One of the most picturesque state parks in Georgia, Watson Mill Bridge contains the longest covered bridge in the state, spanning 229 feet across the South Fork River. Built in 1885 by Washington (W.W.) King, son of freed slave and famous covered-bridge builder Horace King, the bridge is supported by a town lattice truss system held firmly together with tree nails. At one time, Georgia had more than 200 covered bridges; today, less than 20 remain.

216b 5 - _TAC6389 - ps

Easley Covered Bridge near Oneonta, Alabama is 95 feet long and crosses a tributary of Little Warrior River. It was constructed in 1927 using the Town lattice truss system and was listed on the National Register of Historic Places on August 20, 1981. It was closed in in 2009 after 82 years of continual use, but was restored and reopened to motor vehicle traffic in October of 2012.

Excerpt from en.wikipedia.org/wiki/Dongdaemun_Design_Plaza:

Dongdaemun Design Plaza (DDP) is a major urban development landmark in Seoul, South Korea, designed by Zaha Hadid and Samoo, with a distinctively neo-futuristic design characterized by the "powerful, curving forms of elongated structures." The landmark is the centerpiece of South Korea's fashion hub and popular tourist destination, Dongdaemun, featuring a walkable park on its roofs, large global exhibition spaces, futuristic retail stores, and restored parts of the Seoul fortress.

The DDP has been one of the main reasons for Seoul's designation as the World Design Capital in 2010. Construction started in 2009, and it was officially inaugurated on March 21, 2014. It is physically connected to Seoul Subway via Dongdaemun History & Culture Park Station on Line 2, 4, and 5.

The Dongdaemun Design Plaza (DDP) was designed by British-Iraqi architect Zaha Hadid, winner of the 2004 Pritzker Prize, with the concept of "Metonymic Landscape". Metonymy refers to a method of describing a specific object indirectly, and Hadid integrated historical, cultural, urban, social, and economic aspects of Seoul deduced from this method in order to create a scene of the landscape. Designed as a cultural hub in the historical district of Seoul, South Korea's largest fashion district, the DDP is composed of undulating surfaces that resemble the flow of liquid and allow flexibility in space. The state-of-the-art BIM (Building Information Modeling), mega-truss (extra-large roof truss) system, and space frame system are the key features in terms of creating grand-scale spaces. According to Hadid, the fundamental features of her design were "transparency, porousness, and durability." Many ecological features, including a double-skin facade, solar panels, and a water recycling system, are included in the building.

The construction project for replacing Dongdaemun Stadium with a public park has been discussed in the media since 2000, and the city of Seoul established a basic master plan for alternating the function of Dongdaemun Stadium in 2005. Upon the advice of architects, and in order to secure a high-quality design for the new landmark of Seoul, the city invited architects in February 2007 to participate in a design competition. The city requested that the architects include a design plaza, underground spaces, a history park, and a culture park in the project, according to the guidelines. Zaha Hadid's Metonymic Landscape won the competition.

The exterior envelope of the DDP, a smooth and giant mushroom-like structure floating above ground level, is made of concrete, aluminum, steel, and stone. The interior of the building is finished with plaster reinforced with synthetic fiber, acoustic tiles, acrylic resin, stainless steel, and polished stone in the interior.

Excerpt from en.wikipedia.org/wiki/Dongdaemun_Design_Plaza:

Dongdaemun Design Plaza (DDP) is a major urban development landmark in Seoul, South Korea, designed by Zaha Hadid and Samoo, with a distinctively neo-futuristic design characterized by the "powerful, curving forms of elongated structures." The landmark is the centerpiece of South Korea's fashion hub and popular tourist destination, Dongdaemun, featuring a walkable park on its roofs, large global exhibition spaces, futuristic retail stores, and restored parts of the Seoul fortress.

The DDP has been one of the main reasons for Seoul's designation as the World Design Capital in 2010. Construction started in 2009, and it was officially inaugurated on March 21, 2014. It is physically connected to Seoul Subway via Dongdaemun History & Culture Park Station on Line 2, 4, and 5.

The Dongdaemun Design Plaza (DDP) was designed by British-Iraqi architect Zaha Hadid, winner of the 2004 Pritzker Prize, with the concept of "Metonymic Landscape". Metonymy refers to a method of describing a specific object indirectly, and Hadid integrated historical, cultural, urban, social, and economic aspects of Seoul deduced from this method in order to create a scene of the landscape. Designed as a cultural hub in the historical district of Seoul, South Korea's largest fashion district, the DDP is composed of undulating surfaces that resemble the flow of liquid and allow flexibility in space. The state-of-the-art BIM (Building Information Modeling), mega-truss (extra-large roof truss) system, and space frame system are the key features in terms of creating grand-scale spaces. According to Hadid, the fundamental features of her design were "transparency, porousness, and durability." Many ecological features, including a double-skin facade, solar panels, and a water recycling system, are included in the building.

The construction project for replacing Dongdaemun Stadium with a public park has been discussed in the media since 2000, and the city of Seoul established a basic master plan for alternating the function of Dongdaemun Stadium in 2005. Upon the advice of architects, and in order to secure a high-quality design for the new landmark of Seoul, the city invited architects in February 2007 to participate in a design competition. The city requested that the architects include a design plaza, underground spaces, a history park, and a culture park in the project, according to the guidelines. Zaha Hadid's Metonymic Landscape won the competition.

The exterior envelope of the DDP, a smooth and giant mushroom-like structure floating above ground level, is made of concrete, aluminum, steel, and stone. The interior of the building is finished with plaster reinforced with synthetic fiber, acoustic tiles, acrylic resin, stainless steel, and polished stone in the interior.

The original bridge was built in 1843 by John Russell at a cost of $1,988. It was and is a double Burr Arch truss system. It has been swept away in flooding numerous times, most recently in 1972 after Hurricane Agnes. Waters lifted the original structure off its abutments and carried it downstream. In 1973, following destruction from the hurricane, it was rebuilt at a cost of $321,302. Note: Its length of 180 feet makes it the longest single-span covered bridge of Lancaster County's 28 covered bridges. (Wikipedia)

Pennsylvania is often recognized as the birthplace of covered bridge building. From the 1820s to 1900 there were about 1500 covered bridges built in Pennsylvania. Because many state residents realize the importance of these historic bridges, Pennsylvania has the largest number of covered bridges in the nation. Today, 219 bridges remain in 40 counties (Pennsylvania has a total of 67 counties). Lancaster County has more than any other county.

While covered bridges are sometimes called kissing bridges, the real reason for the covering is to protect the bridge’s truss design from the weather.

