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The Lafayette Building and former First Presbyterian Church in South Bend are new on Indiana Landmarks' 10 Most Endangered in 2015. Learn more at www.indianalandmarks.org.
Two South Bend landmarks on the 10 Most Endangered list sit next door to one another, across the street from the city’s historic courthouses. The city ordered both structures sealed until multiple code violations are cured.
Last fall, when slate began cascading from the roof of the long-vacant former First Presbyterian, the out-of-state owner replaced the slate with a tar paper roof. This year, finally, installation of a new imitation slate roof began on the vacant, damaged landmark.
Pittsburgh architect J. P. Bailey—creator of courthouses and schools from the Midwest to Maine—designed the 1888 sandstone and limestone church in the Richardsonian Romanesque Revival style. Local industrialists J. M Studebaker and J.D. Oliver, who each covered a third of the cost, favored the style’s expression of solidity and permanence.
The Lafayette Building dates from 1901 and 1903, when it went from three to five stories. The understated Neoclassical exterior gives no hint of the graceful interior, lit by a five-story skylighted atrium. In addition to its deteriorated condition, the property’s delinquent tax bill tops $1 million.
“Indiana Landmarks linked the two sites as a 10 Most Endangered entry because we think each affects the fate of the other, and because we believe the solution may be a redevelopment that unites them,” says Todd Zeiger, director of the organization’s northern office.
At the northern end of the north transept was formerly a large chapel (possibly an earlier Lady Chapel?) which consisted of a nave and chancel divided by an open arch with slender 'Y' tracery supported by a slender column. Following the Dissolution the 'nave' part of this chapel was demolished but the eastern part beyond the arch was retained with the archway partially blocked with the remainder glazed to form a large window. This fine vaulted room is at present closed to visitors, being used as the Abbey's choir room.
In 2005 I was still working for Norgrove Studios who were commissioned to reglaze the arch with quarries in handmade glass. I thus got to not only get inside a part of the Abbey not normally seen by the public but also had the rare chance to see the openings of the arch re-opened while it was reglazed, return to its original state, if only for a mere few hours.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Classic ercol dovetail joints on the desk drawers give a sense of solidity and quality. The forward slope of the drawer fronts mirrors the angling of the legs, giving the whole piece a swept back look.
Caesarea was developed over a period of 12 Years into a grand city and major seaport and he dedicated it to Roman Emperor Caesar Augustus, who had returned it to Herod after wresting it away from Cleopatra. It left a spectacular Roman amphitheater that is still used as a performance venue today. Caesarea, often simplified to Keisarya, and Qaysaria, is an affluent town in north-central Israel, which inherits its name and much of its territory from the ancient city of Caesarea Maritima. Located midway between Tel Aviv and Haifa. The ancient city of Caesarea Maritima was built by Herod the Great about 25–13 BCE as a major port. It served as an administrative center of the province of Judaea in the Roman Empire, and later as the capital of the Byzantine province of Palaestina Prima. During the Muslim conquest in the 7th century, it was the last city of the Holy Land to fall to the Arabs. The city degraded to a small village after the provincial capital was moved from here to Ramla and had an Arab majority until Crusader conquest. Under the Crusaders it became once again a major port and a fortified city. It was diminished after the Mamluk conquest. In 1884, Bosniak immigrants settled there establishing a small fishing village. Hellenistic and early Roman periods - In 90 BCE, Jewish ruler Alexander Jannaeus captured Straton's Tower as part of his policy of developing the shipbuilding industry and enlarging the Hasmonean kingdom. Straton's Tower remained a Jewish settlement for two more generations, until the area became dominated by the Romans in 63 BCE, when they declared it an autonomous city. Herodian city of Caesarea Maritima (22 BCE – 6CE) - Caesarea Maritima was built in Roman-ruled Judea under the Jewish client King Herod the Great during c. 22-10/9 BCE near the ruins of the small naval station of Straton's Tower. The site, along with all of Judea, was awarded by Rome to Herod the Great in 30 BCE. The pagan city underwent vast changes under Herod, who renamed it Caesarea in honor of the Roman emperor, Caesar Augustus. Caesarea Maritima was known as the administrative, economic, and cultural capital of the Palestinian province from this time. In 22 BCE, Herod began construction of a deep-sea harbor named Sebastos and built storerooms, markets, wide roads, baths, temples to Rome and Augustus, and imposing public buildings. Herod built his palace on a promontory jutting out into the sea, with a decorative pool surrounded by stoas. Every five years, the city hosted major sports competitions, gladiator games, and theatrical productions in its theatre overlooking the Mediterranean Sea. Construction of Sebastos Harbor / King Herod built the two jetties of the harbor between 22 and 15 BCE, and in 10/9 BCE he dedicated the city and harbor to Emperor Augustus (Sebastos is Greek for Augustus). The pace of construction was impressive considering the project's size and complexity. At its height, Sebastos was one of the most impressive harbors of its time. It had been constructed on a coast that had no natural harbors and served as an important commercial harbor in antiquity, rivaling Cleopatra's harbor at Alexandria. Josephus wrote: "Although the location was generally unfavorable, [Herod] contended with the difficulties so well that the solidity of the construction could not be overcome by the sea, and its beauty seemed finished off without impediment." When it was built in the 1st century BCE, the harbor of Sebastos ranked as the largest artificial harbor built in the open sea, enclosing around 100,000 m2. The breakwaters were made of lime and pozzolana, a type of volcanic ash, set into an underwater concrete. Herod imported over 24,000 m3 of pozzolana from the name-giving town of Puteoli, today Pozzuoli in Italy, to construct the two breakwaters: the southern one 500 meter, and the northern one 275 meter long. A shipment of this size would have required at least 44 shiploads of 400 tons each. Herod also had 12,000 m3 of local kurkar stone quarried to make rubble and 12,000 m3 of slaked lime mixed with the pozzolana. Architects had to devise a way to lay the wooden forms for the placement of concrete underwater. One technique was to drive stakes into the ground to make a box and then fill it with pozzolana concrete bit by bit. However, this method required many divers to hammer the planks to the stakes underwater and large quantities of pozzolana were necessary. Another technique was a double planking method used in the northern breakwater. On land, carpenters would construct a box with beams