View allAll Photos Tagged internal
Internal waves (waves at the density boundary layer) are often produced by the strait. Like traffic merging on a highway, the water flow is constricted in both directions because it must pass over the Camarinal Sill. When large tidal flows enter the Strait and the high tide relaxes, internal waves are generated at the Camarinal Sill and proceed eastwards. Even though the waves may occur down to great depths, occasionally the waves are almost imperceptible at the surface, at other times they can be seen clearly in satellite imagery. These internal waves continue to flow eastward and to refract around coastal features. They can sometimes be traced for as much as 100 km (62 mi), and sometimes create interference patterns with refracted waves.
Lothian Buses Volvo Olympian 210 (M210 VSX) ‘Starfruit’ is seen here in the Scottish Vintage Bus Museum (SVBM) operating on the Internal Service around the museum on Saturday the 17th of August 2019.
The number of preserved Lothian Buses keeps growing, and Olympian 210 (M210 VSX) ‘Starfruit’ here is the latest addition.
Alexander R Type bodied Volvo Olympian YN2R number 210 (M210 VSX) ‘Starfruit’ was new to LRT in May 1995, operating from Central depot before passing to Marbill Coaches, where it would stay for a while before being bought back by Lothian and preserved in 2019.
210 ‘Starfruit’ is seen here at the SVBM on it’s very first display to the public since preservation on Saturday the 17th of August 2019, this shot was taken from fellow preserved Lothian Alexander bodied Olympian 285 (P285 PSX) ‘Pepper’, also operating the Internal Service around the museum.
Operator: Lothian Motorcoaches (Lothian Buses)
Service: SVBM Internal Service
Vehicle type: Alexander R Type RH142/9414 bodied Volvo Olympian YN2RC16Z4
Vehicle engine: Diesel
Vehicle fleet number: x210
Vehicle registration: M210 VSX
Vehicle name: Starfruit
Vehicle depot: Newbridge (officially)
Vehicle livery: Lothian Buses Madder and White version 1
Vehicle destination screen: three-track roller blinds
Vehicle destination display: 210 to Private – via LRT Lothian
Vehicle Chassis: Vo YN2RC16Z4 SLVYNC217SC025917
Vehicle Body: Ar RH142/9414/10
Vehicle Seating: H51/30D
Operating area: Edinburgh (previously)
Registration prefix area: Edinburgh
Year of manufacture: 1995
Date of first registration: (unknown)
Original operator: Lothian Region Transport (LRT)
Original fleet number: 210
Original registration: M210 VSX
Age of vehicle: 24 years and 3 months
Photo location: Scottish Vintage Bus Museum, Lathalmond
Taken on: Saturday the 17th of August 2019 (17.08.2019)
Taken on Day 1325
(info from Cazana cazana.com/uk/car/M210VSX and Bus Lists On The Web www.buslistsontheweb.co.uk/ )
150.365
There is tension in the air and I'm fighting against my greatest enemy.
DAY 150 !!!! I've wanted to do a jump shot for a while now.
The photoshopping isn't perfect. . . but hey, neither am I. And I kinda like how it turned out. This was one of my most challenging edits yet.
~ you know these moments when you thoughts are still?
~ when there exists nothing else but you in your natural environment?
~ when judgement is switched off......
~ when ambition & the ego are resting
~ when you simply enjoy the simplest things in life?
~ further thoughts blogged here
...............................................................................................................................................................................
Pedestrian circulation at the National Museum of African American History and Culture, Washington DC.
Architect: David Adjaye
Completed: 2016
On the train on the way to Dublin going through the Curragh, Co. Kildare.
This is 4 photos stitched with Autostitch. The stitch didn't work out great, so there's a bit of photoshoppery here too. See Large
Inspired by this (I got to get me one of those fancy Russians thingys...)
Part of the Ireland set.
See the Slideshow
Internal services timetables. Notable is the complete absence of sunday services. Click on photo to enlarge.
