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Grand Pier, Marine Parade, Weston-super-Mare, Somerset BS23 1AL
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1137759
Date first listed: 19-May-1983
District: North Somerset (Unitary Authority)
Parish: Weston-Super-Mare
National Grid Reference: ST3171261416
Summary
A seaside pier built to the designs of P. Munroe in 1903/4, by contractors Mayoh & Haley, extended in 1905, and with later alterations. The superstructure is of early-C21 date.
Reasons for Designation
Grand Pier, Weston-Super-Mare, is designated at Grade II, for the following principal reasons: * Rarity: pre-1914 seaside piers are rare and this example retains a significant proportion of its early substructure; * Architectural interest: the cast-iron substructure retains its distinctive appearance with openwork girders and columns on an impressive scale; * Historic interest: Grand Pier remains a significant historic feature of the Weston-Super-Mare seafront, and is redolent of the resort's early-C20 heyday, which is an important period of seaside development nationally. .
History
Seaside resorts first emerged in the C18 as rival to inland spas, and became increasingly accessible to greater volumes of visitors after the coming of the railways in the mid-C19. The seaside's most characteristic buildings were piers, established from the beginning of the C19 to provide landings for steam ferries. They soon became used for strolling, or promenading, and later examples were built on a larger scale to accommodate entertainment buildings. Grand Pier, Weston-Super-Mare belongs to the latter category and was first built in 1903/4 to the designs of P. Munroe, engineer. The pier was extended in 1905 to provide a passenger steamer landing stage, although following a lack of use it was reduced in scale. The pier was altered and embellished at regular intervals in the C20, often responding to the changing tastes of the seaside-going public, or to replace structural damaged caused by the coastal elements. Notably, a fire in 1930 destroyed the theatre at the pier end, and a new pavilion was constructed three years later.
The pier continued to evolve through the C20 and early-C21, until a serious fire destroyed much of the superstructure in 2008. The deck and buildings were rebuilt with planning consents, and the substructure repaired and reinforced. The pier reopened in 2010.
Details
MATERIALS: the pier is constructed of cast-iron, attached via concrete beams to a rubble stone abutment at the shore end. Additional fabric, including steel reinforcement, and the superstructure including the timber deck, have been added in the C21.
PLAN: the pier extends approximately 370m from the land, with the remains of a landing stage standing beyond the pavilion end. The shore end is 18 metres wide. The promenade and landing stage are 12m wide. The pavilion end is 64m wide.
EXTERIOR: the shore end comprises a stone abutment with concrete reinforcement. There are modern shops and entrance façade above. The abutment is lined by rubble stone walls with cobbled slipways that lead down to the beach. The walls and hard standings have been repaired or replaced. The pier deck stands on a cast-iron substructure of openwork girders, which are supported by cast-iron columns set in screw piles. The tubular columns have capitals and plinths and are progressively taller as the land falls away to the sea. They are arranged in groups of 8 or 10 with cross-braces under the lattice girder framework. A number of C21 steel piles have been inserted between with bracing. The bays toward the sea end have lateral bracing at lower level. The pavilion end is supported by a 10 x 10 column arrangement with cross-bracing and lateral bracing at lower level. Further support is provided by tubular steel piles inserted in the C21. These columns have no capitals and have been extended up to the C21 metal substructure beneath the pavilion deck. The landing stage is contiguous with the pavilion end and has a lattice girder substructure. Beyond, 12 tubular columns in a circular arrangement rise approximately one metre above ground level. The pavilion end/ landing stage substructure was raised in height and strengthened in the 2009 rebuild.
The deck, railings and buildings are not of special interest.
© Historic England 2020
Unidentified artist
Indian, Sri Lankan
Openwork Panels with Inhabited
Arabesque, 17th c. CE?
ivory with color and gold
The case was made for an organ completed by Christian Vater of Hannover in 1731. The present instrument was made by Alfred Kern & Fils.
I love to do online research, and per Gelge-Ghoul Strah-Vyah the Achoo was applied sometime between August 2016 and January 2017.
