View allAll Photos Tagged REINFORCES
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
www.halsema.org/places/miami/GesuChurchandRectory.pdf
© All Rights Reserved - you may not use this image in any form without my prior permission.
Orford Ness, March 2017 Quite a poignant site to see this concrete reinforcing steel on the beach beside Orford ness lighthouse, as it's probably far too late for it to be saved from the sea by any more reinforcements.
This is a 5-story domestic building in the Art Deco style built in 1937. The structural system is reinforced concrete. The foundation is spread footing. Exterior walls are stucco and pre-cast concrete. The building has a flat with a parapet roof. Ziggurat roof line Windows are replacement aluminum single-hung sashes. Paired on either side of central elevation and single in the center Terrazzo mosaic flooring; Art deco geometric patterned railing; Eight columns delimitating the space; Racing stripes; Glass block; Split level patio There is a three-story, side, extension addition. 25' x 125' x 33' addition to south end of hotel; 22 rooms; Architect: N.M. Giller & J.P. Channing Mezzanine; Wooden double-door with semi-circular glass on each; Glass is ornamented with etchings of palm trees and flamingos; Grand multi-colored terrazzo floor design lies just on the inside of the primary entryway
Original facade: Symmetrical tripartite design; Vertical racing stripes; Horizontal banding; "Cut-out" ornamentation on either side of the central bay; Decorative panels on the central vertical element above the main floor entrance; "Beacon Hotel" signage; Stepped ziggurat parapet roofline; Multi-colored terrazzo floor designs in the interior lobby; Glass etching ornamentation; Glass block ornamentation; Curved semi-circular and semi-ovular ornamentation
Credit for the data above is given to the following websites:
www8.miamidade.gov/Apps/PA/propertysearch/#/
www.ruskinarc.com/mdpl/all/4803-720%20Ocean%20Dr/view
© All Rights Reserved - you may not use this image in any form without my prior permission.
Even on a calm day waves at Western Head, NS are powerful and the coast is often held in place by huge numbers of large rocks...
It is worth taking the ferry across the Mersey just to get a good look at this group of buildings on the Pier Head in Liverpool known collectively as The Three Graces . The low modern building which is the Mersey Ferry Terminal does rather spoil the viewpoint .
On your left is the Royal Liver Building it was opened in 1911. The building is the purpose-built home of the Royal Liver Assurance group, which had been set up in the city in 1850 to provide locals with assistance related to losing a wage-earning relative. One of the first buildings in the world to be built using reinforced concrete, the Royal Liver Building stands at 98.2 m (322 ft) tall to the top of the spires, and 50.9 m (167 ft) to the main roof. Today the Royal Liver Building is one of the most recognisable landmarks in the city of Liverpool and is home to two fabled Liver Birds that watch over the city and the sea. Legend has it that were these two birds to fly away, then the city would cease to exist.
The Middle building is the Cunard Building constructed between 1914 and 1917. The building's style is a mix of Italian Renaissance and Greek Revival, and its development has been particularly influenced by Italian palace design. The building is noted for the ornate sculptures that adorn its sides.The building was, from its construction until the 1960s, the headquarters of the Cunard Line, and the building still retains the name of its original tenants. It was also home to Cunard's passenger facilities for trans-Atlantic journeys that departed from Liverpool.
The building on the right is the Port of Liverpool Building more commonly known as the Dock Office . It was constructed between 1904 and 1907, with a reinforced concrete frame that is clad in Portland Stone. The building was the headquarters of the Mersey Docks and Harbour Board for 87 years, from 1907 to 1994, The Port of Liverpool Building is in the Edwardian Baroque style and is noted for the large dome that, acts as the focal point of the building. It is approximately rectangular in shape with canted corners that are topped with stone cupolas.
These three buildings along with others in the city led to Liverpool's being designated World Heritage Maritime Mercantile City bu UNESCO
THANKS FOR YOUR VISITING BUT CAN I ASK YOU NOT TO FAVE AN IMAGE WITHOUT ALSO MAKING A COMMENT. MANY THANKS KEITH. ANYONE MAKING MULTIPLE FAVES WITHOUT COMMENTS WILL SIMPLY BE BLOCKED
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
www.halsema.org/places/miami/GesuChurchandRectory.pdf
© All Rights Reserved - you may not use this image in any form without my prior permission.
In the early Middle Ages, the reinforced castle of Poeke (Flanders - Belgium) served as a real bastion where knights from Flanders county assembled. The castle, which was the residence of the "Heren Van Poucke" ("Gentlemen of Poeke - mention the old-Dutch spelling of the word "Poeke") was at that time governed from Bruges. However, combative Ghent rebels repeatedly attacked the castle. Consequently, after the year 1453 Poeke castle felt into ruin for many years. One and a half century late, in 1597, the family Preud'homme d'Hailly from Rijsel (North of France) bought the castle from a family called "Delrye" and governed Poeke for more than 2 centuries. They made the castle the centre of their increasingly growing properties.
It was in the same year 1597 that heirs of this nobility introduced the title "Burggraven of Nieuwpoort" ("Viscounts of Nieuwpoort"). Although their cultural wealth was initially suppressed because of the 16th and 17th century wars, successive generations of viscounts led the Baronny of Poucques to a short, but uncontested peak in 1765. From 1762 up to 1774, Karel Florent Idesbald de Preudhomme was not onlyViscount of Nieuwpoort and Oombergen, Baron of Poeke, Sir of Axpoele, Neuville, Sint-Lievens-Esse, Velaines, etc., but also chamberlain of the Austrian king.
At that time, the kingdom of the Netherlands was governed by Austria and looked as a rigid and hierarchic society, where the aristocracy was able to maintain their privileges up to the French Revolution (1789). Even after the French-Napoleonic empire collapsed (1815) and after Belgium came into being (1830), the aristocracy could maintain its position as the high social class on the Flemish countryside.
The isolated location of Poeke, the steady decrease of the number of its inhabitants and the stable agricultural character of Poeke, which mainly consisted of farmsteads, all these reasons caused the aristocratic power system to continue to function until after the Second World War (1945).
