The bridge consists of 352 individual truss panels that will be pinned and bolted together. Pins (shown above) will connect the individual truss sections transversely and 5,320 bolts will connect the bridge longitudinally.

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924 Douglas Street, Victoria, BC.

Statement of Significance:

Description of Historic Place:

St. Andrew's Presbyterian Church is a landmark red-brick structure, located at the corner of Douglas and Broughton Streets in downtown Victoria. The Church is notable for its prominent corner tower, which is situated at a bend in Broughton Street and terminates the view to the west. The church displays a number of distinctive features, including crow-stepped gables, a variety of projections and towers, corner tourelles, and a picturesque roofline. Three sets of double entry doors are set in round-arched openings. At the rear there is a curved two-storey projecting bay.

Heritage Value:

St. Andrew’s Presbyterian Church is valued as a symbol of Victoria's ecclesiastical history and is representative of the ethnicity of its early immigrants. Victoria’s first Presbyterian church opened in 1862, but in 1866 the new congregation of St. Andrew's was formed with the blessing of the Church of Scotland. Their early ministers were integral in fostering Presbyterianism on Vancouver Island and in the interior of the province. From the earliest days of settlement, Victoria’s population had a high proportion of Scots. As the population of the city grew, so did this congregation, necessitating a larger place of worship. The cornerstone of this new building was laid on March 7, 1889 and the building was dedicated on January 12, 1890. When the United Church of Canada was formed in 1925, this congregation declined to join, and stayed with the Presbyterian Church of Canada, where it remains today.

The prominent site, massive size and lavish construction of this church, the largest in Victoria at the time of its construction, symbolized the importance of Scots in the social structure of the city. St. Andrew’s was associated with many notable members of Victoria’s society. Members of the congregation included pioneer industrialist, coal baron, politician and railway builder Robert Dunsmuir (1825-1889). Dunsmuir died before the church was complete, and his family donated the rose window in the church and the two flanking windows in his honour. All three windows were made by A. Linneman of Frankfurt am Main and shipped over to Victoria. Robert Burns McMicking (1843-1915) incorporated the Victoria Electric Illuminating Company with a group of local investors, which in 1883 introduced the first commercial electric lights in Canada and lit up the streets of Victoria. McMicking had the church provided with electric light, a rarity, as there was only one other church on the continent that was powered with electric light. Premier John Robson (1824-1892) was an elder of the church, and his funeral was held at St. Andrew’s.

St. Andrew's is valued as an important example of Late Victorian ecclesiastical architecture with distinctive Scottish Baronial elements as well as innovative structural engineering. It was designed by architect Leonard Buttress Trimen (1846-1892), who came to Victoria in 1887. He had a prolific, but short career, designing commercial and residential buildings, and the church was his most prominent commission. The style of St. Andrew’s is the Scottish response to the Jacobethan Revival in nineteenth-century England, and was a popular style for Scottish country houses. Drawing on the characteristics of fortified medieval tower houses and castles in Scotland, the style employs such elements as battlements, tourelles, and conical roofs as a declaration of national identity. Polychrome red and black banding demonstrates an awareness of contemporary architectural trends in England. The interior retains its distinctive amphitheatre seating with surrounding balcony, wrought-iron balustrades, and high vaulted ceiling; interior features have remained in notably intact original condition. The organ, in a round-arched surround inscribed with the text 'The Lord is in His Holy Temple – Let All the Earth keep Silence', is on axis with the entrance to the sanctuary. It retains some of the components from the organ that originally stood in the first St. Andrew’s, made by S.R. Warren & Son, Toronto. There are stained glass windows on the side and rear walls, including the large rose window. The church is also a highly sophisticated example of late Victorian-era construction, with massive brick structural walls; reputedly a million bricks were used to build the church. The complex roof truss system displays an early use of metal tension rods, which allowed the sanctuary to be spanned without interior columns.

Source: City of Victoria Planning and Development Department

Character-Defining Elements:

Key elements that define the heritage character of St. Andrew's Presbyterian Church include its:

- location at the corner of Douglas and Broughton Streets in the heart of downtown Victoria

- siting on the property lines with minimal setback

- ecclesiastical form, scale, and massing as expressed by its picturesque, asymmetrical composition, grand entry, corner tower, and varied gabled and conical roof forms

- masonry construction as expressed by its polished red-granite columns at the entrance with carved sandstone bases and capitals; massive red-brick structural walls; courses of blackened brick; and elaborate details such as a variety of rubbed and angled bricks, corbelled arcades, and tall brick chimneys

- Scottish Baronial-style details such as: tourelles, crow-stepped gables and conical roofs; polychrome brickwork; and a variety of round-arched and segmental-arched window and door openings, some with herringbone nogging above

- other exterior features such as three sets of double entry doors set in round-arched openings; wooden doors with iron strap hinges; sheet metal cupola with round dome; sheet metal finials; and metal name and date sign above side entry on Broughton Street

- windows such as: round-arched windows with diamond-leaded coloured glass, fixed stained glass windows; large rose window; double-hung wooden sash windows, some 12-over-12 and some with original stained glass; and bull’s eye windows in the corner tower with diamond-leaded coloured glass

- substantially intact interior with original features such as: amphitheatre seating with curved pews on a raked fir floor; wood-lined segmental-vaulted ceiling; pipe organ; balcony with wrought-iron balustrades; wooden panelling, floors and trim; and staircases with massive newels and lathe-turned balusters

- interior roof structure including heavy timber trusses with iron tension rods

- memorials and dedications, including the Dunsmuir memorial windows, the cornerstone of the first St. Andrew’s Church, and a plaque commemorating Robert Burns McMicking

Canada's Historic Places

Great Hall

Visit England’s last and greatest medieval hall. The Great Hall is also one of Britain's oldest theatres.

Henry VIII’s Great Hall

The room is spanned by a large and sumptuously decorated hammer-beam roof and its walls are hung with Henry VIII’s most splendid tapestries, The Story of Abraham.

William Shakespeare’s company—the “King’s Men’”—performed for King James I over Christmas and New Year in 1603-4.

In the 21st Century the Prime Minister at the time, Tony Blair, chaired an informal meeting of the Heads of State and Government of the European Union in the Great Hall on the October 27, 2005, following in a noble tradition of royal and political entertainment.

Historic Tourists to the Great Hall

“Going up into the left wing of the palace one comes to an enormous hall with an arched roof made from some Irish wood which, so they say, has the natural property of keeping free of cobwebs.”

—Baron Waldstein, tourist (1600)

“Hampton Court is as noble and uniform a pile, and as capacious as any Gothic architecture can have made it …The great hall is a most magnificent room…”

—John Evelyn, diarist (1662)

In the 16th century, Hampton Court was a palace, a hotel, a theater, and a vast entertainment complex. The Great Hall was, by itself, all of these things. It was used, every day, as the staff canteen for the lower ranks of Henry’s court. Up to 600 people ate here in two sittings, twice a day. On special occasions, however, the tapestries rolled out over the walls, candelabra were strung across the ceiling on wires, and the lights from hundreds of candles transformed the hall into a magical setting for a fantastical court masque.

The Great Hall is the largest room in the palace, 32 m (106 feet) long, 12 m (40 feet) wide, and over 18 m (60 feet) high. A vast team of masons, carpenters, bricklayers, and laborers began to build it for Henry VIII in the 1532, and it was finished in 1535, becoming the last medieval Great Hall built for any English monarch. The walls are still hung with the best tapestries in Henry VIII’s vast collection depicting the Story of Abraham—faded through the years but still beautiful. The tapestries under the gallery depict the Story of Hercules and the Triumph of Fate. Most characteristic about this large hall is the large wooden hammer-beam ceiling—the initials of Henry VIII and Anne Boleyn are still a part of the decoration. The ceiling was designed by the King’s Master Carpenter James Nedeham, was painted blue, red, and gold.

The Abraham tapestries which line the walls today were commissioned by Henry himself, and probably first hung here for the visit of a large French Embassy in 1546. This was just one of the magnificent state occasions when all the great rooms of Hampton Court were filled with the “swaggering theater” of court life. The Great Hall played host to dance and drama, with Henry himself earlier in his reign playing a starring role in specially written chivalric inventions, rescuing helpless maidens from dangerous castles.

When Henry VIII reigned, this was the most important room of the entire castle—seen through a courtier’s eyes. This is where the King would dine on a dais overlooking his court—in fact Henry was so impatient with this particular room that he made the masons work at night by candlelight as well as all through the day! Shakespeare performed a play of his in front of James I on New Year’s-day 1603—the same year that Elizabeth I died.

A History of the Great Hall

The center of life for most of the more-ranking members of the court was the Great Hall, where in Tudor times they dined in two shifts in the middle of the day.

The St. Valery family, who owned the Palace land from 1086, had built a chamber block and Great Hall. It remains exists beneath the existing Great Hall. In 1495, a list was made recording that the Great Hall of the house when it belonged to Lord Giles Daubeney contained two fixed tables, two long trestle tables, four benches, a cupboard, and a railing around the central hearth.

A visitor of high rank in Tudor times would expect to pass through the Great Hall into the more exclusive rooms beyond.

In 1532, Henry VIII rebuilt the Great Hall, the first in the sequence of rooms leading towards his private lodgings. It seems that Wolsey himself had begun rebuilding Lord Giles Daubeney’s hall; the oriel window, for example, is almost identical to that constructed by Wolsey’s masons at his Oxford College, Christ Church. It is not quite clear how far Wolsey’s work had advanced, but this oriel window now became part of a dramatically improved Great Hall.

Henry’s designers, Christopher Dickenson and James Nedeham, sat down to work in their tracing houses. The roof of the Great Hall is of hammerbeam construction. This design traditionally allowed carpenters to span halls of a greater width than the longest available timbers. However, timbers twelve meters (forty feet) in length, the width of the hall at Hampton Court, were readily available. The hammerbeam design, echoing the roof of Westminster Hall, was deliberately chosen to symbolize royalty, antiquity, and chivalry. A stone hearth lay in the center of the hall, and smoke was intended to escape through a shuttered louver above it in the medieval fashion. Yet the absence of any sort on the timbers of the louver itself throws doubt upon whether this archaic feature was ever used. The roof was decorated with carved and painted heads, and badges celebrating the King and Queen. The carved screen that remains today was erected across the “lower” or entrance end of the Hall, supporting a gallery for musicians above, while a dais was constructed at the other, “higher” end. Anne Boleyn’s badges and initials appear next to Henry VIII’s beneath the royal coats of arms decorating the Hall’s roof.

In the reign of Queen Elizabeth I, the Great Hall was used as a “masking house” or indoor theater at Christmas and New Year. The painted canvas backdrops included representations of “seven cities, one village, and one country house”.

In the time of James I, a new dais was built in the Great Hall to accommodate the King and Queen and the ambassadors from foreign courts who would be invited to watch the spectacles of the season. One of these was Samuel Daniels’s masque The Vision of the Twelve Goddesses. His stage directions record how the Queen herself took “the part of Pallas, in a blue mantel, with a silver embroidery of all weapons and engines of war, with a helmet-dressing on her head”. She descended by a winding stair from a “paradisical mountain” constructed at the lower end of the hall to perform a dance before the King seated beneath his Cloth of Estate. All the ambassadors and courtiers joined in the dancing, and young Prince Henry was thrown between them “like a tennis ball”. The celebrations in the Great Hall for the New Year in 1604 included performances by the King’s Men, whose resident dramatist was William Shakespeare.

The Great Hall was repaired in 1614.

Some of the wooden stags’ heads mounted with antlers that remain in the Great Hall and Horn Room date from Stuart times. The Palace’s collection of horns, later described by John Evelyn as “vast beams of stags, elks, antelopes etc.” also came to include the fossilized horns of an Irish elk, excavated from a bog in County Clare and presented to Charles II in 1684.

When William III and Mary II started considering rebuilding the palace, one design featured Henry VIII’s Great Hall at the center of a grand Baroque entrance facing North. Double avenues marching south across Bushy Park would have culminated in a vast semicircular courtyard built around the Great Hall.

In 1718, under George I, the Great Hall was converted into a theater (fulfilling the intentions of William III, who had begun to fit it out for the purpose). This work was probably undertaken by gentleman architect Sir John Vanbrugh, who was himself a playwright and theater impresario. Curtains covered the large windows, boxes and seats were installed, and the assembled audience faced west towards the stage erected in front of the screens passage. The canvas scenery was painted by Sir James Thornhill. Sir Richard Steele’s company from Drury Lane performed seven plays before the assembled court, including Hamlet and Henry VIII by Shakespeare, both appropriate to the setting.