and frames on the inside and a watertight, double-planked wall on the outside. This double wall was built with a 23 cm (9 in) gap between the inner and outer layer. Although the box had no bottom, it was buoyant enough to float out to sea because of the watertight space between the inner and outer walls. Once it was floated into position, pozzolana was poured into the gap between the walls and the box would sink into place on the seafloor and be staked down in the corners. The flooded inside area was then filled by divers bit by bit with pozzolana-lime mortar and kurkar rubble until it rose above sea level. On the southern breakwater, barge construction was used. The southern side of Sebastos was much more exposed than the northern side, requiring sturdier breakwaters. Instead of using the double planked method filled with rubble, the architects sank barges filled with layers of pozzolana concrete and lime sand mortar. The barges were similar to boxes without lids, and were constructed using mortise and tenon joints, the same technique used in ancient boats, to ensure they remained watertight. The barges were ballasted with 0.5 meters of pozzolana concrete and floated out to their position. With alternating layers, pozzolana-based and lime-based concretes were hand-placed inside the barge to sink it and fill it up to the surface. However, there were underlying problems that led to its demise. Studies of the concrete cores of the moles have shown that the concrete was much weaker than similar pozzolana hydraulic concrete used in ancient Italian ports. For unknown reasons, the pozzolana mortar did not adhere as well to the kurkar rubble as it did to other rubble types used in Italian harbors. Small but numerous holes in some of the cores also indicate that the lime was of poor quality and stripped out of the mixture by strong waves before it could set. Also, large lumps of lime were found in all five of the cores studied at Caesarea, which shows that the mixture was not mixed thoroughly. However, stability would not have been seriously affected if the harbor had not been constructed over a geological fault line that runs along the coast. Seismic action gradually took its toll on the breakwaters, causing them to tilt down and settle into the seabed. Studies of seabed deposits at Caesarea have shown that a tsunami struck the area sometime during the 1st or 2nd century. Although it is unknown if this tsunami simply damaged or completely destroyed the harbor, it is known that by the 6th century the harbor was unusable and today the jetties lie more than 5 meters underwater. During the Byzantine period, Caesarea became the capital of the new province of Palaestina Prima in 390. As the capital of the province, Caesarea was also the metropolitan see, with ecclesiastical jurisdiction over Jerusalem, when rebuilt after the destruction in the year 70. In 451, however, the Council of Chalcedon established Jerusalem as a patriarchate, with Caesarea as the first of its three subordinate metropolitan sees. Caesarea remained the provincial capital throughout the 5th and 6th centuries. It fell to Sassanid Persia in the Byzantine–Sasanian War of 602–628, in 614, and was re-conquered by Byzantium in 625.
With warmest thanks and well wishes to the congregation of Holy Rosary for their kindness in allowing these pictures to be taken. James
Special thanks to JohnnyG1955 also for sharing the below info
www.flickr.com/photos/johnnyg1955/sets/72157604152348131/...
The parish of the Holy Rosary is the seventh oldest mission in the City of Leeds, with the first Church and School of the Holy Rosary built in Barrack Street in 1886 as a Chapel-of-Ease to St Anne’s Cathedral.
As the area from Sheepscar up to Moortown was developed, the population of the parish increased until in 1927 the first steps were taken to build a new church. Rev Canon Mitchell invited architects to submit plans for a new church with Marten & Burnett chosen as the architects for the building. A site was bought on Chapeltown Road in 1930 and then in 1935 test holes were dug in what was then the garden of Ashbourne House on Chapeltown Road. The foundation stone was laid on May 3rd 1936 by Canon Hawkswell. The church was completed at a cost of over £13,000, with Ashbourne House becoming the Presbytery of the new church.
The first mass was celebrated on September 30th 1937 by The Bishop of Leeds, Bishop Henry John Poskitt with Bishop Shine of Middlesbrough. Father Ward was the first priest in the parish.
Among the priests at the first mass in the new church in 1937 was a young priest who had been ordained in Ireland for the Leeds Diocese the previous year. In 1951, this priest, Canon P. O’Meara, became the first Parish Priest of the Holy Rosary, a position he held until his death in 1985. There is a commemorative plaque to Canon O’Meara in the church.
The first priest to be ordained from the Holy Rosary Parish was Father Gerald Creasey who was ordained in 1961.
In 1987 Father James Leavy instigated renovations to the church including: the relocation of the altar, removal of the communion rails, the font being moved to the chancel steps and the shortening of the nave creating a community room between the narthex and the main body of the church. The front of the original organ was retained above the community room and a new altar of Yorkshire Stone was created in the side chapel.
In 1989 the Presbytery, occupying what had been Ashbourne House, was split in two. The part nearest the church became the new presbytery and the House of Light took over the other half. At this time the presbytery was refurbished. The hall underneath the church was leased out to the Northern School of Contemporary Dance at this time.
The parish feast day is on October 7th, the feast of Our Lady of the Holy Rosary.
William Marshall, the last abbot of Kirkstall Abbey to die in office, came from what is now the Holy Rosary parish. He built the tower of Kirkstall Abbey in 1527, just twelve years before his successor, John Ripley, the 27th and last Abbot, had the sad duty of surrendering the Abbey to King Henry VIII. That the remains of the tower are still visible after 430 years is proof of the solidity of its construction, and a memorial to one who might be considered an early parishioner.
For more about the history of Kirkstall Abbey see:
www.leeds.gov.uk/kirkstallabbey/Kirkstall_Abbey/History.aspx
Another that could be seen as an early parishioner is William Scott of Scott Hall. Scott Hall was situated in Potternewton, just about where Scott Hall Place is now. This had been the home of the Scott family who had originated from Scotland. When the last of the family line died, the hall was demolished and the land was quarried, with the stone used for many Leeds buildings. When the quarry was worked out it was filled in and is now the playing fields on Scott Hall Road. When the A61 was built in the 1930s, it was named Scott Hall as a reminder of the former land use.
William Scott left a “parcel of land” on the corner of Vicar Lane and Kirkgate to the Parish Priest of Leeds Parish Church in 1470, on which a modest mansion was built. The site existed for almost 400 years and was known as Vicar’s Croft, until it was bought in 1857 by the Leeds Corporation and is now the home of the Leeds Markets.
