"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.

---

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.

"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.

---

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.

From Wikipedia:

The Humpback Covered Bridge located in the U.S. state of Virginia, is one of the only remaining covered bridges in the United States that was built higher in the middle than on either end; hence the name of "humpback". The bridge was built in 1857 and is also the oldest remaining covered bridge in the state of Virginia. Its WGCB number is 46-03-01. The bridge spans a tributary of the Jackson River known as Dunlap Creek, for a distance of 109 feet (33 m). The humpback feature is 4 feet (1.2 m) higher in the center than at either end. The bridge is located near the city of Covington, Virginia.

Three bridges stood at approximately the same location as Humpback Covered Bridge does today. The first bridge was built in the 1820s and was destroyed by a flood in 1837. A second bridge built the next year was also damaged beyond repair by a flood on July 13, 1842. The third bridge collapsed in 1856 due to heavy use and fatigue from weathering. None of these earlier bridges were either arched or covered. All three bridges were a part of the James River and Kanawha Turnpike, a heavily used mountain road that connected the Shenandoah Valley with the Alleghany Mountains and areas further west. The current bridge was built in 1857 and the design of both covering and also arching the bridge was hoped to increase the longevity of the bridge by protecting the midsection from future floods and the decking from the ravaging effects of moisture and sunlight.

The Humpback Covered Bridge was used from 1857 to 1929, when a steel truss bridge was built for U.S. Highway 60 immediately to the north. The bridge was abandoned but was sometimes used by a local farmer into the early 1950s to store hay bales. In 1953, the Virginia Highway Department matched a $5,000 fund that had been raised by the Covington Business and Professional Women's Club and the Covington Chamber of Commerce. Five acres surrounding the bridge were purchased and a small wayside park which opened in 1954 was built, allowing easier access. On October 1, 1969, the bridge was listed in the National Register of Historic Places.

Most covered bridges were made of the strongest readily available wood. In the case of the Humpback Covered Bridge, this meant white oak and hickory. The bridge, as it stands today, has most of the original hand-hewn support timbers and decking that was laid down in 1857, however, most of the walls and roofing have been replaced several times since. Bridge decking was traditionally constructed of wide planks a foot (30.5 cm) or more in width and 4 to 6 inches (10 to 15 cm) in thickness. Most of the support beams are at least a foot thick (30.5 cm). The supports in the bridge utilized hand made honey locust wood pins to fasten sections of the supports together. The supports incorporate a unique curved multiple kingpost-truss system that is not found in any other surviving wooden bridge in the U.S. The bridge is an original and completely unique design not duplicated anywhere else.

See more pictures of this covered bridge in my Covered Bridges of Virginia set.

See where this picture was taken. [?]

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

World Bridge Number 45-06-05.

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

Follow us on Instagram @a2zevents and @DclassyClicks

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Key Hill, Jewellery Quarter

Gem Buildings

Grade II listed building

Gem Buildings

Listing Text

BIRMINGHAM

997/0/10309 HOCKLEY HILL

29-APR-04 20-21

Gem Buildings

II

Manufactory, now shops and clothing factory. 1913, with late C20 alterations. By Wood and Kendrick, architects of Birmingham, for Ginder and Ginder, diamond cutters and polishers . Painted brick and rendered exterior with concrete structural elements and detailing and with pitched roofs concealed by parapets. Functionalist pier and panel exterior enlivened by minimalist Edwardian Baroque detailing.

PLAN: Irregular H-plan, the complex linking Hockley Hill and Key Hill, and with display elevations to both frontages.

EXTERIOR: Hockley Street frontage of 4 storeys above a basement. Asymmetrical elevation, the windows occupying almost the entire frontage. The bays are arranged 1:2:1 with outer bays flanked by full height pilaster-like piers, the left-hand bay with an entrance to a stair well, the 2 centre bays with an off-centre doorway and a wide display window to the left, and a smaller window to the right. The right-hand bay has a wide ground floor window. Main doorway giving access to ground floor shops, formerly offices, with double 2 panel doors, ovolo-moulded surround, shallow- arched transom and multi-pane overlight. Doorway to left with shouldered segmental hood on brackets. Above doorways and altered window openings, wide display fascia below moulded cornice. Windows to upper floors have multi-pane metal frames, the heads and cills aligned in the 2 centre and right-hand bays. Left-hand bay with low, shallow- arched window above cornice, and windows above placed to light stair well levels. Piers flanking outer bays have dentilled caps , resembling the bases of open-bed pediments, behind which are parapet panels each bearing the inscription 'A.D.1913'

