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Following the completion of the new hospital for Dover, Kent the old buckland hospital now lies derelict and has been partially demolished however the main building and the old Maternity suite have been boarded up and are listed buildings so will not be demolished, there is some talk of them eventually being used as flats but for now at least the buildings are empty.
There is Security around the new site but i have not seen any patrolling the old site however there are a number of CCTV points that may or may not be active still.
Built in 1896, this Renaissance Revival-style building was designed by Daniel H. Burnham and Charles Atwood. The building was the world’s largest office building by floor area at the time of its completion, with 447,000 square feet (41,527.7 square meters) of interior floor space, and stands 10 stories tall, taking up the entire block bounded by Main Street, Division Street, Washington Street, and Swan Street. It was also built with the intention to add ten more floors to the top of the building if needed, which was never carried out, which would have nearly doubled the floor area. The building remained the largest office building in the world by floor area until 1908, when the old, now-demolished Hudson Terminal Complex opened at the site of the present World Trade Center in New York City. After opening, the building was home to the Edisonia Hall and the Vitascope Theater in the basement, which was is believed to have been the first purpose-built movie theater in the world. The basement also was the location of the first hospitality establishment run by Ellsworth Milton Statler, a restaurant that operated from 1896 until 1940, starting as a high-end restaurant before quickly being reoriented towards a more profitable quick lunch model. The site of the building also was the southern third of the estate of Joseph Ellicott, whom platted the village of New Amsterdam in 1797, which became the city of Buffalo, whose heirs still owned part of the block when land acquisition for the present building began in the mid-1890s. The building was among the largest commissions of Charles Atwood and Daniel Burnham’s careers, though Atwood died in 1895, prior to the building’s completion.
The building has a square footprint with a central light court that extends from the roof down to a hipped glass skylight over the central atrium on the first two floors. The exterior is clad in pearl gray brick with matching pearl gray terra cotta accents and trim, and has a facade stylized after an Italian Renaissance Palazzo, but on a much larger scale, with the facade being almost entirely intact and restored except for the large bracketed cornice at the top of the building, which was removed due to deterioration in 1971 and never replaced, with incongruous standing seam metal cladding in its place today. The exterior facades are tripartite, and are identical on the north and south sides, as well as the east and west sides, with the east and west facades having entrance doors with arched transoms featuring roman lattice motif and large decorative surrounds topped with decorative pediments with engaged doric columns, pilasters, and cornices with triglyphs, rosettes, and dentils, and sculptures of angels flanking the arched transom above, two arched windows on the second floor flanking the entrance, and decorative lampposts and hanging globe fixtures lighting the entryway at night. Elsewhere, the base features pilasters with doric capitals, and corners with quoins, with the first two floors being largely faced with two-story curtain walls featuring Chicago-style windows and Renaissance-style windows, narrow spandrels, and pilasters topped with brackets. On the third floor, the building has a band of windows with decorative trim and keystones, which are only interrupted by the ionic pilasters above the two main entryways to the building on the east and west facades. The fourth, fifth, sixth, and seventh floors feature recessed paired window bays topped with arched windows on the seventh floor, only interrupted on the fourth and fifth floors by the top of the decorative entrance surrounds on the east and west facades, which feature corinthian pilasters, broken pediments with statues in the middle, and urns atop the lower level of the entry surround. A band of horizontal trim runs around the base of the eighth floor windows, which feature narrower recessed bays only one window wide, with recessed spandrels between them and the arched ninth floor windows, which feature a band of decorative trim that runs along the top of each arch, interrupted by corbeled keystones. The tenth floor windows are flanked by two bands of horizontal trim, with the upper band featuring dentils and egg and dart motif, which was the base of the original cornice, with decorative trim between each window and cartouches flanked by statues at the corners. The top of the parapet features decorative trim with seashell motifs, heads, and acroteria angularium at each corner of the building. Most of the exterior windows are one-over-one replacements of the original double-hung one-over-one windows.
