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This massive, derelict train maintenance complex now sits decaying and slightly vandalized. The sun fell as we began exploring!
The Maria Wörth church complex consists of the parish and former collegiate church, the smaller winter church, a Romanesque cirque as well as the cemeteries and the three churchyard portals. It stands on a rocky peninsula on Lake Wörthersee , which was an island until 1770, when a connection was created between the church island and the mainland as a result of landfills and the lowering of the water level. The patronage of the parish church is the Assumption of Mary .
The town of “ Uweride ” came into the possession of the diocese of Freising between 875 and 883 . As part of the Innichen monastery 's Slavic mission , an original parish and a mission center for Carinthia were created here. A church, first mentioned in documents in 894, was built under Bishop Waldo of Freising . The relics of the church patrons Primus and Felicianus were transferred from Rome at an unknown date. Around 1146, Bishop Otto of Freising founded a collegiate foundation with a provost and five, later six, canon benefices. This could have been the reason for the construction of the new church, which was consecrated in 1155. In 1399 a serious fire damaged the church. After Maria Wörth was reduced to a sinecure , a benefice without official duties, Emperor Maximilian I handed the church over to the Order of the Knights of St. George in Millstatt in 1529 . In 1598 it was taken over by the Graz Jesuits . With the handover to the Jesuit order, the second oldest provost in Carinthia ceased to exist, as the Jesuits did not know of any such institutions. When Pope Clement XIV banned the Jesuit order in 1773, Maria Wörth became a secular parish, which in 1808 was placed under the patronage of the Benedictines of Saint Paul . An exterior restoration took place in 1973, and the late Gothic architectural polychromy was restored in 1991.
Complexe funéraire de Djéser.
Il est, dans l'histoire de l'architecture égyptienne, le second ouvrage édifié en pierre de taille. Il marque une évolution importante de l'architecture monumentale.
En effet, le tombeau du roi prend, pour la première fois et après de multiples modifications, la forme d'une pyramide. Cette innovation marque la naissance d'un nouveau type de sépulture.
Bien que l'appartement royal ait été complètement pillé dès l'Antiquité, le mobilier archéologique dégagé lors des fouilles de cet ensemble funéraire n'en est pas moins d'une importance exceptionnelle.
Des milliers de vases et de coupes gisent encore au fond des galeries, attendant d'en être extraits. Deux sarcophages d'albâtre, dont l'un contient encore le squelette d'un enfant, sont encore placés au sein des galeries de la famille royale.
Le complexe fut conçu par l'architecte Imhotep. Il est l'aboutissement d'une architecture évoluant depuis la IIe dynastie.
NASA’s Space Launch System (SLS) rocket with the Orion spacecraft aboard is seen atop a mobile launcher at Launch Complex 39B, Sunday, April 3, 2022, as the Artemis I launch team conducts the wet dress rehearsal test at NASA’s Kennedy Space Center in Florida. Ahead of NASA’s Artemis I flight test, the wet dress rehearsal will run the Artemis I launch team through operations to load propellant, conduct a full launch countdown, demonstrate the ability to recycle the countdown clock, and drain the tanks to practice timelines and procedures for launch. Photo Credit: (NASA/Joel Kowsky)
Gears: Nikon D50 and AF-S Zoom-Nikkor ED 18-55mm f/3.5-5.6G DX
Location: Terengganu Sports Complex, Kuala Terengganu, Malaysia
Processing: Contrast, Yellow Tint
Richardson Olmsted Campus is one of Buffalo's most imposing and beautiful buildings. Completed in 1870 by Henry Hobson Richardson in the Richardsonian Romanesque style, it was originally the Buffalo State Asylum for the Insane. Towards the late 20th c., mental health treatment changed and the facility began to move out of the building, which became increasingly derelict.
Nevertheless, it was designated as a National Historic Landmark in 1986.
It was only in 2006 that the Richardson Center Corporation was formed with a mandate to save the buildings and bring the Campus back to life through a State appropriation for this architectural treasure.
Today, the Richardson Olmsted Campus houses the Hotel Henry Urban Resort Conference Center as well as a restaurant known as "100 Acres The Kitchens at Hotel Henry".
The remaining buildings have been stabilized pending future opportunities.