Key Hill elevation asymmetrical and more plainly detailed, with wide 4-light windows to bays 1 and 3 which retain presumed original transomed wooden frames with multi-pane transom lights. Doorway between the windows, this pattern determining the window pattern above, with wide and narrow multi-pane metal frames. Wide display fascia above doorway with sign which reads ' GEM BUILDINGS'. Right-hand bay with 3-light transomed window to ground floor, and 3 narrow lights to each upper floor.

HISTORY: The building plans show a sub-divided and heated basement floor with basement lights to the street elevations, a ground floor with front and rear entrances to multiple offices, and undivided workshop space to the 2 upper floors. The pitched roof is shown supported by a tensioned metal truss system.

A specialist manufactory of 1913, little-altered externally, and one of the earliest buildings in Birmingham's Jewellery Quarter to display the influence of Functionalism in factory design.

This text is from the original listing, and may not necessarily reflect the current setting of the building.

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

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Call us for details and bookings +92-321-4268177 +92-324-4921459 +92-333-4645869

#Brands #Iftikhar_Thakur #zafri_Khan #Corporate_Events #Media_Wall #Best_Corporate_Event_Planner #Designer #Event_Designing #3D_Maping #Ghoost_Projection #Papia #Molfix #Ayeza_Khan #Kashif #Comedian #Company_CEO #Singer_Sanam_Marvi #Multimedia #Projector #Trussing_system #Ghoost_maping #best_event_planners_in_Lahore #event_organizer_in_Lahore #event_planners_in_Pakistan #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Artificial_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway #truss #disco_lights #dj #mehndi_dance #photographers #catering_services #food_services #wedding_food #wedding_jewelry #wedding_cake #wedding_designers #wedding_decoration #wedding_services #flowers_decor #masehri_decor #Caterers_in_Lahore #events_specialists #Quality_Food_Suppliers

"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.

---

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.

Long Meadow Bridge

Bloomington, Minnesota

Listed 05/28/2013

Reference Number: 13000324

The Long Meadow Bridge was constructed in 1920 using the Camelback through truss system, a variant of the Pratt truss system. It possesses significance under National Register of Historic Places Criterion Cat the state level in the area of Engineering. Built to span the wide overflow of the Minnesota River, the Long Meadow Bridge required the placement of five through trusses to meet this engineering challenge. When constructed, it was the longest steel highway bridge with concrete flooring in the state; today it remains as the state's longest Pratt through truss bridge, and is one of only five bridges using a Camelback through truss system considered historic. 4 The Long Meadow Bridge meets the registration requirements of the Multiple Property Documentation Form for the statewide context of Iron and Steel Bridges in Minnesota. Specifically, it is a bridge that exhibits exceptional engineering skill to meet unusual site conditions. The bridge's period of significance is 1920, the date it was completed.

National Register of Historic Places Homepage

Long Meadow Bridge, Bloomington, Minnesota, Summary Page

National Register of Historic Places on Facebook

Title: Roughan Hall, 15-18 City Square, view from interior truss system

Creator: Boston Landmarks Commission

Date: circa 1970

Source: Boston Landmarks Commission image collection, 5210.004

File name: 5210004_003_271

Rights: Public Domain

Citation: Boston Landmarks Commission image collection, Collection 5210.004, City of Boston Archives, Boston

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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.

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.

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An active utility duct bank is being suspended by a steel truss system on the north side of the O'Farrell-Stockton intersection, while excavation to install one of the last sections of station roof deck is underway below.

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next shot over is my storage. From the left, you see my rolling tub and the box fans, again, as well as the remainder of my trusses. You see my guitar cable coiled nicely on a hook, followed by some rope (this used to be the rope holding up my trapeze system, but was too thick) and an extension cord. Next is an extreme number of bungee cords, whose intended purpose is now unknown. I bought them for a DIY project that went south, and am now thinking of ways to repurpose them.

I have a collapsible 5-way reflector, held to a painter's pole with 2 home depot clamps. I usually just a super clamp to a lightstand and have it grip the pole, for an easy reflector stand.