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In downtown New Orleans, Louisiana, on June 26th, 2018, on the west side of South Rampart Street, north of Gravier Street.
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Getty Thesaurus of Geographic Names terms:
• New Orleans (7014214)
• Orleans (parish (political)) (2000889)
Art & Architecture Thesaurus terms:
• brick (clay material) (300010463)
• exterior walls (300002523)
• graffiti (300015613)
• Mid-Century Modernist (300343610)
• openwork (300253899)
• parking garages (300007807)
• screen façades (300130953)
Wikidata items:
• 26 June 2018 (Q45920653)
• brick building (Q41955438)
• June 26 (Q2661)
• June 2018 (Q28698315)
• New Orleans Central Business District (Q7010705)
• onomatopoeia (Q170239)
• Rampart Street (Q692231)
Library of Congress Subject Headings:
• Brick walls (sh85016796)
On Sunday 15th September 2019, there was a free Heritage Open Day during Birmingham Heritage Week at the Birmingham Botanical Gardens. so obviously loads of people visited that afternoon. It was very busy with thousands of families and visitors.
Grade II Listed Building
Listing Text
WESTBOURNE ROAD
1.
sic%
Edgbaston B15
Palm House,
Botanical Gardens
SP 0485 SE 43/6
II GV
2.
1871. Big square glass house with pyramidal roof rising in 2 stages, supported
externally by panelled Corinthian pilasters on a blue brick plinth and thin
moulded vertical glazing bars. Interior with central square enclosed by round
headed iron arcades on twisted Corinthian columns with scrolling openwork
spandrels. It connects on the right with the West Terrace Glasshouse (qv).
Listing NGR: SP0491485440
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Subtropical House (formerly the Palm House) is our largest glasshouse and was erected in 1871 at a cost of £1,634.
Special features are four collections of plants:
Occupying the north side is a collection of ferns. Too numerous to name them all, ferns that draw one’s immediate attention are the epiphytic stagshorn fern, Platycerium bifurcatum, with leaves resembling antlers; the Japanese climbing fern, Lygodium japonicum, scrambling up to the roof and Dicksonia x lathamii – a tree fern raised by a our curator in the 1870’s and is the only plant of its kind in the world!
Higher up the evolutionary scale from ferns are the cycads, of which there is a representative collection. These ancient conifers, robustly fern-like in appearance, dominated the vegetation of the earth in the era of the dinosaurs, 100 million years ago, but are now greatly diminished in numbers and limited in distribution.
Further on, is a display of fascinating carnivorous plants from temperate climates; sundews, butterworts, pitcher plants, Venus flytraps and bladderworts, all of which, by various devices, trap and digest small insects.
The remaining special collection is that of the orchids, the largest family of plants, with more than 17,000 natural species. Orchids are highly specialised plants – some live epiphytically on trees in tropical woodlands for support, whilst others grow more normally in soil in most climatic regions of the world. Both types are represented in the collection. Orchid species readily produce fertile hybrids, and such is the beauty of their blooms that over 100,000 horticultural varieties have already been produced and several thousand new ones are added every year.
Educational plants include pineapple, tea, cinnamon, rice, peanut and sugar cane. Many more plants of interest are to be seen here, but it is also a pleasant place to stroll, to paint and sketch or merely to linger in the warm, moist atmosphere listening to the play of water in the fountain.
Hibiscus rosa-sinensis
Crochet blouse of individual motifs are connected to each other in the process of knitting, so it has no seams, it consists entirely of solid lace. Composition nitochek - 100% microfiber. Microfiber has a slight sheen that simulates silk to the touch, too, is very similar to silk. When washing microfiber does not fade and does not shrink. Chance of any color shown in the last photo (provided that at the time of ordering that color will be on sale).
Architect: Hans Asplund
Built in: 1963
Client:
Parkaden is a parking garage in downtown Stockholm with a capacity of 800 cars. The whole house is built of concrete, where the facade elements have been designed with an openwork pattern of numbers indicating the floor. The numbers are right side up and flip on one another and form an ornamental pattern that has become typical for Parkaden.