=====Then=====
*Twag's Apartment complex. The Moth-Copter comes to a stop on the helipad and Garth steps out, followed by Onomatopoeia and their new recruits- Combs, LaMonica, Fisher Flores and last of all Bridget. Twag, in a deep purple suit waits for them. Garth shakes his hand, Twag downs another pill*
Garth- Danto. Ladies, Gentlemen, say hello to your new employer.
Twag- Quite the turnout. I'm glad you took up my offer.
Combs- Didn't seem like we had much of choice.
*Ono nods in agreement. His fingers tighten around his holster*
LaMonica- I know dat face, Dan Twag eh? The mayoral candidate! Whooee...
Tarantula- No one said he was handsome rrrrrr...
Combs- *cough* slut. *Ahem* Something tells me you don't just want us printing out pamphlets, do you?
Twag- I want anarchy, chaos, anything that could be pinned on your "good guy" counterparts... Grange is loosing her grip, very soon she'll have no pull on this city, all it'll take is one more... catastrophe.
Fisher- And that's where we come in?
Twag- Yes. When that last piece falls, people will beg for someone to replace her, someone who can fix Gotham. And with a heavy heart, it would be me, who would have to rise to the challenge.
LaMonica- Can't speak for them, but hey, I dig it.
Twag- Then let's get down to the specifics, I- where's Bridget?
=====The Graveyard=====
*Bridget is kneeling by her parents graves. She's cleaning the flowerpot when Twag finally speaks*
Twag- They're nice... Lovely even! They were always her favourite... You remember the bunch she kept on the mantle. Ha, Ted hated them, the amount of times he tried throwing them away! you do remember-?
Bridget- Of course I remember! I remember it all. My first bike ride, every birthday and Christmas, family days out... And do you know what else I remember? You forcing my father to dress up in tights!
*The winds howling, a sea of red and amber leaves brush past them. Twag attempts to divert the conversation away from Carson*
Twag- I loved her, you know. I really did.
Bridget- No. I loved her, dad loved her. You're just... you're just obsessed
Twag- I-? I'm obsessed? If Ted ever cared, he would've visited your mother. I did! Instead, he ran about, begging for Drury Walker to chase him.
*Bridget is on her feet now, her voice raised*
Bridget- You did that to him!
Twag- I offered him a job! Salvation!
Bridget- You took him from me!
...
Twag- It wasn't my- He wasn't well.
Bridget- And you are? You talk about my Dad as though he was crying to get Walker's attention 24-7, but there you are, you're practically *living* his life.
Twag- That's not what I-
Bridget- Bullshit! Stealing his gadgets, running for mayor, my dad wanted Walker dead, you want to be him!
Twag- I was him! Killer Moth, the golden boy! *He* stole my spotlight, took everything that should've been mine- Fame, adoration, a family that loved him, friends who would do anything for him! And... *ahem* It doesn't matter. Just... just listen to me Bridget, please, I *need* you. You're not like them, thugs and killers, you understand that it was never just a game, you- you have your mother's eyes.
Bridget- What?
Twag- Your mother, you have her eyes.
*Twag gazes into her eyes, just enough for Bridget to turn away. He grabs her hand*
Twag- Bridget, please. Grange is finished, she was only ever keeping the mayoral seat warm, but even so... Blackgate hasn't done her any favours, nor the gang war, believe me, all it'll take is one more tragedy
Bridget- What do you have in mind eh? Gonna bomb City Hall?!
Twag- You're one to talk, who drove tanks into Gotham?
Bridget- Who paid for them?
Twag- That's not the point!
Bridget- What *is* the point?
...
Twag- Everything I did, for you, your mother, I did it because I loved Ted, as I love Carmen.
Bridget- Then maybe you should have saved her.
*Twag is taken aback, shocked and hurt. Bridget rests the flowers down at her mother's grave and leaves. She was right, thought Twag, he killed her. *Her*. There was no point pretending anymore. Carmen was dead, and it was all his fault. But he couldn't mourn. He had a job to do, and he hoped, whatever they were, Ted and Carmen understood, that he couldn't stop, no matter the cost. Still, he stroked the gravestone affectionately and sighed deeply*
Twag- I'm sorry...
*He turns to the shadowed figure. The unmistakable figure of Wasp*
Twag- What are you staring at? Going to kill her too?!