In front of that is a collapsible trade show booth, soon to be stored offsite. Next are my lightstands, tripods and such. The pvc pipes in the container are going to be spacer pieces for my overhead truss system. All the pieces are 5' long, but will be cut to 2' and 3' foot lengths, so I have height control for lights hung from my overhead trusses.

Next is a bin with sheets of coroplast of various colors: clear, white and black, as well as some covered with aluminum foil. On the shelf you see a binder where I store my gels, some baskets where I keep odds and ends and my swivel brackets. On top of the white containers is my DIY ring flash, in need of repair. Inside the drawers are my small flashes (up top) and my light modifiers (below), like grids, snoots, gobos and small umbrellas. My softlighter is hanging on the left side. You see my A-clamp 'collection', and some of these are modified to accept cold shoe doohickeys. Ball bungees are wonderful.

The next shelf down has backdrops: grey, red (in the wash) and white (in the tote bag so as not to get nasty). Soon, when I switch to steel conduit for my backdrop supports, all my cloth backdrops will roll up and the poles will rest on hooks in the wall.

Next is a counterweight my sister made for me. I use it when I need to DIY a boom arm. Next over are my DIY beauty dishes. I am lukewarm on those, at best. They look like absolute crap, and I'm not convinced I can't achieve their effect by other means.

On the bottom shelf is a container which now contains 1' pvc spacer pieces, but will soon be used to hold something else probably, once the 1' pieces are in their more permanent place in my truss system. Then my messenger bag which I use to carry a small amount of gear on low-intensity shoots, and my fog machine.

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Built in 1890, it was added to the National Register of Historic Places in 1974. The 70’ span uses the Town Lattice Truss system.

This Timber Frame Barn features intricate truss systems accenting the eaves of the interior.

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Like baleful eyes.

This indoor tennis court may be one of the oldest in the United States. It is a wood clapboard structure with massive 3ft thick and ten foot high foundation walls. A magnificent steel truss system supports the roof and is punctuated by 3 skylights over a clay court. A nearby stone wall has the date "1907" carved into it and early survey plans by Brinley & Holbrook in 1917 clearly identify it as a "tennis house" It predates the Raquet and Tennis Club in New York City, built in 1918 and JP Morgan's 1929 indoor tennis building on Jekyl Island which shares similar design elements. Area residents, not-for-profits and preservationists are interested in restoring this as a functioning indoor tennis court for community use in Westchester. The USTA headquarters in Westchester may prove a terrific resource for faciliating preservation and restoration.

Mysteries about this building:

There is only one door and early maps show the existence of a barn in this area. A close look at the stone base reveals several types of masonry. Was a Jay family barn converted to a tennis house? Is this an early example of adaptive reuse?

The Jay Property is the centerpiece of the National Historic Landmark Boston Post Road District (added to the NRHP in 1982 as NR #82001275 and designated an NHL in 1993.)

Jay Heritage Center

210 Boston Post Road

Rye, NY 10580

(914) 698-9275

Email: jayheritagecenter@gmail.com

www.jayheritagecenter.org

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Twitter @jayheritage

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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)

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

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#Brands #Iftikhar_Thakur #zafri_Khan #Corporate_Events #Media_Wall #Best_Corporate_Event_Planner #Designer #Event_Designing #3D_Maping #Ghoost_Projection #Papia #Molfix #Ayeza_Khan #Kashif #Comedian #Company_CEO #Singer_Sanam_Marvi #Multimedia #Projector #Trussing_system #Ghoost_maping #best_event_planners_in_Lahore #event_organizer_in_Lahore #event_planners_in_Pakistan #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Artificial_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway #truss #disco_lights #dj #mehndi_dance #photographers #catering_services #food_services #wedding_food #wedding_jewelry #wedding_cake #wedding_designers #wedding_decoration #wedding_services #flowers_decor #masehri_decor #Caterers_in_Lahore #events_specialists #Quality_Food_Suppliers

STS113-E-5041 (25 November 2002) --- The International Space Station (ISS) is backdropped against the blackness of space as the Space Shuttle Endeavour quickly approaches the orbital outpost for a November 25 docking. The shuttle went on to dock with the International Space Station at 3:59 p.m. (CST), bringing a new crew and another segment of the station's backbone, the Port One (P1) segment of the Integrated Truss System. The rendezvous and docking of Endeavour with astronaut James D. Wetherbee, mission commander, at the controls, occurred about 248 statute miles above the South Pacific off the southeastern coast of Australia.