The property was classified in 2007 as one of the most valuable properties in the district, and that the building meets the criteria for historic buildings in the Cultural Heritage Act.
More of Hans Asplund’s work
Gold, silver, carnelian; 2nd Century C.E.; Made in Pannonia
The richly decorated fibula, wrought in silver, is an exceptional example of a relatively rare type of brooch typical of those made in the Roman border province of Pannonia, on the Danube. These objects are called "wing fibulae" because of the winglike extensions that flank the knob at the bend of the bow. On this work, the knob is decorated with a zigzag pattern, and the two wings are adorned with two small knobs. A punchwork design extends from the knob along the length of the bow. As is typical of the few other surviving examples of this quality, the large, trapezoidal catch plate is covered with gold foil, except where it is pierced with elaborate patterns. Twisted gold wire laid down in wavy lines and scroll-and-heart motifs decorate the foil. Four carnelians frame the two intricate openwork patterns near the tip of the catch plate—one of linked circles and one of linked hearts. Rounded and rosette-shaped silver studs also ornament the surface. Except for minor losses to the gold foil, the fibula is complete and in excellent condition. On the basis of burial and pictorial evidence, wing fibulae like this one were worn by women in pairs, on the shoulder, with the intricately pierced catch plates protruding above their robes, creating a relatively delicate, patterned effect.
From the collection of the Metropolitan Museum of Art, New York.
Grand Pier, Marine Parade, Weston-super-Mare, Somerset BS23 1AL
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1137759
Date first listed: 19-May-1983
District: North Somerset (Unitary Authority)
Parish: Weston-Super-Mare
National Grid Reference: ST3171261416
Summary
A seaside pier built to the designs of P. Munroe in 1903/4, by contractors Mayoh & Haley, extended in 1905, and with later alterations. The superstructure is of early-C21 date.
Reasons for Designation
Grand Pier, Weston-Super-Mare, is designated at Grade II, for the following principal reasons: * Rarity: pre-1914 seaside piers are rare and this example retains a significant proportion of its early substructure; * Architectural interest: the cast-iron substructure retains its distinctive appearance with openwork girders and columns on an impressive scale; * Historic interest: Grand Pier remains a significant historic feature of the Weston-Super-Mare seafront, and is redolent of the resort's early-C20 heyday, which is an important period of seaside development nationally. .
History
Seaside resorts first emerged in the C18 as rival to inland spas, and became increasingly accessible to greater volumes of visitors after the coming of the railways in the mid-C19. The seaside's most characteristic buildings were piers, established from the beginning of the C19 to provide landings for steam ferries. They soon became used for strolling, or promenading, and later examples were built on a larger scale to accommodate entertainment buildings. Grand Pier, Weston-Super-Mare belongs to the latter category and was first built in 1903/4 to the designs of P. Munroe, engineer. The pier was extended in 1905 to provide a passenger steamer landing stage, although following a lack of use it was reduced in scale. The pier was altered and embellished at regular intervals in the C20, often responding to the changing tastes of the seaside-going public, or to replace structural damaged caused by the coastal elements. Notably, a fire in 1930 destroyed the theatre at the pier end, and a new pavilion was constructed three years later.
The pier continued to evolve through the C20 and early-C21, until a serious fire destroyed much of the superstructure in 2008. The deck and buildings were rebuilt with planning consents, and the substructure repaired and reinforced. The pier reopened in 2010.
Details
MATERIALS: the pier is constructed of cast-iron, attached via concrete beams to a rubble stone abutment at the shore end. Additional fabric, including steel reinforcement, and the superstructure including the timber deck, have been added in the C21.
PLAN: the pier extends approximately 370m from the land, with the remains of a landing stage standing beyond the pavilion end. The shore end is 18 metres wide. The promenade and landing stage are 12m wide. The pavilion end is 64m wide.