On the orders of King George III in 1800, architect James Wyatt removed the theater from the great Hall, revealing the Tudor interior that had not been seen for a century. In this work, Wyatt began the process of making the great Hall even more tutored than it had ever been, by opening a new doorway from the dais into the Great Watching Chamber in an exemplary copy of the arched doorway in the adjacent Horn Room. This replaced a historically inaccurate doorway added in the 18th century. In addition, new flagstones were laid on the floor, and the walls were plastered to look like ancient stonework.

A.C. Pugin’s Specimens of Gothic Architecture (1821-1823) contained the first detailed measured drawings of the Great Hall and its roof.

With a deep romanticism and affection for Gothic styles and picturesque irregularity—and with an equally deep distaste for Sir Christopher Wren and the Baroque—Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, supervised a series of restorations and re-presentations. The most notable was that of the Great Hall itself. Left clear and relatively bare by Wyatt, it was transformed between 1840 and 1846 into a state that Jesse believed Cardinal Wolsey and Henry VIII would have recognized instantly. The great series of Abraham tapestries, one of the glories to have survived Henry VIII’s reign, was returned there from the King’s State Apartments. They hammer beam ceiling was repainted and the windows of both the Great Hall and the Great Watching Chamber were filled with stained glass to the designs of Thomas Willement. Heraldic badges and figures in the glass evoked the genealogy of Henry VIII’s wives, of the King and his family, and of his chancellor, Thomas Wolsey. Willement incorporated the dissent of each of Henry VIII’s wives in the windows on the north and south sides of the Hall, interspersed with the King’s badges. The stained-glass was but one element in the redecoration of the Tudor Hall. Artful arrangements of arms and armor were placed around the walls on specially constructed corbels, and deer antlers (all from the parks) were added for further effect. The impressive displays included St. George slaying the dragon, although there is no evidence that armor had ever been previously hung in the Hall. Some was newly made; the rest was lent by the Tower of London. This arrangement survived until 1925. When Jesse had finished, it was “probably the finest and most brilliantly embellished building in Europe”, in the words of the correspondent of the Gentlemen’s Magazine.

In the late 19th century, many events were held in the Great Hall, including fund-raising evenings of entertainment held by Princess Frederica of Hanover, a descendant of George II.

The Great Hall was the object of the most thorough program of works, after dry rot and beetle infestation were found in the roof in 1922. Decayed timbers were replaced, and a steel truss system was inserted into the hammerbeam roof structure. The painted decoration on the timber was stripped away, as were many of the corbels, armor, and other novelties that Jesse had introduced in 1844.

Thirteen Fragments of Armorial Tapestry Borders

Thirteen fragments of detached borders of tapestries made from 1500 to 1547 from the collections of Henry VIII and Cardinal Wolsey. One is woven with repeating motifs of the royal arms and a crowned portcullis, separated by balusters, against a diapered ground. Others are woven with various armorials, including the arms of the See of York, of Cardinal Wolsey as archbishop of York, and of the two Sees of York and Canterbury. During the late nineteenth-century re-presentation of the Tudor apartments at Hampton Court Palace these borders were hung against the gallery of the Great Hall and around the walls of the Great Watching Chamber. It is not known which tapestries they were originally intended to surround. Tapestries played a fundamental role in the decoration of Henry VIII’s palaces. At his death in 1547 his collection contained over two thousand pieces. These were hung for short periods wherever the court was in residence and were carried about the country as it progressed between palaces. From the late seventeenth century, the disposition of tapestries in the royal palaces became more permanent, but there were none the less periodic rearrangements involving reduction or enlargement, either by detaching the borders or, more drastically, by cutting the pictorial field itself. These borders were probably woven in the Netherlands, but it is also possible that the royal “arras maker” responsible for the upkeep of the royal tapestries had workmen capable of producing tapestry of this quality. Because the royal Tudor arms remained unchanged after the accession of Henry VIII in 1509, the borders may conceivably date from the reign of his father, Henry VII. Catalogue entry from Royal Treasures, A Golden Jubilee Celebration, London 2002.

•Provenance: Probably made for Henry VIII. Recorded in the "Withdrawing Room" in 1659, from 1849 a selection has been hung in the Great Hall.

•People Involved:

oCreator(s): Netherlands (nationality); English (nationality)

oAcquirer(s): Henry VIII, King of England (1491-1547)

oSubject(s): Henry VIII, King of England (1491-1547); House of Tudor

•Physical Properties:

oMedium and Techniques: Woven wool tapestry

wool

tapestry; woven

oMeasurements: 66.0 × 226.0 cm (whole object)

•References:

oAlternative Title(s): Armorial panel

Great Hall

Visit England’s last and greatest medieval hall. The Great Hall is also one of Britain's oldest theatres.

Henry VIII’s Great Hall

The room is spanned by a large and sumptuously decorated hammer-beam roof and its walls are hung with Henry VIII’s most splendid tapestries, The Story of Abraham.

William Shakespeare’s company—the “King’s Men’”—performed for King James I over Christmas and New Year in 1603-4.

In the 21st Century the Prime Minister at the time, Tony Blair, chaired an informal meeting of the Heads of State and Government of the European Union in the Great Hall on the October 27, 2005, following in a noble tradition of royal and political entertainment.

Historic Tourists to the Great Hall

“Going up into the left wing of the palace one comes to an enormous hall with an arched roof made from some Irish wood which, so they say, has the natural property of keeping free of cobwebs.”

—Baron Waldstein, tourist (1600)

“Hampton Court is as noble and uniform a pile, and as capacious as any Gothic architecture can have made it …The great hall is a most magnificent room…”

—John Evelyn, diarist (1662)

In the 16th century, Hampton Court was a palace, a hotel, a theater, and a vast entertainment complex. The Great Hall was, by itself, all of these things. It was used, every day, as the staff canteen for the lower ranks of Henry’s court. Up to 600 people ate here in two sittings, twice a day. On special occasions, however, the tapestries rolled out over the walls, candelabra were strung across the ceiling on wires, and the lights from hundreds of candles transformed the hall into a magical setting for a fantastical court masque.

The Great Hall is the largest room in the palace, 32 m (106 feet) long, 12 m (40 feet) wide, and over 18 m (60 feet) high. A vast team of masons, carpenters, bricklayers, and laborers began to build it for Henry VIII in the 1532, and it was finished in 1535, becoming the last medieval Great Hall built for any English monarch. The walls are still hung with the best tapestries in Henry VIII’s vast collection depicting the Story of Abraham—faded through the years but still beautiful. The tapestries under the gallery depict the Story of Hercules and the Triumph of Fate. Most characteristic about this large hall is the large wooden hammer-beam ceiling—the initials of Henry VIII and Anne Boleyn are still a part of the decoration. The ceiling was designed by the King’s Master Carpenter James Nedeham, was painted blue, red, and gold.

The Abraham tapestries which line the walls today were commissioned by Henry himself, and probably first hung here for the visit of a large French Embassy in 1546. This was just one of the magnificent state occasions when all the great rooms of Hampton Court were filled with the “swaggering theater” of court life. The Great Hall played host to dance and drama, with Henry himself earlier in his reign playing a starring role in specially written chivalric inventions, rescuing helpless maidens from dangerous castles.

When Henry VIII reigned, this was the most important room of the entire castle—seen through a courtier’s eyes. This is where the King would dine on a dais overlooking his court—in fact Henry was so impatient with this particular room that he made the masons work at night by candlelight as well as all through the day! Shakespeare performed a play of his in front of James I on New Year’s-day 1603—the same year that Elizabeth I died.

A History of the Great Hall

The center of life for most of the more-ranking members of the court was the Great Hall, where in Tudor times they dined in two shifts in the middle of the day.

The St. Valery family, who owned the Palace land from 1086, had built a chamber block and Great Hall. It remains exists beneath the existing Great Hall. In 1495, a list was made recording that the Great Hall of the house when it belonged to Lord Giles Daubeney contained two fixed tables, two long trestle tables, four benches, a cupboard, and a railing around the central hearth.

A visitor of high rank in Tudor times would expect to pass through the Great Hall into the more exclusive rooms beyond.

In 1532, Henry VIII rebuilt the Great Hall, the first in the sequence of rooms leading towards his private lodgings. It seems that Wolsey himself had begun rebuilding Lord Giles Daubeney’s hall; the oriel window, for example, is almost identical to that constructed by Wolsey’s masons at his Oxford College, Christ Church. It is not quite clear how far Wolsey’s work had advanced, but this oriel window now became part of a dramatically improved Great Hall.

Henry’s designers, Christopher Dickenson and James Nedeham, sat down to work in their tracing houses. The roof of the Great Hall is of hammerbeam construction. This design traditionally allowed carpenters to span halls of a greater width than the longest available timbers. However, timbers twelve meters (forty feet) in length, the width of the hall at Hampton Court, were readily available. The hammerbeam design, echoing the roof of Westminster Hall, was deliberately chosen to symbolize royalty, antiquity, and chivalry. A stone hearth lay in the center of the hall, and smoke was intended to escape through a shuttered louver above it in the medieval fashion. Yet the absence of any sort on the timbers of the louver itself throws doubt upon whether this archaic feature was ever used. The roof was decorated with carved and painted heads, and badges celebrating the King and Queen. The carved screen that remains today was erected across the “lower” or entrance end of the Hall, supporting a gallery for musicians above, while a dais was constructed at the other, “higher” end. Anne Boleyn’s badges and initials appear next to Henry VIII’s beneath the royal coats of arms decorating the Hall’s roof.

In the reign of Queen Elizabeth I, the Great Hall was used as a “masking house” or indoor theater at Christmas and New Year. The painted canvas backdrops included representations of “seven cities, one village, and one country house”.

In the time of James I, a new dais was built in the Great Hall to accommodate the King and Queen and the ambassadors from foreign courts who would be invited to watch the spectacles of the season. One of these was Samuel Daniels’s masque The Vision of the Twelve Goddesses. His stage directions record how the Queen herself took “the part of Pallas, in a blue mantel, with a silver embroidery of all weapons and engines of war, with a helmet-dressing on her head”. She descended by a winding stair from a “paradisical mountain” constructed at the lower end of the hall to perform a dance before the King seated beneath his Cloth of Estate. All the ambassadors and courtiers joined in the dancing, and young Prince Henry was thrown between them “like a tennis ball”. The celebrations in the Great Hall for the New Year in 1604 included performances by the King’s Men, whose resident dramatist was William Shakespeare.

The Great Hall was repaired in 1614.

Some of the wooden stags’ heads mounted with antlers that remain in the Great Hall and Horn Room date from Stuart times. The Palace’s collection of horns, later described by John Evelyn as “vast beams of stags, elks, antelopes etc.” also came to include the fossilized horns of an Irish elk, excavated from a bog in County Clare and presented to Charles II in 1684.

When William III and Mary II started considering rebuilding the palace, one design featured Henry VIII’s Great Hall at the center of a grand Baroque entrance facing North. Double avenues marching south across Bushy Park would have culminated in a vast semicircular courtyard built around the Great Hall.

In 1718, under George I, the Great Hall was converted into a theater (fulfilling the intentions of William III, who had begun to fit it out for the purpose). This work was probably undertaken by gentleman architect Sir John Vanbrugh, who was himself a playwright and theater impresario. Curtains covered the large windows, boxes and seats were installed, and the assembled audience faced west towards the stage erected in front of the screens passage. The canvas scenery was painted by Sir James Thornhill. Sir Richard Steele’s company from Drury Lane performed seven plays before the assembled court, including Hamlet and Henry VIII by Shakespeare, both appropriate to the setting.

On the orders of King George III in 1800, architect James Wyatt removed the theater from the great Hall, revealing the Tudor interior that had not been seen for a century. In this work, Wyatt began the process of making the great Hall even more tutored than it had ever been, by opening a new doorway from the dais into the Great Watching Chamber in an exemplary copy of the arched doorway in the adjacent Horn Room. This replaced a historically inaccurate doorway added in the 18th century. In addition, new flagstones were laid on the floor, and the walls were plastered to look like ancient stonework.

A.C. Pugin’s Specimens of Gothic Architecture (1821-1823) contained the first detailed measured drawings of the Great Hall and its roof.

