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If you have a good memory, you may remember the Corinthian column I made some time ago. I got a lot of good comments on that one (thank you!), and I wanted to build some more... stuff.
If you have a perfect memory, you may remember that I said the Ionic column was hard to do because of its spirals (volutes, if you prefer fancy terms). I did have a go at designing one however, but I began to think the spirals were impossible to do. And if you don't get those right, your column is not right.
If you have a good eyesight, you may have noticed that I'm presenting now an Ionic column nontheless. What happened? Some would call it a miracle, some just inspiration. I found the Indiana Jones whip.
Once I had my spiral (the only spirally part in LEGO, I believe), the column flowed onto my LDD screen. At almost the first try, I had something I was happy with.
And that's what you see in front of you. Before anyone asks: the column should be buildable in real life. I know the whips aren't available in white, but everything else apart form the One Rings I used, is available in white (now even the croissant!). Furthermore, I believe the column's quite stable. It uses the same technique that I learned from Jamie, in the designer video on the LEGO Creator website. This is my tribute to that video, because it made me want to make columns. And I've come a long way.
So I hope you enjoy this Ionic column in minifig scale. And I looked it up for you: this is the first one in LEGO to appear on the internet.
Here's the topic on Eurobricks: www.eurobricks.com/forum/index.php?showtopic=88953&hl=
This is a corner of the Erechtheion on the Acropolis of Athens, emphasizing several of the columns. The architecture and the engineering behind these structures is phenomenal even by modern standards, let alone imagining how they were constructed!
Just opposite the Hyatt Regency is a little park in the central reservation of the carriageway. Everything in it is dedicated to the fight against cancer. It is very inspiring.
The Richard and Annette Bloch Cancer Survivors Plaza on Loyola Avenue. The park has been completely refurbished after suffering significant damage during Hurricane Katrina.
The unique pocket park features 14 x 25-foot monolithic columns in parallel rows and a triumphal arch amid palm trees, shrubs and seasonal flowers, benches and a newly refurbished fountain.
It's designed to be a tribute to the living, and a healing oasis in the heart of the Central Business District. Dedicated in 1995, the plaza was the pride of then-Mayor Sidney Barthelemy.
At age 52, Richard A. Bloch was diagnosed with advanced lung cancer and told he had three months to live. When he beat the odds through aggressive treatment, doctors suggested that he establish the means to help other patients survive. Bloch devoted the rest of his life to inspiring hope and the courage to fight the disease.
Sculptors designed brick and concrete pillars using powerful symbols from ancient and modern cultures, drawing on traditions as varied as those from Indonesia, Egypt, Greece, Persia, Arabia, Russia and pre-Columbian America. Local artist Brian Borrello designed the New Orleans column, with brass instruments encircling its capital to reflect the city's jazz heritage.
The park features a brick "positive mental attitude" walkway flanked by a series of bronze plaques communicating inspirational and instructional messages about cancer. Among them: "Cancer is the most curable of chronic diseases."
Eight bronze figures crafted by Victor Salmones symbolize patients and their families before, during and after treatment.
"The park is a tribute to life," Annette Bloch said.
The park itself is a survivor, after being damaged by Hurricane Katrina's winds and the floodwaters that followed the levee breaches. The globe from the fountain was rolling down Loyola Avenue.
Michael Smith, general manager of the nearby Hyatt Regency, arranged to adopt the neutral ground. As the Hyatt's general manager before, during and after Katrina, he had returned to lead the charge.
When the Hyatt was renovated after the storm, the entrance was moved to Loyola Avenue, and the park became its front yard.
The columns are now patched and power-sprayed, the foliage is trimmed and the fountain refurbished. Now, the park not only is a tribute to cancer survivors, but also a fine symbol of the city's post-Katrina revival.
*Everwinter* www.flickr.com/groups/everwinter_official/, Elven Mist (234, 121, 25) - Moderate
Amusement Park,Apocalypse,dystopian,dystopia,urban grunge,wastelands,urban survival horror,zombies,haunted,creepy,fallout,pripyat,stalker,urban decay,abandoned city,carnival,kids,neko,Romantic,public hangout,popular,photography,photos,roleplay halloween
Ionic Temple and obelisk reflected in the mirror pond, Chiswick Gardens.
Flickr, same place as last picture, Chiswick Gardens.