EXTERIOR: the shore end comprises a stone abutment with concrete reinforcement. There are modern shops and entrance façade above. The abutment is lined by rubble stone walls with cobbled slipways that lead down to the beach. The walls and hard standings have been repaired or replaced. The pier deck stands on a cast-iron substructure of openwork girders, which are supported by cast-iron columns set in screw piles. The tubular columns have capitals and plinths and are progressively taller as the land falls away to the sea. They are arranged in groups of 8 or 10 with cross-braces under the lattice girder framework. A number of C21 steel piles have been inserted between with bracing. The bays toward the sea end have lateral bracing at lower level. The pavilion end is supported by a 10 x 10 column arrangement with cross-bracing and lateral bracing at lower level. Further support is provided by tubular steel piles inserted in the C21. These columns have no capitals and have been extended up to the C21 metal substructure beneath the pavilion deck. The landing stage is contiguous with the pavilion end and has a lattice girder substructure. Beyond, 12 tubular columns in a circular arrangement rise approximately one metre above ground level. The pavilion end/ landing stage substructure was raised in height and strengthened in the 2009 rebuild.
The deck, railings and buildings are not of special interest.
© Historic England 2020
Borobudur Temple Compounds
This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java. It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha. The monument was restored with UNESCO's help in the 1970s.
Borobudur, or Barabudur, is a 9th-century Mahayana Buddhist Temple in Magelang, Central Java, Indonesia. The monument consists of nine stacked platforms, six square and three circular, topped by a central dome. The temple is decorated with 2,672 relief panels and 504 Buddha statues. The central dome is surrounded by 72 Buddha statues, each seated inside a perforated stupa.[1] It is the world's largest Buddhist temple,[2][3] as well as one of the greatest Buddhist monuments in the world.[4]
Built in the 9th century during the reign of the Sailendra Dynasty, the temple was designed in Javanese Buddhist architecture, which blends the Indonesian indigenous cult of ancestor worship and the Buddhist concept of attaining Nirvana.[4] The temple also demonstrates the influences of Gupta art that reflects India's influence on the region, yet there are enough indigenous scenes and elements incorporated to make Borobudur uniquely Indonesian.[5][6] The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path around the monument and ascends to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades. Borobudur has the largest and most complete ensemble of Buddhist reliefs in the world.[4]
.
Sirdar pattern 1900. I used the remiander of the James C Brett baby 4ply balls that I used for the previous matinee. As I ran out of yarn I could only make 4 flowers instead of the 12 so my version doesn't have any flowers on the back.
L’église a eu son premier orgue neuf en 1717. Il s’agissait d’un instrument construit, entre 1715 et 1717, par le Frère Pierre Delorme (1666-1728).
En 1967, un nouvel orgue neuf est construit par Jean-Georges Koenig, selon les tailles de Dom Bedos, en reprenant la composition supposée d’origine.
Le buffet a été classé « monument historique », le 28 avril 1975.
{www.uquebec.ca/musique/orgues/france/sarresg.html}
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The church got its 1st new organ in 1717, built by Frère Pierre Delorme (1666-1728).
In 1967 a new organ was built [in the old case] using measurements given by Dom Bedos to reconstruct the probable original disposition.
The case was classified a Historical Monument on 28 April, 1975.
On the positif, center tower, are the arms of Lorraine.
The best preserved of the two carriages from Dejbjerg Bog. It is equipped with a carriage body that is richly decorated with metal mountings and a drawbar with sheet bronze in an openwork pattern. On the edge of the carriage body are four Celtic male masks with inlaid enamel in hair and eyes. The any rivets too have enamel inlay. The furnishings of the carriage could be changed so it could be used for various purposes. For example, a seat could be mounted on the body. It was also possible to take the body off and use the four vertical carrying-poles to hang one of the great metal vessels that were used in the votive rituals.