Excerpt from en.wikipedia.org/wiki/Dongdaemun_Design_Plaza:

Dongdaemun Design Plaza (DDP) is a major urban development landmark in Seoul, South Korea, designed by Zaha Hadid and Samoo, with a distinctively neo-futuristic design characterized by the "powerful, curving forms of elongated structures." The landmark is the centerpiece of South Korea's fashion hub and popular tourist destination, Dongdaemun, featuring a walkable park on its roofs, large global exhibition spaces, futuristic retail stores, and restored parts of the Seoul fortress.

The DDP has been one of the main reasons for Seoul's designation as the World Design Capital in 2010. Construction started in 2009, and it was officially inaugurated on March 21, 2014. It is physically connected to Seoul Subway via Dongdaemun History & Culture Park Station on Line 2, 4, and 5.

The Dongdaemun Design Plaza (DDP) was designed by British-Iraqi architect Zaha Hadid, winner of the 2004 Pritzker Prize, with the concept of "Metonymic Landscape". Metonymy refers to a method of describing a specific object indirectly, and Hadid integrated historical, cultural, urban, social, and economic aspects of Seoul deduced from this method in order to create a scene of the landscape. Designed as a cultural hub in the historical district of Seoul, South Korea's largest fashion district, the DDP is composed of undulating surfaces that resemble the flow of liquid and allow flexibility in space. The state-of-the-art BIM (Building Information Modeling), mega-truss (extra-large roof truss) system, and space frame system are the key features in terms of creating grand-scale spaces. According to Hadid, the fundamental features of her design were "transparency, porousness, and durability." Many ecological features, including a double-skin facade, solar panels, and a water recycling system, are included in the building.

The construction project for replacing Dongdaemun Stadium with a public park has been discussed in the media since 2000, and the city of Seoul established a basic master plan for alternating the function of Dongdaemun Stadium in 2005. Upon the advice of architects, and in order to secure a high-quality design for the new landmark of Seoul, the city invited architects in February 2007 to participate in a design competition. The city requested that the architects include a design plaza, underground spaces, a history park, and a culture park in the project, according to the guidelines. Zaha Hadid's Metonymic Landscape won the competition.

The exterior envelope of the DDP, a smooth and giant mushroom-like structure floating above ground level, is made of concrete, aluminum, steel, and stone. The interior of the building is finished with plaster reinforced with synthetic fiber, acoustic tiles, acrylic resin, stainless steel, and polished stone in the interior.

The Washington Avenue Bridge (1902), a pin-connected, steel Pennsylvania through-truss, spans the Brazos River north of Downtown Waco, Texas. The bridge is located 200 yards west of the Waco Suspension Bridge (1870; NRHP 1970). Built for two-way access, both traffic lanes on the bridge now run in one direction (southwesterly), carrying vehicular traffic from Elm Avenue to Washington Avenue. Pedestrian traffic continues in both directions. The length of the main span is 450 feet. Two approach spans measure 67 feet on the east side and 40 feet on the west, resulting in a total length of 557 feet. The total width, including roadway and sidewalks, is 41½ feet. At its highest point, the truss is 60 feet above the road surface. The bridge's substructure consists of four piers, 96 inches in diameter, one under each inclined end post. The piers are poured-in-place concrete, with the top 20 feet clad in ⅜-inch rolled steel plate. Each pair of piers is braced and cladded with ⅜-inch steel plates and angles, riveted diagonally between the them. The bracing is placed only at the top 18 feet of each pier. The inclined end posts are attached to the piers with a 6-inch diameter steel pin. On the west side the connection assembly is bolted to the top of the pier. To accommodate expansion and contraction the pinned connection assembly on the east side is allowed to slide on rails that are anchored to the top of the piers.

The Washington Avenue Bridge was the second permanent vehicular structure built across the Brazos River in Waco, Texas. The Waco Suspension Bridge (NR 1970) provided the first permanent crossing one block down river (east) in 1870. The 1902 bridge was, at the time of construction, the longest single-span vehicular truss bridge in Texas. Due to the 450-foot span, a truss system with a bowed top chord had to be used, and the Pennsylvania truss - useful in spanning great distances - was chosen. The Washington Avenue Bridge opened to traffic on June 30, 1902, forming a vital link between two main thoroughfares, Washington Avenue on the west bank and Elm Avenue on the east. The contract was awarded to J.H. Sparks of St. Joseph, Missouri, at a cost of $93,300. The railings and approach spans were constructed by Mess Hill Bros, at a cost of $1,850. John Wharton Maxey of Houston served as supervising engineer. McLennan County and the City of Waco each contributed $50,000 to meet the expenses, resulting in joint ownership of the bridge.

The Washington Avenue Bridge was added to the National Register of Historic Places (NRHP) on February 20, 1998 for its significance in engineering and how it contributed to the rapid economic and demographic growth of Waco on both sides of the river in the early part of the 20th century. All of the information above and much, much more was found on the original documents submitted for listing consideration and can be viewed here:

catalog.archives.gov/id/40973013

Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.

"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/

Excerpt from en.wikipedia.org/wiki/Dongdaemun_Design_Plaza:

Dongdaemun Design Plaza (DDP) is a major urban development landmark in Seoul, South Korea, designed by Zaha Hadid and Samoo, with a distinctively neo-futuristic design characterized by the "powerful, curving forms of elongated structures." The landmark is the centerpiece of South Korea's fashion hub and popular tourist destination, Dongdaemun, featuring a walkable park on its roofs, large global exhibition spaces, futuristic retail stores, and restored parts of the Seoul fortress.

The DDP has been one of the main reasons for Seoul's designation as the World Design Capital in 2010. Construction started in 2009, and it was officially inaugurated on March 21, 2014. It is physically connected to Seoul Subway via Dongdaemun History & Culture Park Station on Line 2, 4, and 5.

The Dongdaemun Design Plaza (DDP) was designed by British-Iraqi architect Zaha Hadid, winner of the 2004 Pritzker Prize, with the concept of "Metonymic Landscape". Metonymy refers to a method of describing a specific object indirectly, and Hadid integrated historical, cultural, urban, social, and economic aspects of Seoul deduced from this method in order to create a scene of the landscape. Designed as a cultural hub in the historical district of Seoul, South Korea's largest fashion district, the DDP is composed of undulating surfaces that resemble the flow of liquid and allow flexibility in space. The state-of-the-art BIM (Building Information Modeling), mega-truss (extra-large roof truss) system, and space frame system are the key features in terms of creating grand-scale spaces. According to Hadid, the fundamental features of her design were "transparency, porousness, and durability." Many ecological features, including a double-skin facade, solar panels, and a water recycling system, are included in the building.