In the second half of the 19th century, the family Preudhomme D'Hailly was once and for all past its peak and financial problems weakened its position inside as well as outside the village. As a consequence, they had to abandon the castle in 1872.
The family Pycke de Peteghem - which was raised to the peerage in 1730 - bought the castle and gradually dominated the small East-Flemish agricultural village. Its political representation mainly focused on the mayoralty, a position that was rarely assigned to someone who was not a member of the aristocratic family.
The castle largely survived both World Wars, but the aristocratic influence during the 20th century died out when the last Baroness of Poeke, Inès Pycke de Peteghem deceased (1955). The property structure of the castle changed for the last time in 1977, when Poeke fused with Aalter. From then on, the castle was owned by the community and became a public domain. Up to now, it is part of an extraordinary recreation facility.
This is a 7-story, 3-bay domestic building in the Art Deco style built in 1937. The structural system is fireproof. The foundation is reinforced concrete. The exterior walls are stucco. The building has a flat parapet roof. Windows are replacement aluminum casements. Unique octagonal porthole windows just above "Park Central Hotel" signage on the central bay of east elevation and at the same height on the easternmost part of the south elevation; Continuous band of windows rounded at corners wraps around northeast and southeast corners of building There is a single-story, full-span open porch characterized by an integrated (under the main) roof. Simple full-span porch with aluminum railings; Multi-colored terrazzo floor design; Extends slightly out from building set back Primary entryway is centered on east elevation; Glass double-door framed by dark wood; Terrazzo floor design on the porch points directly towards the primary door, which is also ornamented on the interior by different multi-colored terrazzo floor designs.
Symmetrical tripartite design on the primary facade; Round masonry porthole design at cornice; Octagonal porthole windows directly above first-floor level; Horizontal banding at building's corners; Multi-colored terrazzo floor designs; Neon "Park Central Hotel" signage centered directly above the porch on the east elevation; "Park Central Hotel" signage painted vertically on the east corner of the south elevation; Stepped ziggurat parapet roofline on east elevation; Streamlined vertical design with a recessed central section; Rounded corner windows on northeast and southeast corners just above porch level; Lightly ribbed vertical pilasters ornamented with spandrels; on either side of central bay form an inverted "L" design; Aluminum railings.
Credit for the data above is given to the following website:
www.ruskinarc.com/mdpl/all/4630-640%20Ocean%20Dr/view
© All Rights Reserved - you may not use this image in any form without my prior permission.
The Tower Life Building is a landmark and historic building in Downtown San Antonio, Texas, USA.
Construction of the tower began in 1927 and the building rises 404 feet (123 meters) and has 31 floors. The building, which opened in 1929, was originally named the Smith-Young Tower and is the central component of a partially completed development called the Bowen Island Skyscrapers. The eight-sided, neo-gothic brick and Ludowici green terra-cotta tower (complete with gargoyles) was designed by noted local architectural firm Ayres & Ayres (Atlee & Robert M. Ayres).
While the exterior uses traditional materials such as brick, the internal structure is reinforced concrete on the lower floors, and steel frame on the upper floors. The building also housed San Antonio's first Sears, Roebuck and Company store in its lowest 6 levels.
The other completed building in the development is the former Plaza Hotel (also designed by Ayres & Ayres), which opened in 1927. The property became the local outlet of Hilton Hotels in 1956 and was converted into the Granada Apartments in 1966. Subsequent structures in the development were never built as a direct result of the Stock Market Crash of 1929 and the Great Depression.
In the 1940s the building was renamed the Transit Tower for the San Antonio Transit Company, which the Smith Brothers purchased in 1943. In 1953 a television transmission tower was added to the structure. Renovations in 2010 removed the obsolete television mast in favor of the tower's original design, a copper top house with a 100 ft tall flagpole.
The building is now named for its current owner, Tower Life Insurance Company.
In 1991 the building was placed on the National Register of Historic Places.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Tower_Life_Building
© All Rights Reserved - you may not use this image in any form without my prior permission.
Old Reinforced Medieval Middle Ages Entrance Wooden Iron Doors Stone Castle Church Cathedral Staircase Dramatic Shadow Mysterious
Battery Duportail was a reinforced concrete, coastal gun battery located within Fort Morgan in Alabama. The battery was named in Government Order 78, 15 May 1903, after Major General Louis L. Duportail, Chief of Engineers (1777-1783), Continental Army, who served with distinction during the Revolutionary War and who died at sea in 1802 while en route to France. Battery construction started in 1898, was completed in 1900, and transferred to the Coast Artillery for use on 3 Jun 1900 at a cost of $ 172,646.05. It was later declared surplus in 1931.
Originally built as an Endicott Period concrete coastal gun battery with two 12" M1888MII guns mounted on M1896 disappearing gun carriages as part of the Harbor Defense of Mobile, Alabama. The Endicott Period occurred in 1885 when U.S. President Grover Cleveland appointed a joint army, navy and civilian board, headed by Secretary of War William C. Endicott, known as the Board of Fortifications. The findings of the board illustrated a grim picture of existing defenses in its 1886 report and recommended a massive construction program of breechloading cannons, mortars, floating batteries, and submarine mines for some 29 locations on the US coastline. This specific battery was constructed within the walls of the old Third System portion of Fort Morgan and into portions of the old casemates themselves. Part of the battery structure covers the ground where the original three-story citadel stood and some of the citadel foundation rocks can be still be seen on the parade in front of the battery. As seen in the photo above, this was a two-story battery with the gun loading platform on the 2nd level (just to the left & right of the raised middle section) and the magazines on the 1st level. Hoists were required to move the heavy projectiles from the magazine level to the loading level (each shell weighed 1,070 lbs & had a range of approximately 8.6 miles). The first versions of these hoists were believed to be Hodges hoists which were later replaced with Taylor-Raymond hoists in 1918. Powder hoists were contemplated & the structure modified to handle them but they were never installed. In 1931, the guns & carriages were ordered to be turned over to the State of Alabama and were removed at that time. Currently, there are no armaments left in place at Fort Morgan or Battery Duportail.