With a deep romanticism and affection for Gothic styles and picturesque irregularity—and with an equally deep distaste for Sir Christopher Wren and the Baroque—Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, supervised a series of restorations and re-presentations. The most notable was that of the Great Hall itself. Left clear and relatively bare by Wyatt, it was transformed between 1840 and 1846 into a state that Jesse believed Cardinal Wolsey and Henry VIII would have recognized instantly. The great series of Abraham tapestries, one of the glories to have survived Henry VIII’s reign, was returned there from the King’s State Apartments. They hammer beam ceiling was repainted and the windows of both the Great Hall and the Great Watching Chamber were filled with stained glass to the designs of Thomas Willement. Heraldic badges and figures in the glass evoked the genealogy of Henry VIII’s wives, of the King and his family, and of his chancellor, Thomas Wolsey. Willement incorporated the dissent of each of Henry VIII’s wives in the windows on the north and south sides of the Hall, interspersed with the King’s badges. The stained-glass was but one element in the redecoration of the Tudor Hall. Artful arrangements of arms and armor were placed around the walls on specially constructed corbels, and deer antlers (all from the parks) were added for further effect. The impressive displays included St. George slaying the dragon, although there is no evidence that armor had ever been previously hung in the Hall. Some was newly made; the rest was lent by the Tower of London. This arrangement survived until 1925. When Jesse had finished, it was “probably the finest and most brilliantly embellished building in Europe”, in the words of the correspondent of the Gentlemen’s Magazine.

In the late 19th century, many events were held in the Great Hall, including fund-raising evenings of entertainment held by Princess Frederica of Hanover, a descendant of George II.

The Great Hall was the object of the most thorough program of works, after dry rot and beetle infestation were found in the roof in 1922. Decayed timbers were replaced, and a steel truss system was inserted into the hammerbeam roof structure. The painted decoration on the timber was stripped away, as were many of the corbels, armor, and other novelties that Jesse had introduced in 1844.

#Grand_Opening_Ceremony #Hayat #Familia #Molfix #Papia #PC_Hotel_Lahore

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The Rinard covered bridge is located 1.5 miles north of the Hune covered bridge on County Road 406 (Tice Run) just off Ohio State Route 26 in Washington County. Numbered 35-84-28, the 130 foot span was built in 1875 using the Smith truss system. The bridge was swept off its piers and virtually destroyed during the flooding of September 19, 2004 caused by hurricane Ivan, but was rebuilt and rededicated on October 21, 2006.

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St. Andrew's Presbyterian Church - 1889

924 Douglas Street, Victoria, British Columbia, Canada

2011.08.07

***

Description of Historic Place

St. Andrew's Presbyterian Church is a landmark red-brick structure, located at the corner of Douglas and Broughton Streets in downtown Victoria. The Church is notable for its prominent corner tower, which is situated at a bend in Broughton Street and terminates the view to the west. The church displays a number of distinctive features, including crow-stepped gables, a variety of projections and towers, corner tourelles, and a picturesque roofline. Three sets of double entry doors are set in round-arched openings. At the rear there is a curved two-storey projecting bay.

Heritage Value

St. Andrew’s Presbyterian Church is valued as a symbol of Victoria's ecclesiastical history and is representative of the ethnicity of its early immigrants. Victoria’s first Presbyterian church opened in 1862, but in 1866 the new congregation of St. Andrew's was formed with the blessing of the Church of Scotland. Their early ministers were integral in fostering Presbyterianism on Vancouver Island and in the interior of the province. From the earliest days of settlement, Victoria’s population had a high proportion of Scots. As the population of the city grew, so did this congregation, necessitating a larger place of worship. The cornerstone of this new building was laid on March 7, 1889 and the building was dedicated on January 12, 1890. When the United Church of Canada was formed in 1925, this congregation declined to join, and stayed with the Presbyterian Church of Canada, where it remains today.

The prominent site, massive size and lavish construction of this church, the largest in Victoria at the time of its construction, symbolized the importance of Scots in the social structure of the city. St. Andrew’s was associated with many notable members of Victoria’s society. Members of the congregation included pioneer industrialist, coal baron, politician and railway builder Robert Dunsmuir (1825-1889). Dunsmuir died before the church was complete, and his family donated the rose window in the church and the two flanking windows in his honour. All three windows were made by A. Linneman of Frankfurt am Main and shipped over to Victoria. Robert Burns McMicking (1843-1915) incorporated the Victoria Electric Illuminating Company with a group of local investors, which in 1883 introduced the first commercial electric lights in Canada and lit up the streets of Victoria. McMicking had the church provided with electric light, a rarity, as there was only one other church on the continent that was powered with electric light. Premier John Robson (1824-1892) was an elder of the church, and his funeral was held at St. Andrew’s.

St. Andrew's is valued as an important example of Late Victorian ecclesiastical architecture with distinctive Scottish Baronial elements as well as innovative structural engineering. It was designed by architect Leonard Buttress Trimen (1846-1892), who came to Victoria in 1887. He had a prolific, but short career, designing commercial and residential buildings, and the church was his most prominent commission. The style of St. Andrew’s is the Scottish response to the Jacobethan Revival in nineteenth-century England, and was a popular style for Scottish country houses. Drawing on the characteristics of fortified medieval tower houses and castles in Scotland, the style employs such elements as battlements, tourelles, and conical roofs as a declaration of national identity. Polychrome red and black banding demonstrates an awareness of contemporary architectural trends in England. The interior retains its distinctive amphitheatre seating with surrounding balcony, wrought-iron balustrades, and high vaulted ceiling; interior features have remained in notably intact original condition. The organ, in a round-arched surround inscribed with the text 'The Lord is in His Holy Temple – Let All the Earth keep Silence', is on axis with the entrance to the sanctuary. It retains some of the components from the organ that originally stood in the first St. Andrew’s, made by S.R. Warren & Son, Toronto. There are stained glass windows on the side and rear walls, including the large rose window. The church is also a highly sophisticated example of late Victorian-era construction, with massive brick structural walls; reputedly a million bricks were used to build the church. The complex roof truss system displays an early use of metal tension rods, which allowed the sanctuary to be spanned without interior columns.

Source: City of Victoria Planning and Development Department

Character-Defining Elements

Key elements that define the heritage character of St. Andrew's Presbyterian Church include its:

- location at the corner of Douglas and Broughton Streets in the heart of downtown Victoria

- siting on the property lines with minimal setback

- ecclesiastical form, scale, and massing as expressed by its picturesque, asymmetrical composition, grand entry, corner tower, and varied gabled and conical roof forms

- masonry construction as expressed by its polished red-granite columns at the entrance with carved sandstone bases and capitals; massive red-brick structural walls; courses of blackened brick; and elaborate details such as a variety of rubbed and angled bricks, corbelled arcades, and tall brick chimneys

- Scottish Baronial-style details such as: tourelles, crow-stepped gables and conical roofs; polychrome brickwork; and a variety of round-arched and segmental-arched window and door openings, some with herringbone nogging above

- other exterior features such as three sets of double entry doors set in round-arched openings; wooden doors with iron strap hinges; sheet metal cupola with round dome; sheet metal finials; and metal name and date sign above side entry on Broughton Street

- windows such as: round-arched windows with diamond-leaded coloured glass, fixed stained glass windows; large rose window; double-hung wooden sash windows, some 12-over-12 and some with original stained glass; and bull’s eye windows in the corner tower with diamond-leaded coloured glass

- substantially intact interior with original features such as: amphitheatre seating with curved pews on a raked fir floor; wood-lined segmental-vaulted ceiling; pipe organ; balcony with wrought-iron balustrades; wooden panelling, floors and trim; and staircases with massive newels and lathe-turned balusters

- interior roof structure including heavy timber trusses with iron tension rods

- memorials and dedications, including the Dunsmuir memorial windows, the cornerstone of the first St. Andrew’s Church, and a plaque commemorating Robert Burns McMicking

Source: www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=14788...

The Photograph

A photograph taken in July 2018.

The Transamerica Pyramid

The Transamerica Pyramid Center is situated at the gateway to San Francisco’s Financial District, and comprises a full city block. It is surrounded by hotels, restaurants, galleries, clubs and shops, and the colourful neighbourhoods of Jackson Square, Chinatown and North Beach.

The Transamerica Pyramid Center is home to two office buildings: the Transamerica Pyramid itself, a Class A office building and a symbol of San Francisco; and 505 Sansome, an adjacent Class A office building. Transamerica Pyramid Center is also home to cloistered Redwood Park, which features fountains, towering redwood trees, benches and a community stage.

Construction began on the Transamerica Pyramid in 1969. The first tenants moved in during the summer of 1972.

San Francisco Bay used to come up to Montgomery Street, and ships were anchored only feet from where the Transamerica Pyramid stands today. In fact, neighbouring excavations have revealed the remains of ships where dry land is now. The most famous is the Niantic, which is located just a few feet away from the base of the Pyramid.

For security reasons, the Pyramid is not open to the public.

The Transamerica Pyramid's Architecture

Despite being over 50 years old, at 853 feet high (260 metres), the Transamerica Pyramid remains one of the tallest buildings in San Francisco. By way of comparison, the Shard in London is 1016 feet (310 metres) high.

The 48-floor high-rise building in San Francisco is constructed of concrete, glass and steel — and capped with a decorative aluminium 212-foot spire (64.6 meters) rising above the top floor and the 'crown jewel' of the building, the beacon at the top.

The 48th. Floor serves as a conference room giving unobstructed 360-degree views of the city and San Francisco Bay.

The Transamerica Pyramid has 500,000 square feet (11½ acres) of floor space. Its pyramid shape allows for varied floor sizes ranging from the 6th floor, with 22,226 square feet, to the 48th floor, with just 2,531 square feet.

The 9-foot-deep concrete mat foundation, which was continuously poured over a 24-hour period with 1,750 truckloads of concrete, rests on a steel and concrete block, sunk 52 feet (15.5 metres) into the ground, and is designed to move with earth tremors.

The Pyramid’s base and foundation is constructed of 16,000 cubic yards of concrete, encasing more than 300 miles of steel reinforcing rods.

The building has 3,678 windows. The majority of the windows pivot 360 degrees, which allows them to be cleaned from inside the building.

The two wings which flank the building and rise vertically from the 29th floor, are necessary because elevators cannot run at the angle of the building. The east wing contains two elevator shafts; the west wing houses a stairwell and a smoke tower.

In 2007, the Pyramid installed a 1.1-megawatt combined heat and power system, becoming one of only a handful of high-rise buildings in Northern California capable of generating its own electricity. Two 560 kW natural gas-fired generators provide approximately 70 percent of the Pyramid’s electrical requirements and 100 percent of its heating and hot water.

In addition to being a stylistic statement, the Transamerica Pyramid’s unconventional silhouette is also the result of environmentally sensitive planning. The tapered design casts a smaller shadow and therefore allows more natural light to filter down to the streets below than its conventional high-rise neighbours — important in a city where the sun has to do almost daily battle with the fog.

In designing the building, architects William Pereira & Associates also were adhering to San Francisco’s unique shadow restriction legislation, which imposes a certain ratio between buildings’ surfaces and their heights.

Keeping the Pyramid Clean

All buildings get dirty from airborne pollutants, but the Transamerica Pyramid is prone to collecting dirt due to its shape. The Pyramid’s windows are washed and polished several times per year.

The building’s white quartz exterior undergoes a 'brightening' about every 10 years, involving about 18,000 work hours. This involves replacing more than 50 miles of caulking, applying a chemical wash and then a power wash, and finally a penetrating masonry sealer. This two-year process was most recently completed in 2007.

Earthquake Protection

In a seismically active region, it is important to engineer buildings, especially skyscrapers, to withstand tremors.

San Francisco is very close to the San Andreas and Hayward Faults — in fact, in 1989, the 6.9-magnitude Loma Prieta earthquake struck the Santa Cruz Mountains about 60 miles away. Although the 48-story-high Pyramid shook for more than a minute, during which the top story swayed almost a foot from side to side, the building was undamaged.

This is because of the building’s structural engineering. In addition to its 52-foot-deep steel and concrete foundation, which is designed to move with earthquakes, the Transamerica Pyramid’s exterior is covered with white precast quartz aggregate, interlaced with reinforcing rods at four places on each floor. Clearance between the panels allows lateral movement in the event of an earthquake. In addition, a unique truss system above the first floor supports both vertical and horizontal loading, and interior frames extend up to the 45th floor.

As a result of all these measures, the building resists torsional movement and is engineered to take large horizontal base shear forces.

The Haliade-X

It is a surprising coincidence that the Transamerica Pyramid is exactly the same height as the world's largest wind turbine.