*His words fell on deaf ears. Whatever emotion Norbert Walker once had, Twag was sure Hatter had purged. And it repulsed him*
NASA’s Space Launch System rocket carrying the Orion spacecraft launches on the Artemis I flight test, Wednesday, Nov. 16, 2022, from Launch Complex 39B at NASA’s Kennedy Space Center in Florida. NASA’s Artemis I mission is the first integrated flight test of the agency’s deep space exploration systems: the Orion spacecraft, Space Launch System (SLS) rocket, and ground systems. SLS and Orion launched at 1:47 a.m. EST, from Launch Pad 39B at the Kennedy Space Center. Photo Credit: (NASA/Joel Kowsky)
My last view from Prague Castle over the city before we walked back through the complex.
Notable buildings here are the main buildings of the Faculty of Arts, Charles University, behind that is twin spires of the Church of Our Lady before Týn and at the back is the quirky Žižkov Television Tower, which we went up the next day!
(Sorry, my photos are slightly out of order - I uploaded this and forgot to make it public!)
Moon Dust - Extravagance Set
VUDU TATTOO - Royal Cross Collar - BoM/EVO-X
[Din] Xena
You can find it at BIGGIRL Event
RAWR! Laviathan HUMAN FEMALE EvoX Earrings at Black Fair Exclusive
-♥-
Show on Ebody Reborn
The flower is so simple yet so complex. A true beauty created by nature.
Shot at botanical garden Nagpur.
A helicopter is seen flying past NASA’s Space Launch System (SLS) rocket with the Orion spacecraft aboard atop a mobile launcher at Launch Complex 39B, Thursday, April 21, 2022, at NASA’s Kennedy Space Center in Florida. Photo Credit: (NASA/Joel Kowsky)
The Cromlech of the Almendres (Portuguese: Cromeleque dos Almendres/Cromeleque na Herdade dos Almendres) is a megalithic complex (commonly known as the Almendres Cromlech), located in the municipality of Évora, in the Portuguese Alentejo. The largest existing group of structured menhirs in the Iberian Peninsula (and one of the largest in Europe), this archaeological site consists of several megalithic structures: cromlechs and menhir stones, that belong to the so-called "megalithic universe of Évora", with clear parallels to other cromlechs in Évora District, such as Portela Mogos and the Vale Maria do Meio Cromlech.
Source wikipedia. For more information, see: en.wikipedia.org/wiki/Almendres_Cromlech
The Orion Complex with my Nikkor 50mm lens and D5600a. A fair amount of turbulence in the atmosphere but surprisingly it came out alright. I might have to invest in a Hydrogen Alpha filter to bring out more of the reds but I am very happy with how this imagine came out.
Location: Mojave National Preserve
Camera: Nikon D5600a
Lens: Nikkor 50mm 1.4G
Mount: iOptron SkyGuiderPro
Aperture: f4
Frames: 29
Exposure: 90 seconds
Gain: ISO 800
Darks: 9
Bias: 50
Processing: Pixinsight, Adobe Photoshop
On the west side of Dataran Putrajaya (Putrajaya Square) is the Putrajaya Corporation Complex which includes an archway leading into Kiblat Walk and the Tuanku Mizan Zainal Abidin Mosque.
Putrajaya; October 2022
Despite looking very worse for wear and in need of some TLC the former Great Orme Summit Hotel now known as the "Summit Complex" is still open and gets rather busy despite being a classic "seaside greasy spoon" when it comes to the refreshments on offer.
With the panoramic views one wonders why it hasn't been turned at least in part to an upmarket restaurant? As you may gather I wasn't too impressed by what was on offer!
For more photographs of Llandudno please click here: www.jhluxton.com/Wales/Conwy-County-Borough/Llandudno
The Summit Complex building is located at the summit of the Great Orme, Llandudno.
The site was previously used as a semaphore station forming part of the Holyhead to Liverpool telegraph system.
Between 1810 and 1829 a chain of telegraph signals was established along the North Wales coast from Holyhead. These signal stations relayed information about vessels arriving and departing Liverpool.
The telegraph station was later moved to Great Orme’s Head Lighthouse when it was built in 1862 by the Mersey Docks and Harbour Board.
After the closure of the Telegraph Station the original station became the Telegraph Inn serving visitors to the Summit of the Great Orme.
At the beginning of the 20th Century Griffith B. Morgan – catering manager of the Great Northern Railway and proprietor of the Clarence Hotel, Llandudno – purchased the Telegraph Inn for £1,500.
The plan was to turn the site into a hotel and create an 18 hole Golf Course on adjacent land.
Unfortunately the original project was not completed and the venture went liquidation.