Fort Morgan was placed on the National Historic Landmarks register on December 12, 1960 and included on the National Register of Historic Places on October 15, 1966.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
PHILIPPINE SEA (Aug. 20, 2022) An F-35B Lightning II, assigned to Marine Medium Tiltrotor Squadron (VMM) 262 (Reinforced), launches from amphibious assault carrier USS Tripoli (LHA 7). Tripoli is operating in U.S. 7th Fleet to enhance interoperability with allies and partners and serve as a ready response force to defend peace and maintain stability in the Indo-Pacific region. (U.S. Navy photo by Mass Communication Specialist 1st Class Peter Burghart)
This looks like a check to see how the reinforcing bars and concrete in this wall stood up to the numerous Christchurch earthquakes.
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
www.halsema.org/places/miami/GesuChurchandRectory.pdf
© All Rights Reserved - you may not use this image in any form without my prior permission.
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
www.halsema.org/places/miami/GesuChurchandRectory.pdf
© All Rights Reserved - you may not use this image in any form without my prior permission.
Oldest reinforced concrete bridge (1905) in Czech republic, Bohemian Switzerland, Czech republic.
Nikon D300s & Tokina AT-X 11-16mm f/2,8 DX
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via Artificial Grass Synthetic Turf artificialgrasssyntheticturf.tumblr.com/post/143060882380 Reinforced Natural Grass in Escomb #Reinforced #Natural #Hybrid #Turf #Escomb t.co/JXxlWcazOZ
Juan Carlos Distefano comments on the present condition and his view of the future of Argentina. Starting from modeling clay, switching to lime and gypsum, then finishing with reinforced polyester and epoxy enamel or cast polyester, gives a unique transparency in the works. This effect emphasizes the expressiveness of the figures. The fusion of the sculpted body and the enveloping matter creates figures immobilized, unable to react and metaphorically trapped in their own bodies. Blank looks inhabit bodies without identity, scratched, injured, dismembered, anonymous messengers of violence, horror, degradation, cruelty, contempt, oppression. They are men who have suffered massacres, race riots, murders, genocides. Symbol of the physical and moral violence that has gripped Argentina during the dictatorship between 1976 and 1983, act as a spokesman for the inequality that still dominates the town. This is the history of Argentina, the story that he presents so emphatically so that something can change in the future. The exhibition appropriately titled "The rebellion of the form" fits well into the context of "All the World's Futures".
The last of the major bridges constructed in Acadia National Park, the Duck Brook Bridge is also the park's largest road related structure. The massive stone-faced reinforced concrete bridge spans a deep ravine over Duck Brook on three semielliptical arches. The bridge was necessitated by the construction of the Paradise Hill Road, which provided a connection between the Park Loop Road and Hulls Cove, west of Bar Harbor. This road had been discussed by John D. Rockefeller and his engineer, Paul D. Simpson, as early as 1934. In 1936, Rockefeller informed Secretary of the Interior Harold Ickes that he would be willing to donate the necessary land to construct this link, which would allow motorists to enter the park without having to pass through downtown Bar Harbor. The government subsequently appropriated $209,945 for construction, which began under supervision of the Public Roads Administration in December 1940. The road was completed eight months later; however, funds for the Duck Brook Bridge and smaller spans over the present Maine Route 233 (Eagle Lake Road) and the New Eagle Lake Road were not available, and the construction of the structures was delayed by World War II and subsequent funding shortages. An early consideration was whether to cross the creek above the present site, which would have necessitated construction of a second span across a side creek, or whether to build a large bridge at the present site. In October 1939, National Park Service Director Arno B. Cammerer notified Rockefeller that a tentative decision had been made to employ the single span structure at the lower site. Mr. Rockefeller, who purchased the land through which the road passed and donated it to the park, concerned himself with the myriad details of the road's construction. He felt a single span below the branch stream was preferable, and urged Public Roads Administration Assistant Highway Engineer Leo Grossman to plan for the lower crossing. He wanted a stone-faced bridge constructed, consistent with the design of earlier park motor road and carriage road bridges. Although the Paradise Hill Road was completed in 1940, funds for the bridges had not been released. Rockefeller realized that the impending world war might cause a delay in the work, and tried to have the National Park Service release funds for the construction. The two small bridges were subsequently designed, but plans for the Duck Brook Bridge remained incomplete. In June 1941, Rockefeller wrote his friend Horace M. Albright, former director of the National Park Service, thanking him for "so persistently keeping at the matter of the completion of the plans for the bridge, adding that without his support, he feared there would "be little prospect of their ever having been finished." He was hoping the plans would be complete in time for the bridge to be advertised that summer. The outbreak of World War II, however, severely delayed the project. Wartime shortages of steel were one factor, but few road projects of any sort were carried out in the parks over the duration. Much equipment was transferred to military use; park and federal road-building personnel went into the services; and tourist travel declined sharply due to gasoline and tire rationing. Even with the conclusion of hostilities, the project could not be started for half a decade because the Park Service was operating on a severely restricted budget. Work finally got underway in August 1950. The M&M Construction Company, comprised of W. Robinson Martin of Manchester, Vermont and Harold MacQuinn of Hulls Cove, was the low bidder on the project. The Bureau of Public Roads classified the work as Acadia National Park Project 10A4. Three BPR engineers served on the project: T. W. Harris began the work, and was followed by Wayne Franham then George O'Neil. The project office was located in the ravine below the bridge's northeast side. Photographs taken during construction give some indication of the order of the work. The piers and abutments were constructed first, then the arch voussoirs and barrels were erected on timber formwork. The concrete for the arches was poured next, and then the stone-facing was brought up to grade level. To support the arches, the Timber Structure Company of New York shipped 42 knocked-down prefabricated wooden trusses from Portland, Oregon. The trusses were erected at the site on a boom and crane. The trusses were placed in pairs without the use of a traditional "centering stick." Due to the massive size of the arches, the wooden formwork had to support up to 800 tons. A construction railway, called the "M&M Railroad," was employed to carry 16-cubic foot hoppers which carried the concrete to the arch barrels. The pink granite face stone was obtained from Hall Quarry, 3 miles south of Somesville. The stone was cut from templates at the site and placed on the structure as indicated on the architectural plans. The project entailed some 92,000 hours of worker's time, and as many as 75 men were on the job at one time. Total cost of the structure was $366,000, making it the most expensive road-related structure in the park at the time of its completion. On 8 October 1952, the last 600 pound block of granite was lifted into place. Final work on the structure included placement of the 3' sidewalks on each side, repairs of damage caused by heavy construction equipment, and surfacing. Following completion of the bridge the Paradise Hill Road opened in July 1953. The bridge remains in active use and has been little altered. A 1990 inspection of the structure by the Federal Highway Administration determined the bridge "deficient or functionally obsolete" but did not suggest closing or posting the structure. The bridge safety inspection report recommended an expenditure of $8,500 for rehabilitation work, including the repointing of stone masonry as required, removal of vegetation from the roadway deck, sealing of cracks in the asphalt roadway surface, and repair of erosion on abutment wingwalls and breastwalls. Both abutments had settled slightly, causing moderate transverse cracks. Drainage pipes at drop inlets had failed and required replacement, and new scupper caps were needed at the tops of the drains. Original construction ladders inside the piers had rotted and were a safety hazard. Bridge end delineators were needed at both approaches. Moderate spalling and efflorescence was also noted, as were minor cracks over the expansion joints. Other than the replacement of the inspection ladders, the other recommended work does not appear to have been carried out. The bridge is the largest continuous concrete arch bridge east of the Mississippi River. Description The 402' bridge is supported by three semi-elliptical arches set on piers. The center arch has a clear span of 95', and the two side arches each span 89'. Approaches add another 65' in length to each side. Some 4,000 pounds of concrete, 2,000 tons of reinforcing steel, and 1,100 cubic yards of stone went into the bridge. [source: cdn.loc.gov/master/pnp/habshaer/me/me0200/me0254/data/me0...]
