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Pardoes Promenade 24/06/2020 11h10
Movable matrix information boards once again explain how 'social distancing' works in the waiting areas in Efteling. The signs do not benefit the fairytale atmosphere everywhere, but COVID-19 is therefore far from a fairy tale in 2020.
De Efteling
The Efteling is a fantasy-themed amusement park in Kaatsheuvel in the Netherlands. The attractions are based on elements from ancient myths and legends, fairy tales, fables, and folklore.
The park was opened in 1952. It has since evolved from a nature park with a playground and a Fairytale Forest into a full-sized theme park. It now caters to both children and adults with its cultural, romantic, and nostalgic themes, in addition to its wide array of amusement rides.
It is the largest theme park in the Netherlands and one of the oldest theme parks in the world. It is twice as large as the original Disneyland park in California and antedates it by three years. Annually, the park has nearly 5 million visitors. In 2016, it was the third most visited theme park in Europe, behind Disneyland Paris and Europa-Park. Over the years, it has received over 125 million visitors.
Location: Kaatsheuvel, North Brabant, Netherlands
Opened: 1952
Operating season: Year-round
Visitors per annum: 4.76 million in 2016
Area: 72 ha the park; 276 ha the resort
Rides: Total 35
Roller coasters 6
Water rides 4
[ Source and much more Info: Wikipedia - De Efteling [2019] ]
Is an archipelagic state in the southern Caribbean, lying northeast of the South American country of Venezuela and south of Grenada in the Lesser Antilles. It shares maritime boundaries with other nations including Barbados to the northeast, Guyana to the southeast, and Venezuela to the south and west.
The country covers an area of 5,128 square kilometres (1,980 sq mi)[6] and consists of two main islands, Trinidad and Tobago, and numerous smaller landforms. Trinidad is the larger and more populous of the main islands; Tobago is much smaller, comprising about 6% of the total area and 4% of the entire population which is estimated at 1.3 million (2005). The nation lies outside the hurricane belt.
Trinidad and Tobago was a Spanish colony from the times of Christopher Columbus to 1802, when it was ceded to Britain. The country obtained independence in 1962. Unlike most of the English-speaking Caribbean, Trinidad and Tobago's economy is primarily industrial, with an emphasis on petroleum and petrochemicals. Trinidad and Tobago has a sound macroeconomic framework and a long tradition of institutional stability. It scores relatively well in many of the 10 economic freedoms, and its economy has grown at an average rate of close to 7 percent over the past five years. The government has tried to diversify the economic base, and the country has evolved into a key financial center in the Caribbean region.
History
Please go to
en.wikipedia.org/wiki/History_of_Trinidad_and_Tobago
Geography
Please go to
en.wikipedia.org/wiki/Geography_of_Trinidad_and_Tobago
Other info
Oficial name:
Republic of Trinidad and Tobago
Independence:
31 August 1962
Area:
5.128 km2
Inhabitants:
1.450.000
Languages:
English [eng] 2,600 in Trinidad and Tobago (2004). Classification: Indo-European, Germanic, West, English
More information.
Hindustani, Caribbean [hns] 15,633 in Trinidad and Tobago (1996). Ethnic population: East Indians are 41% of the population. Alternate names: Trinidad Bhojpuri. Classification: Indo-European, Indo-Iranian, Indo-Aryan, Eastern zone, Bihari
More information.
Spanish [spa] 4,100 in Trinidad and Tobago (2004). Fishing villages and communities of the southern peninsula. Classification: Indo-European, Italic, Romance, Italo-Western, Western, Gallo-Iberian, Ibero-Romance, West Iberian, Castilian
More information.
Tobagonian Creole English [tgh] 36,000 (1990). Tobago. Alternate names: Tobagonian Dialect. Dialects: Closest to Guyana and Saint Vincent. Classification: Creole, English based, Atlantic, Eastern, Southern
More information.
Trinidadian Creole English [trf] 9,600 (2004). Trinidad. Classification: Creole, English based, Atlantic, Eastern, Southern
More information.
Trinidadian Creole French [acf] 3,800 in Trinidad and Tobago (2004). Trinidad, villages of the Northern Range, fishing communities in the islands, and coastal settlements along the peninsula to the west of the capital especially (I. Hancock, ms.). Alternate names: Patois, Patwa, Lesser Antillean Creole French. Classification: Creole, French based
Capital city:
Port of Spain
Meaning country name:
Christopher Columbus encountered the island of Trinidad on July 31, 1498 and named it after the Holy Trinity. Columbus reported seeing Tobago, which he named Bella Forma, but did not land on the island. The name Tobago probably derivesfrom the tobacco grown and smoked by the natives.