Before her time on the Irish Sea, the Ionic Ferry had been the P&O/General Steam Navigation/Normandy Ferries ferry "Dragon" built in Nantes in 1967 and working from Southampton (later Portsmouth) to Le Havre. In 1986 she was renamed and moved to the Larne-Cairnryan route. This sleek ferry is seen in 1989 at Larne Harbour in P&O livery.
By renowned architect W H Playfair, designed 1821, building began circa 1823. Near-symmetrical, long classical palace-fronted range with shops to ground floor; 42-bay, 3-storey (attic floors to advanced pavilions) principal elevation; to SW elevation, 3-storey and attic, 5-bay quadrant corner with 2-storey tetrastyle in antic Roman Doric colonnade to 1st floor; to NW elevation, 3-storey and attic, 3-bay splay corner with 2-storey tetrastyle Ionic portico. Polished ashlar; predominantly coursed rubble with dressed margins to rear. Base course; dividing band between ground and 1st floor; cill cornice to 1st floor (excluding SW elevation); cill band to 2nd floor (principal elevation only); main cornice dividing 2nd and attic floor; eaves cornice; blocking course. Predominantly regular fenestration to upper floors. Distinctive multi-pane plate glass glazing to shopfront.
The block comprising 1-23 Elm Row and 2 Montgomery Street forms part of Playfair's Eastern New Town (or Calton) scheme, and as such is an important example of the work of one of Scotland's leading early 19th century architects. Playfair was one of the major driving forces of the Greek Revival in Edinburgh at this time, and his public commissions such as the National Monument, the Royal Institution and the National Gallery gave strength to Edinburgh's reputation as the Athens of the North. The Calton Scheme was one of his few domestic commissions, and the variety of designs, different for each street, demonstrates Playfair's expertise with the Grecian style and his characteristic punctilious attention to detail.
The impressive curved Roman Doric quadrant at the SW corner of Elm Row, in conjunction with its Ionic counterpart on the other side of the road at Blenheim Place, forms one of the architectural set-pieces of Playfair's Calton scheme, set on a commanding corner site framing the Eastern exit and entry to the city via the then newly built London Road. The northern approach road, Leith Walk, is addressed by the long palace-fronted W range which is terminated at the NW end by the imposing splay corner with Ionic portico (Playfair originally intended that this should be balanced by a Doric portico on the other side of Montgomery Street, but this was never built).
Designed and built as high quality private housing with shops to ground floor, the majority of the block retains its original uses. The ground floor originally featured an arcade of round arched openings, but only those at the S end survive. In 1875, Thomas Cochrane, Wine and Spirit Merchant, commissioned McGibbon and Ross to draw up designs for forming an internal door between 23 Elm Row and 2 Montgomery Street.
Elm Row was named after the double row of elm trees which once extended 600 feet down Leith Walk. The retention of these trees was strongly advocated by Stark in his Report, contrary to the previous competition entries, which had all proposed the removal of the trees. Playfair's plan retained the trees, but they have subsequently been removed.
Ionic capital from the sacred area.
The photo shows an example of the classical Ionic capital. No necking is present. The capital leans directly against the column’s shaft decorated with flutes and fillets. Astragal and echinus, respectively embellished with bead-and-reel and egg-and-dart motifs, hold up four volutes drawn by a geometric spiral developing for an angle equivalent to three circumferences. Honeysuckles leaves decorate the connection points between volutes and echinus. The line connecting the two volutes supports a cyma reversed abacus decorated with a leaf-and-dart motif.
Ionic capital
3rd – 2nd century BC
Magnesia ad Maeandrum, Ionia
Turkey
The Ionic Cinema in Golders Green. Still standing but incorporated into Sainsbury's. Scanned slide from around 1975.
Golders Green Ionic, London
A scanned slide from circa 1976
Partially completed interior of my LEGO model of the Temple of Artemis at Ephesus. The scale is about 1:100 (smaller than LEGO Minifig scale which is about 1:40).
Each of the many columns uses, from base to ionic capitol, 33 LEGO parts.
James Brown 1774-79, with alterations and additions. One of a rectangular plan classical style houses forming a terrace, now a series of university departments. Numbers 55-59 Craigleith droved ashlar; number 60 (shown) has interesting squared snecked pink and cream Craigmillar rubble sandstone with blue whin pinnings. Set on ground sloping north to south and forming the north east portion of George Square. Roman Doric doorcases (some with coupled columns) with elided friezes; number 60 with later Greek Ionic doorcase. Tall corniced gable stacks with yellow clay cans.