Khajuraho, a UNESCO World Heritage Site, is a famous tourist and archaeological site known for its sculptured temples dedicated to Shiva, Vishnu, Jain patriarchs, and others. Khajuraho was one of the capitals of the Chandela kings, who from the 9th to the 12th century CE developed a large realm, which at its height included almost all of what is now Madhya Pradesh state. Khajuraho extended over 21 sq. km and contained about 85 temples, built by multiple rulers mostly between 950 to 1050. In the 12th century the Chandelas, in a period of chaos and decline, abandoned Khajuraho and moved to hill forts elsewhere. Khajuraho puttered along until the 14th century (Ibn Batuta was impressed by its temples) but was afterwards largely forgotten and overtaken by jungles, which probably saved it from the desecration that Muslim conquerors sometimes inflicted on Hindu monuments. In 1838 a British army captain, TS Burt, employed by the Asiatic Society in Calcutta, came upon information that led him to the rediscovery of the complex of temples in the jungle in Khajuraho.
Of the 85 original temples—most constructed of sandstone—about 20 are still reasonably well preserved. Both internally and externally the temples are richly carved with excellent sculptures that are frequently sensual and often sexually explicit. The temples are divided into three complexes—the western is the largest and best known, containing the magnificent Shaivite temple Kandariya Mahadev, a 31m high agglomeration of porches and turrets culminating in a spire. Khajuraho's name derives from the prevalence of khajur, or date palms, in the area.
There are many theories explaining the real reason for incorporating erotic art with the temples. One of the most popular theories is that they were meant to provide education about earthly desires. During the medieval era, young boys were sent to hermitage and practice bramhacharya till reaching maturity. The sculptures were meant to educate them about grahasthahram.
Yet another theory states that they were meant to represent kama (desire) as the third purushartha (aim of life). The sculptures are also accredited to the rise of the Tantric cults during that time. However, several experts reject these theories.
However, the most credible explanations for the erotic sculptures at Khajuraho are as follows:
1. Sign of happiness, prosperity and auspiciousness: During the medieval era there was a common belief that having erotic sculptures were considered alankaras or decorative motifs, protective and auspicious. This hypothesis is based on the authoritative religious texts like the Shilpashastras and the Brihat Samhita. According to the Brihat Samhita, mithunas (couples), goblins, creepers and erotic sculptures were meant to be carved on the temple door to bring in good luck and as a sign of auspiciousness.
2. Mock the Ascetics: Yet another theory explaining the old erotic art at Khajuraho states that the coital couples represent ascetics as well as people from the royal class. It is also believed that the sculptures of couples participating in the orgies are scenes imagined by the artists. Also, it is also said that the artists used ascetics in sensuous and passionate moods as a way to mock the extreme Tantric sects that rose during that era.
3. Code Language: According to experts, the erotic figures were used as a code language to convey Tantric doctrines and non-communicable experiences. For e.g. A sculpture wherein a washerwoman clings to an ascetic may look erotic and sensuous for the layman. However, in the Tantric language, the washerwoman represents the Kundalini energy that has ascended up to the chakras i.e. the neck of the ascetic. Thus, the erotic sculptures have a deeper meaning related to the Tantric cult.
4. Conceal the Magico-Propitiory Yantra: According to the architectural text of the Shilpa Prakasha, every temple must have a Kamakala Yantra strategically placed to protect it from evil spirits and natural calamities. However, the Yantra, which is basically a set of lines drawn symmetrically, must not be visible to the lay man. Thus, a few erotic sculptures with the head down posture were made corresponding to the lines of the Yantra and superimposed on it.
5. Non-duality: It is possible that the erotic sculptures symbolically represent the union of two opposing forces or energies like, inhalation and exhalation, in a timeless state of non-duality.
The erotic art at Khajuraho is considered to be the pinnacle of love and passion. However, during the period between 900 – 1300 AD most Hindu, Jain and Buddhist temples across western and southern India comprised of erotic art.
However, at other temples, these sculptures were carved at the plinth level, below the eye level and thus did not get noticed. It is only at Khajuraho that these sculptures were so prominently displayed on the main wall of the temples
For me is Hunters of Daventry King Long XMQ6127 BK63ZSZ. It was new to Bakers and appears on my stream when i worked at King Long....A lot of people in the industry slag these off but i was impressed , ok it ain't as nice as a VDL or a Tourismo , but it drives well and has no rattles. As you will see from the saloon picture it has 49 leather seats the usual exec facilities, as well as plugs to charge laptops and phones at every seat, seat back tables and magazine nets, privacy glass and wood effect arm rests. There is a few negatives, there is only one locker for the driver internally and that is down by the continental steps the turning circle bad and the fridge is in front of the front row of nearside seats so creates a bad blind spot. But the mirrors make up for that and are amongst the best in the industry as far as i am concerned..ZSZ is seen outside Daventry Hill school the first of two afternoon school runs that i do. Photo taken 05/11/19
Toddler backpack pattern by Made by Rae. I lined it and finished seams with contrast bias binding.