The interior of the building features large lobbies at the east and west entrances which connect directly to a large central two-story atrium, with a glass skylight as the roof with metal trusses underneath, a balcony running around the perimeter featuring a decorative cast iron railing, two grand staircases to the upper level, and ringed with windows and doors, and decorative chandeliers. The most notable feature of the ground floor is the large mosaic that runs from the east and west entrances and throughout the atrium, which was added in 1930-31 and designed by William Winthrop Kent and James Johnson, which helped to unify the three major interior common spaces within the building. Each lobby is clad in marble with staircases featuring decorative cast iron railings, with pilasters, triglyphs, and elevators with decorative brass doors and trim surrounds. The interior has been somewhat modernized for the needs of business tenants, but the common areas have had their historic character largely preserved.
The building today is owned and operated by the Ellicott Development Company, which rents the interior out to various commercial office and retail tenants. The central atrium is sometimes used for public events, such as weddings and social functions, and was featured in the 1984 film The Natural. The building, despite its impressive stature, and historical and architectural significance, is not listed on the National Register, but is a contributing structure in the local Joseph Ellicott Historic District.
For the final bit of the program the ladies received certificates directly from the US State Dept. to show their completion of the program.
Built in 1930 and expanded in 1938 and 1959, this Art Deco-style 11-story office building was designed by Arthur Peabody to house various government offices for the State of Wisconsin. The building’s north wing was constructed first, with the central wing being completed in 1938-1939, utilizing funds from the New Deal-era Public Works Administration (PWA), and the south wing in 1956-1959. Despite the long time span from the building’s origins to its completion, very few of the decorative details were changed and remained remarkably consistent despite the rise of the modernist movement and the Art Deco style falling out of favor by the time the south wing was completed, which in most circumstances led to buildings with portions that did not match the original vision. The building was apparently despised by Frank Lloyd Wright, whom called it a “monstrosity to anyone who thinks” and went on to call the City of Madison a “provincial capitol” that was “neither scholarly or gentlemanly.” Nevertheless, the building is a popular and generally well-liked building by the citizens of Madison. The building is the tallest office building in Downtown Madison, owing to its location close to Lake Monona, which includes a two-story podium that has a parking area on the roof, and the building sits right at the 187-foot height limit imposed throughout Downtown Madison to not block views of the State Capitol dome.
The building is faced with gray granite blocks and is E-shaped, with a tall 11-story tower in the center flanked by two wings of six and seven stories that are at equal height, with the adjacent street sloping downwards along the width of the building’s facade. The stone blocks are mostly unadorned, but the building’s east and west wings feature intricately carved reliefs on the spandrel between the first and second floors, in the spandrel between the fourth and fifth floor, in a ribbon on the sixth floor between window openings, and on the parapet, with additional decorative reliefs over the entrance doors and decorative pilasters with acroterions at the top that run between the paired windows on the second, third, and fourth floors. The eleven-story central wing features a band of decorative carved reliefs at the spandrel between the second and third floors, at the spandrel between the sixth and seventh floors, at the spandrel between the eighth and ninth floors, between window openings on the tenth floor, and around the top of the parapet on the tower and on the penthouse, with decorative Egyptian-inspired columns flanking the front entrance, and pilasters between paired windows on the third through eighth floors that terminate at acroterions on the ninth floor. The tower tapers at the eleventh floor to a narrower parapet, with the windows arranged in pairs at recessed portions of the facade that align with the smaller parapet above rather than the larger structure below. The building’s entrance doors are made of bronze with bronze Art Deco-style sconces on the east and west wings and an art deco chandelier at the main entrance at the base of the tower. The main entrance in the tower features a large transom with decorative bronze trim and a carved decorative stone trim surround, decorative lamppost fixtures flanking the window bays on either side of the doorway, featuring shields with the state motto, “Forward,” emblazoned on them, and is somewhat repeated on the west wing, though simplified, with the original entrance in the east wing being the smallest of the three entrances, with only a pair of doors in an unadorned recessed opening The windows on the “shaft” portion of the building’s design composition often feature recessed black-painted spandrel panels, with the windows at the top and bottom not including this feature. The decorative trim work continues around the side of the building and onto the rear facade facing Lake Monona, but is absent from the two light wells that flank the central tower, where portions of the facade are instead faced with buff brick, though still featuring the same fenestration pattern. The two wings also feature recessed penthouses faced in buff brick, with the east wing’s penthouse being added with the 1938-1939 construction of the tower wing and being smaller than the penthouse atop the later west wing.