Numbers 55-60 George Square designed by the architect James Brown in 1766 and built from 1774-79 is an important surviving component of the square. The classical details and regulated style of windows give the terrace coherence although there is considerable variation in the materials used in construction. The concept of terraces with individual houses designed for occupation by one family was relatively new in Edinburgh where tenement living had been the norm and proved an immediate success with the aristocracy and leading citizens. This part of the square is little altered externally and while there have been a number successive occupants and uses, there are many surviving 18th century interior features.
Some small scale projects such as Brown Square also designed by James Brown and John Adam's Adam Square (both now demolished) had been built in the early 1760s in Edinburgh but George Square represents a milestone in the development of planning because of its size and the coherence of its design.
The conception of James Brown's George Square probably predates James Craig's New Town plan by a number of months. The Town Council of Edinburgh resolved to set up a subcommittee to develop the New Town project and to advertise a competition for a plan in January 1766. In May of that year competition entries were received and the results became known in August. However by comparison, James Brown had acquired the lands on which George Square is built in 1761 and the first occupant had moved into the square during 1766. The scheme must have been proposed some time before.
© D a v e F o r b e s
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Engagement 1,300+
Ship Registered as CAPTAIN LEFTERIS from May 2022
Inbound upper Clyde from Sea
The 2013 34,456grt Greek Nereus Shipping Bulk Carrier 'Ionik' (ending in 'c' on her bow) arrives off Queens Quay in Clydebank in the narrows of the upper Clyde heading east and inbound to Glasgow with the tug 'Anglegarth' holding her with a tight stern line.
NAMING HISTORY
IMO 9541849
2013-2022 > IONIC ( 9 Years )
Ionic capital rows from the Artemision
Artemision
End of the 3rd century BC
Magnesia ad Maeandrum, Ionia
Turkey
Greek Ionic column capitals of The Mail Exchange Building facáde on Bourke and Spencer Streets corner, Melbourne, Australia.
This is now The Mail Exchange Hotel.
672-696 BOURKE STREET MELBOURNE, MELBOURNE CITY
The Former Mail Exchange, completed in 1917, was designed by Commonwealth Home Affairs architect John Smith Murdoch. The seven-storey, steel-framed building was constructed in a beaux-arts style.
The Naxian sphinx stood on a tall Ionic column below the Apollo Temple terrace at Delphi, an imposing beast from its perch about ten meters high. It served as a guardian within the sanctuary and, indirectly, as a reminder of Naxian power and influence. Similar capitals and fragments of other votive sphinxes have been found in Delos (said to be of Parian marble) as well as on Paros and the Athenian Acropolis. It is likely that all were Cycladic dedications.
The sphinx (woman-lion-bird) sits flat on its haunches, its forelegs fully extended. The chest is carved with a schematized breastplate of feathers; the wings extensively detailed with longer, more elaborate versions of the same. The head, set on a long neck, faces straight ahead. The long, narrow face exhibits triangular-shaped eyes, a flatish mouth and a receding chin. The hair is treated with incised scallops around the forehead and regular, continuous rows of beads on the crown of the head, held in place by a fillet tied at the back. A single, fat tendril subdivided into round beads drops straight down from behind each ear, while the mass of hair, beaded only along the edges, follows the curve of the back of the neck.
The column is divided into forty-four narrow flutes, like early columns from Samos and Ephesos, and carries an early Ionic-style capital with rounded echinus and small, eyeless volutes. The inscription on the base, which rewards the Naxians with *P*R*O*M*A*N*T*E*I*A (preference with respect to the oracle), is later (4th c.).
The most important addition to Villa Borghese was a Ionic temple on an islet in an artificial pond; the whole complex was surrounded by rocks and caves and it was accessed through serpentine walks. This setting was modified by the Borghese in 1823 and by the Italian State after the acquisition of the villa.
Il tempio di Esculapio è sito nell'isolotto artificiale del lago sito nel Giardino del Lago a Villa Borghese (Roma).Trattasi di un tempietto in stile ionico realizzato nel 1786 da Antonio e Mario Asprucci e da Cristoforo Unterperger.Consta di un portico con 4 capitelli ionici che sorreggono un frontone triangolare.Fra il frontone e le colonne vi è una scritta in greco [Ασκληπιωι Σωτηρι (pronuncia: Asclepioi Soteri)].