Architect: Charles-Édouard Jeanneret (Le Corbusier) and Pierre Jeanneret
Built in: 1928-1931
Client: Savoye family
Villa Savoye is a modernist villa in Poissy, in the outskirts of Paris, France. It was designed by Swiss architects Le Corbusier and his cousin, Pierre Jeanneret, and built between 1928 and 1931 using reinforced concrete.
Villa Savoye is a manifesto of Le Corbusier's five points of new architecture and the bases of modern architecture It is one of the most easily recognizable and renowned examples of the International style.
The house was originally built as a country retreat for the Savoye family. The villa is an official French historical monument since 1965 (a rare occurrence, as Le Corbusier was still living at the time).
In July 2016, the house and several other works by Le Corbusier were inscribed as UNESCO World Heritage Sites.
Torii
From Wikipedia, the free encyclopedia
For other uses, see Torii (disambiguation).
Main article: Mon (architecture)
The famous torii at Itsukushima Shrine, a Ryōbu-style torii.
A torii (鳥居?, literally bird abode, /ˈtɔəri.iː/) is a traditional Japanese gate most commonly found at the entrance of or within a Shinto shrine, where it symbolically marks the transition from the profane to the sacred (see sacred-profane dichotomy).[1] The presence of a torii at the entrance is usually the simplest way to identify Shinto shrines, and a small torii icon represents them on Japanese road maps.[note 1] They are however a common sight at Japanese Buddhist temples too, where they stand at the entrance of the temple's own shrine, called chinjusha (鎮守社?, tutelary god shrine) and are usually very small.
Their first appearance in Japan can be reliably pinpointed to at least the mid-Heian period because they are mentioned in a text written in 922.[1] The oldest existing stone torii was built in the 12th century and belongs to a Hachiman Shrine in Yamagata prefecture. The oldest wooden torii is a ryōbu torii (see description below) at Kubō Hachiman Shrine in Yamanashi prefecture built in 1535.[1]
Torii were traditionally made from wood or stone, but today they can be also made of reinforced concrete, copper, stainless steel or other materials. They are usually either unpainted or painted vermilion with a black upper lintel. Inari shrines typically have many torii because those who have been successful in business often donate in gratitude a torii to Inari, kami of fertility and industry. Fushimi Inari-taisha in Kyoto has thousands of such torii, each bearing the donor's name.[2]
The Japanese torii is derived from the Indian Torana which also inspired the Chinese Paifang.[3]
France, Alsace, Strasbourg, Aqueduct "Fontaine de Janus" at Place Broglie.
Designed by Strasbourg born illustrator Tomi Ungerer & built by the sculptor Denis Roth, the aqueduct was finished in 1998 for the 2000th anniversary of Strasbourg.
The Janus fountain symbolizes the "Birth of Civilization".
Janus, the famous Roman god with his two faces symbolizes the dual Franco-German, identity of the city. One face looks to the historic centre & the other to the new part of the city. The two faces of this ambivalent god symbolize the Alsatian double identity & contemplate the past & the future.
The aqueduct, consisting of 5,000 bricks built around a reinforced concrete structure & the 1,50 mtr high Janus head, recalls the Roman origins of the city, although no aqueduct was found in Strasbourg.
Above the arches on one side is the inscription "Argentoratum MM", the Latin name of Strasbourg & on the other side "Strasbourg 2000".
Strasbourg, is the official seat of the European Parliament; the buildings are located in the city’s “Quatier Européen”. The European Parliament building with its Roman amphitheatres inspired unfinished aspect hemicycle tower is one of the biggest & most noticeable buildings of Strasbourg.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
12 million visits in my photostream with countless motivating comments
This is a 7-story, 3-bay domestic building in the Art Deco style built in 1937. The structural system is fireproof. The foundation is reinforced concrete. The exterior walls are stucco. The building has a flat parapet roof. Windows are replacement aluminum casements. Unique octagonal porthole windows just above "Park Central Hotel" signage on the central bay of east elevation and at the same height on the easternmost part of the south elevation; Continuous band of windows rounded at corners wraps around northeast and southeast corners of building There is a single-story, full-span open porch characterized by an integrated (under the main) roof. Simple full-span porch with aluminum railings; Multi-colored terrazzo floor design; Extends slightly out from building set back Primary entryway is centered on east elevation; Glass double-door framed by dark wood; Terrazzo floor design on the porch points directly towards the primary door, which is also ornamented on the interior by different multi-colored terrazzo floor designs.