The hotel was eventually completed on a reduced scale than originally envisaged, along with the golf course, aided by the support of a local golf club.
The Great Orme Golf Course closed with the outbreak of World War II with the land reverting to sheep grazing.
The Summit Hotel hotel – was requisitioned during the World War II and became RAF Great Orme Radar Station.
The ending of hostiities marked a new era for the Summit Hotel. The property passed through various hands until it was bought and later restored by British champion middleweight boxer Randolph Turpin and Leslie Salts a local businessman.
Unfortunately Turpin was not good at managing his business affairs and was forced to sell the business after being pursued by the Inland Revenue for tax debts incurred during his boxing career.
He was eventually declared bankrupt and took his life in 1966.
Twenty Interlocking Irregular Hyperboloidal Dodecahedra 600 units
5-fold view.
This is the first working iteration of my magnum opus wireframe project for summer 2022: a supremely complex compound of 20 irregular dodecahedra. This is the icosahedral/dodecahedral symmetry extrapolation of the compound of 8 Dodecahedra I designed a month or two ago. Here, each dodecahedron corresponds to a single 3-fold axis representing the face of an icosahedron (or a vertex of a dodecahedron). This design also illustrates the importance of scaffold construction methods: assembling a model such as this a frame at a time is simply impossible, as the innermost vertices are deeply imbedded within the model. I believe that this is the largest ever compound of polyhedral frames. Designing this model was a considerable effort- this is version 4.5, and it could really use a refold.
Designed by me.
Folded out of copy paper.
Stock Shot || Forza Motorsport 7
___________
There is a chance a good portion of the 720S update will feature edited shots. Unless of course I can find a solution to my display profile.
I want to do more updates containing mostly stock shots. The reason is it's less time consuming.
Sure I am happy how some of my edited shots have turned out. But with it being summer I would prefer to release a few stock only updates.
Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity.
Charles Mingus
This is a sister shot to one that I posted last month called Intense Simplicity.
In debating which one to post at the time, and I couldn’t decide which I liked better… Tonight I’m posting the less “electric” version, though its intensity is evident, nonetheless.
Have a wonderful week!!!
xoxoxox
New Brighton, Staten Island
Constructed in 1860 by architect Charles Duggin for William S. Pendleton, this exceptional house is a rare surviving example in New York City of a High Victorian picturesque villa incorporating elements of the English Rustic and Swiss Styles. Designed to complement its hillside site, which commanded views of New York and New Jersey, the house features a dominant tower and multiple porches. It is richly embellished with decorative details and is surmounted by a complexly-massed gabled roof, which is set off by overhanging eaves, exposed rafters, open work brackets, decorative trusses, and several prominent chimneys. Born and trained as an architect in England, Duggin immigrated to New York City in 1853, where he became a prominent designer and developer of residential architecture. This house was published twice, in 1862 and 1869, in the Horticulturalist magazine, the journal which helped popularize picturesque designs in the United States.
This house and Duggin’s earlier house at 22 Pendleton Place (c. 1855, a designated New York City Landmark), are considered to be his best-known works Both were part of a complex of seven houses designed by Duggin. William S. Pendleton, a prominent businessman who together with his brother John had established the first commercially successful lithographic firm in the United States, moved to Staten Island around 1845 where he served as president of the North Shore Ferry Company and invested in real estate. The 1 Pendleton Place House was initially leased to stockbroker Thomas M. Rianhard and in later years was occupied by members of the Pendleton family. From the mid-1920s to the mid-1940s the house was owned by William Wirt Mills, a prominent journalist and political leader, who served as Tax Commissioner for the Borough of Staten Island and later as Tax Commissioner for the City of New York under Mayor LaGuardia.
The present owners have undertaken a careful restoration of the house and received an award from the Preservation League of Staten Island in 2005.