An aerial view of the Church its surroundings can be found at:
www.leodis.net/display.aspx?resourceIdentifier=20021127_4...
Sources:
Silver Jubilee brochure for Holy Rosary Church, Leeds 1937-1962, can be downloaded from here.
www.movinghere.org.uk/search/catalogue.asp?catphase=short...
Gilleghan J (1990) Worship North and East of Leeds, Kingsway Press
The Diocese of Leeds
Leeds in The Catholic Encyclopedia in 1913:
en.wikisource.org/wiki/Catholic_Encyclopedia_(1913)/Leeds
The Diocese of Leeds on Wikipedia:
en.wikipedia.org/wiki/Diocese_of_Leeds
For more about the history of Kirkstall Abbey see:
www.leeds.gov.uk/kirkstallabbey/Kirkstall_Abbey/History.aspx
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
At the northern end of the north transept was formerly a large chapel (possibly an earlier Lady Chapel?) which consisted of a nave and chancel divided by an open arch with slender 'Y' tracery supported by a slender column. Following the Dissolution the 'nave' part of this chapel was demolished but the eastern part beyond the arch was retained with the archway partially blocked with the remainder glazed to form a large window. This fine vaulted room is at present closed to visitors, being used as the Abbey's choir room.
In 2005 I was still working for Norgrove Studios who were commissioned to reglaze the arch with quarries in handmade glass. I thus got to not only get inside a part of the Abbey not normally seen by the public but also had the rare chance to see the openings of the arch re-opened while it was reglazed, return to its original state, if only for a mere few hours.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Caesarea was developed over a period of 12 Years into a grand city and major seaport and he dedicated it to Roman Emperor Caesar Augustus, who had returned it to Herod after wresting it away from Cleopatra. It left a spectacular Roman amphitheater that is still used as a performance venue today. Caesarea, often simplified to Keisarya, and Qaysaria, is an affluent town in north-central Israel, which inherits its name and much of its territory from the ancient city of Caesarea Maritima. Located midway between Tel Aviv and Haifa. The ancient city of Caesarea Maritima was built by Herod the Great about 25–13 BCE as a major port. It served as an administrative center of the province of Judaea in the Roman Empire, and later as the capital of the Byzantine province of Palaestina Prima. During the Muslim conquest in the 7th century, it was the last city of the Holy Land to fall to the Arabs. The city degraded to a small village after the provincial capital was moved from here to Ramla and had an Arab majority until Crusader conquest. Under the Crusaders it became once again a major port and a fortified city. It was diminished after the Mamluk conquest. In 1884, Bosniak immigrants settled there establishing a small fishing village. Hellenistic and early Roman periods - In 90 BCE, Jewish ruler Alexander Jannaeus captured Straton's Tower as part of his policy of developing the shipbuilding industry and enlarging the Hasmonean kingdom. Straton's Tower remained a Jewish settlement for two more generations, until the area became dominated by the Romans in 63 BCE, when they declared it an autonomous city. Herodian city of Caesarea Maritima (22 BCE – 6CE) - Caesarea Maritima was built in Roman-ruled Judea under the Jewish client King Herod the Great during c. 22-10/9 BCE near the ruins of the small naval station of Straton's Tower. The site, along with all of Judea, was awarded by Rome to Herod the Great in 30 BCE. The pagan city underwent vast changes under Herod, who renamed it Caesarea in honor of the Roman emperor, Caesar Augustus. Caesarea Maritima was known as the administrative, economic, and cultural capital of the Palestinian province from this time. In 22 BCE, Herod began construction of a deep-sea harbor named Sebastos and built storerooms, markets, wide roads, baths, temples to Rome and Augustus, and imposing public buildings. Herod built his palace on a promontory jutting out into the sea, with a decorative pool surrounded by stoas. Every five years, the city hosted major sports competitions, gladiator games, and theatrical productions in its theatre overlooking the Mediterranean Sea. Construction of Sebastos Harbor / King Herod built the two jetties of the harbor between 22 and 15 BCE, and in 10/9 BCE he dedicated the city and harbor to Emperor Augustus (Sebastos is Greek for Augustus). The pace of construction was impressive considering the project's size and complexity. At its height, Sebastos was one of the most impressive harbors of its time. It had been constructed on a coast that had no natural harbors and served as an important commercial harbor in antiquity, rivaling Cleopatra's harbor at Alexandria. Josephus wrote: "Although the location was generally unfavorable, [Herod] contended with the difficulties so well that the solidity of the construction could not be overcome by the sea, and its beauty seemed finished off without impediment." When it was built in the 1st century BCE, the harbor of Sebastos ranked as the largest artificial harbor built in the open sea, enclosing around 100,000 m2. The breakwaters were made of lime and pozzolana, a type of volcanic ash, set into an underwater concrete. Herod imported over 24,000 m3 of pozzolana from the name-giving town of Puteoli, today Pozzuoli in Italy, to construct the two breakwaters: the southern one 500 meter, and the northern one 275 meter long. A shipment of this size would have required at least 44 shiploads of 400 tons each. Herod also had 12,000 m3 of local kurkar stone quarried to make rubble and 12,000 m3 of slaked lime mixed with the pozzolana. Architects had to devise a way to lay the wooden forms for the placement of concrete underwater. One technique was to drive stakes into the ground to make a box and then fill it with pozzolana concrete bit by bit. However, this method required many divers to hammer the planks to the stakes underwater and large quantities of pozzolana were necessary. Another technique was a double planking method used in the northern breakwater. On land, carpenters would construct a box with beams and frames on the inside and a watertight, double-planked wall on the outside. This double wall was built with a 23 cm (9 in) gap between the inner and outer layer. Although the box had no bottom, it was buoyant enough to float out to sea because of the watertight space between the inner and outer walls. Once it was floated into position, pozzolana was poured into the gap between the walls and the box would sink into place on the seafloor and be staked down in the corners. The flooded inside area was then filled by divers bit by bit with pozzolana-lime mortar and kurkar rubble until it rose above sea level. On the southern breakwater, barge construction was used. The southern side of Sebastos was much more exposed than the northern side, requiring sturdier breakwaters. Instead of using the double planked method filled with rubble, the architects sank barges filled with layers of pozzolana concrete and lime sand mortar. The barges were similar to boxes without lids, and were constructed using mortise and tenon joints, the same technique used in ancient boats, to ensure they remained watertight. The barges were ballasted with 0.5 meters of pozzolana concrete and floated out to their position. With alternating layers, pozzolana-based and lime-based concretes were hand-placed