General Electric is currently (2020) building the off-shore Haliade-X 12MW which has the world's largest blades at 107 metres (351 feet) long.

To the tip of the uppermost blade it will be 853 feet tall, with a 220 metre (722 feet) rotor diameter. The surface area of the three blades will be 41,000 square feet (nearly an acre, or 3,809 square metres).

With a rotor radius of 361 feet, the area of the circle containing the blades is 409,415 square feet, or 9.4 acres (3.8 hectares).

One Haliade-X 12-megawatt turbine can generate up to 67 GW of gross annual energy production, providing enough clean energy to power 16,000 European households and save up to 42,000 metric tons of CO2, which is the equivalent of the emissions generated by 9,000 vehicles in one year.

Great Hall

Visit England’s last and greatest medieval hall. The Great Hall is also one of Britain's oldest theatres.

Henry VIII’s Great Hall

The room is spanned by a large and sumptuously decorated hammer-beam roof and its walls are hung with Henry VIII’s most splendid tapestries, The Story of Abraham.

William Shakespeare’s company—the “King’s Men’”—performed for King James I over Christmas and New Year in 1603-4.

In the 21st Century the Prime Minister at the time, Tony Blair, chaired an informal meeting of the Heads of State and Government of the European Union in the Great Hall on the October 27, 2005, following in a noble tradition of royal and political entertainment.

Historic Tourists to the Great Hall

“Going up into the left wing of the palace one comes to an enormous hall with an arched roof made from some Irish wood which, so they say, has the natural property of keeping free of cobwebs.”

—Baron Waldstein, tourist (1600)

“Hampton Court is as noble and uniform a pile, and as capacious as any Gothic architecture can have made it …The great hall is a most magnificent room…”

—John Evelyn, diarist (1662)

In the 16th century, Hampton Court was a palace, a hotel, a theater, and a vast entertainment complex. The Great Hall was, by itself, all of these things. It was used, every day, as the staff canteen for the lower ranks of Henry’s court. Up to 600 people ate here in two sittings, twice a day. On special occasions, however, the tapestries rolled out over the walls, candelabra were strung across the ceiling on wires, and the lights from hundreds of candles transformed the hall into a magical setting for a fantastical court masque.

The Great Hall is the largest room in the palace, 32 m (106 feet) long, 12 m (40 feet) wide, and over 18 m (60 feet) high. A vast team of masons, carpenters, bricklayers, and laborers began to build it for Henry VIII in the 1532, and it was finished in 1535, becoming the last medieval Great Hall built for any English monarch. The walls are still hung with the best tapestries in Henry VIII’s vast collection depicting the Story of Abraham—faded through the years but still beautiful. The tapestries under the gallery depict the Story of Hercules and the Triumph of Fate. Most characteristic about this large hall is the large wooden hammer-beam ceiling—the initials of Henry VIII and Anne Boleyn are still a part of the decoration. The ceiling was designed by the King’s Master Carpenter James Nedeham, was painted blue, red, and gold.

The Abraham tapestries which line the walls today were commissioned by Henry himself, and probably first hung here for the visit of a large French Embassy in 1546. This was just one of the magnificent state occasions when all the great rooms of Hampton Court were filled with the “swaggering theater” of court life. The Great Hall played host to dance and drama, with Henry himself earlier in his reign playing a starring role in specially written chivalric inventions, rescuing helpless maidens from dangerous castles.

When Henry VIII reigned, this was the most important room of the entire castle—seen through a courtier’s eyes. This is where the King would dine on a dais overlooking his court—in fact Henry was so impatient with this particular room that he made the masons work at night by candlelight as well as all through the day! Shakespeare performed a play of his in front of James I on New Year’s-day 1603—the same year that Elizabeth I died.

A History of the Great Hall

The center of life for most of the more-ranking members of the court was the Great Hall, where in Tudor times they dined in two shifts in the middle of the day.

The St. Valery family, who owned the Palace land from 1086, had built a chamber block and Great Hall. It remains exists beneath the existing Great Hall. In 1495, a list was made recording that the Great Hall of the house when it belonged to Lord Giles Daubeney contained two fixed tables, two long trestle tables, four benches, a cupboard, and a railing around the central hearth.

A visitor of high rank in Tudor times would expect to pass through the Great Hall into the more exclusive rooms beyond.

In 1532, Henry VIII rebuilt the Great Hall, the first in the sequence of rooms leading towards his private lodgings. It seems that Wolsey himself had begun rebuilding Lord Giles Daubeney’s hall; the oriel window, for example, is almost identical to that constructed by Wolsey’s masons at his Oxford College, Christ Church. It is not quite clear how far Wolsey’s work had advanced, but this oriel window now became part of a dramatically improved Great Hall.

Henry’s designers, Christopher Dickenson and James Nedeham, sat down to work in their tracing houses. The roof of the Great Hall is of hammerbeam construction. This design traditionally allowed carpenters to span halls of a greater width than the longest available timbers. However, timbers twelve meters (forty feet) in length, the width of the hall at Hampton Court, were readily available. The hammerbeam design, echoing the roof of Westminster Hall, was deliberately chosen to symbolize royalty, antiquity, and chivalry. A stone hearth lay in the center of the hall, and smoke was intended to escape through a shuttered louver above it in the medieval fashion. Yet the absence of any sort on the timbers of the louver itself throws doubt upon whether this archaic feature was ever used. The roof was decorated with carved and painted heads, and badges celebrating the King and Queen. The carved screen that remains today was erected across the “lower” or entrance end of the Hall, supporting a gallery for musicians above, while a dais was constructed at the other, “higher” end. Anne Boleyn’s badges and initials appear next to Henry VIII’s beneath the royal coats of arms decorating the Hall’s roof.

In the reign of Queen Elizabeth I, the Great Hall was used as a “masking house” or indoor theater at Christmas and New Year. The painted canvas backdrops included representations of “seven cities, one village, and one country house”.

In the time of James I, a new dais was built in the Great Hall to accommodate the King and Queen and the ambassadors from foreign courts who would be invited to watch the spectacles of the season. One of these was Samuel Daniels’s masque The Vision of the Twelve Goddesses. His stage directions record how the Queen herself took “the part of Pallas, in a blue mantel, with a silver embroidery of all weapons and engines of war, with a helmet-dressing on her head”. She descended by a winding stair from a “paradisical mountain” constructed at the lower end of the hall to perform a dance before the King seated beneath his Cloth of Estate. All the ambassadors and courtiers joined in the dancing, and young Prince Henry was thrown between them “like a tennis ball”. The celebrations in the Great Hall for the New Year in 1604 included performances by the King’s Men, whose resident dramatist was William Shakespeare.

The Great Hall was repaired in 1614.

Some of the wooden stags’ heads mounted with antlers that remain in the Great Hall and Horn Room date from Stuart times. The Palace’s collection of horns, later described by John Evelyn as “vast beams of stags, elks, antelopes etc.” also came to include the fossilized horns of an Irish elk, excavated from a bog in County Clare and presented to Charles II in 1684.

When William III and Mary II started considering rebuilding the palace, one design featured Henry VIII’s Great Hall at the center of a grand Baroque entrance facing North. Double avenues marching south across Bushy Park would have culminated in a vast semicircular courtyard built around the Great Hall.

In 1718, under George I, the Great Hall was converted into a theater (fulfilling the intentions of William III, who had begun to fit it out for the purpose). This work was probably undertaken by gentleman architect Sir John Vanbrugh, who was himself a playwright and theater impresario. Curtains covered the large windows, boxes and seats were installed, and the assembled audience faced west towards the stage erected in front of the screens passage. The canvas scenery was painted by Sir James Thornhill. Sir Richard Steele’s company from Drury Lane performed seven plays before the assembled court, including Hamlet and Henry VIII by Shakespeare, both appropriate to the setting.

On the orders of King George III in 1800, architect James Wyatt removed the theater from the great Hall, revealing the Tudor interior that had not been seen for a century. In this work, Wyatt began the process of making the great Hall even more tutored than it had ever been, by opening a new doorway from the dais into the Great Watching Chamber in an exemplary copy of the arched doorway in the adjacent Horn Room. This replaced a historically inaccurate doorway added in the 18th century. In addition, new flagstones were laid on the floor, and the walls were plastered to look like ancient stonework.

A.C. Pugin’s Specimens of Gothic Architecture (1821-1823) contained the first detailed measured drawings of the Great Hall and its roof.

With a deep romanticism and affection for Gothic styles and picturesque irregularity—and with an equally deep distaste for Sir Christopher Wren and the Baroque—Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, supervised a series of restorations and re-presentations. The most notable was that of the Great Hall itself. Left clear and relatively bare by Wyatt, it was transformed between 1840 and 1846 into a state that Jesse believed Cardinal Wolsey and Henry VIII would have recognized instantly. The great series of Abraham tapestries, one of the glories to have survived Henry VIII’s reign, was returned there from the King’s State Apartments. They hammer beam ceiling was repainted and the windows of both the Great Hall and the Great Watching Chamber were filled with stained glass to the designs of Thomas Willement. Heraldic badges and figures in the glass evoked the genealogy of Henry VIII’s wives, of the King and his family, and of his chancellor, Thomas Wolsey. Willement incorporated the dissent of each of Henry VIII’s wives in the windows on the north and south sides of the Hall, interspersed with the King’s badges. The stained-glass was but one element in the redecoration of the Tudor Hall. Artful arrangements of arms and armor were placed around the walls on specially constructed corbels, and deer antlers (all from the parks) were added for further effect. The impressive displays included St. George slaying the dragon, although there is no evidence that armor had ever been previously hung in the Hall. Some was newly made; the rest was lent by the Tower of London. This arrangement survived until 1925. When Jesse had finished, it was “probably the finest and most brilliantly embellished building in Europe”, in the words of the correspondent of the Gentlemen’s Magazine.

In the late 19th century, many events were held in the Great Hall, including fund-raising evenings of entertainment held by Princess Frederica of Hanover, a descendant of George II.

The Great Hall was the object of the most thorough program of works, after dry rot and beetle infestation were found in the roof in 1922. Decayed timbers were replaced, and a steel truss system was inserted into the hammerbeam roof structure. The painted decoration on the timber was stripped away, as were many of the corbels, armor, and other novelties that Jesse had introduced in 1844.

About a mile or so upstream from the Chandler Station RR Covered Bridge, it is about half as long.

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The bridge spans 229 feet and is more than a 100 years old. It is a great example of the town lattice truss system which uses wooden pints to hold all the parts together. Georgia once had over 200 covered bridges, but there are only about 20 now.

Also known as the Portland Armory, this building sat neglected for decades, its beautiful brick and basalt exterior hidden under a thick coat of white paint.

Then this no-name part of town became the Pearl District, and the Portland Armory was renovated and became the Gerding Theater, home to the Portland Center Stage theater company.

According to Wikipedia,

The First Regiment Armory Annex, commonly known as the Portland Armory, is a historic building in Portland, Oregon, United States. It was built in 1891 by Multnomah County to house the Oregon National Guard. In 2000, it was added to the National Register of Historic Places. Following a renovation project that lasted from 2002 to 2006, the building now houses Gerding Theater, used primarily by the theatre group Portland Center Stage.

Construction

In the late 19th century, anti-Chinese sentiment, particularly along the West Coast of the United States, had led to anti-Chinese violence in Oregon and Washington. After violence turned to riot in some cases (such as in Seattle), the State of Oregon authorized construction of armories so that National Guard troops could drill, in an effort to prevent or control potential riots.

The First Regiment Armory in Portland was completed in 1888, but was immediately deemed too small, and so an Annex was commissioned to give troops stationed there more space for maneuvers. Amenities included an underground firing range. Constructed in 1891, the annex was built in the Romanesque Revival style that was popular from 1880–1890 and is identified by massive stone cladding and semi-circular arcades. McCaw and Martin featured many Northwest quarry materials in the design.

Uses

Constructed with a truss system with no supporting pillars to block views or impede movement, the building was one of the few Portland buildings in the early 20th century that could handle large crowds. As a result, the building hosted exhibitions of early motion picture machines, conventions, reunions, recitals, concerts, and speeches by presidents Theodore Roosevelt, William Howard Taft, and Woodrow Wilson.

In 1918, the new Municipal Auditorium (now called Keller Auditorium), designed with superior acoustics and comfortable seating, supplanted the Armory for concerts and speeches, though amateur boxing events were still held at the Armory.

In 1928, the Portland fire marshal declared the building to be a fire hazard; nonetheless, the building continued to be used. From 1946 to 1948, the Armory was home to the Portland Indians of the Pacific Coast Professional Basketball League. In 1948, the building was used to take in refugees of the Vanport Flood which destroyed the town of Vanport in 1948.