Description
Grounds: The 1 Pendleton Place House is located on a quarter-circle-shaped lot at the intersection of Franklin Avenue and Pendleton Place. The lot has a frontage of 209 feet along Franklin Avenue, extends 210 feet through the block to Pendleton Avenue, and has a curving frontage of about 327 feet along Pendleton Place. The house is set back from the streets on the high ground near the middle of the southern property line. The land has been terraced around the house, especially at the front where there is an oval driveway and in rear yard where there is a raised garden. There is a non-historic concrete retaining wall along the northern edge of the property at the intersection of Pendleton Place and Franklin Avenue. On the east side of the property mid-way along the Franklin Avenue frontage there is a historic bluestone paver leading from the sidewalk to a non-historic concrete stair with a non-historic iron pipe rail. Near the southwest corner of the property there is a driveway opening on to Pendleton Place. The location of the driveway is historic but the current asphalt surface is not. Leading off from the entry to driveway is a non-historic flagstone and concrete path that leads to a non-historic concrete patio at the rear of the house. A non-historic concrete path also wraps around the west wing of the house leading to front driveway and the front entrance on the north side of the house. The low concrete and brick curbs that flank sections of the paths and driveway probably date from the first half of the twentieth century. Two concrete urns (planters) on bases, located near the driveway, also probably date from the first half of the twentieth century. The brick ground cover in front of the east porch on the north facade appears to be composed of historic brick. The asphalt path adjacent to the east side of the house is non-historic. A non-historic concrete retaining wall with a built in bench and brick and stone staircase are located at the southeast corner of the rear patio. The staircase provides access to the upper garden.
House: The picturesquely designed frame house is irregular in plan and massing. It is comprised of a cross-gabled three-story main block, with a four story conical-roofed entry tower set in the angle between the north and west wings and a one-story shed-roofed pantry wing on the rear elevation filling the space between the south and east wings. The angle-ended west wing is surrounded by a one-story veranda. There is also a one story porch in the angle between the north and east wings. The house rests on a sandstone foundation, which has traces of old light-colored cement mortar patching at some of its joints. The upper walls are sheathed with non-historic lapped cedar clapboard siding. The baseboards and corner posts are also non-historic. The windows retain their original molded wood surrounds. An engraving of the house published in 1862 shows that they originally contained a mix of one-over-one, two-over-two sash as well as multipane French doors leading to the verandas. Many of these original windows survive while other windows have historic replacement sash. Most of the house’s rich decorative detailing also survives including the jigsawn corner spandrels beneath the porch roof, the bracketed window hoods, cusped vergeboards, elaborate openwork braces and carved brackets, and shaped chimneys (restored c. 1995). In recent years the elaborate jigsawn porch railings were replaced in kind. The bottom of some of the porch posts also were replaced in recent years. The porch stairs (except for the top step on the front stoop) have also been replaced. The rafters that support the porch roofs and the porch ceilings are original. Other changes have included the creation of a new kitchen entrance and changes to the pantry wing, probably c. 1900-1910. The current fiberglass shingle roof dates from the 1980s. Although there have been some losses, notably the small wood corbels beneath the window sills (visible in a historic photo of the house), the gingerbread moldings that ornamented the bay window and tower, the finials that terminated the gables and capped the tower, and perhaps the cresting that extended along the roofline, the house retains an extraordinary amount of its original detailing
The house’s north (primary) facade, facing Pendleton Avenue, has an asymmetric five-bay design. The one-story porch, which opens on to the entrance tower, is approached by a non-historic wood stoop with non-historic wood railings and posts that were designed to match the elements on the other porches. The porch is sheltered by a gabled hood that retains its original molded cornices but has been covered with non-historic shingles. The porch roof has deeply overhanging eaves. The roof is supported by carved posts that are topped by elaborate curved brackets and embellished trusses accented by jigsawn scroll brackets. The entry retains its original paired paneled wood doors with narrow arched windows. The brass letter slot is historic; the doorknobs and other hardware are non-historic. The small metal light fixture suspended from the porch roof near the doorway is non-historic.
The paired French doors on the west side of the tower that open onto the west veranda retain their original triple lights topped by a pair of transoms separated by a wide muntin. The second story windows of the tower retain historic one-over-one wood sash windows. The Tudor arch window openings on the front and west side of the tower at the third story are crowned by projecting hoods that retain their original cusped vergeboards. Both windows retain historic one-over–one wood sash windows with the upper sashes echoing the arched profile of the surrounds. The third story is capped by a coved frieze that retains its unusual knobbed decorations and a molded cornice. The small sections of hipped roof that project beyond the base of the fourth story of the tower are covered with non-historic shingles. The octagonal fourth story of the tower retains most of its historic molded trim including the unusual stylized brackets that support the overhanging eaves beneath the tower’s conical roof; however, the decorative gingerbread molding that used to be suspended from the eaves has been lost. The windows at this story retain their original Tudor arch surrounds but the windows contain non-historic one-over-one wood sash with flat heads. (These windows are scheduled to be replaced.) The top of the tower has a non-historic metal cap.