inside the barge to sink it and fill it up to the surface. However, there were underlying problems that led to its demise. Studies of the concrete cores of the moles have shown that the concrete was much weaker than similar pozzolana hydraulic concrete used in ancient Italian ports. For unknown reasons, the pozzolana mortar did not adhere as well to the kurkar rubble as it did to other rubble types used in Italian harbors. Small but numerous holes in some of the cores also indicate that the lime was of poor quality and stripped out of the mixture by strong waves before it could set. Also, large lumps of lime were found in all five of the cores studied at Caesarea, which shows that the mixture was not mixed thoroughly. However, stability would not have been seriously affected if the harbor had not been constructed over a geological fault line that runs along the coast. Seismic action gradually took its toll on the breakwaters, causing them to tilt down and settle into the seabed. Studies of seabed deposits at Caesarea have shown that a tsunami struck the area sometime during the 1st or 2nd century. Although it is unknown if this tsunami simply damaged or completely destroyed the harbor, it is known that by the 6th century the harbor was unusable and today the jetties lie more than 5 meters underwater. During the Byzantine period, Caesarea became the capital of the new province of Palaestina Prima in 390. As the capital of the province, Caesarea was also the metropolitan see, with ecclesiastical jurisdiction over Jerusalem, when rebuilt after the destruction in the year 70. In 451, however, the Council of Chalcedon established Jerusalem as a patriarchate, with Caesarea as the first of its three subordinate metropolitan sees. Caesarea remained the provincial capital throughout the 5th and 6th centuries. It fell to Sassanid Persia in the Byzantine–Sasanian War of 602–628, in 614, and was re-conquered by Byzantium in 625.
At Nymans Garden in Sussex, I saw this child running round and round the huge tree trunk. I thought about the contrasts in size, growth, stillness, solidity, energy, and how many Springs each had seen ...
Dudok became City Architect for the town of Hilversum.
He's best known for the Hilversum City Hall (Raadhuis) [above] completed in 1930/31; remarkably and consistently modern for the time. The contrast of solid and void elements, horizontals and verticals recalls De Stijl, but Dudok's brick buildings kept a modern solidity.
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Wikimapia aerial:
.
Old Post Office
815 Olive Street
Built: 1873-1884
Architect: Alfred B. Mullet
Status: undergoing renovation (2005)
Designed in the typically heavy-handed Second Empire style, this is the best surviving example in St. Louis, and one of only two of Mullet's buildings to survive (the other is adjacent to the White House in Washington, DC.) The style was meant to project an image of solidity and security in the wake of the Civil War years.
The Old Post Office survived a long series of challenges to its survival in the 1960s and 1970s. It has been used for the last two decades by both private and government entities; however, the decline of the surrounding area has negatively affected the viability of the building's commercial uses. Its fortress-like exterior (complete with an actual 2-story moat designed to bring natural light to the basement levels) is not conducive to retail activity. It is currently being renovated for the use of Webster University and the State Court of Appeals.
An ornate sculpture group once graced the south entry tower, till it was discovered that pollution was hastening its decay. A duplicate was placed on the exterior, while the original now resides inside the building itself. This happy solution preserves both the building's appearance and original materials, while allowing visitors to inspect the work up close.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
Ardersier Road, Victoria BC. "The Home Lumber Office is valued for its association with leading Canadian architect Arthur Erickson. By the time of construction of this building in 1972, Erickson had already achieved national and international prominence for his designs of Simon Fraser University and for his numerous Modern houses. Widely renowned as Canada's most brilliant architect, Erickson's reputation is important to the growth of post-Second World War modern architecture in Canada and North America.
The Home Lumber Office is valued architecturally as one of Erickson's most successful small-scale designs. A cohesive expression of simple lines and ultimate transparency, this structure reduces the idea of post-and-beam West Coast Modernism to its most simplistic and refined elements. Based on a square floor plan and a .9 metre (three foot) module throughout, the elegant pavillion structure is an exploration of simple geometry. The large pyramidal glass skylight hovers above the cantilevered timber roof structure, illuminating the open-plan interior space. The structure is formally sited upon an elevated terrazzo podium, which provides a visual and spatial balance with the overhanging eaves. Erickson expressed the function of the building as an office that is comfortable, light and efficient. The Home Lumber Office is also of significance for its position with the development of Erickson's larger body of work. He was originally acquainted with a member of the Jawl family through his involvement with the design of the Sikh Temple in Vancouver (Erickson/Massey Architects, 1969-70). In this later commission, he further abstracted the formal geometry of Indian religious symbols down to their simplest form. Many of Erickson's buildings, especially his residences, are conceived as free-standing pavilions, and this is one of his most successful translations of this concept into a commercial building. Subtle uplighting at night dissolves the solidity of the structure and gives the roof an apparent weightlessness. The structure is also significant for the refinement of detail displayed in its design and construction. The columns were milled to taper as they rose, and sheets of tinted glass are set into channels in the terrazzo and the wood without visible trim. Although simple in appearance, the roof was complicated to construct, and was built first on the ground, and then raised by crane so that the rest of the building could be constructed beneath. The office building is further valued for its connection to the Jawl family, who have strong community connections as entrepreneurs and benefactors in Saanich. Jawl Industries was formed in 1964 by four brothers, Robert, Karnel, Sohan and Mohan Jawl, and this building has served since 1972 as their head office." from Canada's Historic Places
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
The Trenton Battle Monument is a massive column-type structure in the Battle Monument section of Trenton, Mercer County, New Jersey, United States. It commemorates the December 26, 1776, Battle of Trenton, a pivotal victory for the Continental forces during the American Revolutionary War.
Designed by John H. Duncan, the architect of Grant's Tomb, the monument is an early example of Beaux-Arts architecture in America. The design is based on "The Monument", a 1671 structure built to commemorate the Great Fire of London, on the London street where the 1666 fire started. The height of the Trenton monument is intentionally the same height as the London monument.