Shortly before the beginning of our era two carriages were sacrificed in a western Jutland bog. They were dismantled and laid in a peat bog fenced in with branches and wattles. The wagons were probably the ceremonial carriages of a magnate. The iron in the carriage bodies was forged from Central European mountain ore, and the carriages were probably made in Central Europe by Celtic artisans. However, the wheels were repaired in Denmark — one of the rim hoops was forged from Danish bog iron ore.
Gold rings with openwork floral designs, Griffin-headed sea snakes, sapphire inlay and pearls. From the Thessaly Treasure. Thessaly, Greece. Hellenistic, 3rd Century BC - 2nd Century BC. From the Benkai Museum, Athens. Special Exhibition: Pergamon and the Hellenistic Kingdoms of the Ancient World. Metropolitan Museum. New York, New York, USA. Copyright 2016, James A. Glazier.
This beautiful ring bearer pillow is made of linen fabric. Top side is covered by an embroidered openwork cotton fabric. A rich floral green decoration is attached on a linen fabric belt, that across the pillow front side along its diagonal. Bright orange wide ribbons, fastening rings, gives a clashing touch as opposed to general light smooth color af the whole. A mother-of-pearl shell pin is a nice and usefull detail.
The linen fabric is not simply applied on a standard pillow, as many others ring bearer you can see for sale, but sewn on the edges of an original and creative pillow.
Ideal for own wedding or to give an unique wedding gift. It’s handmade in Italy.
Measurements: 20 x 12 cm – 7,8” x 4,7”
This item is featured here: theperfectpalette.blogspot.com/2009/08/its-etsy-wednesday...
~✿ For orders and more informations about my shop, please visit my profile www.flickr.com/people/passionarte or send me a mail to passionarte.handmade@yahoo.it
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Doorway into the Gwydir Chapel
Eastgate and Eastgate Clock in Chester, Cheshire, England, stand on the site of the original entrance to the Roman fortress of Deva Victrix. It is a prominent landmark in the city of Chester and is said to be the most photographed clock in England after Big Ben.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls. In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was listed by English Heritage on 28 July 1955 as a Grade I listed building.
CHESTER CITY CENTRE JANUARY 2013
Finely detailed carved ivory openwork panel with nine scenes of the Passion (see the following detailed photos)
The British Museum, London
For a similar panel with twelve scenes, go to
www.britishmuseum.org/research/search_the_collection_data...
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Gwydir Chapel: The wooden stalls are of Jacobean design, with unusual heads as finials
In downtown Huntington, Indiana, on November 7th, 2015, in an alley between Cherry Street and North Jefferson Street, south of West Market Street.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Huntington (2032243)
• Huntington (county) (1002496)
Art & Architecture Thesaurus terms:
• concrete blocks (300374976)
• freestanding walls (300078898)
• Mid-Century Modernist (300343610)
• openwork (300253899)
• paint (coating) (300015029)
• white (color) (300129784)
• X-shaped (300378882)
Wikidata items:
• 7 November 2015 (Q21411071)
• Fort Wayne–Huntington–Auburn Combined Statistical Area (Q57891214)
• Northern Indiana (Q7058433)
• November 7 (Q2989)
• November 2015 (Q16726268)
Library of Congress Subject Headings:
• Concrete masonry (sh85030722)
• Concrete walls (sh85030747)
The woodwork was made in 1778 by Jean Elshoecht of Sint Winoksbergen, called Bergues in French. He was paid 350 French crowns.
New Post has been published on coolcreativity.com/crochet/lisbon-lace-poncho-free-croche...Lisbon Lace Poncho Free Crochet PatternThis Lisbon Lace Poncho Free Crochet Pattern is as versatile as it is ethereal. The airy openwork design doesn’t provide a lot of warmth, but it looks beautiful over a simple tank top or swimsuit for a summer day or as an accent to a sleeveless dress on a special night out. The pattern is...This Lisbon Lace Poncho Free Crochet Pattern is as versatile as it is ethereal. The airy openwork design doesn’t provide a lot of warmth, but it looks beautiful over a simple tank top or swimsuit for a summer day or as an accent to a sleeveless dress on a special night out. The pattern is...
coolcreativity.com/crochet/lisbon-lace-poncho-free-croche...