The west bay of the north facade has a wrap-around veranda at the first story. The crawl space beneath the porch is screened from view by non-historic spandrels with inset panels of diamond pattern wood lattice. The porch has a recently installed wood floor. The wood porch posts with beveled corners and simple capitals are original, although the posts’ base moldings were replaced in recent years. The porch railings are modern replacements based on the design of the original railings. The plate that supports the porch rafters, the decorative scrollwork brackets beneath the plate, the rafters, and the porch ceiling are original. The molded cornice at the edge of the porch roof is a recent non-historic replacement. The single window opening at the center of west bay on the first story has paired French doors and transoms that match the configuration at the base of the tower.
The single window opening at the second story contains a large two-over-two wood sash window that matches the configuration shown in the 1862 engraving of the house. The hipped roof of the third story attic has been reshingled. The overhanging roof eaves retain their original molded cornice and shaped rafters. The brick chimney at the center of the roof was rebuilt in recent years following the form of the original chimney. It has non-historic flues extending above the brickwork.
The projecting gable-fronted pavilion to the east of the entrance tower features a projecting pentagonal bay at the basement and first story. The basement is faced with massive sandstone blocks and is pierced by a central window opening that retains its historic wood surround with small wood corbel brackets beneath the sandstone lintel. The triple light top-hung wood basement window is historic. At the first story the bay window is constructed of wood. The recessed panel decorations beneath the windows are modern replacements. The four tall narrow window openings contain historic one-over wood sash. The bay windows retain their historic molded sill and lintel courses and overhanging cornice but the gingerbread decorations that originally were suspended from the base of the cornice are missing. The second story features a pair of windows in a molded surround capped by a strongly projecting hood resting on curved brackets with knob finials. The window openings contain historic one-over-one wood sash.
The gabled third story is capped by strongly projecting eaves articulated by exposed rafters. Curved braces support the gable at the corners of the bay and a decorative king post is braced by cross trusses. The single window opening in the third story gable contains historic four-over-four wood window sashes.
The east wall of the pavilion has an entry with French doors which have the same historic configuration as the French doors in the tower and west wings. At the second story the central window has an historic two-over-two wood sash window with a wide central muntin.
The two easternmost bays of the north facade are spanned by a one-story porch. The porch posts, jigsawn scrollwork brackets, rafter plate, rafters, ceiling, and cornice are original.
The baseboard moldings under the porch, the porch floor, the masonry steps leading to the porch, and the railings are non-historic. The kitchen entry probably dates from the first decade of the twentieth century. It retains its historic paneled wood and glass door from that period. The storm door and light fixture to the west of the door are non-historic. The first story window surround and the four-over-over-four wood window sash appear to be original. These windows are repeated on the second story.
The east facade is comprised of a single three-story gable ended bay flanked on the north by the one story kitchen porch and on the south by the one story pantry wing. Originally there was a small open porch at the corner of the pantry wing. This area was probably enclosed at the same time as the kitchen entry was inserted in the north facade (c. 1900-1910). At the center of the facade there is a basement window well with a non-historic concrete block retaining wall. The outer face of the wall and its top ledge have been parged with stucco. The brick pier between the windows and the molded window surrounds and top hung window sashes are recent non-historic replacements. The first story is lit by paired historic, four-over-four windows. The second story has one large window opening containing a historic eight-over-eight sash window with heavy center muntins. The narrower third story window in the gable contains a historic four-over-four wood sash window.
The overhanging eaves of this gable are articulated with brackets, braces, exposed rafters, and trusswork to match the north gable. At the base of the pantry extension there is a recently installed metal hatch above basement staircase. The single window on the east wall of the pantry extension has a molded surround that matches the original surrounds on the other sections of the building suggesting that it may have been moved from south wall where the original pantry window opening has been converted to a doorway.
The south facade has an asymmetric five-bay design. The easternmost section comprises the south wall of the pantry extension and the second story south wall of kitchen wing. The southeast corner of this bay, which was originally an open porch, is covered with siding (a wood strip indicates the junction of the enclosed porch and the old scullery wall). The window that originally lit the scullery retains its original molded surround and has historic four-over-four wood sash. The c. 1900-1910 entry that replaces the old pantry window has a paneled wood-and-glass door that matches the door at the kitchen entrance. This door is protected by a non-historic vinyl storm door. There is a non-historic light fixture above the entry. The overhanging eaves of the pantry wing roof retain their original molded cornice. The sloped shed roof that caps the pantry wing is pierced by a central metal exhaust pipe. The second story has two window openings containing historic four-over-four wood sashes.