The interior of the building is mostly modernized and relatively unremarkable office space that has been modified in multiple renovations. However, the main lobby features beautiful and colorful terrazzo floors, multi-colored marble wall cladding, bronze railings, fixtures, doors, and trim, decorative trim on the ceiling, including shell and floral motifs, and geometric chevron motifs. The space has been extensively described in publications and articles, but it appears that no images of it exist or are available, which sadly makes this treasure something that the public is unable to enjoy or appreciate. The building was listed on the National Register of Historic Places in 1982, and today houses the offices for multiple departments of the State of Wisconsin. The building has undergone renovations and restorations in the past four decades, which have retained its beautiful exterior and most notable interior spaces, while allowing it to meet the needs of the state’s office workers.
Goodison Park has been home to Premier League club Everton since its completion in 1892. It has a total capacity of 40,157 all-seated and comprises four separate stands: the Goodison Road Stand, Gwladys Street Stand, Bullens Road Stand, and the Park End Stand. Goodison has hosted more top-flight games than any other stadium in England as Everton have remained in the top tier of English football since 1954. The club has only been outside the top division for four seasons, having been relegated in 1930 and 1951.
Goodison Park is unique in the sense that a church, St Luke's, protrudes into the site between the Goodison Road Stand and the Gwladys Street Stand only yards from the corner flag. Everton do not play early kick-offs on Sundays in order to permit Sunday services at the church.
In 1940, during the Second World War, the Gwladys Street Stand suffered bomb damage. The bomb had landed directly in Gwladys Street and caused serious injury to nearby residents. The bomb splinter damage to the bricks on the stand is still noticeable. The cost of repair was £5,000 and was paid for by the War Damage Commission.
In 2001 a bronze statue of club legend William Ralph "Dixie" Dean was unveiled. He is best known for his exploits during the 1927–28 season, which saw him score a record 60 league goals. He also scored 18 goals in 16 appearances for England.
Guest-of-Honour, Mr Patrick Tay and Special Guest, Assoc Prof Faishal accompanied by other VIPs unveiled the precinct plaque to signify the completion of the precinct.
Left to right: Nee Soon East Zone '10' Immediate Past Chairman Ms Rose Koh, Nee Soon East CCC Chairman Mr Christopher Lim, Special Guest Assoc Prof Faishal, GOH Mr Patrick Tay, MD (HDB BRI) Er Lau Joo Ming, Nee Soon East CCMC Chairman Mr Gopal Krishnan
The Forth Bridge is a masterpiece of railway civil engineering, an iconic landmark, a milestone in the development of railways, the first major structure in Britain to be made of steel and its completion created a single continuous railway line from London to Aberdeen.
The first rail crossing here was made in 1850 when the Edinburgh, Leith and Granton Railway started the world’s first ‘train ferry’ - designed by Thomas Bouch - between Granton and Burntisland. In August 1873 Bouch was instructed by the North British Railway to build a suspension bridge across the Firth of Forth. Construction began in 1878 but when Bouch’s original Tay Bridge collapsed during a storm in December 1879, work immediately stopped and never restarted.
Designs for a new bridge to cross the Forth between South and North Queensferry were invited by the newly formed Forth Bridge Railway Company which had been formed jointly by the North British, the Midland, the North Eastern and Great Northern railways, The design had to conform to specifications from both the admiralty who stipulated that the Forth remained a navigable channel, and the Board of Trade who stipulated, following the Tay bridge collapse, that the bridge must be rigid, stiff and capable of carrying the heaviest freight trains.
John Fowler and Benjamin Baker were engaged to develop their cantilevered design for the bridge while the contract for the construction was let to Sir William Arrol & Co with work on the bridge starting in 1883.
Construction of the 1.6 mile long bridge took 6 years, 55,000 tonnes of steel, 173000ft³ of concrete, 50t of cement, 640,000ft³, of granite, 8 million rivets and the lives of 73 of the 4600 men who worked on the site. The bridge was built in two phases. The first, from 1882 to 1885, involved enabling works, including sinking the caissons and constructing the foundations and piers to support the superstructure. The superstructure, which weighs about 51,324t, was built from 1886 to 1890.