Blogged at claireysews.blogspot.com/2010/06/one-year-on-and-new-back...
Stefan 😈, Newt 👼 and Huan 👤.
*Storytime (Me talking to myself):
S: Finish her now because you don't know if you will have time to do it tomorrow.
N: No, it's late and you should sleep. Finish her tomorrow so you can start it with a clear head.
S: Or, you can finish her now and sleep like a baby later.
N: No, if you screw her up you'll have to start all over. Do it tomorrow.
S: Or, you should do it now while it still on your system, you may not feel like customizing tomorrow.
N: YOU PROMISSED TO SLEEP EARLY TODAY!
S: YOU CAN SLEEP TOMORROW!
N: YOU CAN SHUT UP TOMORROW!
S: BUT I CAN KICK YOU BUNS TODAY!
N: I WOULD LOVE TO SEE TRY!
S: I'M A PACIFIST, SO I WOULD KEEP SCREAMING INSTEAD OF PHYSICALY FIGHTING YOU!
N: ME TOO BECAUSE VIOLENCE IS NEVER THE ANSWEAR!
[Keep screaming at each other]
Internal passageways in the prehistoric Su Nuraxi di Barumini on Sardinia, Italy, connected the central tower or nuraghi with four adjacent towers.
Two exquisite 40cm dolls by the amazingly talented Lene Villadsen.
Made of fine porcelain, ball jointed dolls with internal steel springs for optimum posing ability, leather lined joints, fully painted by the artist, painted eyes, mohair wigs, they also come with silver shoes & headpieces.
DL9475 with train 397 has stopped on the main line through Morrinsville to assist Train 474 which is in the yard sidings. The driver of the new DL9521 was having a problem associated with releasing the brakes. 397's driver was able to assist and the problem was resolved within a relatively short period. During the new DL's troubles, a rotating amber beacon was observed working. It can be seen just below the loco's frame to the rear of the battery box and ahead of the rear bogie. This is a new feature of the latest DL production series and I assume it has something to do with fault awareness and/or brake issues.
I visited today the Press Museum in Amsterdam. It shows the history of 400 years of news in The Netherlands. Part of the permanent exhibition conists of a series of four replicated press rooms in different periods.
The picture shows a detail of the press room of the beginning of the 20th century, showing a system for internal mail by means of cables and pulleys. The document bottom left was clamped in a kind of peg on a cable an could be transported to the other side of the room by turning the pulley.
52 weeks of 2014 - Week 35 - Low key
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Folland 150 was directly inspired by the (modest) successes experienced by the Saro SR./A.1, a jet-powered flying boat fighter that went through trials in the late 1940ies.
The project had been kicked-off in the end phase of the 2nd World War, when the Imperial Japanese Navy with seaplane fighters such as the Nakajima A6M2-N (an adaptation of the Mitsubishi Zero) and the Kawanishi N1K demonstrated the effectiveness of a fighter seaplane.
In theory, seaplanes were ideally suited to conditions in the Pacific theatre, and could turn any relatively calm area of coast into an airbase. Their main disadvantage came from the way in which the bulk of their floatation gear penalized their performance compared to other fighters.
The new jet engines offered more power and aerodynamically cleaner designs, and the Saro SR./A.1 proved the soundness of the concept. But while the Saro SR./A.1 proved to have good performance and handling, the need for such aircraft had completely evaporated with the end of the war. Furthermore, the success of the aircraft carrier in the Pacific had demonstrated a far more effective way to project airpower over the oceans. The project was suspended and the prototype put into storage in 1950, but it was briefly resurrected in November 1950 owing to the outbreak of the Korean War, before realization of its obsolescence compared with land-based fighters, the prototype last flying in June 1951.
Anyway, this was not the end of the jet-powered flying boat fighter. After the Korean War, Saunders-Roe came up with a design called the "Saunders Roe Hydroski" (reminiscent of the Convair F2Y Sea Dart) to improve the performance closer to land-based aircraft but "received no official support". Other ship-based fighter concepts were developed and proposed, too. In the early Fifties, Folland made several proposals based on its newly developed light fighter, which would evolve into the Gnat.