The hollow Roman-Doric fluted column of the monument is constructed of granite, as is the pedestal which supports it, although slightly darker stone was used to give the base the appearance of more solidity. The column is capped by a small, round pavilion, forming an observation deck; accessible by means of an electric elevator, that has provided thousands of tourists an excellent view of the city and the surrounding scene of the battle. Encircling the column, just above the cap, thirteen electric lights, symbolizing the original Thirteen Colonies, shed their radiance at night.
The pavilion is surmounted by an acanthus leaf pedestal where, atop the entire structure, a colossal bronze statue of General George Washington by William Rudolf O'Donovan crowns the monument. Washington is depicted as he appeared at the opening of the engagement and, with his extended right hand, directs the fire of the Continental artillery down King (now Warren) Street. The figure is 13 feet (4.0 m) feet tall, while the monument, including the statue, is 150 feet (46 m) above street level.
On the base of the pedestal are two bronze relief panels by Thomas Eakins depicting "The Continental Army Crossing the Delaware River" and "The Opening of the Battle." The latter panel depicts the battery of Alexander Hamilton about to fire down King Street. A third bronze relief panel, "The Surrender of the Hessians," was modeled by Charles Henry Niehaus. On the north side of the pedestal is a bronze tablet presented by the Society of the Cincinnati of New Jersey.
Guarding the entrance to the monument stand two bronze figures of Continental soldiers by O'Donovan. One is a statue of Private John Russell, a member of Colonel John Glover's Marblehead Regiment of seafaring men from Marblehead, Massachusetts, who gained fame by transporting Washington's army across the ice-choked Delaware River on the night of December 25–26, 1776. The other figure is modeled after a likeness of Private Blair McClenachan, of the Philadelphia Light Horse Troop, a unit which also took part in the battle.
The monument is located in an area of the city known as "Five Points". It was here, at the intersection of Warren (King) Street, North Broad (Queen) Street, Brunswick, Pennington and Princeton Avenues, that the American artillery was placed. From this high vantage point, they dominated the streets of Trenton, preventing the Hessian troops from organizing an effective counterattack.
A movement to erect a monument commemorating the victory at Trenton began in 1843. About forty years later in 1886, the property for the monument was acquired by the Trenton Monument Association. To build the monument, the New Jersey legislature appropriated $15,000, Congress $30,000, and citizens contributed $15,000. Monument Park at the "Five Points" was acquired under the provisions of an ordinance passed June 28, 1893.
The cornerstone was laid Saturday, December 26, 1891, on the 115th anniversary of the Battle of Trenton. The base and pedestal were erected in the spring of 1892, the capstone raised into position on Saturday, August 31, 1893, and the statue of General Washington finally placed atop the shaft September 5 of the same year. The completed memorial was dedicated with elaborate ceremonies on October 19, 1893, the 112th anniversary of the surrender of General Lord Cornwallis at the Siege of Yorktown in Virginia; in attendance were eight governors of the original thirteen states.
Although various changes have taken place in the immediate vicinity of the monument since its dedication, the commanding figure of Washington still looks down upon the city, which has developed from what was a small village in 1776. The monument was listed on the National Register of Historic Places in 1977.
en.wikipedia.org/wiki/Trenton_Battle_Monument
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
Just going back over last year's photos and found this one!
I liked the feeling of weight and solidity that the high contrast foreground seems to convey, so thought I'd share it.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
I yearn for shadows that affirm the solidity and substantiality of the objects that cast them. I hardly notice the building across the street — unfortunately!
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In downtown Las Vegas, Nevada, on November 26th, 2010, a view across Main Street from its east side, north of Carson Avenue, toward "The Plaza" hotel & casino.
-----------------------
Library of Congress classification ideas:
NA6810 Casinos—United States—Pictorial works.
NA9053.S7 Streetscapes (Urban design)—United States—Pictorial works.
TE23 Streets—United States—Pictorial works.
TE270 Pavements, Asphalt concrete—Pictorial works.
QC381.4 Shades and shadows—Pictorial works.
F849.L35 Las Vegas (Nev.)—Pictorial works.
A fairly simple MOC with a knight inspired aesthetic. One of my more fun characters to pose, and a build I'm generally happy with in terms of solidity and flow. I'm also pretty proud of the color blocking. This one, Minnix and Glaereth were all meant to be sister MOCs when they were originally created, hence them all having twin tails. They all quickly ended up with their own design styles though.
From Series 7. I won him MOC off ebay. See other picture recently in my photostream. As some of you know I don't keep my figures MOC.
Assembled at the direction of Ultron, the vision is an android who mimics virtually every organic function of a Human being, including independent thought. Seeking vengeance against the Avengers, Ultron programmed the Vision's neural processors with the brain patterns of Wonder Man, and implanted special synthesized cells permitting him to alter his mass and solidity. Ultron then dispatched the Vision to draw the Avengers into a death trap. Moved by the team's plight though, the Vision overrode his mission parameters and helped the heroes defeat his creator. The Vision served the Avengers faithfully for years, all the while seeking to transcend his original programming as a vehicle of vengeance and become fully ''human''.
A perfect example of solidity and durability in cream cement-washed brick that was a favourite with civic construction when Ipswich was young.
Google maps street view:
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Roof bosses in the north transept.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
The Trenton Battle Monument is a massive column-type structure in the Battle Monument section of Trenton, Mercer County, New Jersey, United States. It commemorates the December 26, 1776, Battle of Trenton, a pivotal victory for the Continental forces during the American Revolutionary War.
Designed by John H. Duncan, the architect of Grant's Tomb, the monument is an early example of Beaux-Arts architecture in America. The design is based on "The Monument", a 1671 structure built to commemorate the Great Fire of London, on the London street where the 1666 fire started. The height of the Trenton monument is intentionally the same height as the London monument.
The hollow Roman-Doric fluted column of the monument is constructed of granite, as is the pedestal which supports it, although slightly darker stone was used to give the base the appearance of more solidity. The column is capped by a small, round pavilion, forming an observation deck; accessible by means of an electric elevator, that has provided thousands of tourists an excellent view of the city and the surrounding scene of the battle. Encircling the column, just above the cap, thirteen electric lights, symbolizing the original Thirteen Colonies, shed their radiance at night.