The Forth Bridge has three double cantilevers, 330ft tall & 680ft long, with two 1700ft suspended sections between them. As required by the Admiralty, the rail level is 151ft above the river. Each of the towers has four steel tubes, 12ft in diameter, which reach to a height of 361ft above the water. The foundations extend 89ft below the bridge into the river bed, making the total height from foundations to the top of the towers 450ft. Each tower rests on separate granite pier constructed by 70 ft diameter caissons which used compressed air to keep water out of the working chamber at the base
In recent years a £130m refurbishment programme has been undertaken that has seen the whole bridge repaired and repainted. The paintwork was sand blasted back to bare metal and any damaged steelwork repaired before the new paint was applied. The techniques and epoxy based paint used means that the bridge will not require a full repaint for at least 20 years, finally putting an end to the myth that “painting the Forth Bridge” is a never ending task!
32. IVAM Expansion
Valencia
Projected completion date: to be determined
Kazuyo Seijima + Ryue Nishizawa / SANAA
Built in 1896, this Renaissance Revival-style building was designed by Daniel H. Burnham and Charles Atwood. The building was the world’s largest office building by floor area at the time of its completion, with 447,000 square feet (41,527.7 square meters) of interior floor space, and stands 10 stories tall, taking up the entire block bounded by Main Street, Division Street, Washington Street, and Swan Street. It was also built with the intention to add ten more floors to the top of the building if needed, which was never carried out, which would have nearly doubled the floor area. The building remained the largest office building in the world by floor area until 1908, when the old, now-demolished Hudson Terminal Complex opened at the site of the present World Trade Center in New York City. After opening, the building was home to the Edisonia Hall and the Vitascope Theater in the basement, which was is believed to have been the first purpose-built movie theater in the world. The basement also was the location of the first hospitality establishment run by Ellsworth Milton Statler, a restaurant that operated from 1896 until 1940, starting as a high-end restaurant before quickly being reoriented towards a more profitable quick lunch model. The site of the building also was the southern third of the estate of Joseph Ellicott, whom platted the village of New Amsterdam in 1797, which became the city of Buffalo, whose heirs still owned part of the block when land acquisition for the present building began in the mid-1890s. The building was among the largest commissions of Charles Atwood and Daniel Burnham’s careers, though Atwood died in 1895, prior to the building’s completion.
The building has a square footprint with a central light court that extends from the roof down to a hipped glass skylight over the central atrium on the first two floors. The exterior is clad in pearl gray brick with matching pearl gray terra cotta accents and trim, and has a facade stylized after an Italian Renaissance Palazzo, but on a much larger scale, with the facade being almost entirely intact and restored except for the large bracketed cornice at the top of the building, which was removed due to deterioration in 1971 and never replaced, with incongruous standing seam metal cladding in its place today. The exterior facades are tripartite, and are identical on the north and south sides, as well as the east and west sides, with the east and west facades having entrance doors with arched transoms featuring roman lattice motif and large decorative surrounds topped with decorative pediments with engaged doric columns, pilasters, and cornices with triglyphs, rosettes, and dentils, and sculptures of angels flanking the arched transom above, two arched windows on the second floor flanking the entrance, and decorative lampposts and hanging globe fixtures lighting the entryway at night. Elsewhere, the base features pilasters with doric capitals, and corners with quoins, with the first two floors being largely faced with two-story curtain walls featuring Chicago-style windows and Renaissance-style windows, narrow spandrels, and pilasters topped with brackets. On the third floor, the building has a band of windows with decorative trim and keystones, which are only interrupted by the ionic pilasters above the two main entryways to the building on the east and west facades. The fourth, fifth, sixth, and seventh floors feature recessed paired window bays topped with arched windows on the seventh floor, only interrupted on the fourth and fifth floors by the top of the decorative entrance surrounds on the east and west facades, which feature corinthian pilasters, broken pediments with statues in the middle, and urns atop the lower level of the entry surround. A band of horizontal trim runs around the base of the eighth floor windows, which feature narrower recessed bays only one window wide, with recessed spandrels between them and the arched ninth floor windows, which feature a band of decorative trim that runs along the top of each arch, interrupted by corbeled keystones. The tenth floor windows are flanked by two bands of horizontal trim, with the upper band featuring dentils and egg and dart motif, which was the base of the original cornice, with decorative trim between each window and cartouches flanked by statues at the corners. The top of the parapet features decorative trim with seashell motifs, heads, and acroteria angularium at each corner of the building. Most of the exterior windows are one-over-one replacements of the original double-hung one-over-one windows.