The Gnat was the creation of WEW "Teddy" Petter, a British aircraft designer formerly of Westland Aircraft and English Electric. It was designed to meet the 1952 Operational Requirement OR.303 calling for a lightweight fighter. Petter believed that a small, simple fighter would offer the advantages of low purchase and operational costs. New lightweight turbojet engines that were being developed enabled the concept to take shape.
In 1951, using company funds, he began work on his lightweight fighter concept, which was designated the "Fo-141 Gnat". The Gnat was to be powered by a Bristol BE-22 Saturn turbojet with 3,800 lbf (16.9 kN 1,724 kgp) thrust. However, the Saturn was cancelled, and so Petter's unarmed proof-of-concept demonstrator for the Gnat was powered by the less powerful Armstrong Siddeley Viper 101 with 1,640 lbf (7.3 kN / 744 kgp) thrust. The demonstrator was designated Fo-139 "Midge".
From this land-based basis, several navalized variants for the use on board of smaller ships were deducted and taken to the hardware stage. The Gnat's selling point was its very small size and low weight, so that it would be easy to handle, operate and stow, even if it was no dedicated carrier.
One development direction focused on rocket-assisted ZELL (Zero-Length-Launch) and conventional landing on land-based airstrips, while another direction reverted to the idea of a light jet-powered flying boat conversion for reconnaissance and (daylight) interception and attack duties.
Both were taken to the hardware stage as private ventures (even though supported by the MoD since both concepts were regarded as fundamental research), and the flying boat project took shape under the handle Folland Fo-150, internally referred to “Project Volans”.
The Fo-150 had only rudimentary similarity with the land-based aircraft, though. Beyond the addition of a hydrodynamic, lower hull, the fuselage was stretched between the cockpit and the wings, for a better CoG distribution. The wing area was increased considerably in order to compensate for the higher all-up weight, improve handling and lower landing speed. The horizontal stabilizers were moved away from the original low position, higher onto a new cruciform tail, in order to keep these surfaces away from spray. The fin itself was slightly enlarged, too.
Power came from a modified Bristol Siddeley Viper turbojet, rated at 3,100 lbf (14 kN). In order to protect the engine from water ingestion the air intakes were extended forward under the cockpit canopy and featured spray dams. Balance in the water was achieved through semi-retractable stabilizer floats. These could be folded backwards under the wings, behind bullet-shaped fairings at about half the wing span that also contained a pair of 30mm Aden cannons. Hardpoints above and under the wings allowed the carriage of light external weapons like unguided rocket pods, or, alternatively, test equipment and camera pods.
The first airframe for Project Volans was built in Folland's facility on the western side of the Hamble peninsula and later taken to the Solent in May 1955. On 14 June 1955, the aircraft inadvertently made its first short flight during a fast taxi run – the enlarged wing created a massive ground effect that easily lifted the light aircraft up into a glide when the nose raised through wakes to a certain degree. The Fo-150’s official maiden flight was on 9 July 1955.
The underpowered engine made the fighter sluggish, and the strong uplift close to the ground made handling complicated and created violent vibration during takeoff and landing. Work on the wings leading edge profile improved this situation somewhat, but they could not cure the sluggish performance.
Otherwise, handling turned out to be good, but the Fo-150 could never show its full potential due to the weak engine. A second airframe was finished until late 1955 and joined the flight tests from early 1956 on, while a third airframe was reserved for static tests.
Anyway, even before that, the Navy had been losing interest (problems with supersonic fighters on carrier decks having been overcome, and ship-based missiles filled the aerial defense role much more efficiently than aircraft). This relegated the Fo-150 and the whole Volans program to pure experimental status. As a consequence, the two airworthy airframes were de-militarized and the aircraft kept in service as testbeds for hydrodynamics, especially for the development of planing bottoms, hydrofoils and hull shapes for high speed ships.
In 1960, WS685 was also used for the development and tests of hydroskis, while its sister ship was retired and used for spares. This program lasted until 1963, and after that, the worn-out airframe was scrapped, too.