"Kairi" or "Iere" (old Amerindian name for Trinidad): Usually translated as The Land of the Hummingbird, although others have reported that it simply meant island.
Description Flag:
The flag of Trinidad and Tobago was adopted upon independence in 1962. The red stands for 'people's generosity and sunlight', white for 'equality and the sea' and black for 'tenacity and vocation of unity'.
In blazons, the flag is Gules, a bend Sable fimbriated Argent.
Coat of arms:
The Coat of Arms of Trinidad and Tobago was designed by a committee formed in 1962 to select the symbols that would be representative of the people of Trinidad and Tobago. The committee included noted artist Carlisle Chang and the late designer George Bailey. The shield has the same colours (black, red, and white) of the nation's flag and carry the same meaning. The gold ships represent the Santa Maria, Nina, and Pinta: the three ships Christopher Columbus used on his journey to the "New World." The two birds on the shield are hummingbirds. Trinidad is sometimes referred to as the "Land of the Hummingbird" because more than sixteen different species of hummingbird have been recorded on the island. The two larger birds are the Scarlet Ibis (left) and the Cocrico (right), the national birds of Trinidad and Tobago. Below these birds is our nation's motto, "Together We Aspire, Together We Achieve."
Motto:
"Together we aspire, together we achieve"
National Anthem: Forged from the Love of Liberty
Forged from the love of liberty
In the fires of hope and prayer
With boundless faith in our destiny
We solemnly declare:
Side by side we stand
Islands of the blue Caribbean sea,
This our native land
We pledge our lives to thee.
Here every creed and race finds an equal place,
And may God bless our nation
Here every creed and race finds an equal place,
And may God bless our nation.
Internet Page: www.ttconnect.gov.tt
T.T. in diferent languages
eng: Trinidad and Tobago
ces | cym | dsb | hsb | slk: Trinidad a Tobago
est | fin | sme | vor: Trinidad ja Tobago
afr | fry | nld: Trinidad en Tobago
arg | lld | spa: Trinidad y Tobago
dan | fao | nor: Trinidad og Tobago
ina | roh | srd: Trinidad e Tobago
bos | slo: Trinidad i Tobago / Тринидад и Тобаго
ind | msa: Trinidad dan Tobago / ترينيداد دان توباڬو
mlt | zza: Trinidad u Tobago
ast: Trinidá y Tobago
aze: Trinidad və Tobaqo / Тринидад вә Тобаго
bam: Tirinidadi ani Tɔbago
bre: Trinidad ha Tobago
cat: Trinitat i Tobago
cor: Trynses ha Tobago
crh: Trinidad ve Tobago / Тринидад ве Тобаго
deu: Trinidad und Tobago / Trinidad und Tobago
epo: Trinidado kaj Tobago
eus: Trinidad eta Tobago
fra: Trinité-et-Tobago
frp: Trinitât-et-Tobagô
fur: Trinitât e Tobago
gla: Trianaid agus Tobago
gle: Oileáin na Tríonóide agus Tobága / Oileáin na Tríonóide agus Tobága
glg: Trindade e Tobago
glv: Trinaid as Tobago
hat: Trinidad ak Tobago
hrv: Trinidad i Tobago
hun: Trinidad és Tobago
ibo: Trinidad na Tọbego
isl: Trínidad og Tóbagó
ita: Trinità e Tobago; Trinidad e Tobago
jav: Trinidad dan Tobago
jnf: Trinidad et Tobago
kaa: Trinidad haʻm Tobago / Тринидад ҳәм Тобаго
kmr: Trînîdad û Tobago / Тринидад у Тобаго / ترینیداد و تۆباگۆ
kur: Trînîdad û Tobago / ترینیداد و تۆباگۆ
lat: Trinitas et Tobagum; Trinitas et Tabacum
lav: Trinidāda un Tobāgo
lin: Trinidadi mpé Tobago
lit: Trinidadas ir Tobagas
ltz: Trinidad an Tobago / Trinidad an Tobago
mlg: Trinidada sy Tobago
mol: Trinidad şi Tobago / Тринидад ши Тобаго
nds: Trinidad un Tobago / Trinidad un Tobago
nrm: Trinetaée et Tabago
oci: Trinitat e Tobago
pol: Trynidad i Tobago
por: Trindade e Tobago; Trindade e Tabago; Trinidad e Tobago
que: Trinidad Tobago-pas
rmy: Trinidad ťai Tobago / त्रिनिदाद थाइ तोबागो
ron: Trinidad şi Tobago
rup: Trinidad shi Tobago