The interior of the building features large lobbies at the east and west entrances which connect directly to a large central two-story atrium, with a glass skylight as the roof with metal trusses underneath, a balcony running around the perimeter featuring a decorative cast iron railing, two grand staircases to the upper level, and ringed with windows and doors, and decorative chandeliers. The most notable feature of the ground floor is the large mosaic that runs from the east and west entrances and throughout the atrium, which was added in 1930-31 and designed by William Winthrop Kent and James Johnson, which helped to unify the three major interior common spaces within the building. Each lobby is clad in marble with staircases featuring decorative cast iron railings, with pilasters, triglyphs, and elevators with decorative brass doors and trim surrounds. The interior has been somewhat modernized for the needs of business tenants, but the common areas have had their historic character largely preserved.
The building today is owned and operated by the Ellicott Development Company, which rents the interior out to various commercial office and retail tenants. The central atrium is sometimes used for public events, such as weddings and social functions, and was featured in the 1984 film The Natural. The building, despite its impressive stature, and historical and architectural significance, is not listed on the National Register, but is a contributing structure in the local Joseph Ellicott Historic District.
On Dec. 5, 2022, the USACE Charleston District gathered with stakeholders to celebrate the completion of the Charleston Harbor Post 45 Deepening Project. With the final pull of a lever and radio call to the dredge, officials marked the end of this decade-long project. The Post 45 project deepened Charleston Harbor to a depth of 52 feet, allowing the largest container ships in the world to use the port at any time and any tide. In attendance at the ceremony was the Charleston District Leadership team, Post 45 Project Delivery Team, South Atlantic Division Commander Brigadier General Daniel Hibner, CEO of the SC Ports Authority Barbara Melvin, Congresswomen Nancy Mace, US Senator Tim Scott, US Senator Lindsey Graham, and SC Governor Henry McMaster.
Heavy equipment grading the future lanes of I-485 to meet the I-85 interchange in northeast Charlotte.
Another fun Home with our highlighted spaces esthetically pleasing to boast of! The studio enjoyed working with this client! Thank you for Choosing studio Monaco.
Governor Charlie Baker and Lieutenant Governor Karyn Polito joined Highway Administrator Jonathan Gulliver, members of the Massachusetts Legislature, municipal officials, and local leaders on October 30, 2018, at a ribbon cutting event in Newburyport to celebrate the completion of the $318 million Whittier Bridge/I-95 Improvement Project. This major construction project consisted of replacing the existing Whittier Bridge as well as widening and improving a 4-mile section of I-95 in Newburyport, Amesbury, and Salisbury, and replacing four adjacent bridges.
(Photographs by Josephine Pettigrew, Office of the Governor)
The former Treasury Building was built in stages from 1839 to 1907. The buildings we see today took nearly twenty years to reach completion, though their unity of conception suggests that they were designed as a whole by E. A. Hamilton who was Colonial Architect at the time when it was begun and who supervised the erection of the three earliest sections. The northern two-storied section of the Treasury Building in King William Street was built in 1858, followed by the corner two-storied section in 1859, and the central three-storied King William Street section in 1860. In 1867 the two-storied eastern Victoria Square section was completed. Finally in 1876 the three-storied Victoria Square block completed the structure. In order to make that possible a one-storied office building erected about 1842 to the design of Sir George Kingston, architect, was demolished. No doubt the design of that now forgotten Kingston building to some extent affected the general design, although this stuccoed pile with its urn-capped parapets is reminiscent of Nash’s terraces in Regent’s Park, London.
When the goldfields of Victoria opened up in 1851, some 17,000 South Australians left their homes and employment to seek riches in the east. Many who made their fortunes returned to South Australia and invested in land.
Meanwhile others took advantage of the Bullion Act of 1852 by selling gold in Adelaide at a higher price than was being offered on the diggings. This was made possible by the pioneering of a gold escort route from Mount Alexander, Bendigo, and Ballarat to Adelaide by Alexander Tolmer, South Australian Inspector of Mounted Police. During these escorts some 327,000 ounces of gold was brought to Adelaide without loss through wild lonely country inhabited by bushrangers. The escorts were welcomed by large crowds in the quadrangle of the Treasury Building on the north-east corner of Victoria Square.