The pavilion is surmounted by an acanthus leaf pedestal where, atop the entire structure, a colossal bronze statue of General George Washington by William Rudolf O'Donovan crowns the monument. Washington is depicted as he appeared at the opening of the engagement and, with his extended right hand, directs the fire of the Continental artillery down King (now Warren) Street. The figure is 13 feet (4.0 m) feet tall, while the monument, including the statue, is 150 feet (46 m) above street level.
On the base of the pedestal are two bronze relief panels by Thomas Eakins depicting "The Continental Army Crossing the Delaware River" and "The Opening of the Battle." The latter panel depicts the battery of Alexander Hamilton about to fire down King Street. A third bronze relief panel, "The Surrender of the Hessians," was modeled by Charles Henry Niehaus. On the north side of the pedestal is a bronze tablet presented by the Society of the Cincinnati of New Jersey.
Guarding the entrance to the monument stand two bronze figures of Continental soldiers by O'Donovan. One is a statue of Private John Russell, a member of Colonel John Glover's Marblehead Regiment of seafaring men from Marblehead, Massachusetts, who gained fame by transporting Washington's army across the ice-choked Delaware River on the night of December 25–26, 1776. The other figure is modeled after a likeness of Private Blair McClenachan, of the Philadelphia Light Horse Troop, a unit which also took part in the battle.
The monument is located in an area of the city known as "Five Points". It was here, at the intersection of Warren (King) Street, North Broad (Queen) Street, Brunswick, Pennington and Princeton Avenues, that the American artillery was placed. From this high vantage point, they dominated the streets of Trenton, preventing the Hessian troops from organizing an effective counterattack.
A movement to erect a monument commemorating the victory at Trenton began in 1843. About forty years later in 1886, the property for the monument was acquired by the Trenton Monument Association. To build the monument, the New Jersey legislature appropriated $15,000, Congress $30,000, and citizens contributed $15,000. Monument Park at the "Five Points" was acquired under the provisions of an ordinance passed June 28, 1893.
The cornerstone was laid Saturday, December 26, 1891, on the 115th anniversary of the Battle of Trenton. The base and pedestal were erected in the spring of 1892, the capstone raised into position on Saturday, August 31, 1893, and the statue of General Washington finally placed atop the shaft September 5 of the same year. The completed memorial was dedicated with elaborate ceremonies on October 19, 1893, the 112th anniversary of the surrender of General Lord Cornwallis at the Siege of Yorktown in Virginia; in attendance were eight governors of the original thirteen states.
Although various changes have taken place in the immediate vicinity of the monument since its dedication, the commanding figure of Washington still looks down upon the city, which has developed from what was a small village in 1776. The monument was listed on the National Register of Historic Places in 1977.
en.wikipedia.org/wiki/Trenton_Battle_Monument
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
With warmest thanks and well wishes to the congregation of Holy Rosary for their kindness in allowing these pictures to be taken. James
Special thanks to JohnnyG1955 also for sharing the below info
www.flickr.com/photos/johnnyg1955/sets/72157604152348131/...
The parish of the Holy Rosary is the seventh oldest mission in the City of Leeds, with the first Church and School of the Holy Rosary built in Barrack Street in 1886 as a Chapel-of-Ease to St Anne’s Cathedral.
As the area from Sheepscar up to Moortown was developed, the population of the parish increased until in 1927 the first steps were taken to build a new church. Rev Canon Mitchell invited architects to submit plans for a new church with Marten & Burnett chosen as the architects for the building. A site was bought on Chapeltown Road in 1930 and then in 1935 test holes were dug in what was then the garden of Ashbourne House on Chapeltown Road. The foundation stone was laid on May 3rd 1936 by Canon Hawkswell. The church was completed at a cost of over £13,000, with Ashbourne House becoming the Presbytery of the new church.
The first mass was celebrated on September 30th 1937 by The Bishop of Leeds, Bishop Henry John Poskitt with Bishop Shine of Middlesbrough. Father Ward was the first priest in the parish.
Among the priests at the first mass in the new church in 1937 was a young priest who had been ordained in Ireland for the Leeds Diocese the previous year. In 1951, this priest, Canon P. O’Meara, became the first Parish Priest of the Holy Rosary, a position he held until his death in 1985. There is a commemorative plaque to Canon O’Meara in the church.
The first priest to be ordained from the Holy Rosary Parish was Father Gerald Creasey who was ordained in 1961.
In 1987 Father James Leavy instigated renovations to the church including: the relocation of the altar, removal of the communion rails, the font being moved to the chancel steps and the shortening of the nave creating a community room between the narthex and the main body of the church. The front of the original organ was retained above the community room and a new altar of Yorkshire Stone was created in the side chapel.
In 1989 the Presbytery, occupying what had been Ashbourne House, was split in two. The part nearest the church became the new presbytery and the House of Light took over the other half. At this time the presbytery was refurbished. The hall underneath the church was leased out to the Northern School of Contemporary Dance at this time.
The parish feast day is on October 7th, the feast of Our Lady of the Holy Rosary.
William Marshall, the last abbot of Kirkstall Abbey to die in office, came from what is now the Holy Rosary parish. He built the tower of Kirkstall Abbey in 1527, just twelve years before his successor, John Ripley, the 27th and last Abbot, had the sad duty of surrendering the Abbey to King Henry VIII. That the remains of the tower are still visible after 430 years is proof of the solidity of its construction, and a memorial to one who might be considered an early parishioner.
For more about the history of Kirkstall Abbey see:
www.leeds.gov.uk/kirkstallabbey/Kirkstall_Abbey/History.aspx
Another that could be seen as an early parishioner is William Scott of Scott Hall. Scott Hall was situated in Potternewton, just about where Scott Hall Place is now. This had been the home of the Scott family who had originated from Scotland. When the last of the family line died, the hall was demolished and the land was quarried, with the stone used for many Leeds buildings. When the quarry was worked out it was filled in and is now the playing fields on Scott Hall Road. When the A61 was built in the 1930s, it was named Scott Hall as a reminder of the former land use.
William Scott left a “parcel of land” on the corner of Vicar Lane and Kirkgate to the Parish Priest of Leeds Parish Church in 1470, on which a modest mansion was built. The site existed for almost 400 years and was known as Vicar’s Croft, until it was bought in 1857 by the Leeds Corporation and is now the home of the Leeds Markets.