The construction project for replacing Dongdaemun Stadium with a public park has been discussed in the media since 2000, and the city of Seoul established a basic master plan for alternating the function of Dongdaemun Stadium in 2005. Upon the advice of architects, and in order to secure a high-quality design for the new landmark of Seoul, the city invited architects in February 2007 to participate in a design competition. The city requested that the architects include a design plaza, underground spaces, a history park, and a culture park in the project, according to the guidelines. Zaha Hadid's Metonymic Landscape won the competition.

The exterior envelope of the DDP, a smooth and giant mushroom-like structure floating above ground level, is made of concrete, aluminum, steel, and stone. The interior of the building is finished with plaster reinforced with synthetic fiber, acoustic tiles, acrylic resin, stainless steel, and polished stone in the interior.

The Washington Avenue Bridge (1902), a pin-connected, steel Pennsylvania through-truss, spans the Brazos River north of Downtown Waco, Texas. The bridge is located 200 yards west of the Waco Suspension Bridge (1870; NRHP 1970). Built for two-way access, both traffic lanes on the bridge now run in one direction (southwesterly), carrying vehicular traffic from Elm Avenue to Washington Avenue. Pedestrian traffic continues in both directions. The length of the main span is 450 feet. Two approach spans measure 67 feet on the east side and 40 feet on the west, resulting in a total length of 557 feet. The total width, including roadway and sidewalks, is 41½ feet. At its highest point, the truss is 60 feet above the road surface. The bridge's substructure consists of four piers, 96 inches in diameter, one under each inclined end post. The piers are poured-in-place concrete, with the top 20 feet clad in ⅜-inch rolled steel plate. Each pair of piers is braced and cladded with ⅜-inch steel plates and angles, riveted diagonally between the them. The bracing is placed only at the top 18 feet of each pier. The inclined end posts are attached to the piers with a 6-inch diameter steel pin. On the west side the connection assembly is bolted to the top of the pier. To accommodate expansion and contraction the pinned connection assembly on the east side is allowed to slide on rails that are anchored to the top of the piers.

The Washington Avenue Bridge was the second permanent vehicular structure built across the Brazos River in Waco, Texas. The Waco Suspension Bridge (NR 1970) provided the first permanent crossing one block down river (east) in 1870. The 1902 bridge was, at the time of construction, the longest single-span vehicular truss bridge in Texas. Due to the 450-foot span, a truss system with a bowed top chord had to be used, and the Pennsylvania truss - useful in spanning great distances - was chosen. The Washington Avenue Bridge opened to traffic on June 30, 1902, forming a vital link between two main thoroughfares, Washington Avenue on the west bank and Elm Avenue on the east. The contract was awarded to J.H. Sparks of St. Joseph, Missouri, at a cost of $93,300. The railings and approach spans were constructed by Mess Hill Bros, at a cost of $1,850. John Wharton Maxey of Houston served as supervising engineer. McLennan County and the City of Waco each contributed $50,000 to meet the expenses, resulting in joint ownership of the bridge.

The Washington Avenue Bridge was added to the National Register of Historic Places (NRHP) on February 20, 1998 for its significance in engineering and how it contributed to the rapid economic and demographic growth of Waco on both sides of the river in the early part of the 20th century. All of the information above and much, much more was found on the original documents submitted for listing consideration and can be viewed here:

catalog.archives.gov/id/40973013

Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.

"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/

Excerpt from freemanstation.ca:

The Burlington Junction Station…is the only building in the City whose historical and architectural significance has been recognized not only locally, but also provincially, by the Ontario Ministry of Culture, and nationally, by the Historic Sites and Monuments Board of Canada. This is one of the last surviving Grand Trunk Railway stations, following the loss of the Aldershot GTR station. It’s “the Freeman Station,” after the hamlet in which it stood, but officially the railway signed it variously as the “Burlington Junction” or “Burlington West” Station.

Built in 1906 for the Grand Trunk Railway, as a combination passenger and baggage depot, the Burlington West Station (formerly Burlington Junction, known as ‘Freeman Station’) exhibits many stylistic features characteristic of GTR stations constructed in that decade: a high truncated-hipped roof [ed. note: also known as a cast bell hip roof] which flares out over very deep sheltering eaves; timber ‘rafter-tail’ brackets decorate the outer part of these eaves. Also characteristic are the decorative elements of the roof: the tall centre chimney with decorative brick detail; the dormer window on the tracks side, whose five-sided flared roof echoes the main roofline; and the small ‘eyebrow’ opening on the opposite side.

The five-panel doors with high transoms and the many large one-over-one double-hung windows are also characteristic of GTR designs. The walls of the Burlington West Station are a rare combination of granite base (black logan block with white mortar) and upper frame walls. The roof structure is supported by a hammer-beam truss system. The Ministry of Culture and Communication report states that many interior features are intact: wood dado, door and window trim, and the entire baggage room.

Excerpt from en.wikipedia.org/wiki/Dongdaemun_Design_Plaza:

Dongdaemun Design Plaza (DDP) is a major urban development landmark in Seoul, South Korea, designed by Zaha Hadid and Samoo, with a distinctively neo-futuristic design characterized by the "powerful, curving forms of elongated structures." The landmark is the centerpiece of South Korea's fashion hub and popular tourist destination, Dongdaemun, featuring a walkable park on its roofs, large global exhibition spaces, futuristic retail stores, and restored parts of the Seoul fortress.

The DDP has been one of the main reasons for Seoul's designation as the World Design Capital in 2010. Construction started in 2009, and it was officially inaugurated on March 21, 2014. It is physically connected to Seoul Subway via Dongdaemun History & Culture Park Station on Line 2, 4, and 5.

The Dongdaemun Design Plaza (DDP) was designed by British-Iraqi architect Zaha Hadid, winner of the 2004 Pritzker Prize, with the concept of "Metonymic Landscape". Metonymy refers to a method of describing a specific object indirectly, and Hadid integrated historical, cultural, urban, social, and economic aspects of Seoul deduced from this method in order to create a scene of the landscape. Designed as a cultural hub in the historical district of Seoul, South Korea's largest fashion district, the DDP is composed of undulating surfaces that resemble the flow of liquid and allow flexibility in space. The state-of-the-art BIM (Building Information Modeling), mega-truss (extra-large roof truss) system, and space frame system are the key features in terms of creating grand-scale spaces. According to Hadid, the fundamental features of her design were "transparency, porousness, and durability." Many ecological features, including a double-skin facade, solar panels, and a water recycling system, are included in the building.