The Treasury stood at the centre of South Australia’s administrative and governmental affairs for more 130 years. It housed the Cabinet Room from 1876 until 1968. The building has a strong association with exploration and surveying the sale and management of land the development of the State’s agricultural and pastoral industries and executive government. The building has now been restored and redeveloped as Medina Grand Hotel. The National Trust runs tours of the old Cabinet Room and tunnels under the building used for the secure transport of gold.
The Woolworth Building, one of New York's best known tall buildings, is among the most famous skyscrapers in the United States. The tallest building in the world on its completion in 1913, Cass Gilberts graceful. Gothic-style, terra-cotta clad, sixty-story tower became the prototype for the tall romantic skyscraper that permanently transformed the skyline of New York and become the most potent image of twentieth- century urban America.
Built as the headquarters of F. W. Woolworth' s "five-and-ten" empire, the Woolworth Building became a symbol not just of Woolworth's personal success, but also of the new twentieth-century phenomenon of mass commerce. At its grand opening, during which President Wilson in Washington pushed a button to signal the lighting of the structure in New York, the Rev. S. Parkes Cadman christened the Woolworth Building the "Cathedral of Commerce. " The Woolworth Building stands as a watershed in the history of the American skyscraper. It is both the culmination of the early development of the tall office building that began before 1880. and the model -- in terms of height, profile, corporate symbolism. and romantic presence -- for the skyscrapers of the great building boom of the post-World War I era that culminated in the Chrysler and Empire State Buildings. Although long since stripped of its "world ' s tallest" title, the Woolworth Building remains one of the great symbols of twentieth-century America, and one of New York's and the country's outstanding landmarks.
The \oloolworth Building is a 60-story skyscraper, rising 792 feet above street level. It occupies the entire blockfront along the western side of Broadway between Park Place and Barclay Street. The 30-story tower rises above a 30-story base. The base presents three unbroken elevations, on Barclay Street, Broadway, and Park Place, and divides into two wings on its western face. The tower meets the lot line on Broadway, but is narrower than and does not extend as far west as the base beneath it. The tower has two setbacks, creating three sections of progressively smaller dimensions, and culminates in a pyramidal roof and four tourelles.
The elevations of the base and tower are divided into continuous vertical bays of windows and spandrels. In the tower and the portion of the base directly beneath it, there are three bays comprising respectively two, three and two tiers of windows. The bays in the base, north and south of the tower, on Broadway comprise three tiers of windows; the base elevations on Barclay Street and Park Place west of the tower are divided into six two-window-wide bays, the bay furthest to the west being slightly narrower than the rest. This is the basic organizational pattern for the entire exterior.
The first four stories are set apart from the rest of the building base in design and material. Unlike the upper stories, they are faced in Redford limestone above a seven-foot water-table in polished Rockport (Me.) granite,62 The three facades of the base are divided into three-story entrance and window bays, with a one-story attic level above. The width of these bays matches that of the window and spandrel bays in the base and tower above. Only the fourth story of the base of the western elevation is visible; it is plain.
The first four stories of the Broadway elevation focus on the three-story Tudor-arched entrance portal which is flanked on either side by two bays, one narrower and one wider and each divided into a storefront and two bands of windows.
The entrance arch and flanking narrow bays are grouped into a triumphal arch designed by the elaborately carved stone balcony and related ornament projecting out over them. The motifs of the carving are Gothic in inspiration. The balcony includes narrow panels with shields separating wide panels of Gothic tracery over the entrance and wide panels with stylized flowers over the flanking bays; the center panel supports a large eagle holding a shield. From either side of the entrance arch descends an elaborately carved niche with Gothic tracery and at its base a carved coiled serpent. Similar deep relief Gothic tracery with fanciful grotesques link the balcony with the arches of the entrance and flanking bays.
The entrance is through a Tudor-arched portal set within a shallow depressed arch. The depressed arch is outlined by a course of trefoil tracery; within each of the two spandrels between the depressed and the Tudor arch is a carved reclining figure in high relief. The portal arch is a complex form, with a wide intrados flanked on either side, at a 450 angle, by archivolts. The intrados is adorned with Gothic tracery. The archivolt facing the street is comprised of a series of small connected niches; the bottom niche at either side frames a carved treetrunk, the niche at the apex frames an owl with spread wings, and each of the twenty remaining niches frames a grotesque allegorical figure. The inner archivolt is similarly comprised of niches, with tree-trunks at the base and an owl at the apex, but with abstract foliage in the intervening niches. An identical archivolt frames the facing lobby entrance. The entrance itself consists of a large Tudor-arched window above a revolving door with flanking side doors. The revolving door is new, but retains its original configuration. Between the window and the archivolt is a flat band of strapwork and ornamental marble squares. The window frame, and the wide bandcourse separating the window from the doorway below, consists of highly ornamental Gothic tracery cast in bronze. The glass of the window is divided into three large vertical bays, each subdivided into nine panels of twenty-one panes each; this is its original configuration.