The east window has been partially sealed beneath the lower sash. A non-historic metal intake vent is suspended from the window by rubber tubing that connects to an air conditioning inside the house. There are two non-historic exhaust pipes near the edge of the sloping roof over the kitchen wing. A smaller lower non-historic pipe is located near the chimney at the roof ridge.
The articulation of the projecting gable-fronted south pavilion (the dining room wing) is almost identical to that of the projecting gable-fronted pavilion on the north facade save for the substitution of a tripartite window for the first story bay window. This window has a wide center opening with historic four-over-four sashes that have a wide center muntin creating the impression that the windows are paired casements. The paired second story windows have historic one-over-one wood sashes and the single gable window contains a historic four-overfour sash window. The small square half-hipped roofed bay to the west of the south pavilion is lit at the first story by a large window containing historic four-over-four wood sashes. The narrower second story window has a historic one-over one wood window. The west wall of this bay has a French door at the first story, which opens on to the veranda that wraps around the western parlor wing.
These historic doors are identical in configuration to the other French doors. The second story is lit by a historic one-over-one wood sash window.
The two-and-one-half-story hipped roofed wing at the western end of the house is surrounded by a wrap-around veranda. The small masonry stoop that approaches the south side of the veranda is not historic. The entry to the veranda is flanked by historic pedestals which rest on non-historic bases and are surmounted by replacement orbed knobs. The other features of the veranda are described above in the section dealing with the west bay of the north facade. There are three entries from the veranda to the parlor via the French doors on the north, west, and south facades of the wing. All contain historic French doors with transoms identical in design to the other French doors on the house. Two of the doors, on the south and north facades, have historic wood and glass storm windows that echo the design of the doors. At the second story the single opening on the south facade has a historic two-over-two wood sash window.
The attic dormer has a historic surround but has non-historic one-over-one window sashes. On the west facade the second story window is set off by a deeply overhanging gable that is supported by exposed rafters and decorative braces similar in design to the braces employed for the larger gables. This gable like the other gables has lost its decorative finial. It is not certain whether the roof peak was ever decorated with the cresting that is represented in the 1862.49 There is also some question as to whether the grand staircase leading to the veranda was ever executed since the owners found no evidence that it had ever been there when the porch was rebuilt.
- From the 2006 NYCLPC Landmark Designation Report
Head: Lelutka Avalon w/Materials
Body: Legacy Perky w/Materials
Ade - Maria Hair [Lelutka 12 Days of Christmas 2024]
Dress: Celestina's Paula Bodycon Dress [Purple]
Nails: Mango Milk - Essential Nails - Almond [Reds]
Throughout the hospital complex on the southside of Ellis Island, the artist JR is exhibiting a series of work titled "Unframed - Ellis Island". This mural is a part of that exhibit. Shot on Ilford XP2 Super 400 with a Canon A1.
Spa Complex, Scarborough with a high tide on Xmas Eve.
Grade 2* listed.
Scarborough, North Yorkshire, Spa
December 2015
Saguaro cactus (Carnegiea gigantea) (a succulent) in the Spur Cross Ranch Conservation Area, Cave Creek, Arizona, near Phoenix.
They say it takes 50 years before the first branch shoots off of a saguaro. If so, this one is a grandaddy.
The SpaceX Falcon 9 rocket with the Dragon cargo module lifts off Space Launch Complex 40 on Cape Canaveral Air Force Station in Florida in the early afternoon on Dec. 5, 2019. Liftoff was at 12:29 p.m. EST. This is SpaceX’s 19th Commercial Resupply Services (CRS-19) mission for NASA to the International Space Station. The Dragon cargo module will deliver more than 5,700 pounds of science and research, crew supplies and vehicle hardware to the orbital laboratory and its crew. Photo credit: NASA/Frank Michaux
4771 'Green Arrow' stops on the return Didcot to Tyseley leg of the tour at Banbury on 1-7-73
This was one of the L.C.G.B.
Gresley Commemorative Rail Tours run on this day. Take a look at Six Bells Junction website for a description of the events from the day they were quite tragic and eventful.
I think it demonstrates how flexible the railways were and the ability to procure replacement locomotives when required.