The construction project for replacing Dongdaemun Stadium with a public park has been discussed in the media since 2000, and the city of Seoul established a basic master plan for alternating the function of Dongdaemun Stadium in 2005. Upon the advice of architects, and in order to secure a high-quality design for the new landmark of Seoul, the city invited architects in February 2007 to participate in a design competition. The city requested that the architects include a design plaza, underground spaces, a history park, and a culture park in the project, according to the guidelines. Zaha Hadid's Metonymic Landscape won the competition.

The exterior envelope of the DDP, a smooth and giant mushroom-like structure floating above ground level, is made of concrete, aluminum, steel, and stone. The interior of the building is finished with plaster reinforced with synthetic fiber, acoustic tiles, acrylic resin, stainless steel, and polished stone in the interior.

One of only two covered bridges still standing in Lawrence County, Pennsylvania, this one spans Slippery Rock Creek in McConnell's Mill State Park. Built in 1874, it employs the Howe truss system of construction and remains in excellent condition today.

Beyond the bridge and to the right, you can see the foundation of the old grist mill after which the park was named. Here's the mill: flic.kr/p/2pZgF8i.

For the spillway, please see: flic.kr/p/2q6SGJb.

One of the most picturesque state parks in Georgia, Watson Mill Bridge contains the longest covered bridge in the state, spanning 229 feet across the South Fork River. Built in 1885 by Washington (W.W.) King, son of freed slave and famous covered-bridge builder Horace King, the bridge is supported by a town lattice truss system held firmly together with tree nails. At one time, Georgia had more than 200 covered bridges; today, less than 20 remain.

© K.Yemenjian Photography, All Rights Reserved

Watson Mill Bridge contains the longest covered bridge in the state of Georgia, spanning 229 feet across the South Fork River. Built in 1885 by Washington (W.W.) King, son of freed slave and famous covered-bridge builder Horace King, the bridge is supported by a town lattice truss system held firmly together with wooden pins. At one time, Georgia had more than 200 covered bridges; today, less than 20 remain.

Excerpt from en.wikipedia.org/wiki/Dongdaemun_Design_Plaza:

Dongdaemun Design Plaza (DDP) is a major urban development landmark in Seoul, South Korea, designed by Zaha Hadid and Samoo, with a distinctively neo-futuristic design characterized by the "powerful, curving forms of elongated structures." The landmark is the centerpiece of South Korea's fashion hub and popular tourist destination, Dongdaemun, featuring a walkable park on its roofs, large global exhibition spaces, futuristic retail stores, and restored parts of the Seoul fortress.

The DDP has been one of the main reasons for Seoul's designation as the World Design Capital in 2010. Construction started in 2009, and it was officially inaugurated on March 21, 2014. It is physically connected to Seoul Subway via Dongdaemun History & Culture Park Station on Line 2, 4, and 5.

The Dongdaemun Design Plaza (DDP) was designed by British-Iraqi architect Zaha Hadid, winner of the 2004 Pritzker Prize, with the concept of "Metonymic Landscape". Metonymy refers to a method of describing a specific object indirectly, and Hadid integrated historical, cultural, urban, social, and economic aspects of Seoul deduced from this method in order to create a scene of the landscape. Designed as a cultural hub in the historical district of Seoul, South Korea's largest fashion district, the DDP is composed of undulating surfaces that resemble the flow of liquid and allow flexibility in space. The state-of-the-art BIM (Building Information Modeling), mega-truss (extra-large roof truss) system, and space frame system are the key features in terms of creating grand-scale spaces. According to Hadid, the fundamental features of her design were "transparency, porousness, and durability." Many ecological features, including a double-skin facade, solar panels, and a water recycling system, are included in the building.

The construction project for replacing Dongdaemun Stadium with a public park has been discussed in the media since 2000, and the city of Seoul established a basic master plan for alternating the function of Dongdaemun Stadium in 2005. Upon the advice of architects, and in order to secure a high-quality design for the new landmark of Seoul, the city invited architects in February 2007 to participate in a design competition. The city requested that the architects include a design plaza, underground spaces, a history park, and a culture park in the project, according to the guidelines. Zaha Hadid's Metonymic Landscape won the competition.

The exterior envelope of the DDP, a smooth and giant mushroom-like structure floating above ground level, is made of concrete, aluminum, steel, and stone. The interior of the building is finished with plaster reinforced with synthetic fiber, acoustic tiles, acrylic resin, stainless steel, and polished stone in the interior.

Excerpt from en.wikipedia.org/wiki/Dongdaemun_Design_Plaza:

Dongdaemun Design Plaza (DDP) is a major urban development landmark in Seoul, South Korea, designed by Zaha Hadid and Samoo, with a distinctively neo-futuristic design characterized by the "powerful, curving forms of elongated structures." The landmark is the centerpiece of South Korea's fashion hub and popular tourist destination, Dongdaemun, featuring a walkable park on its roofs, large global exhibition spaces, futuristic retail stores, and restored parts of the Seoul fortress.

The DDP has been one of the main reasons for Seoul's designation as the World Design Capital in 2010. Construction started in 2009, and it was officially inaugurated on March 21, 2014. It is physically connected to Seoul Subway via Dongdaemun History & Culture Park Station on Line 2, 4, and 5.

The Dongdaemun Design Plaza (DDP) was designed by British-Iraqi architect Zaha Hadid, winner of the 2004 Pritzker Prize, with the concept of "Metonymic Landscape". Metonymy refers to a method of describing a specific object indirectly, and Hadid integrated historical, cultural, urban, social, and economic aspects of Seoul deduced from this method in order to create a scene of the landscape. Designed as a cultural hub in the historical district of Seoul, South Korea's largest fashion district, the DDP is composed of undulating surfaces that resemble the flow of liquid and allow flexibility in space. The state-of-the-art BIM (Building Information Modeling), mega-truss (extra-large roof truss) system, and space frame system are the key features in terms of creating grand-scale spaces. According to Hadid, the fundamental features of her design were "transparency, porousness, and durability." Many ecological features, including a double-skin facade, solar panels, and a water recycling system, are included in the building.

The construction project for replacing Dongdaemun Stadium with a public park has been discussed in the media since 2000, and the city of Seoul established a basic master plan for alternating the function of Dongdaemun Stadium in 2005. Upon the advice of architects, and in order to secure a high-quality design for the new landmark of Seoul, the city invited architects in February 2007 to participate in a design competition. The city requested that the architects include a design plaza, underground spaces, a history park, and a culture park in the project, according to the guidelines. Zaha Hadid's Metonymic Landscape won the competition.