Both the narrow and the wide bays flanking the entrance on Broadway consist of a depressed-arch masonry opening with two stories of window bands above a storefront. The window bands on each story of the inner, narrow, bays contain three single-pane windows, while those in the outer bays contain five single-pane windows. Each depressed-arch masonry opening is adorned with an elaborate carved wreath surround, whose forms include swags and bunches of grapes. The upper and lower window bands are separated by a wide bronze band of Gothic tracery; the mullions separating each single-pane window from its neighbor has superimposed over it a slender bronze rod. This is their original configuration. The horizontal bronze bands at either end of the Broadway elevation are now obscured by a modern sign. The storefronts in each bay are separated from the windows above by a broad bronze panel adorned with trefoil tracery. All the storefronts have been replaced.
Six angled piers are carried down into the base; two end in the carved niches flanking the entrance, while four others end in corbels carved as allegorical human faces. The faces apparently represent, from south to north, the four continents of Africa, America, Europe, and Asia (similar to the four allegorical statues of the continents adoring Gilbert's earlier Custom House at Bowling Green).
- From the 1983 NYCLPC Landmark Designation Report
Metro representatives and others gathered to commemorate the completion of a $10 million light rail interlocking project near the UMSL South MetroLink Station, located at 7798 Natural Bridge Road in St. Louis County. The interlocking will reduced operations and maintenance costs, as well as shorten delays for our customers during scheduled and unplanned service disruptions.
The first of my 8 Willowbrook VR's nears completion. Glazing and passengers fitted. Just decals relief band destinations and fleetnames to be added.
Upon completion of a Quick Impact Project, the United Nations Mission in South Sudan and partners hand over a solar-powered water pump to the community of Gormoyok village in Rejaf Payam. The project was requested by the community, implemented by Islamic Relief Worldwide, and sub-contracted to Relief Line with funding from UNMISS. The water pump station is able to draw 40,000 liters of water per day, during both dry and rainy seasons, and will supplement the hand pump well recently installed nearby. The community requested aid due to the fact that water trucks in town have largely been diverted to the Protection of Civilians site nearby, making it difficult to obtain clean water for drinking and cooking.
Community residents draw water from the water point.
Another fun Home with our highlighted spaces esthetically pleasing to boast of! The studio enjoyed working with this client! Thank you for Choosing studio Monaco.
From the wall of the Roman legion camp in Regensburg's old town have been preserved in three places larger batches: the southeast corner at the Ernst-Reuter square and the northeast corner at the Hun square as well as a large piece of the east side in the parking garage at Dachau square. There is also the information center for the existing of three sections "document Legion camp wall".
The open to visitors at the Historical Museum camp gate inscription describes the completion of the Roman fort in the present-day Old Town of Regensburg as a permanent camp of the 3rd Italic Legion in 179 AD under Emperor Marcus Aurelius and his co-ruler Commodus. The original 2 km long safety fence of this erected on a rectangular base fort had a piled of powerful large hewn stones front which also beyond the departure of the Romans in the 5th century had duration. The legionary fortress wall surrounded the nucleus of the medieval city with the residence of the Bavarian dukes and the Carolingian kings. While the Roman ashlar masonry lost in the West with the first expansion of the city to 920 in importance, it was in the East still another 400 years part of the city wall and remained this in the south and south-east even to the 19th century.
By overbuilding and backfilling of the town moat wide sections of the Roman fortress walls German-wide have been preserved in unique size. The uncovering of the northeast corner in 1905, the southeast corner in 1955 and 1961 as well as a long wall at the east side during the construction of the parking garage at Dachau square 1971 have brought impressive pieces to light, which could now be rehabilitated and impressively put in the limelight. Together they represent the freely accessible "document Legion camp wall".