Symmetrical tripartite design on the primary facade; Round masonry porthole design at cornice; Octagonal porthole windows directly above first-floor level; Horizontal banding at building's corners; Multi-colored terrazzo floor designs; Neon "Park Central Hotel" signage centered directly above the porch on the east elevation; "Park Central Hotel" signage painted vertically on the east corner of the south elevation; Stepped ziggurat parapet roofline on east elevation; Streamlined vertical design with a recessed central section; Rounded corner windows on northeast and southeast corners just above porch level; Lightly ribbed vertical pilasters ornamented with spandrels; on either side of central bay form an inverted "L" design; Aluminum railings.
Credit for the data above is given to the following website:
www.ruskinarc.com/mdpl/all/4630-640%20Ocean%20Dr/view
© All Rights Reserved - you may not use this image in any form without my prior permission.
PACIFIC OCEAN (Feb. 18, 2022) MV-22B Ospreys, assigned to Marine Medium Tiltrotor Squadron (VMM) 165 (Reinforced), 11th Marine Expeditionary Unit (MEU), conducts flight operations aboard Wasp-class amphibious assault ship USS Essex (LHD 2). Essex Amphibious Ready Group (ARG) and the 11th MEU are underway conducting routine operations in U.S. 3rd Fleet. (U.S. Navy photo by Mass Communication Specialist 3rd Class Isaak Martinez)
This is a 7-story, 3-bay domestic building in the Art Deco style built in 1937. The structural system is fireproof. The foundation is reinforced concrete. The exterior walls are stucco. The building has a flat parapet roof. Windows are replacement aluminum casements. Unique octagonal porthole windows just above "Park Central Hotel" signage on the central bay of east elevation and at the same height on the easternmost part of the south elevation; Continuous band of windows rounded at corners wraps around northeast and southeast corners of building There is a single-story, full-span open porch characterized by an integrated (under the main) roof. Simple full-span porch with aluminum railings; Multi-colored terrazzo floor design; Extends slightly out from building set back Primary entryway is centered on east elevation; Glass double-door framed by dark wood; Terrazzo floor design on the porch points directly towards the primary door, which is also ornamented on the interior by different multi-colored terrazzo floor designs.
Symmetrical tripartite design on the primary facade; Round masonry porthole design at cornice; Octagonal porthole windows directly above first-floor level; Horizontal banding at building's corners; Multi-colored terrazzo floor designs; Neon "Park Central Hotel" signage centered directly above the porch on the east elevation; "Park Central Hotel" signage painted vertically on the east corner of the south elevation; Stepped ziggurat parapet roofline on east elevation; Streamlined vertical design with a recessed central section; Rounded corner windows on northeast and southeast corners just above porch level; Lightly ribbed vertical pilasters ornamented with spandrels; on either side of central bay form an inverted "L" design; Aluminum railings.
Credit for the data above is given to the following website:
www.ruskinarc.com/mdpl/all/4630-640%20Ocean%20Dr/view
© All Rights Reserved - you may not use this image in any form without my prior permission.
The Morocco Temple (also known as the Ancient Arabic Order of the Nobles of the Mystic Shrine) is a historic Shriners International building in Jacksonville, Florida. It is located at 219 Newnan Street, and was designed by New York City architect Henry John Klutho. On November 29, 1979, it was added to the U.S. National Register of Historic Places. The building is the oldest Shrine temple in Florida.
The grand building was erected in 1910 in the prairie style of architecture using ancient Egyptian-themed symbols. The entrance was a large battered architrave featuring a massive transom atop short columns in the Egyptian revival style. The three levels included a main floor, a 1,500 seat auditorium and a balcony.
The structure was constructed using steel reinforced concrete and stuccoed brick exterior walls with terracotta ornamentation. A fabricated metal cornice incorporating a geometric design projected above the third floor windows on the front and sides of the buildings, which was noted as a Sullivanesque ornament to emphasize a horizontal aspect.
Inside, many windows and light fixtures used color-tinted glass, and mosaic-tiled floors looked like oriental carpets. The walls were covered with a polychromatic faience tile portraying ancient Egyptian symbols. Oil-painted murals illustrated the Freemasons’ and Shriners’ history, with scenes of Jesus, King Solomon and Mecca.
The auditorium was 90 feet (27 m) wide with the roof supported by steel trusses. Access to the balcony was via two curved floating reinforced concrete stairways. The auditorium's ceiling was painted dark blue and imbedded with hundreds of pieces of glass that would reflect light, giving the appearance of stars. The curtain on stage was decorated with views of Arabia.
In the 1910s, when Jacksonville was the "Winter Film Capital of the World", Oliver Hardy was a member of the local temple. President William Howard Taft delivered a speech there in 1912, as did Theodore Roosevelt. Shirley Temple was one of numerous celebrities who appeared at the Morocco Temple.
The facility was also used for many major events and conventions. The Morocco Temple was the only auditorium in town until the Jacksonville Civic Auditorium was constructed in 1960.
Klutho's design was damaged in the late 1950s when the large metal cornice was removed from the front and sides. The tall ground floor windows on both sides were obscured. At the same time, an addition was constructed on the south side that extended beyond the front entrance, creating an unbalanced design.
The Shriners decided to move to the suburbs in the early 1980s. They wanted more space and room to park, plus "too many of their members were getting mugged leaving at night" according to Hugh Powell, the building's current owner.
In the early 1980s the Shriners built a new facility on the south side. Their old building was purchased in 1984 by the Cecil W. Powell & Company, an insurance broker. A huge renovation was required to create offices. However, because the building was on the National Register of Historic Places, the changes were required to retain the basic integrity of the structure. The stage was transformed into an atrium, and the murals were refurbished and encased with glass.
The auditorium was destroyed when an additional floor was constructed, but the vertical windows on the building's sides were uncovered. The tile and staircases remain unmodified, and there are now four carpeted and partitioned floors with a total of 45,000 sq ft (4,200 m2).
The Powell company moved in during 1986, and Jacksonville's Public Works Department rented the top three floors during the 1990s. Today, the Powell company is on the ground level, one floor is unoccupied, and lawyers, a title company and court reporter rent office space in the other two. The Jacksonville Historical Society is working on a plan to restore the original exterior cornices.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Morocco_Temple
© All Rights Reserved - you may not use this image in any form without my prior permission.