#Inauguration_of #Din_Gardens_Chiniot #Grand_Event by #a2z_Events_Solutions

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Call us for details and bookings +92-321-4268177 +92-324-4921459 +92-333-4645869

#Brands #Corporate_Events #Media_Wall #Best_Corporate_Event_Planner #Designer #Event_Designing #3D_Maping #Papia #Molfix #Ayeza_Khan #Kashif #Comedian #Company_CEO #Singer_Sanam_Marvi #Multimedia #Projector #Trussing_system #best_event_planners_in_Lahore #Lahore #event_organizer_in_Lahore #event_planners_in_Pakistan #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Imported_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway #truss #disco_lights #dj #mehndi_dance #photographers #catering_services #food_services #wedding_food #wedding_jewelry #wedding_cake #wedding_designers #wedding_decoration #wedding_services #flowers_decor #masehri_decor #Caterers_in_Lahore #events_specialists #Quality_Food_Suppliers

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

Follow us on Instagram @a2zevents and @DclassyClicks

Call us for details and bookings +92-321-4268177 +92-324-4921459 +92-333-4645869

#Brands #Iftikhar_Thakur #zafri_Khan #Corporate_Events #Media_Wall #Best_Corporate_Event_Planner #Designer #Event_Designing #3D_Maping #Ghoost_Projection #Papia #Molfix #Ayeza_Khan #Kashif #Comedian #Company_CEO #Singer_Sanam_Marvi #Multimedia #Projector #Trussing_system #Ghoost_maping #best_event_planners_in_Lahore #event_organizer_in_Lahore #event_planners_in_Pakistan #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Artificial_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway #truss #disco_lights #dj #mehndi_dance #photographers #catering_services #food_services #wedding_food #wedding_jewelry #wedding_cake #wedding_designers #wedding_decoration #wedding_services #flowers_decor #masehri_decor #Caterers_in_Lahore #events_specialists #Quality_Food_Suppliers

Extremely strong yet lightweight, TRUSSwire is a modular exhibition stand system which can be used both indoors and outdoors thanks to its weather proof composite coating. It is also the only foldable modular trussing system available today. Consequently, it is easy and cost effective to transport and store.

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

Follow us on Instagram @a2zevents and @DclassyClicks

Call us for details and bookings +92-321-4268177 +92-324-4921459 +92-333-4645869

#Brands #Iftikhar_Thakur #zafri_Khan #Corporate_Events #Media_Wall #Best_Corporate_Event_Planner #Designer #Event_Designing #3D_Maping #Ghoost_Projection #Papia #Molfix #Ayeza_Khan #Kashif #Comedian #Company_CEO #Singer_Sanam_Marvi #Multimedia #Projector #Trussing_system #Ghoost_maping #best_event_planners_in_Lahore #event_organizer_in_Lahore #event_planners_in_Pakistan #Photography #Videographer #Interior_designer #Exterior_designer #Decor #Catering #Multimedia #Weddings #Social_Events #flowers_decor #dance_floor #Party_Planner #dance_party_Organizer #Wedding_Coordinator #Stages_Designer #House_Lighting #Fresh_flowers #Artificial_Flowers #Marquees #marriage_hall #hall_decor #area_decor #groom #bride #Mehndi #Car_hire #Sofa_Decoration #Hire_Venue #Honeymoon #Asian_wedding_Designers #Simple_Stage #gazebo #stage_decoration #events_management #baarat #barat #walima #valima #reception #mehndi #mayon #dance_floor #walkway_decor #pathway_decor #wooden_walkway #truss #disco_lights #dj #mehndi_dance #photographers #catering_services #food_services #wedding_food #wedding_jewelry #wedding_cake #wedding_designers #wedding_decoration #wedding_services #flowers_decor #masehri_decor #Caterers_in_Lahore #events_specialists #Quality_Food_Suppliers

5h set. EBM. Thank you Khaos!

Truss system, stage speakers and lights, fog, dj table, dance floor. Also home audio system - [Kunst]