While the southeast corner with the adjacent to the west and north walls through a large-scale information board, new routing and special lighting are highly visible, succeeded in the parking garage Dachau square along the Roman wall by sealing-off from traffic and effective staging the creation of a quasi like a museum presented area. The Information Center at the local basement forms with film sequences on the meaning and history of the Roman wall on a monitor wall and a single screen as well as a covering the entire wall visualization of the perspective along the eastern Legion camp wall on Roman times together with the detailed signage on the ground floor the heart of "document Legion camp wall".
It invites you to visit the therefore biggest permanent exhibition about the Roman times in Bavaria in the Historical Museum situated directly opposite (Dachau square 2-4).
Access free!
Access free in all subsections: southeast corner at the Ernst-Reuter square, northeast corner at Huns place, east side in the parking garage Dachau square (closure of the information center in the car park Dachau square during the night)
Von der Mauer des römischen Legionslagers in der Regensburger Altstadt haben sich an drei Stellen größere Partien erhalten: die Südost-Ecke am Ernst-Reuter-Platz und die Nordost-Ecke am Hunnenplatz sowie ein großes Stück der Ostseite im Parkhaus am Dachauplatz. Dort befindet sich auch die Informationszentrale für das aus den drei Teilbereichen bestehende „document Legionslagermauer“.
Die im Historischen Museum zu besichtigende Lagertorinschrift beschreibt die Fertigstellung des römischen Kastells in der heutigen Regensburger Altstadt als Standlager der 3. Italischen Legion im Jahr 179 n.Chr. unter Kaiser Marc Aurel und seinem Mitregenten Commodus. Die ursprünglich 2 km lange Umwehrung dieses auf rechteckiger Grundfläche errichteten Kastells besaß eine aus mächtigen Großquadern aufgetürmte Front, die auch über den Abzug der Römer im 5. Jahrhundert hinaus Bestand hatte. Die Legionslagermauer umgab die Keimzelle der mittelalterlichen Stadt mit der Residenz der bajuwarischen Herzöge und der karolingischen Könige. Während die römische Quadermauer im Westen mit der ersten Stadterweiterung um 920 an Bedeutung verlor, war sie im Osten noch weitere 400 Jahre Teil der Stadtmauer und blieb dies im Süden und Südosten sogar noch bis ins 19. Jahrhundert.
Durch Überbauung und Verfüllung des Stadtgrabens haben sich weite Partien der römischen Festungsmauer in deutschlandweit einzigartiger Größe erhalten. Die Freilegung der Nordost-Ecke 1905, der Südost-Ecke 1955 und 1961 sowie eines langen Mauerzugs an der Ostseite bei der Errichtung des Parkhauses am Dachauplatz 1971 haben eindrucksvolle Teilstücke ans Licht gebracht, die nun saniert und eindrucksvoll in Szene gesetzt werden konnten. Zusammen stellen sie das frei zugängliche „document Legionslagermauer“ dar.
Während die Südost-Ecke mit den nach Westen und Norden anschließenden Mauerzügen durch eine großformatige Informationstafel, neue Wegeführung und spezielle Beleuchtung als begehbare Denkmalzone zur Geltung kommt, ist im Parkhaus Dachauplatz entlang der Römermauer durch Abschottung vom Autoverkehr und effektvolle Inszenierung die Schaffung eines gleichsam museal präsentierten Bereichs gelungen. Die Informationszentrale im dortigen Untergeschoß bildet mit Filmsequenzen zur Bedeutung und Geschichte der Römermauer auf einer Monitorwand und einem Einzelbildschirm sowie mit einer wandfüllenden Visualisierung der Perspektive entlang der östlichen Legionslagermauer zur Römerzeit zusammen mit der ausführlichen Beschilderung im Erdgeschoß den Kern des „document Legionslagermauer“.
Es lädt ein zur Besichtigung der mithin größten Dauerausstellung über die Römerzeit in Bayern im direkt gegenüber gelegenen Historischen Museum (Dachauplatz 2–4).
Zugang frei!
Zugang frei in allen Teilbereichen: Südost-Ecke am Ernst-Reuter-Platz, Nordost-Ecke am Hunnenplatz, Ostseite im Parkhaus Dachauplatz (Schließung der Informationszentrale im Parkhaus Dachauplatz in den Nachtstunden)
www.regensburg.de/kultur/museen-in-regensburg/staedtische...