Sul tetto vi sono varie statue ellenistiche.Dietro il portico vi è l'edicoletta con la statua di Esculapio.
Villa Borghese is a large landscape garden in the naturalistic English manner in Rome, containing a number of buildings, museums and attractions. It is the second largest public park in Rome (80 hectares or 148 acres) after that of the Villa Doria Pamphili. The gardens were developed for the Villa Borghese Pinciana ("Borghese villa on the Pincian Hill"), built by the architect Flaminio Ponzio, developing sketches by Scipione Borghese, who used it as a villa suburbana, a party villa, at the edge of Rome, and to house his art collection. The gardens as they are now were remade in the early nineteenth century.
In 1605, Cardinal Scipione Borghese, nephew of Pope Paul V and patron of Bernini, began turning this former vineyard into the most extensive gardens built in Rome since Antiquity. The vineyard's site is identified with the gardens of Lucullus, the most famous in the late Roman republic. In the 19th century much of the garden's former formality was remade as a landscape garden in the English taste. The Villa Borghese gardens were long informally open, but were bought by the commune of Rome and given to the public in 1903. The large landscape park in the English taste contains several villas. The Spanish Steps lead up to this park, and there is another entrance at the Porte del Popolo by Piazza del Popolo. The Pincio (the Pincian Hill of ancient Rome), in the south part of the park, offers one of the greatest views over Rome.
Villa Borghese è un grande parco della città di Roma che comprende sistemazioni a verde di diverso tipo, dal giardino all'italiana alle ampie aree di stile inglese, edifici, piccoli fabbricati, fontane e laghetti.
È il terzo più grande parco pubblico a Roma (circa 80 ettari), dopo Villa Doria-Pamphili e Villa Ada e si estende in gran parte sul quartiere Pinciano e in piccola parte sul rione Campo Marzio, divisi dalle Mura aureliane.
Il nucleo della tenuta era già di proprietà dei Borghese nel 1580, sul sito nel quale è stata identificata anche la posizione dei Giardini di Lucullo (o horti luculliani).
Il possedimento fu ampliato con una serie di acquisti e acquisizioni dal cardinale Scipione Borghese, nipote di papa Paolo V e futuro patrono di Gianlorenzo Bernini, con l'intento di crearvi una "villa di delizie" e il più vasto giardino costruito a Roma dall'antichità. Nel 1606 la realizzazione degli edifici fu affidata dal cardinale agli architetti Flaminio Ponzio e, dopo la morte del predecessore, a Giovanni Vasanzio (Jan van Santen); gli architetti furono affiancati dal giardiniere Domenico Savini da Montelpulciano e dall'intervento anche altri artisti, quali Pietro e Gianlorenzo Bernini. La villa era completata nel 1633.
Nel 1766 lavori di trasformazione furono intrapresi dal principe Marcantonio IV Colonna, nel "Casino nobile" (ora sede della Galleria Borghese) e nel "Casino dei giuochi d'acqua" (attuale "Aranciera" e sede del Museo Carlo Bilotti), e soprattutto nel parco, con la sistemazione del "Giardino del lago", ad opera degli architetti Antonio e Mario Asprucci. Tutto il giardino venne ornato di fontane e piccole fabbriche che permettevano di godere di scorci prospettici suggestivi.
Agli inizi del XIX secolo la villa venne ulteriormente ampliata da Camillo Borghese con l'acquisto di terreni verso Porta del Popolo e Porta Pinciana, che furono integrati alla villa con l'intervento dell'architetto Luigi Canina. Nel corso del secolo gran parte della precedente giardino formale fu trasformato in giardino di paesaggio di gusto inglese. Durante tutto il secolo i giardini furono aperti per il passeggio festivo e vi erano ospitate feste popolari con canti e balli.
Il complesso fu acquistato dallo Stato italiano nel 1901 e ceduto al comune di Roma nel 1903 per essere stabilmente aperto al pubblico, mentre iniziava la lottizzazione della confinante Villa Ludovisi sui cui terreni stava sorgendo l'omonimo quartiere. La villa fu acquistata per 3 milioni di lire dell'epoca (equivalenti a circa 10 milioni di euro attuali), e denominata ufficialmente "Villa comunale Umberto I già Borghese". I romani non smisero mai di chiamarla Villa Borghese.