In 1968, the Blitz-Weinhard Brewing Company purchased the entire complex, demolishing the original Armory for a parking lot and using the Annex as a warehouse.

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One of two remaining historic covered bridges in Carbon County. There is a pulloff to the left as you approach the bridge from town, but be mindful of traffic. It was very dark as a storm was approaching, so my picture of the plaque inside the bridge didn’t come out.

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The Johnson Creek Covered Bridge is located in rural southeastern Robertson County, and is currently closed to vehicular traffic. The bridge is important as the only known example of Robert Smith's truss system in Kentucky and the only covered bridge extant known to have been built by Jacob N. Bower (1819-1906).

The bridge was constructed in 1874. It is now one of less than 20 that remain of what were once four hundred covered bridges in Kentucky. Around 1912, Jacob Bower's son, Louis, added an arch on each side to support increased traffic using the bridge. The bridge is 114 feet long and 16 feet wide, according to Louis Bower, grandson of Jacob Bower and a local covered bridge builder.

It is located on what is now a bypass named Covered Bridge Road, off Kentucky Route 1029 (Old Blue Lick Road), about 6.4 miles southeast of Mount Olivet by road. It crosses Johnson Creek, a tributary to the Licking River.

Information from: en.wikipedia.org/wiki/Johnson_Creek_Covered_Bridge

The flying buttresses look to be in poor shape.

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The original Six Mile Bridge was destroyed in the Civil War, but immediately reconstructed. In 1870, the bridge was reconstructed again with a wrought-iron truss system, and in 1901, it was strengthened once more using a riveted-steel Pratt truss design.

see a summertime view of the bridge here:

www.flickr.com/photos/44509753@N03/4106722861/

"lightBOX" by Gary Lewis and Julia Wong.

The Big Vision

What if the traditional town square was transformed into the idea of the neighborhood squares, where everyday activities can create the new hub for social life. Each square gives a variety of program to the neighborhood and can act as the neighborhood ‘living rooms’ where movies, plays, weddings, farmers markets, art events, festivals, and holiday events can play out. The once underutilized fire alarm service building can be revitalized into a public amenity and at the center a beacon placed over the top of it can act as the focal point for these neighborhood activities. The existing historic fire alarm service building is given a new prominence in the neighborhood; when closed at night it acts as the neighborhood ‘Light box’. Sloping one of the neighborhood squares toward the ‘Light box’ provides accessibility and doubles as seating for movie nights and performances; on the inside, the upper floor is transformed from a coworking and coffee shop into a night lounge.

Program

The variety of programs at the newly designed Winn Park allows it to be active during days, nights, weekends, and holidays. An area dedicated to kids allows them to play in fountains, on the grass, rock climb, slide, and lay in a large netted hammock underneath a tree. Others can play bocce ball, run the track, or have yoga/fitness gatherings on the grass. People in the neighborhood can play with their dogs at the dog park, BBQ for weekend birthday parties, holidays, or picnics, or attend farmers markets and food truck events. Diverse seating arrangements offer a variety of places to eat lunch for the community that works in the area. When formal events, such as marriage ceremonies are not in occurrence, the rose garden near the main entrance of ‘Light Box’ can be enjoyed. During the day, a coworking and coffee bar is active on the second floor of the existing building. On the lower floor, a restaurant serves people to the outside where outdoor dining activates the surrounding areas. At night, a movie or neighborhood performance can occur at ‘Light Box’, and inside, the second floor transforms into a lounge.

HISTORIC CONNECTION

Instead of creating something that would be the main attraction and potentially take away from the historic building, the idea of ‘Light box’ is to create a framework around the building. A new significance is given to the historic building by creating a box in the same proportion as the existing fire alarm building. The large scale of ‘Light box’ gives a new prominence and magnifies the buildings historical presence.

Inside, where the coworking and night lounge are located, (top right rendering on presentation board) the light blue colored room wrapping the existing fire alarm panels is a box inside of a box; a translucent box inside of the historic box, inside of ‘Light box’. The polycarbonate ‘box’ lights up at night, which showcases the fire alarm panels. The light blue translucent material is also used on the exterior stair enclosure and is a contemporary interpretation of the glass block to the art deco building.

Materials & Building Components

Looking at structures that would allow for relatively large spans with affordability in mind, ‘Light box’ is made of aluminum truss system components, similar to what are used at concert venues, wrapped in a translucent fabric, allowing it to glow at night. This makes it affordable and extremely quick to build and engineer. ‘Light box’ is lit up white from the inside at night and the historic building is lit in different colors, enhancing the presence of both in the neighborhood (as seen in the movie night rendering). This also allows for movies to be projected onto the surface at night. During the day when ‘Light box’ is open, a set of large format garage doors wrapped in translucent fabric roll up and act as awnings; making it more affordable than other custom design options. The existing historic building is rehabilitated and painted, restoring its historic character. The translucent box at the coworking and lounge on the second floor and the exterior stair enclosure, as previously discussed, is made from polycarbonate sheets that are backlit during the night resembling the existing glass block.

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AIA Central Valley Emerging Professionals got a chance to tour the historic Albert Winn Park building that once housed an elaborate fire alarm electronic system which connected to up to 550 publicly accessible fire alarm boxes. Built in 1937 and vacant for more than 12 years, the building and park are the subject of an AIACV design competition.

The American Institute of Architects, Central Valley Chapter, in partnership with the Midtown Association and the City of Sacramento, are looking for new ideas to successfully activate Albert Winn Park and the abandoned fire alarm building in its center. Dreyfuss + Blackford will have two teams competing in this unique endeavor.

This Church was built over a mine which sibsuded and the tower remains from the previous church and i now incorporated into the new church.

Image availabe for purchse from www.ballaratheritage.com.au

VHR Statement of Significance

What is significant?

St Paul's Anglican Church is located on Bakery Hill. The church is a red brick Victorian Transitional Decorated and Perpendicular Gothic Revival church constructed in 1864 to a design by Victorian architect Leonard Terry (1825-1884). It incorporates a number of elements from an earlier church on the site, constructed in 1861. These include the large square castellated tower, the Ferguson and Urie triple chancel window and internal timber members. The church comprises a gabled nave and rear gabled chancel and porch, a timber mezzanine gallery, the tower at the rear and a vestry, added in 1892. The extant wrought iron fence with ornate gates and pillars at each end were constructed in 1869. More recent alterations to the church include replacement of the large west window at the front of the church in the 1950s and construction of a new Rectory on south side of the church in 1963. At the rear of the church is a small timber Verger's Cottage, known to have existed on its present site since 1902.

The congregation of St Paul's was formed at Bakery Hill in 1854, three years after the discovery of gold in Ballarat. Following an earlier temporary tent structure, the first brick church was constructed on the site in 1858 when the Parish of St Paul's was established. In 1864 the first church collapsed when the ground of Bakery Hill, weakened by mining tunnels, subsided after rain.

The extant brick church was erected on more stable ground west of the earlier church, with the surviving tower incorporated at the rear. Terry incorporated an ingenious subfloor system at the grid lines of the salvaged columns to enable variation and rectification to support the building, were there to be any further mining subsidence. Tall, round, slender timber columns of the nave support central king post trusses with full width brackets between posts and shallow brackets over the side aisles. The timber columns appear to be reused from the earlier 1861 church along with the Ferguson and Urie windows, the pews in the mezzanine gallery, and bricks salvaged from the collapsed structure. Some original painted stencilling from 1864 survives, albeit in reduced extent, on the chancel arch, timber lining board ceiling of the nave and some timber columns.

The church organ built in 1864 by J. W. Walker of London for the original church was then incorporated into the new church. It was enlarged by Fincham and Hobday in 1892 and rebuilt by Fincham and Sons in 1957. It retains its original case, pipe work and tonal scheme.

The site of St Paul's is on Bakery Hill. Mass meetings at Bakery Hill were held in 1854 where disgruntled miners assembled to voice complaints about mining licenses in the weeks leading up to the Eureka Stockade. Bakery Hill is a large area and the site of St Paul's is not specifically documented as a rallying point for these meetings. However the congregation was active at this site at this time. The ground to the east of the church tower where the 1858 church was located is one of the few parts of Bakery Hill remaining as open space and may have archaeological potential.

The site of St Paul's is the site of the earliest Anglican church services in Ballarat and is associated with the ongoing role of the church in the Ballarat community. The church is of interest for its association with Anglicanism in Ballarat,

How is it significant?

St Paul's Anglican Church is of historical, architectural and aesthetic significance to the State of Victoria.

Why is it significant?

St Paul's Church is historically significant for its association with the early Ballarat goldfields and deep lead mining at Bakery Hill, the form of the existing church, replacing the earlier 1861 church, having been influenced by the presence of the deep lead below the site. The juxtaposition of nave and tower enables interpretation of the history of the site in that the tower of the collapsed 1861 church was incorporated into a new building to the west. The rare sub-floor structure may have been a response to the unstable nature of the site.

St Paul's Church is architecturally significant as an unusual example of a masonry building with an internal timber post and truss system, for its rare heavy timber subfloor structure intended to transfer load away from unstable areas, and for the surviving stencil decoration.

St Paul's Ballarat is of aesthetic significance for the east chancel window by Ferguson and Urie (1862) installed in the first church and reused in the extant church. The window is an early example of their work, in grisaille pattern, likely to have been assembled in Australia from imported glass. The window is signed 'Ferguson and Urie' but possibly created by John Lyon who commenced work with the company in 1861.

Year Construction Started 1855

Architect / Designer Terry, Leonard

Great Hall

Visit England’s last and greatest medieval hall. The Great Hall is also one of Britain's oldest theatres.

Henry VIII’s Great Hall

The room is spanned by a large and sumptuously decorated hammer-beam roof and its walls are hung with Henry VIII’s most splendid tapestries, The Story of Abraham.

William Shakespeare’s company—the “King’s Men’”—performed for King James I over Christmas and New Year in 1603-4.

In the 21st Century the Prime Minister at the time, Tony Blair, chaired an informal meeting of the Heads of State and Government of the European Union in the Great Hall on the October 27, 2005, following in a noble tradition of royal and political entertainment.

Historic Tourists to the Great Hall

“Going up into the left wing of the palace one comes to an enormous hall with an arched roof made from some Irish wood which, so they say, has the natural property of keeping free of cobwebs.”

—Baron Waldstein, tourist (1600)

“Hampton Court is as noble and uniform a pile, and as capacious as any Gothic architecture can have made it …The great hall is a most magnificent room…”

—John Evelyn, diarist (1662)

In the 16th century, Hampton Court was a palace, a hotel, a theater, and a vast entertainment complex. The Great Hall was, by itself, all of these things. It was used, every day, as the staff canteen for the lower ranks of Henry’s court. Up to 600 people ate here in two sittings, twice a day. On special occasions, however, the tapestries rolled out over the walls, candelabra were strung across the ceiling on wires, and the lights from hundreds of candles transformed the hall into a magical setting for a fantastical court masque.

The Great Hall is the largest room in the palace, 32 m (106 feet) long, 12 m (40 feet) wide, and over 18 m (60 feet) high. A vast team of masons, carpenters, bricklayers, and laborers began to build it for Henry VIII in the 1532, and it was finished in 1535, becoming the last medieval Great Hall built for any English monarch. The walls are still hung with the best tapestries in Henry VIII’s vast collection depicting the Story of Abraham—faded through the years but still beautiful. The tapestries under the gallery depict the Story of Hercules and the Triumph of Fate. Most characteristic about this large hall is the large wooden hammer-beam ceiling—the initials of Henry VIII and Anne Boleyn are still a part of the decoration. The ceiling was designed by the King’s Master Carpenter James Nedeham, was painted blue, red, and gold.

The Abraham tapestries which line the walls today were commissioned by Henry himself, and probably first hung here for the visit of a large French Embassy in 1546. This was just one of the magnificent state occasions when all the great rooms of Hampton Court were filled with the “swaggering theater” of court life. The Great Hall played host to dance and drama, with Henry himself earlier in his reign playing a starring role in specially written chivalric inventions, rescuing helpless maidens from dangerous castles.

When Henry VIII reigned, this was the most important room of the entire castle—seen through a courtier’s eyes. This is where the King would dine on a dais overlooking his court—in fact Henry was so impatient with this particular room that he made the masons work at night by candlelight as well as all through the day! Shakespeare performed a play of his in front of James I on New Year’s-day 1603—the same year that Elizabeth I died.