The exterior envelope of the DDP, a smooth and giant mushroom-like structure floating above ground level, is made of concrete, aluminum, steel, and stone. The interior of the building is finished with plaster reinforced with synthetic fiber, acoustic tiles, acrylic resin, stainless steel, and polished stone in the interior.

SEEN IN EXPLORE OCTOBER 12, 2020.

Built in 1871, the Union Covered Bridge spans the Elk Fork of the Salt River on the Paris-to-Fayette road in Monroe County, Missouri. Built by Joseph C. Elliot, it is the only covered bridge left in Missouri representing the Burr-arch truss system. Theodore Burr, who created the Burr-arch design, built so many bridges using that design that he is called by many the father of American bridge building. The other remaining covered bridges in Missouri use the Howe-truss design. The timbers used in the Union Covered Bridge are fashioned from local oak and fastened together largely with treenails or trunnels, with a few bolts and nails added for strength. Hand-riven clapboard siding and wooden shingles enclosed the bridge. The bridge is 120 feet long, 17 1/2 feet wide, and has 12 foot high entrance large enough to admit a wagonload of hay.

In 1968 a partial restoration was completed using materials from the Mexico Covered Bridge which was destroyed the year before by flood waters. In 1970 the Union Covered Bridge was closed after structural timbers were damaged by overweight trucks. A total restoration was completed in 1988. In 2008 the bridge was threatened by severe flooding and siding was removed to allow the stream to flow freely through the understructure of the bridge, thus sparing it the full force of the current.

The bridge was entered on the National Register of Historic Places in 1970. It is no longer used for vehicle traffic, and is now maintained by the state of Missouri as a State Historic Site. It is one of only four remaining covered bridges in the state of Missouri.

© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark S. Schuver.

The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver

Excerpt from en.wikipedia.org/wiki/Dongdaemun_Design_Plaza:

Dongdaemun Design Plaza (DDP) is a major urban development landmark in Seoul, South Korea, designed by Zaha Hadid and Samoo, with a distinctively neo-futuristic design characterized by the "powerful, curving forms of elongated structures." The landmark is the centerpiece of South Korea's fashion hub and popular tourist destination, Dongdaemun, featuring a walkable park on its roofs, large global exhibition spaces, futuristic retail stores, and restored parts of the Seoul fortress.

The DDP has been one of the main reasons for Seoul's designation as the World Design Capital in 2010. Construction started in 2009, and it was officially inaugurated on March 21, 2014. It is physically connected to Seoul Subway via Dongdaemun History & Culture Park Station on Line 2, 4, and 5.

The Dongdaemun Design Plaza (DDP) was designed by British-Iraqi architect Zaha Hadid, winner of the 2004 Pritzker Prize, with the concept of "Metonymic Landscape". Metonymy refers to a method of describing a specific object indirectly, and Hadid integrated historical, cultural, urban, social, and economic aspects of Seoul deduced from this method in order to create a scene of the landscape. Designed as a cultural hub in the historical district of Seoul, South Korea's largest fashion district, the DDP is composed of undulating surfaces that resemble the flow of liquid and allow flexibility in space. The state-of-the-art BIM (Building Information Modeling), mega-truss (extra-large roof truss) system, and space frame system are the key features in terms of creating grand-scale spaces. According to Hadid, the fundamental features of her design were "transparency, porousness, and durability." Many ecological features, including a double-skin facade, solar panels, and a water recycling system, are included in the building.

The construction project for replacing Dongdaemun Stadium with a public park has been discussed in the media since 2000, and the city of Seoul established a basic master plan for alternating the function of Dongdaemun Stadium in 2005. Upon the advice of architects, and in order to secure a high-quality design for the new landmark of Seoul, the city invited architects in February 2007 to participate in a design competition. The city requested that the architects include a design plaza, underground spaces, a history park, and a culture park in the project, according to the guidelines. Zaha Hadid's Metonymic Landscape won the competition.

The exterior envelope of the DDP, a smooth and giant mushroom-like structure floating above ground level, is made of concrete, aluminum, steel, and stone. The interior of the building is finished with plaster reinforced with synthetic fiber, acoustic tiles, acrylic resin, stainless steel, and polished stone in the interior.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

McConnells Mill State Park

McConnell’s Mill Covered Bridge spans Slippery Rock Creek and was built in 1874. The bridge utilizes a rare Howe truss system, making it an interesting bridge to see even if you’ve visited many other covered bridges around the state.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

This picture is the December photo for the National Society for the Preservation of Covered Bridges calendar for 2026. The circumstances involved a round trip to and from Barton, Vermont, to pick up a cello. I elected to exit I-91 as I noticed that there was a fair amount of snow on the ground. I decided to photograph the bridge in that moment. The bridge was once very visible from the interstate and I saw it on my daily commute to St. Johnsbury in the 1990s. The first time I saw the bridge was in 1978 when I had a summer job in the area.

© K.Yemenjian Photography, All Rights Reserved

Watson Mill Bridge contains the longest covered bridge in the state of Georgia, spanning 229 feet across the South Fork River. Built in 1885 by Washington (W.W.) King, son of freed slave and famous covered-bridge builder Horace King, the bridge is supported by a town lattice truss system held firmly together with wooden pins. At one time, Georgia had more than 200 covered bridges; today, less than 20 remain.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

Fryeburg, Maine. Built in 1857 it spans the old channel of the Saco River and is the oldest surviving example of Paddleford Truss system.

The Town Lattice Truss system bridge measures 107’ in length.

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

This shot of the Union Covered Bridge in Missouri was taken about a year ago (June 2014). Construction was completed in 1871 and it spans the Elk fork of the Salt River on the Paris to Fayette Road. This particular bridge is the only surviving covered bridge in Missouri that utilizes the doubled Burr Arch truss system, which is clearly visible in this HDR rendering.

I processed this as an HDR image to bring out the details of the otherwise dark interior. The monochrome/color combination was achieved in Photoshop using layers. The bright foliage was meant to draw the eye in to the scene while differentiating the end of the bridge from its interior.

IMG_57-4_5_6

© Stephen L. Frazier - All of my images are protected by copyright and may not be used on any site, blog, or forum without my permission.