Il grande parco contiene diversi edifici ed ha 9 ingressi: tra i più frequentati quello di Porta Pinciana, quello dalla scalinata di Trinità dei Monti, quello dalle rampe del Pincio a piazza del Popolo e l'ingresso monumentale di Piazzale Flaminio. Il "giardino del Pincio" (corrispondente al colle Pincio), nella parte sud del parco, offre un noto panorama su Roma.
L'edificio della villa ("Villa Borghese Pinciana"), oggi sede della Galleria Borghese, fu costruita dall'architetto Flaminio Ponzio, che sviluppò gli schizzi di Scipione Borghese. Ora è la sede della Galleria Borghese. Alla morte di Ponzio, i lavori furono terminati dal fiammingo Giovanni Vasanzio. L'edificio fu destinato da Camillo Borghese a contenere le sculture di Bernini, tra cui il David e Apollo e Dafne, e di Antonio Canova (Paolina Borghese) nonché le pitture di Tiziano, Raffaello e del Caravaggio.
Contigua a Villa Borghese, ma oggi fuori dal perimetro vero e proprio del parco, ai piedi del colle, è Villa Giulia, costruita nel 1551 - 1555 come residenza estiva per papa Giulio III, che ora ospita il Museo nazionale etrusco. Era legata a Villa Borghese anche Villa Medici, sede dell'Accademia francese a Roma. Altri edifici sparsi nei giardini di Villa Borghese, su viale delle Belle Arti, sono stati edificati in occasione della Esposizione internazionale tenutasi a Roma nel 1911 per festeggiare il primo cinquantenario dell'Unità d'Italia. La Galleria nazionale d'arte moderna risale a questo periodo.
La villa ospita anche lo zoo di Roma trasformato recentemente in bioparco ed il Museo civico di zoologia, mentre la "Casina delle Rose" è oggi la sede della Casa del Cinema. Nei pressi di quest'ultima si trova il Cinema dei Piccoli, la sala cinematografica più piccola al mondo.
È sede del concorso ippico Piazza di Siena, giunto nel 2009 alla 77ma edizione.
Nel 2003 è stato inaugurato il Silvano Toti Globe Theatre, una ricostruzione del Globe Theatre di Shakespeare a Londra.
Font : Wikipedia
Just kind of messing around, it's nothing serious. :x I'm on my desktop, shitty graphics. But yeh, it's my yard :3 All things Ionic & Hideki
The Greek Room was dedicated in 1941 and based on a 5th-century temple during the Ancient Greece's Golden Age. Upon entering the room one is immediately captivated by several Ionic columns, which have been set back from the wall and window to create a sense of a colonnade that is so iconic in classical Greek architecture. The columns have been carved using the same marble stone used in the Pantheon in Athens. Throughout the rooms are motifs of traditional Greek keys and the egg-and-dart patterns. The impressive painted and plastered ceiling is based on that found in the Acropolis. The professor's and the guests' chairs are carved with the names of Ancient Greek philosophers Aristotle, Plato and Socrates, whereas the students' chairs bear the names of Greek islands and towns.
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The Nationality Rooms are located in the University of Pittsburgh's Cathedral of Learning building. The rooms are gifts to the university from Pittsburgh's ethnic communities. Each room has been designed to represent the culture of the nation represented. The rooms function as university classrooms and are not open all the time for the public to explore particularly during school terms. Visitors are advised to contact the University for opening times and guided tours.
www.nationalityrooms.pitt.edu/
The very first Nationality Room opened in 1938, and new rooms are still being planned now. There are currently 30 Nationality Rooms at the Cathedral of Learning.
Flickr member CLYDEBRAE wrote this about sister ship the Bardic Ferry...