Overview of the settlement from the mound that contains the defensive towers
Unesco World Heritage site: During the late 2nd century B.C. (Bronze Age), a structure known as nuraghi (for which no parallel exists anywhere else in the world) developed on the island of Sardinia. Its purpose is still debated, but it is believed to be defensive. The complex consists of circular defensive towers in the form of truncated cones built of dressed stone, with corbel-vaulted internal chambers. The complex at Barumini, which was extended and reinforced in the first half of the 1st millennium under Carthaginian pressure, is the finest and most complete example of this remarkable form of prehistoric architecture. A village, intended to accommodate the surrounding population, was built around the Nuraghe in the Late Bronze Age.
(IMG_0218-Pano)
This was such a fun fold! I spent a few hours folding and shaping this one. After folding this model I reinforced several folds with mod podge since this was made with packing paper it doesn't hold fine detail well.
Model designed: Henry Pham
Folded following the tutorial posted here :https://youtu.be/JRToUkmmVLY
In the early Middle Ages, the reinforced castle of Poeke (Flanders - Belgium) served as a real bastion where knights from Flanders county assembled. The castle, which was the residence of the "Heren Van Poucke" ("Gentlemen of Poeke - mention the old-Dutch spelling of the word "Poeke") was at that time governed from Bruges. However, combative Ghent rebels repeatedly attacked the castle. Consequently, after the year 1453 Poeke castle felt into ruin for many years. One and a half century late, in 1597, the family Preud'homme d'Hailly from Rijsel (North of France) bought the castle from a family called "Delrye" and governed Poeke for more than 2 centuries. They made the castle the centre of their increasingly growing properties.
It was in the same year 1597 that heirs of this nobility introduced the title "Burggraven of Nieuwpoort" ("Viscounts of Nieuwpoort"). Although their cultural wealth was initially suppressed because of the 16th and 17th century wars, successive generations of viscounts led the Baronny of Poucques to a short, but uncontested peak in 1765. From 1762 up to 1774, Karel Florent Idesbald de Preudhomme was not onlyViscount of Nieuwpoort and Oombergen, Baron of Poeke, Sir of Axpoele, Neuville, Sint-Lievens-Esse, Velaines, etc., but also chamberlain of the Austrian king.
At that time, the kingdom of the Netherlands was governed by Austria and looked as a rigid and hierarchic society, where the aristocracy was able to maintain their privileges up to the French Revolution (1789). Even after the French-Napoleonic empire collapsed (1815) and after Belgium came into being (1830), the aristocracy could maintain its position as the high social class on the Flemish countryside.
The isolated location of Poeke, the steady decrease of the number of its inhabitants and the stable agricultural character of Poeke, which mainly consisted of farmsteads, all these reasons caused the aristocratic power system to continue to function until after the Second World War (1945).
In the second half of the 19th century, the family Preudhomme D'Hailly was once and for all past its peak and financial problems weakened its position inside as well as outside the village. As a consequence, they had to abandon the castle in 1872.
The family Pycke de Peteghem - which was raised to the peerage in 1730 - bought the castle and gradually dominated the small East-Flemish agricultural village. Its political representation mainly focused on the mayoralty, a position that was rarely assigned to someone who was not a member of the aristocratic family.
The castle largely survived both World Wars, but the aristocratic influence during the 20th century died out when the last Baroness of Poeke, Inès Pycke de Peteghem deceased (1955). The property structure of the castle changed for the last time in 1977, when Poeke fused with Aalter. From then on, the castle was owned by the community and became a public domain. Up to now, it is part of an extraordinary recreation facility.
Reinforced best wishes to you and your families, hoping for a concrete holiday season for everybody and a 2026 strengthened by positive events, like high quality iron rods, together with a true and sincere béton brut honesty.
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Filmhuset (film/cinema house), by Peter Celsing (1968-1971).
Stockholm, Sweden.
© Roberto Conte (2024)
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The Morocco Temple (also known as the Ancient Arabic Order of the Nobles of the Mystic Shrine) is a historic Shriners International building in Jacksonville, Florida. It is located at 219 Newnan Street, and was designed by New York City architect Henry John Klutho. On November 29, 1979, it was added to the U.S. National Register of Historic Places. The building is the oldest Shrine temple in Florida.
The grand building was erected in 1910 in the prairie style of architecture using ancient Egyptian-themed symbols. The entrance was a large battered architrave featuring a massive transom atop short columns in the Egyptian revival style. The three levels included a main floor, a 1,500 seat auditorium and a balcony.
The structure was constructed using steel reinforced concrete and stuccoed brick exterior walls with terracotta ornamentation. A fabricated metal cornice incorporating a geometric design projected above the third floor windows on the front and sides of the buildings, which was noted as a Sullivanesque ornament to emphasize a horizontal aspect.
Inside, many windows and light fixtures used color-tinted glass, and mosaic-tiled floors looked like oriental carpets. The walls were covered with a polychromatic faience tile portraying ancient Egyptian symbols. Oil-painted murals illustrated the Freemasons’ and Shriners’ history, with scenes of Jesus, King Solomon and Mecca.
The auditorium was 90 feet (27 m) wide with the roof supported by steel trusses. Access to the balcony was via two curved floating reinforced concrete stairways. The auditorium's ceiling was painted dark blue and imbedded with hundreds of pieces of glass that would reflect light, giving the appearance of stars. The curtain on stage was decorated with views of Arabia.
In the 1910s, when Jacksonville was the "Winter Film Capital of the World", Oliver Hardy was a member of the local temple. President William Howard Taft delivered a speech there in 1912, as did Theodore Roosevelt. Shirley Temple was one of numerous celebrities who appeared at the Morocco Temple.
The facility was also used for many major events and conventions. The Morocco Temple was the only auditorium in town until the Jacksonville Civic Auditorium was constructed in 1960.
Klutho's design was damaged in the late 1950s when the large metal cornice was removed from the front and sides. The tall ground floor windows on both sides were obscured. At the same time, an addition was constructed on the south side that extended beyond the front entrance, creating an unbalanced design.