A History of the Great Hall

The center of life for most of the more-ranking members of the court was the Great Hall, where in Tudor times they dined in two shifts in the middle of the day.

The St. Valery family, who owned the Palace land from 1086, had built a chamber block and Great Hall. It remains exists beneath the existing Great Hall. In 1495, a list was made recording that the Great Hall of the house when it belonged to Lord Giles Daubeney contained two fixed tables, two long trestle tables, four benches, a cupboard, and a railing around the central hearth.

A visitor of high rank in Tudor times would expect to pass through the Great Hall into the more exclusive rooms beyond.

In 1532, Henry VIII rebuilt the Great Hall, the first in the sequence of rooms leading towards his private lodgings. It seems that Wolsey himself had begun rebuilding Lord Giles Daubeney’s hall; the oriel window, for example, is almost identical to that constructed by Wolsey’s masons at his Oxford College, Christ Church. It is not quite clear how far Wolsey’s work had advanced, but this oriel window now became part of a dramatically improved Great Hall.

Henry’s designers, Christopher Dickenson and James Nedeham, sat down to work in their tracing houses. The roof of the Great Hall is of hammerbeam construction. This design traditionally allowed carpenters to span halls of a greater width than the longest available timbers. However, timbers twelve meters (forty feet) in length, the width of the hall at Hampton Court, were readily available. The hammerbeam design, echoing the roof of Westminster Hall, was deliberately chosen to symbolize royalty, antiquity, and chivalry. A stone hearth lay in the center of the hall, and smoke was intended to escape through a shuttered louver above it in the medieval fashion. Yet the absence of any sort on the timbers of the louver itself throws doubt upon whether this archaic feature was ever used. The roof was decorated with carved and painted heads, and badges celebrating the King and Queen. The carved screen that remains today was erected across the “lower” or entrance end of the Hall, supporting a gallery for musicians above, while a dais was constructed at the other, “higher” end. Anne Boleyn’s badges and initials appear next to Henry VIII’s beneath the royal coats of arms decorating the Hall’s roof.

In the reign of Queen Elizabeth I, the Great Hall was used as a “masking house” or indoor theater at Christmas and New Year. The painted canvas backdrops included representations of “seven cities, one village, and one country house”.

In the time of James I, a new dais was built in the Great Hall to accommodate the King and Queen and the ambassadors from foreign courts who would be invited to watch the spectacles of the season. One of these was Samuel Daniels’s masque The Vision of the Twelve Goddesses. His stage directions record how the Queen herself took “the part of Pallas, in a blue mantel, with a silver embroidery of all weapons and engines of war, with a helmet-dressing on her head”. She descended by a winding stair from a “paradisical mountain” constructed at the lower end of the hall to perform a dance before the King seated beneath his Cloth of Estate. All the ambassadors and courtiers joined in the dancing, and young Prince Henry was thrown between them “like a tennis ball”. The celebrations in the Great Hall for the New Year in 1604 included performances by the King’s Men, whose resident dramatist was William Shakespeare.

The Great Hall was repaired in 1614.

Some of the wooden stags’ heads mounted with antlers that remain in the Great Hall and Horn Room date from Stuart times. The Palace’s collection of horns, later described by John Evelyn as “vast beams of stags, elks, antelopes etc.” also came to include the fossilized horns of an Irish elk, excavated from a bog in County Clare and presented to Charles II in 1684.

When William III and Mary II started considering rebuilding the palace, one design featured Henry VIII’s Great Hall at the center of a grand Baroque entrance facing North. Double avenues marching south across Bushy Park would have culminated in a vast semicircular courtyard built around the Great Hall.

In 1718, under George I, the Great Hall was converted into a theater (fulfilling the intentions of William III, who had begun to fit it out for the purpose). This work was probably undertaken by gentleman architect Sir John Vanbrugh, who was himself a playwright and theater impresario. Curtains covered the large windows, boxes and seats were installed, and the assembled audience faced west towards the stage erected in front of the screens passage. The canvas scenery was painted by Sir James Thornhill. Sir Richard Steele’s company from Drury Lane performed seven plays before the assembled court, including Hamlet and Henry VIII by Shakespeare, both appropriate to the setting.

On the orders of King George III in 1800, architect James Wyatt removed the theater from the great Hall, revealing the Tudor interior that had not been seen for a century. In this work, Wyatt began the process of making the great Hall even more tutored than it had ever been, by opening a new doorway from the dais into the Great Watching Chamber in an exemplary copy of the arched doorway in the adjacent Horn Room. This replaced a historically inaccurate doorway added in the 18th century. In addition, new flagstones were laid on the floor, and the walls were plastered to look like ancient stonework.

A.C. Pugin’s Specimens of Gothic Architecture (1821-1823) contained the first detailed measured drawings of the Great Hall and its roof.

With a deep romanticism and affection for Gothic styles and picturesque irregularity—and with an equally deep distaste for Sir Christopher Wren and the Baroque—Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, supervised a series of restorations and re-presentations. The most notable was that of the Great Hall itself. Left clear and relatively bare by Wyatt, it was transformed between 1840 and 1846 into a state that Jesse believed Cardinal Wolsey and Henry VIII would have recognized instantly. The great series of Abraham tapestries, one of the glories to have survived Henry VIII’s reign, was returned there from the King’s State Apartments. They hammer beam ceiling was repainted and the windows of both the Great Hall and the Great Watching Chamber were filled with stained glass to the designs of Thomas Willement. Heraldic badges and figures in the glass evoked the genealogy of Henry VIII’s wives, of the King and his family, and of his chancellor, Thomas Wolsey. Willement incorporated the dissent of each of Henry VIII’s wives in the windows on the north and south sides of the Hall, interspersed with the King’s badges. The stained-glass was but one element in the redecoration of the Tudor Hall. Artful arrangements of arms and armor were placed around the walls on specially constructed corbels, and deer antlers (all from the parks) were added for further effect. The impressive displays included St. George slaying the dragon, although there is no evidence that armor had ever been previously hung in the Hall. Some was newly made; the rest was lent by the Tower of London. This arrangement survived until 1925. When Jesse had finished, it was “probably the finest and most brilliantly embellished building in Europe”, in the words of the correspondent of the Gentlemen’s Magazine.

In the late 19th century, many events were held in the Great Hall, including fund-raising evenings of entertainment held by Princess Frederica of Hanover, a descendant of George II.

The Great Hall was the object of the most thorough program of works, after dry rot and beetle infestation were found in the roof in 1922. Decayed timbers were replaced, and a steel truss system was inserted into the hammerbeam roof structure. The painted decoration on the timber was stripped away, as were many of the corbels, armor, and other novelties that Jesse had introduced in 1844.

Great Hall

Visit England’s last and greatest medieval hall. The Great Hall is also one of Britain's oldest theatres.

Henry VIII’s Great Hall

The room is spanned by a large and sumptuously decorated hammer-beam roof and its walls are hung with Henry VIII’s most splendid tapestries, The Story of Abraham.

William Shakespeare’s company—the “King’s Men’”—performed for King James I over Christmas and New Year in 1603-4.

In the 21st Century the Prime Minister at the time, Tony Blair, chaired an informal meeting of the Heads of State and Government of the European Union in the Great Hall on the October 27, 2005, following in a noble tradition of royal and political entertainment.

Historic Tourists to the Great Hall

“Going up into the left wing of the palace one comes to an enormous hall with an arched roof made from some Irish wood which, so they say, has the natural property of keeping free of cobwebs.”

—Baron Waldstein, tourist (1600)

“Hampton Court is as noble and uniform a pile, and as capacious as any Gothic architecture can have made it …The great hall is a most magnificent room…”

—John Evelyn, diarist (1662)

In the 16th century, Hampton Court was a palace, a hotel, a theater, and a vast entertainment complex. The Great Hall was, by itself, all of these things. It was used, every day, as the staff canteen for the lower ranks of Henry’s court. Up to 600 people ate here in two sittings, twice a day. On special occasions, however, the tapestries rolled out over the walls, candelabra were strung across the ceiling on wires, and the lights from hundreds of candles transformed the hall into a magical setting for a fantastical court masque.

The Great Hall is the largest room in the palace, 32 m (106 feet) long, 12 m (40 feet) wide, and over 18 m (60 feet) high. A vast team of masons, carpenters, bricklayers, and laborers began to build it for Henry VIII in the 1532, and it was finished in 1535, becoming the last medieval Great Hall built for any English monarch. The walls are still hung with the best tapestries in Henry VIII’s vast collection depicting the Story of Abraham—faded through the years but still beautiful. The tapestries under the gallery depict the Story of Hercules and the Triumph of Fate. Most characteristic about this large hall is the large wooden hammer-beam ceiling—the initials of Henry VIII and Anne Boleyn are still a part of the decoration. The ceiling was designed by the King’s Master Carpenter James Nedeham, was painted blue, red, and gold.

The Abraham tapestries which line the walls today were commissioned by Henry himself, and probably first hung here for the visit of a large French Embassy in 1546. This was just one of the magnificent state occasions when all the great rooms of Hampton Court were filled with the “swaggering theater” of court life. The Great Hall played host to dance and drama, with Henry himself earlier in his reign playing a starring role in specially written chivalric inventions, rescuing helpless maidens from dangerous castles.

When Henry VIII reigned, this was the most important room of the entire castle—seen through a courtier’s eyes. This is where the King would dine on a dais overlooking his court—in fact Henry was so impatient with this particular room that he made the masons work at night by candlelight as well as all through the day! Shakespeare performed a play of his in front of James I on New Year’s-day 1603—the same year that Elizabeth I died.

A History of the Great Hall

The center of life for most of the more-ranking members of the court was the Great Hall, where in Tudor times they dined in two shifts in the middle of the day.

The St. Valery family, who owned the Palace land from 1086, had built a chamber block and Great Hall. It remains exists beneath the existing Great Hall. In 1495, a list was made recording that the Great Hall of the house when it belonged to Lord Giles Daubeney contained two fixed tables, two long trestle tables, four benches, a cupboard, and a railing around the central hearth.

A visitor of high rank in Tudor times would expect to pass through the Great Hall into the more exclusive rooms beyond.

In 1532, Henry VIII rebuilt the Great Hall, the first in the sequence of rooms leading towards his private lodgings. It seems that Wolsey himself had begun rebuilding Lord Giles Daubeney’s hall; the oriel window, for example, is almost identical to that constructed by Wolsey’s masons at his Oxford College, Christ Church. It is not quite clear how far Wolsey’s work had advanced, but this oriel window now became part of a dramatically improved Great Hall.

Henry’s designers, Christopher Dickenson and James Nedeham, sat down to work in their tracing houses. The roof of the Great Hall is of hammerbeam construction. This design traditionally allowed carpenters to span halls of a greater width than the longest available timbers. However, timbers twelve meters (forty feet) in length, the width of the hall at Hampton Court, were readily available. The hammerbeam design, echoing the roof of Westminster Hall, was deliberately chosen to symbolize royalty, antiquity, and chivalry. A stone hearth lay in the center of the hall, and smoke was intended to escape through a shuttered louver above it in the medieval fashion. Yet the absence of any sort on the timbers of the louver itself throws doubt upon whether this archaic feature was ever used. The roof was decorated with carved and painted heads, and badges celebrating the King and Queen. The carved screen that remains today was erected across the “lower” or entrance end of the Hall, supporting a gallery for musicians above, while a dais was constructed at the other, “higher” end. Anne Boleyn’s badges and initials appear next to Henry VIII’s beneath the royal coats of arms decorating the Hall’s roof.

In the reign of Queen Elizabeth I, the Great Hall was used as a “masking house” or indoor theater at Christmas and New Year. The painted canvas backdrops included representations of “seven cities, one village, and one country house”.

In the time of James I, a new dais was built in the Great Hall to accommodate the King and Queen and the ambassadors from foreign courts who would be invited to watch the spectacles of the season. One of these was Samuel Daniels’s masque The Vision of the Twelve Goddesses. His stage directions record how the Queen herself took “the part of Pallas, in a blue mantel, with a silver embroidery of all weapons and engines of war, with a helmet-dressing on her head”. She descended by a winding stair from a “paradisical mountain” constructed at the lower end of the hall to perform a dance before the King seated beneath his Cloth of Estate. All the ambassadors and courtiers joined in the dancing, and young Prince Henry was thrown between them “like a tennis ball”. The celebrations in the Great Hall for the New Year in 1604 included performances by the King’s Men, whose resident dramatist was William Shakespeare.