General characteristics:
Crew: 1
Length: 10.44 m (34 ft 5 in)
Wingspan: 8,71 m (28 ft 6 in)
Heigh (keel to fin tip)t: 3.74 m (12 ft 3 in)
Wing area: 19.00 m² (204.5 ft²)
Empty weight: 2,560 kg (5,644 lb)
Max. takeoff weight: 4,235 kg (9,336 lb)
Powerplant:
1× Bristol Siddeley Viper turbojet, rated at 3,100 lbf (14 kN)
Performance:
Maximum speed: 695 km/h (375 knots, 432 mph) at sea level
Cruise speed: 324 km/h (175 knots, 201 mph)
Stall speed: 145 km/h (92 knots, 106 mph) with flaps down
Endurance: 1 hour 45 min
Service ceiling: 30,000 ft (9,150 m)
Armament:
2× 30mm ADEN cannon with 80 RPG in underwing pods
Two overwing hardpoints for 500lb (227kg) each,
e.g. for SNEB rocket pods containing seven 68 mm rockets
or pods with 7.62 mm machine guns
Two underwing hardpoints for 500lb (227kg) each,
for bombs or a pair of 50-Imp Gal (226 litre) drop tanks
The kit and its assembly:
Another submission to the 2016 “In the Navy” Group Build at whatifmodelers.com, and actually the consequence of a spontaneous post/comment on another modeler’s project just called “Royal Navy Gnat”, when the means and degree of navalization were still shrouded in mystery. I suggested a flying boat, inspired by the real Saro SR./A.1 and the Gnat’s high-mounted wings, which make the aircraft – or at least a model of it – suitable for a conversion.
Well, since the other Gnat turned out to become a ZELL aircraft, and I had a Matchbox Gnat in the stash, I decided to take my weird alternative idea to the (model) hardware stage.
Even though it is not obvious, pretty much of the Matchbox Gnat was used for this build, but it is masked under lots of putty and donation parts. These include:
- The lower half of a Smer SC-1 Seahawk float – a bit wide, but perfect in length
- The SC-1 also donated its stabilizer floats
- Leftover parts from a vintage (35+ years!) Matchbox F-14’s stabilizers, used as wing extensions
- Air intakes from a Matchbox F-5A, mounted upside down
- Stabilizers from a Hobby Boss MiG-15
The build went pretty straightforward: after the fuselage was done the SC-1 float was trimmed down and glued under it. Putty conceals the seams, and I am actually surprised how good these parts that were surely never meant to be united went together.
The cockpit features only the front seat, the rear position was omitted. The clear canopy was cut into three pieces, and the rear part glued onto the fuselage and blended into the overall shape with putty.
I felt that the deeper fuselage necessitated bigger wings, and instead of mounting complete donation parts I decided to keep the OOB parts and their shape, but extend them slightly with plugs – these are leftover parts from F-14 stabilizers from former projects, their width, length and also the sweep angle were perfect. In order to keep the relative wing tip position, the wing roots had to be moved forward, so that they ended up close to the cockpit and the air intakes. Again, putty conceals the intersections and was used to blend everything into each other – and with the enlarged wings this converted Gnat reminds a bit of the Me 163 Komet rocket fighter? At least, as long as the stabilizers were not mounted yet.
These come from a MiG-15 – bigger than the OOB parts, which appeared just too small for the bigger wing surface and their new position: in order to keep them clear from spray and the waterline I moved them upwards, together with a bullet fairing into the fin, which was simply divided above the rudder. The resulting fin extension was an appreciated extra, and the new cruciform tail looks very retro.
Placing the original air intakes onto the fuselage I found them to be too susceptible to water ingestion, so I wanted to extend them forward. But instead of using the OOB parts and bridging gaps with styrene pieces and putty, I found an old pair of F-5A air intakes with relative long ducts in the spares box. They were of good shape and size for the conversion, I just mounted them upside down, so that the longer leading edge is now on the intakes’ lower end, looking like a spray protector. A pair of spray dams was added to the nose, too.
How to balance the aircraft while afloat caused some headaches. The initial plan had been to place the SC-1 stabilizer floats with their slender pylons close to the wing tips, but I found this to be a very draggy solution for a jet aircraft.
The solution came while wondering where to place some armament: I used the Gnat’s (shortened) OOB slipper tanks as integral gun pods and modified their rear end into fairings for a semi-retracting float installation. The respective struts were scratched from wire and styrene.