An aerial view of the Church its surroundings can be found at:
www.leodis.net/display.aspx?resourceIdentifier=20021127_4...
Sources:
Silver Jubilee brochure for Holy Rosary Church, Leeds 1937-1962, can be downloaded from here.
www.movinghere.org.uk/search/catalogue.asp?catphase=short...
Gilleghan J (1990) Worship North and East of Leeds, Kingsway Press
The Diocese of Leeds
Leeds in The Catholic Encyclopedia in 1913:
en.wikisource.org/wiki/Catholic_Encyclopedia_(1913)/Leeds
The Diocese of Leeds on Wikipedia:
en.wikipedia.org/wiki/Diocese_of_Leeds
For more about the history of Kirkstall Abbey see:
www.leeds.gov.uk/kirkstallabbey/Kirkstall_Abbey/History.aspx
40 West 40th Street
It was conceived by the architects John Howells and Raymond Hood in 1924 and built for the American Radiator and Standard Sanitary Company. The structural form is based on Eliel Saarinen's unbuilt competition entry for Chicago Tribune building.The architects combined Gothic and modern styles in the design of the building. Black brick on the frontage of the building (symbolizing coal) was selected to give an idea of solidity and to give the building a solid mass. Other parts of the facade were covered in gold bricks (symbolizing fire), and the entry was decorated with marble and black mirrors. Once again, the talents of Rene Paul Chambellan were employed by Hood and Howells for the ornamentation and sculptures.
In 2001, the American Radiator Building was converted into The Bryant Park Hotel with 130 rooms and a theatre in the basement.
t was also painted by Georgia O'Keeffe in 1927 in her famous painting "The Radiator Building at Night." (info from wikipedia)
2004 NYC 094
nrhp # 82002456- Wright Hotel is a historic hotel at 201 East Market Street in Chatsworth, in Murray County, Georgia, that was built in 1909. It is a two-story brick building with two-story porches.[2] It was added to the National Register of Historic Places in 1982.[1]
Its NRHP nomination notes that the hotel
reflects its local, vernacular, do-it-yourself origins.
Built by its owner-operator, Thomas Monroe Wright, and his cousin, Thomas Banks, a builder from Cleveland, Tennessee, it shows few signs of high style architecture. Local materials were used as much as possible. Bricks were manufactured a few blocks away at the now defunct Chatsworth Brick Company. Timber was cut from Mr. Wright's nearby farm and aged for a year before being used in the hotel construction. The surrounding two-story porches made excellent use of one of the area's greatest resources, cool mountain air. The ten foot deep foundation and twelve inch thick exterior walls reflect the care with which Mr. Wright constructed the building. The hotel's modest scale, simplicity of design and structural solidity give it real integrity. The building no longer functions as a hotel, but it has survived remarkably intact."
from Wikipedia
JACQUES, JOHN, cabinet-maker, furniture manufacturer, and financier; b. 9 Nov. 1804, probably in the county of Cumberland, England, son of Thomas Jacques; m. Mary Quinton (1808–95), and they had one son and one daughter; d. 14 Feb. 1886 in Toronto, Ont.
John Jacques is believed to have apprenticed in cabinet-making at Wigton (Cumbria), England, and he spent some years at his trade in London. In 1831 he immigrated to York (Toronto) and worked as a cabinet-maker first for Elisha Benjamin Gilbert and later for William Maxwell. Jacques entered into partnership with Robert Hay to buy Maxwell’s business in 1835. Their firm, Jacques and Hay, was to set the pace for furniture manufacturing in the Canadas for the following half century.
Jacques and Hay produced in much greater quantity than their rivals, but they also led in quality. Pioneers in mass production techniques in the Upper Canadian furniture industry, they catered to the constant demands of immigrants with functional, machine-worked furniture in pine and basswood. They also served many middle class people and tended the needs of the wealthy leaders of taste who had first supported their venture. Their products were of considerable significance in the development of what might be called a southern Ontario furniture style in the middle decades of the 19th century. Firms such as Jacques and Hay, it is true, had to follow successive international fashions in Empire, Gothic, Rococo, and Eastlake styles, but into these fashions Jacques and Hay particularly blended the element of the regional style and thus perpetuated it. The principal characteristics of this regional variation on a general North American theme were solidity, a virtual absence of veneer, the large use of black walnut, and ornamentation which though it reflected the fussiness of the age never reached the point of vulgarity; the finished product bore a high gloss.
By the 1840s Jacques and Hay and other early Upper Canadian cabinet-makers had weaned many of the élite away from a dependence on imported furniture, although such customers in Montreal clung tenaciously to imports from Britain and the United States. Mahogany and rosewood were still thought to be materials of quality in Montreal, but in Canada West walnut, abundant in the region and virtually absent in Canada East, and to a lesser extent other native hardwoods such as maple and oak, were raised in status. Jacques and Hay were assisted in Canada West by the antipathy of many members of their upper class clientele to American products and by the costs of transporting bulky items from Britain.
Patrons of Jacques and Hay for their first-class work included leaders in public life and business in Canada West, and they supplied some of the finest institutional furnishings of their time. Sword’s Hotel and Osgoode Hall in Toronto, and Rideau Hall in Ottawa, were fitted with the firm’s best products. Like most of the leading makers of quality cabinetware, Jacques and Hay exhibited frequently and their winning of prizes in local, provincial, and international competitions further enhanced their reputation. Descriptions of their craftsmanship in exhibition pieces suggest a high degree of skill and taste; furthermore, extant pieces of their furniture, such as those made in 1867 for the splendid collection by James Austin* in his Spadina House in Toronto, testify to qualities of endurance and elegance. In the 1860s mention of their name was a special mark of distinction in lists of household effects being put up for auction.
Jacques’s role in the firm was the supervision of practical day to day production in the shop and warehouse. He did not fail to delegate responsibility, and his retirement from the firm on 26 Dec. 1870 was effected smoothly and speedily. He was financially successful in the years following his retirement, and invested in banks, railways, and mortgages. At his death Jacques left over $250,000, 80 per cent of it invested in mortgages. He had led an active public life, being at one time a member of the York Pioneer Society, the Toronto Mechanics’ Institute, the Canadian Institute, and the St Andrew’s (Presbyterian) Church of Toronto. A supporter of the Reform cause, he never held political office.