Delivered in 1957 to the Atlantic Steam Navigation Co Ltd, this was a strategically important new building. Fifty years on and much of our trade is by roll on roll off ferry and we are used to seeing foreign trucks trundling up and down our motorways. This vessel was hailed as the first ro-ro vessel to be built in the UK. There had been earlier examples able to carry a limited number of vehicles and the Landing Ship Tank conversions of ASN proved a demand. This vessel was a hybrid - the vehicle deck was accessed by a stern door, as illustrated here. This deck extended below and forward of the accommodation to the collision bulkhead. The weather deck, with containers on deck shown here, was entirely lift on lift off with no ramp access to the vehicle deck. A 20 ton deck crane was fitted on deck capable of slewing through 360 degrees at a radius of 40ft - giving an outreach of 12ft 6ins beyond ships side. It is reported the vessel was built with Ministry of Defence requirements in mind, including the ability to carry tanks on her vehicle deck. Capable of carrying 15 first class and 38 second class passengers within Home Trade limits, she was also classed for Middle Trades to the Baltic and Mediterranean but as a cargo vessel limited to 12 passengers. Plans of the vessel hint at her possible military role - two of the second class cabins having alternative uses as an operating theatre and hospital. These were the only two passenger cabins on the Promenade Deck, placed immediately forward of the Second Class Lounge which no doubt would have been converted to hold casualties, in case of need. Built before the era of bow thrust units, she was equipped with a bow rudder but needed tug assistance in Preston. In today's world of short sea crossings and fast turnrounds her schedule was leisurely and tidally dependent. Light draughted there were still occasions when poor neap tides imposed restrictions. At 12ft 8ins her draught would have been similar to the vessel loading coal in the next photograph even though the latter looks much smaller. Within a couple of years the Preston by-pass opened and our motorway network rapidly expanded. As with the railways a century before, an established motorway network favoured the short sea route and transfer of the service to Cairnryan, close to Stranraer, in 1974 allowed a much reduced passage time and more intensive use of this ship and its successors.
Both she and her sister, Ionic Ferry delivered in 1958, did pretty well, lasting for 30 years. Both were sold in 1976, the Bardic Ferry being renamed Nasim II and the Ionic Ferry the Kamasin and later Tamerlane. Both ships ended their days within months of each other at Turkish shipbreakers in Aliaga. The Bardic Ferry in November 1988 and the Ionic Ferry a little earlier, in April of the same year.
Photo by Tony Pettit
Image courtesy of the Preston Historical Society. www.prestonhistoricalsociety.org.uk/
© Preston Historical Society.
Robert Brown, 1825. Classical tenement range with advanced 3-bay canted pavilion with Ionic columns to ground floor to junction with Annandale Street; symmetrical 3-storey, attic and basement elevations; 15 bays to Haddington Place, 3 bays to corner elevation. Polished ashlar (some painted sections to ground floor); droved ashlar to basement of Haddington Place elevation and right section of SW elevation. Dividing band between basement and ground floor; continuous cornice to ground floor; continuous cast iron trellis balconette to 1st floor; cill band to 2nd floor; band course and main cornice between 2nd and attic floor; eaves cornice; balustraded parapet (solid parapet to pavilions, with sunk panelling and St Andrews cross detail to centre; to curved elevation, canted panel with rosette, flanked by large scrolls). Regular fenestration; architraved and corniced windows to 1st floor (consoled pediments to windows to central bay of pavilions and corner elevation); architraved windows to 2nd floor.
Haddington Place is built on land which once formed part of Edinburgh's Botanic Gardens. These had been transferred to the west side of Leith Walk by Professor John Hope, Professor of Botany, 1763. In 1820, the botanic gardens were moved again to their present site at Inverleith. Professor Hope died in 1786 and by 1817, the land is marked on Kirkwood's map as 'the property of Dr Hopes representatives', suggesting that his wife had since died and the land been inherited by his children, of which he had three sons and one daughter. In 1824-5, Sasines show that the lands were being feued for building to an agreed scheme by a Major John Hope (probably Professor Hope's second son). It seems likely that he was influenced by the success of the neighbouring Gayfield estate. However, like the Calton scheme, the Hope scheme suffered badly from the rise in popularity of the West End, and very little of Brown's scheme was actually built. Only the south section of Haddington Place was completed, Annandale Street was left uncompleted to the NW end, and the only other street of the scheme to begin building, Hope (now Hopetoun) Crescent, has only two pairs of houses built to Brown's designs.
David Logan, 1815 and screen 1841. 2-storey, 5-bay classical school building with single storey side wings. Gilded dome on drum. Sandstone ashlar. Base course, frieze, cornice and parapet. Attached Ionic colonnade in antis upon 4-step apron to centre forming (now blocked) entrance and flanked by single bay end blocks. Central sectioning 3 doorways, semicircular fanlights with fine radial glazing. Square windows centred above. Paterae above in frieze above capitals. Parapet dated 1815 to centre with flanking frieze and scrolls. Drum and dome set back, circular windows and clock facing W. Flanking wings; 3 bays, that to centre slightly recessed, parapet with raised panel and scroll carvings to centre.
Only the front block remains of the old Academy, and the extensive additions by the County Architect's Office of 1960 have since been further extended to the east.