Steve Frazier's main photography website is stevefrazierphotography.com

Contact me at stevefrazierphotography@gmail.com

Watson Mill Bridge contains the longest covered bridge in the state of Georgia, spanning 229 feet across the South Fork River. Built in 1885 by Washington (W.W.) King, son of freed slave and famous covered-bridge builder Horace King, the bridge is supported by a town lattice truss system held firmly together with wooden pins. At one time, Georgia had more than 200 covered bridges; today, less than 20 remain.

© K.Yemenjian Photography, All Rights Reserved

For those who cherish covered bridges, the Schofield Ford Covered Bridge in Newtown, Bucks County, Pennsylvania, offers a compelling story. Originally constructed in 1873, this historic span once graced the sprawling 2,000-acre private Tyler Estate, known as "Indian Council Rock," which later became Tyler State Park. Though tragically destroyed by arsonists in 1991, the bridge rose from its ashes, rebuilt and rededicated in 1997 thanks to community fundraising and dedicated volunteer efforts.

Today, the 166-foot-long Schofield Ford Bridge stands upon its original abutments and piers, crafted from Pennsylvania-grown Hemlock and White Oak, echoing its historic roots. What truly sets it apart, however, is its remarkable combination truss system: a Queen Post truss supporting a Town Truss, making it the only bridge of its kind in Pennsylvania. Adding to its unique character, it's also the only Bucks County covered bridge not painted red or white.

Nikon ZF with Nikkor Z 14-30mm F4.5 lens @ 16mm. F13, ISO 100, 1/25th exposure. Oben tripod with an Arca-Swiss C1 cube 3-way geared head.

On the right is the newly renovated Old Cedar Avenue Bridge for pedestrians and bicyclists. Built in 1920 the 5 camelback arch bridge is on the National Register of Historic Places. At one time it was the longest steel highway bridge with concrete flooring in Minnesota.

In the distance you can see the double arches of the current Cedar Avenue Bridge built in 1979 and carries 155,000 cars per day.

Built in 1871, the Union Covered Bridge spans the Elk Fork of the Salt River on the Paris-to-Fayette road in Monroe County, Missouri. Built by Joseph C. Elliot, it is the only covered bridge left in Missouri representing the Burr-arch truss system. Theodore Burr, who created the Burr-arch design, built so many bridges using that design that he is called by many the father of American bridge building. The other remaining covered bridges in Missouri use the Howe-truss design. The timbers used in the Union Covered Bridge are fashioned from local oak and fastened together largely with treenails or trunnels, with a few bolts and nails added for strength. Hand-riven clapboard siding and wooden shingles enclosed the bridge. The bridge is 120 feet long, 17 1/2 feet wide, and has 12 foot high entrance large enough to admit a wagonload of hay.

In 1968 a partial restoration was completed using materials from the Mexico Covered Bridge which was destroyed the year before by flood waters. In 1970 the Union Covered Bridge was closed after structural timbers were damaged by overweight trucks. A total restoration was completed in 1988. In 2008 the bridge was threatened by severe flooding and siding was removed to allow the stream to flow freely through the understructure of the bridge, thus sparing it the full force of the current.

The bridge was entered on the National Register of Historic Places in 1970. It is no longer used for vehicle traffic, and is now maintained by the state of Missouri as a State Historic Site. It is one of only four remaining covered bridges in the state of Missouri.

© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark S. Schuver.

The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver

Excerpt from historicplaces.ca:

Description of Historic Place:

The John Weir Foote Armoury is situated in the downtown commercial area of Hamilton, Ontario. It is a large building composed of two sections constructed at different times. The North section facing James Street was built in 1888 in the Italianate style. The second, larger south section, which stands 24 metres (80 feet) south of the original building, was completed in 1908. A two-storey extension facing James Street joins the two buildings together and provides a continuous brick façade. A 1936 addition at the back of the North Drill Hall joins to the South Drill Hall, the whole now forming one large complex set around an open courtyard. The buildings are united by the use of red brick with white stone trim. Official recognition refers to the building on its legal lot.

Heritage Value:

John Weir Foote Armoury was designated a national historic site of Canada in 1989 because:

- the north section of this building (1887-1888) is a good representative example from the second evolutionary stage in drill hall construction in Canada (1872-1895);

- the north section exemplifies the replacement of earlier wooden drill sheds with substantial brick structures, which provided increased security for arms storage and underlined the importance of city militia units as the country’s first line of defence; and

- the south section of this building (1908) reflects a subsequent phase of construction and militia reforms, which encouraged the increasing effectiveness of Canada’s expanding military forces.

Designed by Department of Militia Chief Engineer Henry James in the Italianate style and built in 1888, the first section of the armoury, the North Drill Hall, is one of five remaining examples of the first permanent drill halls from the second phase of drill hall construction in Canada between 1872 and 1895. Characteristics of this second phase include styles that vary from the Châteauesque to the Italianate but have a common rational plan. Constructed in solid brick or stone, the drill halls exhibit a conservative approach to the handling of wide spans, as evidenced here in the reinforced timber queen post trusses of the north section. These buildings were increasingly constructed to function as both fully equipped training centres and as recreational clubs. The 1888 armoury underscores the continuous importance of Hamilton as a militia centre, and as a first line of defense.

In 1905 it was decided that Hamilton needed a second drill hall. Exceptionally, the Department of Public Works awarded the contract to the architectural firm of Stewart and Whitton. The second section, the South Drill Hall (1905-1908) is larger than the North section and belongs to the 1896-1918 phase of drill hall construction completed under Frederick Borden as Minister of Militia (1896-1911). It is a “class A” type of drill hall reserved for battalion headquarters and important military centres. This design follows that of the 1880s and 1890s drill halls with all the auxiliary rooms arranged around two sides of a two-storey hall. The halls in these “class A” buildings have a standard width of between 22.8-24.4 metres and vary in length from 45.7 to 71.6 metres. Equipped with drill, classroom, recreational facilities, and modern washrooms, these drill halls set a new standard in the modernization of the militia. A continued conservative approach to the handling of wide spans is evidenced in the reinforced timber queen post roof. The picturesque high Victorian design expressed the role of the building through its architectural vocabulary that includes military references such as corner towers and troop doors. It also satisfied the militia’s sense of its social position and fitted well into Hamilton’s commercial district.

The armoury now serves as headquarters for the 11th Field Battery, Royal Canadian Artillery; the Royal Hamilton Light Infantry; the Argyll and Sutherland Highlanders of Canada (Princess Louise’s); and the 705 Communications Squadron. Originally called the James Street Armoury, the building was renamed the John W. Foote VC Armoury in memory of Honorary Lieutenant-Colonel John Weir Foote VC, CD.