The Shriners decided to move to the suburbs in the early 1980s. They wanted more space and room to park, plus "too many of their members were getting mugged leaving at night" according to Hugh Powell, the building's current owner.
In the early 1980s the Shriners built a new facility on the south side. Their old building was purchased in 1984 by the Cecil W. Powell & Company, an insurance broker. A huge renovation was required to create offices. However, because the building was on the National Register of Historic Places, the changes were required to retain the basic integrity of the structure. The stage was transformed into an atrium, and the murals were refurbished and encased with glass.
The auditorium was destroyed when an additional floor was constructed, but the vertical windows on the building's sides were uncovered. The tile and staircases remain unmodified, and there are now four carpeted and partitioned floors with a total of 45,000 sq ft (4,200 m2).
The Powell company moved in during 1986, and Jacksonville's Public Works Department rented the top three floors during the 1990s. Today, the Powell company is on the ground level, one floor is unoccupied, and lawyers, a title company and court reporter rent office space in the other two. The Jacksonville Historical Society is working on a plan to restore the original exterior cornices.
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Morocco_Temple
© All Rights Reserved - you may not use this image in any form without my prior permission.
Weathered limestone window mouldings, facing Dockyard Creek, Birgu. The rusty iron reinforcements belong to an overhanging balcony
Es ist noch nicht ganz so weit, aber sie steht schon in den Startlöchern und ich freue mich auf ihre diesjährigen Blüten, ob sie wieder so schön bereift ist, werden wir sehen.
Japanische Zaubernuß... Hamamelis japonica
© All rights reserved (by me the photographer - Dr. David J. Otway)
Taken Sunday 24-09-06 from our back garden in Cork.
Really best viewed large
Hope you think this works - its tough to get a closeup of a rainbow at the best of times let alone a supernumeray :-)
Info from the wikipedia on Supernumeray Rainbows: Occasionally, another beautiful and striking rainbow phenomenon can be observed, consisting of several faint rainbows on the inner side of the primary rainbow, and very rarely also outside the secondary rainbow. They are slightly detached and have pastel colour bands that do not fit the usual pattern. They are known as supernumerary rainbows, and it is not possible to explain their existence using classical geometric optics. The alternating faint rainbows are caused by interference between rays of light following slightly different paths with slightly varying lengths within the raindrops. Some rays are in phase, reinforcing each other through constructive interference, creating a bright band; others are out of phase by up to half a wavelength, cancelling each other out through destructive interference, and creating a gap. Given the different angles of refraction for rays of different colours, the patterns of interference are slightly different for rays of different colours, so each bright band is differentiated in colour, creating a miniature rainbow. Supernumerary rainbows are clearest when raindrops are small and of similar size. The very existence of supernumerary rainbows was historically a first indication of the wave nature of light, and the first explanation was provided by Thomas Young in 1804.
Oh and there are truly superb rainbow definitions and supernumerary formation explanations for why you see supernumerary bows and double bows here.
Der Bürgersaal in München, seit der Weihe des Hochaltars am 13. Mai 1778 inoffiziell auch „Bürgersaalkirche“ genannt, ist der Bet- und Versammlungssaal der Marianischen Männerkongregation „Mariä Verkündigung am Bürgersaal zu München“. Er wurde 1709/10 nach Plänen von Giovanni Antonio Viscardi erbaut. Seit 1778 wird der Saal als Kirche genutzt. Während des Zweiten Weltkrieges wurde der Bürgersaal und die angrenzenden Wohnhäuser bei einem Fliegerangriff der 5. Bomberflotte der britischen Royal Air Force vom 24. auf den 25. April 1944 durch Spreng- und Brandbomben sowie Phosphorkanister im Obergeschoss bis auf die Außenmauern zerstört, während die Unterkirche (ursprünglich die Druckerei der Kongregation, nach 1890 Kapelle) im Erdgeschoss erhalten blieb. Dabei wurden der Dachstuhl, das freskenverzierte Stuckgewölbe, die Empore, der Sakristeianbau sowie der größte Teil der Inneneinrichtung vernichtet. Die Hauptfassade blieb rußgeschwärzt stehen. Nach Kriegsende 1945 wurden die Mauern des Bürgersaales gefestigt, der obere Saal neu eingedeckt und mit einer provisorischen Raumdecke versehen, sodass er für Gottesdienste genutzt werden konnte. Bis 1947 diente der von Architekt Lorenz Wilhelm wiederhergestellte Saal anstelle der zerstörten Frauenkirche als Kathedrale Münchens; bis 1953 nahm er die Gemeinde der zerstörten Michaelskirche auf. Zu einem planmäßigen Aufbau kam es erst nach der Währungsreform 1948. In diesem Jahr wurde aus geretteten Teilen des bisherigen Hochaltares ein neues Altarretabel geschaffen. Das versilberte Relief zeigt die Verkündigung Mariä. Darunter befinden sich auf einer neuen Mensa vier Silberbüsten der hll. Josef, Johannes des Täufers, Evangelisten Johannes und Joachim. Bis 1959 wurde das Innere wieder instand gesetzt, wobei man sich anhand von historischen Kupferstichen von 1710 orientierte. Die Kanzel wurde teilweise in abstrahierender Weise und unter Verwendung alter Teile rekonstruiert. Die erhaltenen Stuckornamente von 1710 bis 1712 wurden ergänzt sowie Fresken in Blindfenstern und Kartuschen restauriert. Die Rekonstruktion der herabgestürzten Decke war 1959 durch Reinhold Grübl weitgehend abgeschlossen. In den Jahren 1970–1973 wurde der Bürgersaal farblich neu gefasst und moderne Deckenfresken durch den ehemaligen NS-Künstler Hermann Kaspar angebracht, die sich in barockisierender Form dem Gebäude anpassen. Zu einer erneuten Renovierung kam es in den Jahren 1999–2001. Die Wiederherstellung des Bürgersaales bietet ein gutes Beispiel für die Denkmalpflege der zweiten Hälfte des 20. Jahrhunderts Die dreischiffige Unterkirche diente ursprünglich als Druckerei der Kongregation und wurde erst Ende des 19. Jahrhunderts zu einem kryptaähnlichen Sakralraum umgestaltet. Auf dem Hochaltar befindet sich seit 1925 eine Statue der Thronenden Madonna, die der Bildhauer Franz Drexler geschaffen hatte. Zu den Füßen der Madonna mit Kind halten zwei Engelputti die Wappenschilde der Stadt München und des Landes Bayern und stellen so symbolisch die Landeshauptstadt und den Freistaat unter den Schutz der Gottesmutter. In den Wandnischen der Unterkirche befinden sich vierzehn barockisierende Stationen des Kreuzweges Jesu, die zwischen 1892 und 1898 von Hans Sprenger nach Modellen von Joseph Elsner senior in dessen Werkstatt geschnitzt wurden. Die sterblichen Überreste des 1945 gestorbenen und 1987 seliggesprochenen Jesuitenpaters Rupert Mayer wurden im Jahr 1948 vom Ordensfriedhof der Jesuiten in Pullach in die Unterkirche überführt vor dem Altar unter einer schlichten Grabplatte aus Rotmarmor beigesetzt.
