilised steel beams and trusses, and all casements were replaced as pivot windows.
The George Street/Stephens Lane building was renovated between 1987 and 1991 with work including: replacement roof sheeting, the formation of new walls where the Stephens Lane infill building and Lithographic Office had been demolished, construction of a glass-walled arcade on the south-east wall of the Stephens Lane wing, a tiered theatre at the south-east end of the second floor of the George Street wing, removal of the original lifts in the George Street wing and installation of two new lifts and toilets at the George Street end of the Stephens Lane wing, a new stairwell at the south-west end of the Stephens Lane wing, plus a light court extension from the basement to the courtyard and a link from the basement to the underground car park.
The Sciencentre moved from the William Street building into the George Street/ Stephens Lane building in 1992, from where it operated until 2002. In 1993 the William Street building's interior was remodelled for commercial use as the Public Services Club, and in 2005-6 the George Street wing was refurbished for use by the Registrar of Births, Deaths and Marriages, with a complete new fit-out and closure of the main entrance.
In 2017, under the Queens Wharf Project, a major development in the central business district of Brisbane, both the Government Printing Offices and the Public Services Club were refitted and restored for commercial use.
Source: Queensland Heritage Register.
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.