Today, a lack of understanding of the true place of machine-assisted production of furniture in the 19th century, the absence of unquestioned provenance, and the current taste for pre-Victorian furniture, have combined to reduce the place of Jacques and Hay in the history of our industrial arts. As craftsmanship is recognized for its intrinsic worth and the depreciation of Victoriana lessens, the contribution of Jacques and Hay will be fully recognized.
Villa Mansi in Segromigno, in the municipality of Capannori, is one of the main examples of 17th-century architecture in Lucca, belonging to the wealthy Mansi family who acquired it in the 17th century from the Cenami family.
Its main façade, which was planned by an architect from Urbino – Muzio Oddi– gives a visual effect of non-static solidity. The building actually looks like a compact block, but the façade is livened up by the fact that the central body is slightly set back from the two side parts.
The airy porticoon the raised floor, the double flight of stairs and the chromatic contrast between the plaster and the architectural and decorative elements contribute to the movement and lightness of the building. The composed motif of the serliana which characterises the portico continues in the highest part, throughout the double columns and central arcade.
Inside, there are paintings and frescoes by Lucca-based painter Stefano Tofanelli, greatly admired by Elisa Baciocchi, princess of Lucca and sister of Napoleon Bonaparte, dating back to the end of the 18th century and featuring mythological themes in the style of the time that depict the stories of the god Apollo.
In the garden, there are fountains and fishponds with statues by the architect Juvarra, whose original 18th-century garden design has been subsequently changed radically. Today, the property’s botanic gardens are home to over 40 types of trees from all over the world.
"Cube Light";by Ai Weiwei (2008; glass crystals, lights, and metal)
"Begun in 2002, Ai's celebrated chandelier series includes large-scale installations composed of thousands of glass crystals. "Cube Light," a seminal piece in this body of work, extends Ai's interest in re-examining Minimalist artistic strategies and, more specifically, in questioning the perceived solidity and exactitude of the iconic cube. The artist's use of glass crystals exemplifies his interest in the manipulation of materials that interrogate conventions of culture, history, politics and tradition. According to Ai, an important inspiration for the series was a scene in Sergei Eisenstein's 1928 film "October", in which the shaking crystal chandelier suggests the instability of a society undergoing profound change."
This fort is quite schizophrenic; the solidity and bulk of the towers is one of its characters, the delicacy and slightness of the balconies is its other side.
Los Angeles, California
Listed 7/23/2013
Reference Number: 13000509
The Boyle Hotel - Cummings Block is significant tmder Criterion A as an important anchor to the early commercial development of Los Angeles in the Boyle Heights neighborhood east of the Los Angeles River. When completed in 1889,6 it reflected expansion and growth outside the commercial core in Los Angeles. Now, as the last remaining commercial building from the early development of Boyle Heights in the 1880s, the building represents the late nineteenth century transition of Los Angeles from a small city surrounded by farmland to a burgeoning city center surrounded by suburban neighborhoods. Pre-twentieth century commercial buildings are extremely rare in the greater Los Angeles metropolitan area and likely number fewer than a dozen. Extant pre-twentieth century hotels are even rarer and probably number fewer than five. The Boyle Hotel - Cummings Block is also significant under Criterion C for its rare and unique architectural design in a Queen A1me style. 8 The building embodies distinctive character defining features, including its highly decorative wall surface, ornamental spiral columns, parapets with patterned surfacing, comer turret, second story double window with an arched pediment, and decorative brickwork. The building commands a prominent position at the crest of a hill overlooking downtown, as well as at an important intersection, and its construction out of brick signifies solidity and durability at this important site.
National Register of Historic Places Homepage
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.
Part of the complete sequence of seven early 14th century windows preserving most of their original glass in the choir clerestorey.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
To the south of the high altar stands the chantry chapel of Edward le Despenser (d.1375) opposite the tomb of his father. Edward's effigy is unique, a kneeling, praying figure with its original colouring set beneath a canopy on the roof of the chapel (best viewed from the opposite side of the sanctuary). Within the chapel has a delicate fan-vaulted ceiling and a well preserved mural of the Trinity.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
The Lafayette Building and former First Presbyterian Church in South Bend are new on Indiana Landmarks' 10 Most Endangered in 2015. Learn more at www.indianalandmarks.org.
Two South Bend landmarks on the 10 Most Endangered list sit next door to one another, across the street from the city’s historic courthouses. The city ordered both structures sealed until multiple code violations are cured.
Last fall, when slate began cascading from the roof of the long-vacant former First Presbyterian, the out-of-state owner replaced the slate with a tar paper roof. This year, finally, installation of a new imitation slate roof began on the vacant, damaged landmark.
Pittsburgh architect J. P. Bailey—creator of courthouses and schools from the Midwest to Maine—designed the 1888 sandstone and limestone church in the Richardsonian Romanesque Revival style. Local industrialists J. M Studebaker and J.D. Oliver, who each covered a third of the cost, favored the style’s expression of solidity and permanence.
The Lafayette Building dates from 1901 and 1903, when it went from three to five stories. The understated Neoclassical exterior gives no hint of the graceful interior, lit by a five-story skylighted atrium. In addition to its deteriorated condition, the property’s delinquent tax bill tops $1 million.
“Indiana Landmarks linked the two sites as a 10 Most Endangered entry because we think each affects the fate of the other, and because we believe the solution may be a redevelopment that unites them,” says Todd Zeiger, director of the organization’s northern office.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
The Former Mail Exchange, completed in 1917, was designed by Commonwealth Home Affairs architect John Smith Murdoch. The seven storey, steel-framed building was constructed in a beaux-arts classical style, with a red brick facade featuring rustication at the corners and a trabeated facade at first to third floor levels. The dominant feature of the facade is the paired giant order fluted columns, with ionic capitals, rising through three storeys. Bronzed steel framed windows fill the bays between the columns, contrasting with the mass and solidity of the masonry. Windows in each corner also rise three storeys from small balconettes with a simple bronzed steel balustrade. An under-road tunnel connects the sub-basement to Platform 2 at Spencer Street Station and was used for the conveyance of mail to trains.