The beaching trolley was highjacked from a vintage Revell F-16 kit (the rather clumsy one that represents the prototypes and which comes with a separate jet engine, its dolly and a small tractor). It was slightly modified and lowered, paper tissue cushions hold the model in place.
Painting and markings:
Since the flying boat version of the tiny Gnat (even if is based on the bigger trainer version!) is already exotic enough I decided to keep the livery true to the post WWII Royal Navy style, with Extra Dark Sea Grey upper surface, Sky undersides and a high waterline. In this case, Humbrol 123 and 95 are the basic tones, later treated with a black ink wash, panel lines drawn with a pencil and some panel shading with Humbrol 79 and 23, respectively. The planning surfaces were in the first place painted/primed with acrylic aluminum, so that later the enamel paint cover could be chipped away, for a lightly worn look.
The cockpit interior was painted in very dark grey (Humbrol 32). Thankfully, no landing gear had to be built and painted, but instead the custom beaching trolley became trainer yellow.
The RN markings come from various sources, and finally the kit was sealed under a coat of semi-matt acrylic varnish.
A funny project, and despite the weird idea and combination of parts the result does not look bad at all – in fact, one could think that it is a design or prop from a 1960’s James Bond movie or a Gerry Anderson creation?
Internal Turbulence
The sea was pretty rough at Rosario Beach last week. I loved trying to capture the waves crashing violently against the rocks! I went with a slightly slower shutter speed because I wanted to smooth out the water just a little, while keep the movement that was happening.
I do have some images with faster shutter speeds that capture the water crashing on the left side of the image a little better, but overall, I like the way this image came out more.
Location: Rosario Beach, Deception Pass State Park, WA
Camera: Sony a7ii
Lens: Canon 17-40L adapted with Fotodiox Pro Smart Fusion adapter
Shutter Speed: 0.8 sec
Aperture: f/8
ISO: 100
A detachable gun pod instead of an internally mounted gun can be used as a hand-held weapon in GERWALK and battroid modes. -Wiki
Aesthetically, I prefer the GERWALK mode out of the three. ^^
Built in 1926, the former Saint Stephen's Presbyterian Church on Balacalva Road in North Caulfield was designed by London born Melbourne architect, Robert Joseph Haddon.
The former Saint Stephen's Presbyterian Church important architecturally as it is an example of a building which is transitioning from Gothic design into the Arts and Crafts eclectic manner Joseph's incorporation of the Arts and Crafts style with the traditional Gothic style is evident in the facade of the former Saint Stephen's Presbyterian Church. The fusion of styles marks a transition in Melbourne's church architecture, where the traditional proportions become reinvented through exterior and interior details. The outside of the former Saint Stephens is softened by the use of red brick and stucco, with a striking cement cross that divides the façade symmetrically. Joseph also appropriates the verticality of gothic windows, dividing the internal space into smaller vertically stacked lead rectangles throughout. The facade treatment successfully combines Christian symbols with Gothic forms in the Arts and Crafts style more successfully than the Malvern Presbyterian Church or the Archangel Michael and St Anthony's Coptic Orthodox Church in Oakleigh.
Today Saint Stephen's Presbyterian Church still serves as a place of worship, but is now the home of an Indonesian Christian Church of Melbourne.
Robert Joseph Haddon (1866 –1929) was born in London where he trained in the 1880s before emigrating to Australia in 1889 at the age of 25. After working at several different firms, he weathered the Melbourne property crashes of the 1890s and finally established his own architectural firm in 1902. He was an important figure in the architectural profession in Victoria, championing the Arts and Crafts Movement and ideals in his writing and teaching. He designed some of the most original buildings of the period, featuring restraint, balanced asymmetry and Art Nouveau details. These include "Milton House" in Flinders Lane in 1901, "Eastbourne House" the home of Doctor Samuel Peacock on Wellington Parade in East Melbourne in 1903, the Malvern Presbyterian Church in 1906, his own house "Anselm" at 4 Glenferrie Street in Caulfield in 1907, "The Bungalow" in Burke Road East Malvern in 1907, "Laureston" in Marshall Avenue East Kew in 1907, the Yarraville State Savings Bank in 1909, the Fourth Victoria Building, at 273 Collins Street which he remodeled in 1912, Saint Stephens Presbyterian Church in 1926 and Archangel Michael and St Anthony's Coptic Orthodox Church in Oakleigh in 1928.