The Great Hall was repaired in 1614.

Some of the wooden stags’ heads mounted with antlers that remain in the Great Hall and Horn Room date from Stuart times. The Palace’s collection of horns, later described by John Evelyn as “vast beams of stags, elks, antelopes etc.” also came to include the fossilized horns of an Irish elk, excavated from a bog in County Clare and presented to Charles II in 1684.

When William III and Mary II started considering rebuilding the palace, one design featured Henry VIII’s Great Hall at the center of a grand Baroque entrance facing North. Double avenues marching south across Bushy Park would have culminated in a vast semicircular courtyard built around the Great Hall.

In 1718, under George I, the Great Hall was converted into a theater (fulfilling the intentions of William III, who had begun to fit it out for the purpose). This work was probably undertaken by gentleman architect Sir John Vanbrugh, who was himself a playwright and theater impresario. Curtains covered the large windows, boxes and seats were installed, and the assembled audience faced west towards the stage erected in front of the screens passage. The canvas scenery was painted by Sir James Thornhill. Sir Richard Steele’s company from Drury Lane performed seven plays before the assembled court, including Hamlet and Henry VIII by Shakespeare, both appropriate to the setting.

On the orders of King George III in 1800, architect James Wyatt removed the theater from the great Hall, revealing the Tudor interior that had not been seen for a century. In this work, Wyatt began the process of making the great Hall even more tutored than it had ever been, by opening a new doorway from the dais into the Great Watching Chamber in an exemplary copy of the arched doorway in the adjacent Horn Room. This replaced a historically inaccurate doorway added in the 18th century. In addition, new flagstones were laid on the floor, and the walls were plastered to look like ancient stonework.

A.C. Pugin’s Specimens of Gothic Architecture (1821-1823) contained the first detailed measured drawings of the Great Hall and its roof.

With a deep romanticism and affection for Gothic styles and picturesque irregularity—and with an equally deep distaste for Sir Christopher Wren and the Baroque—Edward Jesse, Itinerant Deputy Surveyor in the Office of Woods, Forests and Land Revenues, supervised a series of restorations and re-presentations. The most notable was that of the Great Hall itself. Left clear and relatively bare by Wyatt, it was transformed between 1840 and 1846 into a state that Jesse believed Cardinal Wolsey and Henry VIII would have recognized instantly. The great series of Abraham tapestries, one of the glories to have survived Henry VIII’s reign, was returned there from the King’s State Apartments. They hammer beam ceiling was repainted and the windows of both the Great Hall and the Great Watching Chamber were filled with stained glass to the designs of Thomas Willement. Heraldic badges and figures in the glass evoked the genealogy of Henry VIII’s wives, of the King and his family, and of his chancellor, Thomas Wolsey. Willement incorporated the dissent of each of Henry VIII’s wives in the windows on the north and south sides of the Hall, interspersed with the King’s badges. The stained-glass was but one element in the redecoration of the Tudor Hall. Artful arrangements of arms and armor were placed around the walls on specially constructed corbels, and deer antlers (all from the parks) were added for further effect. The impressive displays included St. George slaying the dragon, although there is no evidence that armor had ever been previously hung in the Hall. Some was newly made; the rest was lent by the Tower of London. This arrangement survived until 1925. When Jesse had finished, it was “probably the finest and most brilliantly embellished building in Europe”, in the words of the correspondent of the Gentlemen’s Magazine.

In the late 19th century, many events were held in the Great Hall, including fund-raising evenings of entertainment held by Princess Frederica of Hanover, a descendant of George II.

The Great Hall was the object of the most thorough program of works, after dry rot and beetle infestation were found in the roof in 1922. Decayed timbers were replaced, and a steel truss system was inserted into the hammerbeam roof structure. The painted decoration on the timber was stripped away, as were many of the corbels, armor, and other novelties that Jesse had introduced in 1844.

Dated June 12, 1952.

From Wikipedia, the free encyclopedia

Hogback Covered Bridge

Nearest city Winterset, Iowa

Coordinates 41°23′11.3″N 94°2′50.8″WCoordinates: 41°23′11.3″N 94°2′50.8″W

Area less than one acre

Built 1884

Built by Jones, B.

Architectural style Other, covered bridge

NRHP Reference # 76000788[1]

Added to NRHP August 28, 1976

The Hogback Covered Bridge is a historic covered bridge near Winterset, Iowa. It was built in 1884 by Benton Jones[2] over the North River[3] on Douglas Township Road.[4] It is 106 feet (32 m) was designed with a Town lattice truss system. It was built with steel pylons to support the main span.[4] The Hogback Bridge was originally one of 19 covered bridges in Madison County; it is now one of the six remaining. In 1992, the bridge was renovated for the cost of $118,810.[4] It was named after a nearby limestone ridge.[2]

Brooklyn Bridge, NYC. Yes, the Brooklyn Bridge is well photographed...and you've all seen hundreds of pictures of it. It is often referred to as one of the seven wonders of the world. For me, the genius lies in both its iconic vision and the nuts and bolts details.

Best viewed large!

Construction began in 1869. The Brooklyn Bridge was completed fourteen years later and was opened for use on May 24, 1883. On that first day, a total of 1,800 vehicles and 150,300 people crossed. The bridge's main span over the East River is 1,595 feet (486 meters). The bridge cost $18 million to build and approximately 27 people died during its construction. A week after the opening, on May 30, a rumor that the Bridge was going to collapse caused a stampede which crushed twelve people.

At the time it opened, it was the longest suspension bridge in the world — fifty percent longer than any previously built — and has become a treasured landmark. Additionally, for several years the towers were the tallest structures in the Western Hemisphere. Since the 1980s, it has been floodlit at night to display its architectural features. The architecture style is Gothic, with characteristic pointed arches above the passageways through the stone towers.

The bridge was designed by an architectural firm owned by John Augustus Roebling in Trenton, New Jersey. Roebling and his firm had built smaller suspension bridges, such as the John A. Roebling Suspension Bridge in Cincinnati, Ohio and the Waco Suspension Bridge in Waco, Texas, that served as the engineering prototypes for the final design.

As construction was beginning, Roebling's foot was seriously injured in an accident; within a few weeks, he died of tetanus. His son, Washington, succeeded him, but was stricken with caisson disease (decompression sickness), due to working in compressed air in caissons, in 1872. Washington's wife, Emily Warren Roebling, became his aide, learning engineering and communicating his wishes to the on-site assistants. When the bridge opened, she was the first person to cross it. Washington Roebling rarely visited the site again, actually residing in Trenton, New Jersey, and elsewhere during most of its construction; a famous engraving of him most likely started the rumour of his "watching the construction from afar."

At the time the bridge was built, the aerodynamics of bridge building had not been worked out. Bridges were not tested in wind tunnels until the 1950s - well after the collapse of the Tacoma Narrows Bridge in the 1940s. It is therefore fortunate that the open truss structure supporting the deck is by its nature less subject to aerodynamic problems. Roebling designed a bridge and truss system that was six times as strong as he thought it needed to be. Because of this, the Brooklyn Bridge is still standing when many of the bridges built around the same time have vanished into history and have been replaced. This is also in spite of the nefarious substitution of inferior quality wire in the cabling supplied by the contractor J. Lloyd Haigh - by the time it was discovered, it was too late to replace the cabling that had already been constructed. Roebling determined that the poorer wire would leave the bridge four rather than six times as strong as necessary, so it was eventually allowed to stand.

At various times, the bridge has carried horses and trolley traffic; at present, it has six lanes for motor vehicles, with a separate walkway along the centerline for pedestrians and bicycles. The two inside traffic lanes once carried elevated trains of the BMT from Brooklyn points to a terminal at Park Row. Streetcars ran on what are now the two center lanes (shared with other traffic) until the elevated lines stopped using the bridge in 1944, when they moved to the protected center tracks. In 1950, the streetcars also stopped running, and the bridge was rebuilt to carry six lanes of automobile traffic.

(From Wikipedia)

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The Photograph

A photograph taken in July 2018.

The Transamerica Pyramid

The Transamerica Pyramid Center is situated at the gateway to San Francisco’s Financial District and comprises a full city block. It is surrounded by hotels, restaurants, galleries, clubs and shops, and the colourful neighbourhoods of Jackson Square, Chinatown and North Beach.

The Transamerica Pyramid Center is home to two office buildings: the Transamerica Pyramid itself, a Class A office building and a symbol of San Francisco; and 505 Sansome, an adjacent Class A office building. Transamerica Pyramid Center is also home to cloistered Redwood Park, which features fountains, towering redwood trees, benches and a community stage.

Construction began on the Transamerica Pyramid in 1969. The first tenants moved in during the summer of 1972.

San Francisco Bay used to come up to Montgomery Street, and ships were anchored only feet from where the Transamerica Pyramid stands today. In fact, neighbouring excavations have revealed the remains of ships where dry land is now. The most famous is the Niantic, which is located just a few feet away from the base of the Pyramid.

For security reasons, the Pyramid is not open to the public.

The Transamerica Pyramid's Architecture

Despite being over 50 years old, at 853 feet high (260 metres), the Transamerica Pyramid remains one of the tallest buildings in San Francisco. By way of comparison, the Shard in London is 1016 feet (310 metres) high.

The 48-floor high-rise building in San Francisco is constructed of concrete, glass and steel — and capped with a decorative aluminium 212-foot spire (64.6 meters) rising above the top floor and the 'crown jewel' of the building, the beacon at the top.

The 48th. Floor serves as a conference room giving unobstructed 360-degree views of the city and San Francisco Bay.

The Transamerica Pyramid has 500,000 square feet (11½ acres) of floor space. Its pyramid shape allows for varied floor sizes ranging from the 6th floor, with 22,226 square feet, to the 48th floor, with just 2,531 square feet.

The 9-foot-deep concrete mat foundation, which was continuously poured over a 24-hour period with 1,750 truckloads of concrete, rests on a steel and concrete block, sunk 52 feet (15.5 metres) into the ground, and is designed to move with earth tremors.

The Pyramid’s base and foundation is constructed of 16,000 cubic yards of concrete, encasing more than 300 miles of steel reinforcing rods.

The building has 3,678 windows. The majority of the windows pivot 360 degrees, which allows them to be cleaned from inside the building.

The two wings which flank the building and rise vertically from the 29th floor, are necessary because elevators cannot run at the angle of the building. The east wing contains two elevator shafts; the west wing houses a stairwell and a smoke tower.

In 2007, the Pyramid installed a 1.1-megawatt combined heat and power system, becoming one of only a handful of high-rise buildings in Northern California capable of generating its own electricity. Two 560 kW natural gas-fired generators provide approximately 70 percent of the Pyramid’s electrical requirements and 100 percent of its heating and hot water.

In addition to being a stylistic statement, the Transamerica Pyramid’s unconventional silhouette is also the result of environmentally sensitive planning. The tapered design casts a smaller shadow and therefore allows more natural light to filter down to the streets below than its conventional high-rise neighbours — important in a city where the sun has to do almost daily battle with the fog.

In designing the building, architects William Pereira & Associates also were adhering to San Francisco’s unique shadow restriction legislation, which imposes a certain ratio between buildings’ surfaces and their heights.

Keeping the Pyramid Clean

All buildings get dirty from airborne pollutants, but the Transamerica Pyramid is prone to collecting dirt due to its shape. The Pyramid’s windows are washed and polished several times per year.

The building’s white quartz exterior undergoes a 'brightening' about every 10 years, involving about 18,000 work hours. This involves replacing more than 50 miles of caulking, applying a chemical wash and then a power wash, and finally a penetrating masonry sealer. This two-year process was most recently completed in 2007.

Earthquake Protection

In a seismically active region, it is important to engineer buildings, especially skyscrapers, to withstand tremors.

San Francisco is very close to the San Andreas and Hayward Faults — in fact, in 1989, the 6.9-magnitude Loma Prieta earthquake struck the Santa Cruz Mountains about 60 miles away. Although the 48-story-high Pyramid shook for more than a minute, during which the top story swayed almost a foot from side to side, the building was undamaged.

This is because of the building’s structural engineering. In addition to its 52-foot-deep steel and concrete foundation, which is designed to move with earthquakes, the Transamerica Pyramid’s exterior is covered with white precast quartz aggregate, interlaced with reinforcing rods at four places on each floor. Clearance between the panels allows lateral movement in the event of an earthquake. In addition, a unique truss system above the first floor supports both vertical and horizontal loading, and interior frames extend up to the 45th floor.