Seitdem dient dieser Raum auch als Wallfahrtsstätte für den Jesuiten und Widerstandskämpfer Rupert Mayer, der seit 1921 als Präses der Marianischen Männerkongregation im Bürgersaal amtiert hatte.
An der rechten Seitenwand der Unterkirche steht eine Bronzebüste Rupert Mayers, die die Künstlerin Barbara von Kalckreuth 1949 geschaffen hatte. Im Jahr 2003 fertigte das Künstlerehepaar Hannah und Toni Stegmayer aus Kiefersfelden aus Messingstangen einen Altar, einen Tabernakel sowie einen Ambo. Seit dem Jahr 2008 richtete man hinter dem Altar einen Museumsraum mit Erinnerungsstücken an Pater Rupert Mayer ein. Der Museumsraum dokumentiert mit verschiedenen historischen Kultgeräten, Gnadenbildern und Kunstwerken darüber hinaus die Geschichte der Kongregation. In ihm befindet sich die aus dem Franziskanerkloster Ingolstadt transferierte Madonna mit der Traube (vor 1625) von Hans Degler.
de.wikipedia.org/wiki/B%C3%BCrgersaal_(M%C3%BCnchen)
The Bürgersaal (Citizens' Hall) in Munich, unofficially also known as the ‘Bürgersaalkirche’ (Citizens' Hall Church) since the consecration of the high altar on 13 May 1778, is the prayer and meeting hall of the Marian Men's Congregation ‘Mariä Verkündigung am Bürgersaal zu München’ (Annunciation of Mary at the Bürgersaal in Munich). It was built in 1709/10 according to plans by Giovanni Antonio Viscardi. The hall has been used as a church since 1778. During the Second World War, the Bürgersaal and the adjacent residential buildings were destroyed in an air raid by the 5th Bomber Fleet of the British Royal Air Force on 24-25 April 1944, with explosive and incendiary bombs as well as phosphorus canisters destroying the upper floor down to the outer walls, while the lower church (originally the congregation's printing house, after 1890 a chapel) on the ground floor remained intact. The roof truss, the fresco-decorated stucco vault, the gallery, the sacristy extension and most of the interior furnishings were destroyed. The main façade remained standing, blackened by soot. After the end of the war in 1945, the walls of the Bürgersaal were reinforced, the upper hall was re-roofed and fitted with a temporary ceiling so that it could be used for church services. Until 1947, the hall, restored by architect Lorenz Wilhelm, served as Munich's cathedral in place of the destroyed Frauenkirche; until 1953, it accommodated the congregation of the destroyed St. Michael's Church. Systematic reconstruction did not begin until after the currency reform of 1948. In that year, a new altarpiece was created from salvaged parts of the previous high altar. The silver-plated relief depicts the Annunciation of Mary. Below it, on a new mensa, are four silver busts of St. Joseph, St. John the Baptist, St. John the Evangelist and St. Joachim. By 1959, the interior had been restored, based on historical copperplate engravings from 1710. The pulpit was partially reconstructed in an abstract manner, using old parts. The preserved stucco ornaments from 1710 to 1712 were supplemented and frescoes in blind windows and cartouches were restored. The reconstruction of the collapsed ceiling was largely completed in 1959 by Reinhold Grübl. Between 1970 and 1973, the Bürgersaal was repainted and modern ceiling frescoes were added by the former Nazi artist Hermann Kaspar, which blend in with the building in a Baroque style. Further renovation work was carried out between 1999 and 2001. The restoration of the Bürgersaal is a good example of monument preservation in the second half of the 20th century. The three-nave lower church originally served as the congregation's printing house and was only converted into a crypt-like sacred space at the end of the 19th century. Since 1925, the high altar has featured a statue of the Enthroned Madonna, created by the sculptor Franz Drexler. At the feet of the Madonna and Child, two cherubs hold the coats of arms of the city of Munich and the state of Bavaria, symbolically placing the state capital and the Free State under the protection of the Mother of God. In the wall niches of the lower church are fourteen Baroque-style stations of the Cross, carved between 1892 and 1898 by Hans Sprenger based on models by Joseph Elsner senior in his workshop. The mortal remains of Jesuit Father Rupert Mayer, who died in 1945 and was beatified in 1987, were transferred from the Jesuit cemetery in Pullach to the lower church in 1948 and buried in front of the altar under a simple red marble tomb slab.
Since then, this room has also served as a place of pilgrimage for the Jesuit and resistance fighter Rupert Mayer, who had served as president of the Marian Men's Congregation in the Bürgersaal since 1921.
On the right side wall of the lower church is a bronze bust of Rupert Mayer, created by the artist Barbara von Kalckreuth in 1949. In 2003, artist couple Hannah and Toni Stegmayer from Kiefersfelden crafted an altar, a tabernacle and an ambo from brass rods. In 2008, a museum room was set up behind the altar to display memorabilia of Father Rupert Mayer. The museum room also documents the history of the congregation with various historical cult objects, images of grace and works of art. It houses the Madonna with the Grapes (before 1625) by Hans Degler, which was transferred from the Franciscan monastery in Ingolstadt.