Character-Defining Elements:

The key elements that contribute to the heritage character of this site include:

- the prominent location in downtown Hamilton;

- the setting within the old James Street North commercial district;

- the large two- and three-storey massing set around a central, open courtyard;

- the brick construction on a stone foundation;

- the Italianate style of the North section (1888) with gable-roofed drill hall and corner pavilions with Second Empire-style roofs;

- the symmetrical composition of the façades with polychrome brickwork and motifs including red brick with white stone trim, large round-headed windows, and prominent decorative stringcourses;

- the large, unobstructed interior space of the drill hall with traditional queen post roof truss system;

- the picturesque, high Victorian design of the South section (1905-1908), with its gable-roofed drill hall roof and and military references that include side doors set under flanking stylized bartizans, regularly placed windows, and a large arched troop door set under crenelated battlements;

- exterior stone detailing that includes carved stonework, prominent stringcourses, and contrasting window surrounds, and massive Romanesque Revival-style arches of rough-faced stone;

- the large, unobstructed interior space of the drill hall and the reinforced timber queen post roof truss system.

Built 1992 - The Lattice Covered Bridge is located at the start of the Eramosa River Trail near the Guelph Lawn Bowling Club in central Guelph and serves as a pedestrian and cyclist crossing for the Speed River. It was erected in 1992 with the help of 400 volunteers, all of whom were members of the Timber Framers Guild. The bridge was constructed using building designs from the 1820s and is almost completely unique, being one of two lattice covered bridges in Ontario .... Ithiel Town (1784-1844) was a prominent American architect and civil engineer. Ithiel Town patented his Town Lattice truss design in 1820 and to this day, it is still considered one of the most durable and longest lasting of all covered bridge truss systems. Not to mention the lattice design allows the bridge to have more natural light than any other truss design ....

Union Pacific’s “Rocklin Rocket” slowly rolls along the Valley Subdivision as it approaches the spur for Erickson Framing. Here, the Rocket will pull several empty center beams before continuing south to Roseville.

Erickson Framing produces construction components, including engineered truss systems. These trusses are used in new residential developments. The Union Pacific Railroad provides a critical connection between lumber mills and major framing companies. It is another great example of how Union Pacific is truly “Building America”.

UP 9921 — Rocklin Rocket — Rocklin, California

February 2nd, 2024

jakemiillephotography.com

A composite built from several photos of this well known NYC landmark. I was inspired in the use of squares for my recent composites by a Dutch artist Hendrik van Leeuwen ( www.hendrikvanleeuwen.nl/over-shifting-squares-en-cellula...) Is there a connection here? Brooklyn, originally Breukelen, is named after a town in Holland. HSS

The Brooklyn Bridge, an early example of a steel-wire suspension bridge, uses a hybrid cable-stayed/suspension bridge design, with both horizontal and diagonal suspender cables. Its stone towers are neo-Gothic, with characteristic pointed arches.

To provide sufficient clearance for shipping in the East River, the Brooklyn Bridge incorporates long approach viaducts on either end to raise it from low ground on both shores. Including approaches, the Brooklyn Bridge is a total of 6,016 feet (1,834 m) long when measured between the curbs at Park Row in Manhattan and Sands Street in Brooklyn.[4] A separate measurement of 5,989 feet (1,825 m) is sometimes given; this is the distance from the curb at Centre Street in Manhattan.The main span between the two suspension towers is 1,595.5 feet (486.3 m) long and 85 feet (26 m) wide.The bridge "elongates and contracts between the extremes of temperature from 14 to 16 inches". Navigational clearance is 127 ft (38.7 m) above mean high water (MHW).[9] A 1909 Engineering Magazine article said that, at the center of the span, the height above MHW could fluctuate by more than 9 feet (2.7 m) due to temperature and traffic loads, while more rigid spans had a lower maximum deflection.

The side spans, between each suspension tower and each side's suspension anchorages, are 930 feet (280 m) long. At the time of construction, engineers had not yet discovered the aerodynamics of bridge construction, and bridge designs were not tested in wind tunnels. It was coincidental that the open truss structure supporting the deck is, by its nature, subject to fewer aerodynamic problems. This is because John Roebling designed the Brooklyn Bridge's truss system to be six to eight times as strong as he thought it needed to be. However, due to a supplier's fraudulent substitution of inferior-quality cable in the initial construction, the bridge was reappraised at the time as being only four times as strong as necessary.

The main span and side spans are supported by a structure containing six trusses running parallel to the roadway, each of which is 33 feet (10 m) deep. The trusses allow the Brooklyn Bridge to hold a total load of 18,700 short tons (16,700 long tons), a design consideration from when it originally carried heavier elevated trains. These trusses are held up by suspender ropes, which hang downward from each of the four main cables. Crossbeams run between the trusses at the top, and diagonal and vertical stiffening beams run on the outside and inside of each roadway.

An elevated pedestrian and cycling promenade runs in between the two roadways and 18 feet (5.5 m) above them.[26] It typically runs 4 feet (1.2 m) below the level of the crossbeams,[27] except at the areas surrounding each tower. Here, the promenade rises to just above the level of the crossbeams, connecting to a balcony that slightly overhangs the two roadways. The path is generally 10 to 17 feet (3.0 to 5.2 m) wide.[Wikipedia]

Built in 1871, the Union Covered Bridge spans the Elk Fork of the Salt River on the Paris-to-Fayette road in Monroe County, Missouri. Built by Joseph C. Elliot, it is the only covered bridge left in Missouri representing the Burr-arch truss system. Theodore Burr, who created the Burr-arch design, built so many bridges using that design that he is called by many the father of American bridge building. The other remaining covered bridges in Missouri use the Howe-truss design. The timbers used in the Union Covered Bridge are fashioned from local oak and fastened together largely with treenails or trunnels, with a few bolts and nails added for strength. Hand-riven clapboard siding and wooden shingles enclosed the bridge. The bridge is 120 feet long, 17 1/2 feet wide, and has 12 foot high entrance large enough to admit a wagonload of hay.

In 1968 a partial restoration was completed using materials from the Mexico Covered Bridge which was destroyed the year before by flood waters. In 1970 the Union Covered Bridge was closed after structural timbers were damaged by overweight trucks. A total restoration was completed in 1988. In 2008 the bridge was threatened by severe flooding and siding was removed to allow the stream to flow freely through the understructure of the bridge, thus sparing it the full force of the current.

The bridge was entered on the National Register of Historic Places in 1970. It is no longer used for vehicle traffic, and is now maintained by the state of Missouri as a State Historic Site. It is one of only four remaining covered bridges in the state of Missouri.

© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark S. Schuver.

The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver

Here's one more shot of Watson Mill Covered Bridge, the longest covered bridge in Georgia. The bridge spans 229 feet across the South Fork River. Built in 1885 by Washington (W.W.) King, son of freed slave and famous covered bridge builder Horace King, the bridge is supported by a town lattice truss system held firmly together with wooden pins. Most photos you see of the bridge are taken from the side with the waterfall, but this side is just as impressive, and the golden light provided by the setting sun on Saturday made the scene all the more beautiful.

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Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.

Built 1992 - The Lattice Covered Bridge is located at the start of the Eramosa River Trail near the Guelph Lawn Bowling Club in central Guelph and serves as a pedestrian and cyclist crossing for the Speed River. It was erected in 1992 with the help of 400 volunteers, all of whom were members of the Timber Framers Guild. The bridge was constructed using building designs from the 1820s and is almost completely unique, being one of two lattice covered bridges in Ontario .... Ithiel Town (1784-1844) was a prominent American architect and civil engineer. Ithiel Town patented his Town Lattice truss design in 1820 and to this day, it is still considered one of the most durable and longest lasting of all covered bridge truss systems. Not to mention the lattice design allows the bridge to have more natural light than any other truss design ....

This is a revised image from what I uploaded yesterday (I replaced the previous version which looked too HDR-ish). It is a shot of the entryway of the Union Covered Bridge in Missouri. The bridge, which has been restored, is closed to everything except foot traffic. Construction was completed in 1871 and spans the Elk fork of the Salt River on the Paris to Fayette Road. It is the only surviving example in Missouri of a covered bridge utilizing the doubled Burr Arch truss system.

Our car was parked in the parking lot just to the right of this scene. I left my wife sitting in the car while I hopped out to take some pictures... fortunately, she was somewhat patient with me because I was gone for half an hour (or more)!

The image is HDR (composed of three bracketed shots) and the result is a blend of AuroraHDR and two Lightroom versions of the images using Photoshop. I've noticed recently that I spend a lot more time adjusting curves in Photoshop for contrast and light/shadow definition than I used to do... and I sometimes go back and redo the images even if I have already posted them. Anyone else doing that or is it just me???

IMG_5695_HDR_edit v3

#AuroraHDR

© Stephen L. Frazier - All of my images are protected by copyright and may not be copied, printed, distributed or used on any site, blog, or forum without expressed permission.

Looking for Steve Frazier's main photography website? Visit stevefrazierphotography.com

Contact him at stevefrazierphotography@gmail.com

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13533...:

Description of Historic Place

Notre-Dame Roman Catholic Church / Basilica National Historic Site of Canada is an immense stone church built from 1824 to 1829 in the Romantic Gothic Revival style. It features massive twin towers and a Gothic-arched, recessed portico. The interior is decorated in a later and more elaborate version of the Gothic Revival style. The church faces onto Notre-Dame Street, directly across from Place d’Armes in the heart of Old Montréal. The formal recognition consists of the building on its footprint.

Heritage Value

Notre-Dame Roman Catholic Church / Basilica was designated a national historic site of Canada in 1989 because:

- it showcases the romantic expression of the Gothic revival Style and is the flagship of this style in Canada;

- the use of the Gothic Revival on a building of such importance accurately predicts the prominence that this style would have in Canadian architecture.

Built from 1824 to 1829, Notre-Dame Roman Catholic Church / Basilica was the first significant example of the Gothic Revival style in Canada. In the 1820s the parish of Notre-Dame was led by a group of prominent Montréal merchants and by the Sulpicians, a powerful Roman Catholic religious order that had historically controlled the island of Montréal as its priests and seigneurs. The Sulpicians wanted to build a new parish church that was more impressive than the recently built Roman Catholic and Anglican churches in the city. The Sulpicians called on James O’Donnell, an American Protestant architect to build a church in the latest style, with enough space to accommodate a congregation of more than 8000. The resulting Gothic Revival style church, named Notre-Dame, served all of Montréal. For the next half century it was the largest church in either Canada or the United States. Its early Gothic Revival style, which was applied to a straightforward nave plan with galleries and twin towers, marked the beginning of the style’s significance in Canadian church architecture. It represents a Romantic, non-academic approach to the style, which contrasts with the formal Ecclesiological Gothic Revival of many of Canada’s large Anglican and Roman Catholic cathedrals of the mid- to late-19th century.

The parish used many of Quebec’s most celebrated architects and artisans to help complete the decoration of the church in the 19th and 20th centuries. Architect John Ostell finished the twin towers in 1843, after O’Donnell’s death but according to the original plan. Between 1872 and 1880, O’Donnell’s interior was replaced by a more elaborate Gothic Revival decoration, designed by well-known architect Victor Bourgeau. Bourgeau commissioned French sculptor Henri Bouriché to produce the statues and reliefs for the main altar and the massive reredos along the east side of the chancel. Montréal sculptor Louis-Philippe Hébert added a pulpit between 1883 and 1887 to plans by Bouriché. In 1926, Quebec artist Ozias Leduc decorated vaults, walls, doorways and stained glass windows.

Key elements contributing to the heritage value of the site include:

- the monumental effect of the building, achieved through its large scale, traditional plan, flat façade, and the two massive towers;

- features typical of traditional, classically inspired designs, including the symmetrical facade, a low-pitched roof, and a general rectilinear approach;

- its simple interior organization, consisting of nave and galleries;

- its imposing façade, consisting of a triple arched portico surmounted by a blind arcade and flanked by twin squared towers;

- the Gothic Revival detailing applied to the façade, including niches with statuary, a crenellated parapet, octagonal colonettes finishing the corners of the towers, buttresses, pointed-arch windows, and window tracery;

- its early 19th-century construction technology, including, its complex wooden roof truss system, its painted lath-and-plaster vaulted ceiling, and its Montréal limestone walls;

- its highly decorated, Gothic Revival interior designed by Victor Bourgeau, including, the polychromatic nave, the rose windows, the Gothic tracery, the painted nave illuminated by three octagonal skylights, the ribbed vaulted ceiling, and the mahogany choir stalls;

- Gothic Revival decoration produced by French sculptor Henri Bouriché, including the statues and reliefs of the main altar and the massive reredos along the east side of the choir;

- the pulpit by sculptor Louis-Philippe Hébert;

- the vaulting, walls, doorways and stained-glass windows produced by Ozias Leduc;

- the viewscapes between the church and Place d’Armes.