scn: Trinidad e Tobagu
slv: Trinidad in Tobago
smg: Trinidads ėr Tuobags
sqi: Trinidad dhe Tobago
swa: Trinidad na Tobago
swe: Trinidad och Tobago
tet: Trindade no Tobagu
ton: Tuliniteti
tuk: Trinidad we Tobago / Тринидад ве Тобаго
tur: Trinidad ve Tobago
uzb: Trinidad va Tobago / Тринидад ва Тобаго
vie: Tri-ni-đát và Tô-ba-gô
vol: Trinidadeän e Tobageäns
wln: Trinité eyet Tobago
wol: Tirinidaad ak Tobaago
bul | mkd | rus: Тринидад и Тобаго (Trinidad i Tobago)
bak | tat: Тринидад һәм Тобаго / Trinidad häm Tobago
chm | kom: Тринидад да Тобаго (Trinidad da Tobago)
alt: Тринидад ла Тобаго (Trinidad la Tobago)
bel: Трынідад і Табага / Trynidad i Tabaha
che: Тринидад а Тобаго (Trinidad a Tobago)
chv: Тринидадпа Тобаго (Trinidadpa Tobago)
kaz: Тринидад және Тобаго / Trïnïdad jäne Tobago / ترينيداد جانە توباگو
kbd: Тринидадрэ Тобагорэ (Trinidadră Tobagoră)
kir: Тринидад жана Тобаго (Trinidad ǧana Tobago)
kjh: Тринидад паза Тобаго (Trinidad paza Tobago)
krc: Тринидад эм Тобаго (Trinidad ėm Tobago)
kum: Тринидад ва Тобаго (Trinidad va Tobago)
mon: Тринидад ба Тобаго (Trinidad ba Tobago)
oss: Тринидад ӕмӕ Тобаго (Trinidad ämä Tobago)
srp: Тринидад и Тобаго / Trinidad i Tobago
tgk: Тринидад у Тобаго / ترینیدد و تابگا / Trinidad u Tobago; Тринидад ва Тобаго / ترینیدد و تابگا / Trinidad va Tobago
tyv: Тринидад биле Тобаго (Trinidad bile Tobago)
udm: Тринидад но Тобаго (Trinidad no Tobago)
ukr: Тринідад і Тобаґо (Trynidad i Tobago)
ara: ترينيداد وتوباغو (Tirīnīdād wa-Tūbāġū); ترينيداد وتوباجو (Tirīnīdād wa-Tūbāgū)
fas: ترینیداد و توباگو / Terinidâdo Tobâgo / Terinidâd va Tobâgo; ترینیته و توباگو / Terinitevo Tobâgo / Terinite va Tobâgo
prs: ترنیداد و توباگو (Trenīdād va Tōbāgō)
pus: ترنيداد او توباګو (Trinīdād au Tobāgo)
uig: ترىنىداد ۋە توباگو / Trinidad we Tobago / Тринидад вә Тобаго
urd: ٹرینیڈیڈ و ٹبیگو (Ṫrinīḋæḋ va Ṫabego); ٹرینیڈاڈ و ٹوباگو (Ṫrīnīḋāḋ va Ṫobāgo); ٹرنیڈاڈ اور ٹوباگو (Ṫrinīḋāḋ ôr Ṫobāgo); ترینیداد اور توباگو (Trīnīḋāḋ ôr Tobāgo); ترنیداد اور توباگو (Trinīḋāḋ ôr Tobāgo)
div: ޓްރިނިޑާޑް އެންޑް ޓޮބެގޯ (Ṫriniḋāḋ enḋ Ṫobegō)
heb: טרינידד וטובגו (Ṭrînîdad və-Ṭôbagô); טרינידאד וטובאגו (Ṭrînîdâd və-Ṭôbâgô)
lad: טרינידאד אי טובאגו / Trinidad i Tobago
yid: טרינידאַד און טאָבאַגאָ (Trinidad un Tobago)
amh: ትሪኒዳድና ቶባጎ (Trinidadənna Tobago); ትሪኒዳድና ቶቤጎ (Trinidadənna Tobego)
ell-dhi: Τρινιδάδ και Τομπάγκο (Trinidád kai Tompágko); Τρινιντάντ και Τομπάγκο (Trinintánt kai Tompágko)
ell-kat: Τρινιδὰδ καὶ Τομπάγκο (Trinidàd kaì Tompágko); Τρινιντὰντ καὶ Τομπάγκο (Trinintànt kaì Tompágko)
hye: Տրինիդադ և Տոբագո (Trinidad yev Tobago)
kat: ტრინიდადი და ტობაგო (Trinidadi da Tobago)
hin: ट्रिनिडाड और टोबैगो (Ṭriniḍāḍ ôr Ṭobægo)
ben: ত্রিনিদাদ ও টোবাগো (Trinidād o Ṭobāgo)
pan: ਟਰੀਨੀਡਾਡ ਤੇ ਟੋਬਾਗੋ (Ṭrīnīḍāḍ te Ṭobāgo)
kan: ಟ್ರಿನಿಡ್ಯಾಡ್ ಮತ್ತು ಟೊಬ್ಯಾಗೊ (Ṭriniḍæḍ mattu Ṭobægo)
mal: ട്രിനിഡാഡ് ആന്റ് ടൊബാഗോ (Ṭriniḍāḍ ānṟ Ṭobāgō)
tam: ட்ரினிடாட்டும் டொபாகோவும் (Ṭriṉiṭāṭṭum Ṭopākōvum); ட்ரினிடாட் டொபாகோ (Ṭriṉiṭāṭ Ṭopākō)
tel: ట్రినిడాడ్ టొబాగో (Ṭriniḍāḍ Ṭobāgō)
zho: 特立尼达和多巴哥 (Tèlìnídá hé Duōbāgē)
jpn: トリニダード・トバゴ (Torinidādo Tobago)
kor: 트리니다드 토바고 (Teurinidadeu Tobago)
mya: ထရီနီဒက္န္ဟင့္တုိဘာဂုိ (Tʰáẏinideʿ hnĩ́ Tobʰago)
tha: ตรินิแดดและโตเบโก (Trinidǣt læ Tōbēkō)
khm: ទ្រីនីដាដនិងតូបាហ្គោ (Trīnīdād niṅ Tūbāhkō); ទ្រីនីដែតនិងតូបាហ្គោ (Trīnīdæt niṅ Tūbāhkō)
HAEGUE YANG
IN THE CONE OF UNCERTAINTY
NOV 2,2019-APR 5,2020
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.
The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.
Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.
Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.
Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.
A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.
Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.
Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.
Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).
Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).
Melbourne Central Activities District (CAD) Conservation Study 1985 survey images: approx 1200 Kodak colour negatives:
Denominational charitable bodies, such as the Methodist Home Mission Department (1875 - ), evolved in parallel with Victoria's increasing urbanization as the 19th century advanced. Many were created just to serve the central city. The Central Methodist Mission commenced at Wesley Church in the depression of 1893, under Rev A R Edgar, specifically to combat the urban evils, resulting from unemployment, alcohol, gambling and opium, found in the streets of Melbourne. The mission took charge of the South Yarra refuge for fallen women in 1895, a similar institution at Fairfield and other institutions helping homeless men and boys, inebriates and drug addicts. The Princess Mary Club was built as a preventative adjunct to this work, providing a "home away from home" for country girls working in the city. The Rev. Dr S J Hoban was the instigator of the project which cost around 35,000 pounds when complete. Alec S Eggleston was the architect and J S G Wright the builder. A S & R A Eggleston also designed an additional floor set back from Lonsdale Street, in 1939, as envisaged in the original scheme. The builder was E A Watts and the contract signed January 1940. An unusual aspect of the original four level reinforced concrete building was the extensive motor show room occupying the ground level, Lonsdale Street frontage and entered through wide Gothic style doors. Behind the show room was a large garage and car wash: the combinations of dedicatedly ecclesiastical architecture and pragmatic commercial sense showing a truly novel approach to charitable works. The hostel itself occupied a comparatively minute and totally separate part of the ground floor, as an entrance hall, but the first floor was proposed as vastly different. An extensive lounge, with leaded domes set into the ceiling, paneled dado's and mouldings, a dining hall and private dining room, matron and sisters' quarters and offices all followed the promise of the exterior....The building is, externally, executed in a Modern Tudor in an apparent attempt to blend with the old Gothic revival complex adjoining. To achieve this, Tudor hood moulds, oriel and lancet windows, top casement sashes, quatrefoils, and basket-arched doorways were contrived in cement. Retail was focused at the main entry points, both commercial (Lonsdale Street) and ecclesiastical, (facing the Church), whilst upper levels were relatively austere, with implied rather than actual detail. Internally, the entrance lobby retains some of its dark wood paneling and an old lift car, but little remains of the motor car retailing carried out by W T Cottman in the 1930s as, for that matter, the Central Mission Carpark which was presumably at the rear, as 124 Lonsdale Street. In their place, there are now small retail shops and, towards the rear of the building, kitchens and common rooms now occupy the car wash. At first level, the balcony and leaded light doors, which face Lonsdale Street, survive from the earlier lounge area and the dome now sits incongruously over a false ceiling, not above the first floor but above ground level, at a point which was evidently at the rear of the car showrooms.
Part of the continuing development of the site for inner city Mission purposes, a successful and surprising integration of two now contradictory uses with a third existing use on the site and, generally a component essay in Modern (or neo) Tudor and a satisfaction of the need for a contextual design.