As a result of all these measures, the building resists torsional movement and is engineered to take large horizontal base shear forces.

The Haliade-X

It is a surprising coincidence that the Transamerica Pyramid is exactly the same height as the world's largest wind turbine.

General Electric is currently (2020) building the off-shore Haliade-X 12MW which has the world's largest blades at 107 metres (351 feet) long.

To the tip of the uppermost blade it will be 853 feet tall, with a 220 metre (722 feet) rotor diameter. The surface area of the three blades will be 41,000 square feet (nearly an acre, or 3,809 square metres).

With a rotor radius of 361 feet, the area of the circle containing the blades is 409,415 square feet, or 9.4 acres (3.8 hectares).

One Haliade-X 12-megawatt turbine can generate up to 67 GW of gross annual energy production, providing enough clean energy to power 16,000 European households and save up to 42,000 metric tons of CO2, which is the equivalent of the emissions generated by 9,000 vehicles in one year.

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Jay Heritage Center Awarded $391,056 in Superstorm Sandy Funding to Repair and Restore Historic 1917 Tennis House

RYE, NY -- On Tuesday, August 4th, the Jay Heritage Center was awarded $391,056 in Superstorm Sandy funding to repair significant roof and infrastructure damage to the 1917 Palmer Tennis House. The structure located at the Jay Estate in Rye is the 3rd oldest remaining indoor tennis house in the country. The grant will allow the Jay Heritage Center to save the original wood truss system and copper trimmed skylights as well as stabilize the stone foundation and clapboard siding. Improvements will facilitate historic usage and interpretation.

Congressman Eliot Engel who wrote a letter of support for the project explained: “Superstorm Sandy took a heavy toll on areas of the Long Island Sound, particularly Rye, which is still recovering from the damage almost three years later. The roof of the Palmer Tennis House at the historic Jay Heritage Center endured significant damage in the storm, and as a result was in desperate need of repairs. Now, thanks to Governor Cuomo’s allocation of $391,056 in grant money to the Center, the roof can be stabilized and restored, and this historic property can once again be enjoyed by everyone in the Rye community and beyond.”

JHC was one of 16 historic organizations awarded a share of more than $6 million in aid to restore NY heritage sites devastated by the hurricane in 2012. Other sites awarded grants include Fraunces Tavern, Old Westbury Gardens and Green-Wood Cemetery.

Once preserved and rehabilitated, the 1917 Palmer Indoor Tennis House has the potential to be a resonant venue for young individuals to learn the sport of tennisand its life lessons of sportsmanship in a rare historic setting. With this grant as a keystone, JHC hopes that private donors and corporations who are passionate about preservation and their community will step forward and help complete the project.

Assemblyman Steve Otis, who worked to preserve this building when he was mayor of Rye, stated: “The Palmer Tennis House is of great architectural and historical importance and its restoration offers valuable opportunities for public use and enjoyment. Many thanks go to Governor Cuomo and OPRHP for their support of these repairs and storm recovery projects throughout the state."

The project has also received a ringing endorsement from the USTA which has offices in nearby White Plains. Executive Director Gordon Smith wrote: "The USTA believes in celebrating inclusion and promoting the idea that tennis should be available to everyone to play and compete equally and fairly. We are committed to diversity which is a pillar principle behind our signature tournament, the US Open. By restoring the Palmer Tennis House, this will open such doors."

The full list of awardees and grant announcement can be found here:

www.governor.ny.gov/news/governor-cuomo-announces-62-mill...

The Jay Heritage Center is the non-profit steward of the Jay Estate grounds and buildings under a public-private partnership agreement with NY State Parks and Westchester County Parks.

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Jay Heritage Center

210 Boston Post Road

Rye, NY 10580

(914) 698-9275

Email: jayheritagecenter@gmail.com

www.jayheritagecenter.org

Follow and like us on:

Twitter @jayheritage

Facebook www.facebook.com/jayheritagecenter

Pinterest www.pinterest.com/jaycenter

YouTube www.youtube.com/channel/UChWImnsJrBAi2Xzjn8vR54w

www.jayheritagecenter.org

www.instagram.com/jayheritagecenter/

A National Historic Landmark since 1993

Member of the African American Heritage Trail of Westchester County since 2004

Member of the Hudson River Valley National Heritage Area since 2009

On NY State's Path Through History (2013)

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"lightBOX" by Gary Lewis and Julia Wong.

The Big Vision

What if the traditional town square was transformed into the idea of the neighborhood squares, where everyday activities can create the new hub for social life. Each square gives a variety of program to the neighborhood and can act as the neighborhood ‘living rooms’ where movies, plays, weddings, farmers markets, art events, festivals, and holiday events can play out. The once underutilized fire alarm service building can be revitalized into a public amenity and at the center a beacon placed over the top of it can act as the focal point for these neighborhood activities. The existing historic fire alarm service building is given a new prominence in the neighborhood; when closed at night it acts as the neighborhood ‘Light box’. Sloping one of the neighborhood squares toward the ‘Light box’ provides accessibility and doubles as seating for movie nights and performances; on the inside, the upper floor is transformed from a coworking and coffee shop into a night lounge.

Program

The variety of programs at the newly designed Winn Park allows it to be active during days, nights, weekends, and holidays. An area dedicated to kids allows them to play in fountains, on the grass, rock climb, slide, and lay in a large netted hammock underneath a tree. Others can play bocce ball, run the track, or have yoga/fitness gatherings on the grass. People in the neighborhood can play with their dogs at the dog park, BBQ for weekend birthday parties, holidays, or picnics, or attend farmers markets and food truck events. Diverse seating arrangements offer a variety of places to eat lunch for the community that works in the area. When formal events, such as marriage ceremonies are not in occurrence, the rose garden near the main entrance of ‘Light Box’ can be enjoyed. During the day, a coworking and coffee bar is active on the second floor of the existing building. On the lower floor, a restaurant serves people to the outside where outdoor dining activates the surrounding areas. At night, a movie or neighborhood performance can occur at ‘Light Box’, and inside, the second floor transforms into a lounge.

HISTORIC CONNECTION

Instead of creating something that would be the main attraction and potentially take away from the historic building, the idea of ‘Light box’ is to create a framework around the building. A new significance is given to the historic building by creating a box in the same proportion as the existing fire alarm building. The large scale of ‘Light box’ gives a new prominence and magnifies the buildings historical presence.

Inside, where the coworking and night lounge are located, (top right rendering on presentation board) the light blue colored room wrapping the existing fire alarm panels is a box inside of a box; a translucent box inside of the historic box, inside of ‘Light box’. The polycarbonate ‘box’ lights up at night, which showcases the fire alarm panels. The light blue translucent material is also used on the exterior stair enclosure and is a contemporary interpretation of the glass block to the art deco building.

Materials & Building Components

Looking at structures that would allow for relatively large spans with affordability in mind, ‘Light box’ is made of aluminum truss system components, similar to what are used at concert venues, wrapped in a translucent fabric, allowing it to glow at night. This makes it affordable and extremely quick to build and engineer. ‘Light box’ is lit up white from the inside at night and the historic building is lit in different colors, enhancing the presence of both in the neighborhood (as seen in the movie night rendering). This also allows for movies to be projected onto the surface at night. During the day when ‘Light box’ is open, a set of large format garage doors wrapped in translucent fabric roll up and act as awnings; making it more affordable than other custom design options. The existing historic building is rehabilitated and painted, restoring its historic character. The translucent box at the coworking and lounge on the second floor and the exterior stair enclosure, as previously discussed, is made from polycarbonate sheets that are backlit during the night resembling the existing glass block.

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AIA Central Valley Emerging Professionals got a chance to tour the historic Albert Winn Park building that once housed an elaborate fire alarm electronic system which connected to up to 550 publicly accessible fire alarm boxes. Built in 1937 and vacant for more than 12 years, the building and park are the subject of an AIACV design competition.

The American Institute of Architects, Central Valley Chapter, in partnership with the Midtown Association and the City of Sacramento, are looking for new ideas to successfully activate Albert Winn Park and the abandoned fire alarm building in its center. Dreyfuss + Blackford will have two teams competing in this unique endeavor.

The client’s brief was to design a place that reinforced the game of golf, operating primarily as a “private box” whilst also providing the capacity to transform into a gateway headquarters for large competitive events.

Contemporist says 'Hunkered into the earth with less than a third of its volume penetrating above the ground plane, The Michael Hill Clubhouse seeks to integrate and intensify the experience of golf’s primary relationship with the landscape. An integral truss system creates a skewed form, and supports a green roof planted in native tussock.'

The Clubhouse was design by Patterson Associates and is well worth taking a look at on the Contemporist web site.

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I saw these green plaques on King Street in King's Lynn. I took the plaques, then I took the building to go with it, I ignored the buildings without green plaques.

This is 7 - 9 King Street. A large 14th century Hall House stands behind a 15th century front range. It was a warehouse.

Green plaque of 7 - 9 King Street.

Listed as the Medieval Merchant's House.

Grade II* listed.

House. Late C14 hall house, altered C15 and considerably

since. L-plan, with hall range in the rear wing to north of

courtyard. Brick with stone dressings. Plain tiled and slate

roofs.

2-storey, 7-bay east facade to street of c1830. Yellow brick.

Sash windows with glazing bars and gauged skewback arches. In

third bay (from left) is a timber-framed passage to rear, the

front with a timber lintel under a brick relieving arch, the

rear with an arched, chamfered, C15 opening.

Present entrance to No.9 in bay to north of passageway:

panelled door in panelled reveals under a 6-vaned fanlight and

a round arch. Gabled roof with internal gable-end stacks.

Panelled door into No.7 opens from south-west end of

passageway.

Rear of front range is whitewashed over passage and to south.

Window over passage and narrow windows over C19 outshut light

No.7. Hall range remodelled C17 and C18 into a 2-storey, 5-bay

elevation. Central panelled door of late C17: six-panelled and

of plank construction inside; split overlight and gabled hood

on brackets. Fenestration of late C18 sashes with glazing bars

set within late C17 or early C18 flush frames. Stone jambs of

original entrance remain in junction of front and rear ranges,

formerly opening directly into west end of hall. Stone jambs

of C15 dais window remain either side of 2 ground-floor west

sashes. Gabled roof-line changes above these and is marked by

a gabled dormer and a late C16 ridge stack on a stepped

plinth. Attached to east end is a 2-storey, early C18 brick

and slate addition with its 4-bay facade to the west. Late C18

sashes with glazing bars set within early C18 flush frames.

Platband between storeys. Doorway to right under C20 sloping

hood. Hipped roof.

INTERIOR of No.9. Hall range is now 3 rooms at ground-floor

level. Hall dais window with moulded stone jambs of late C14

type: keeled wave, bowtell and filleted wave. Immediately left

is a cinquefoiled window with an ogee head and wave-moulded

jambs.

Large open fireplace at west end of this room is an insertion:

stone jambs and renewed lintel. Chamfered bridging beams and

rough-cut joists date from early C17 insertion of floor. Room

to west of hall with complete late C17 large-framed bolection

panelling and H-L hinges to door in south-east (to former

hall) and north-east (to C17 passageway and staircase)

corners. Panelled ante-room leads to ground-floor room of west

addition: large-framed panelling of c1730 and a shouldered

overmantel panel above inserted Greek key frieze.

Inserted C17 passage runs past N side of former hall, cut from

the former courtyard serving the south side of No.11, but

still leaving 2 small courtyards in situ. Staircase is at

north-west corner of passage: closed string, turned balusters,

square newels and moulded handrail. Panelled dado.

Front range to street with early C19 panelling and associated

details. Room over former hall has large-framed early C18

panelling. Rooms west of this now constitute a late C20 flat,

with corresponding details except for hollow chamfered jambs

of 2 late C14 windows in former gable wall. Roof structures

all replaced early C16.

Main front roof: common rafters, 2 tiers butt purlins, collars

on arched braces. 2 complete trusses survive, forming 3 bays,

the rest are too altered to classify. Hall range roof of

principals, collars, butt purlins and arched braces, some of

latter replaced by cranked braces. Collars and principals are

moulded. Inserted stacks interrupt truss system.

INTERIOR of No.7 to south of carriageway entirely late C19,

stripped out C20. An early example of the standard L-plan

house favoured in King's Lynn from the Middle Ages to c1600.

The lack of timber-framing is probably the result of

remodelling in the C15 and C16, and it should not be assumed

that this house is one of the earliest in Norfolk to be

entirely of brick and stone construction.

7 - 9 King Street - Heritage Gateway

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