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Gwydir Chapel: Wynn family monument [detail]
Grand Pier, Marine Parade, Weston-super-Mare, Somerset BS23 1AL
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1137759
Date first listed: 19-May-1983
District: North Somerset (Unitary Authority)
Parish: Weston-Super-Mare
National Grid Reference: ST3171261416
Summary
A seaside pier built to the designs of P. Munroe in 1903/4, by contractors Mayoh & Haley, extended in 1905, and with later alterations. The superstructure is of early-C21 date.
Reasons for Designation
Grand Pier, Weston-Super-Mare, is designated at Grade II, for the following principal reasons: * Rarity: pre-1914 seaside piers are rare and this example retains a significant proportion of its early substructure; * Architectural interest: the cast-iron substructure retains its distinctive appearance with openwork girders and columns on an impressive scale; * Historic interest: Grand Pier remains a significant historic feature of the Weston-Super-Mare seafront, and is redolent of the resort's early-C20 heyday, which is an important period of seaside development nationally. .
History
Seaside resorts first emerged in the C18 as rival to inland spas, and became increasingly accessible to greater volumes of visitors after the coming of the railways in the mid-C19. The seaside's most characteristic buildings were piers, established from the beginning of the C19 to provide landings for steam ferries. They soon became used for strolling, or promenading, and later examples were built on a larger scale to accommodate entertainment buildings. Grand Pier, Weston-Super-Mare belongs to the latter category and was first built in 1903/4 to the designs of P. Munroe, engineer. The pier was extended in 1905 to provide a passenger steamer landing stage, although following a lack of use it was reduced in scale. The pier was altered and embellished at regular intervals in the C20, often responding to the changing tastes of the seaside-going public, or to replace structural damaged caused by the coastal elements. Notably, a fire in 1930 destroyed the theatre at the pier end, and a new pavilion was constructed three years later.
The pier continued to evolve through the C20 and early-C21, until a serious fire destroyed much of the superstructure in 2008. The deck and buildings were rebuilt with planning consents, and the substructure repaired and reinforced. The pier reopened in 2010.
Details
MATERIALS: the pier is constructed of cast-iron, attached via concrete beams to a rubble stone abutment at the shore end. Additional fabric, including steel reinforcement, and the superstructure including the timber deck, have been added in the C21.
PLAN: the pier extends approximately 370m from the land, with the remains of a landing stage standing beyond the pavilion end. The shore end is 18 metres wide. The promenade and landing stage are 12m wide. The pavilion end is 64m wide.
EXTERIOR: the shore end comprises a stone abutment with concrete reinforcement. There are modern shops and entrance façade above. The abutment is lined by rubble stone walls with cobbled slipways that lead down to the beach. The walls and hard standings have been repaired or replaced. The pier deck stands on a cast-iron substructure of openwork girders, which are supported by cast-iron columns set in screw piles. The tubular columns have capitals and plinths and are progressively taller as the land falls away to the sea. They are arranged in groups of 8 or 10 with cross-braces under the lattice girder framework. A number of C21 steel piles have been inserted between with bracing. The bays toward the sea end have lateral bracing at lower level. The pavilion end is supported by a 10 x 10 column arrangement with cross-bracing and lateral bracing at lower level. Further support is provided by tubular steel piles inserted in the C21. These columns have no capitals and have been extended up to the C21 metal substructure beneath the pavilion deck. The landing stage is contiguous with the pavilion end and has a lattice girder substructure. Beyond, 12 tubular columns in a circular arrangement rise approximately one metre above ground level. The pavilion end/ landing stage substructure was raised in height and strengthened in the 2009 rebuild.
The deck, railings and buildings are not of special interest.
© Historic England 2020
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Gwydir Chapel
A UNESCO World Heritage Site:
"The Borobudur Temple Compounds is one of the greatest Buddhist monuments in the world, and was built in the 8th and 9th centuries AD during the reign of the Syailendra Dynasty. The monument is located in the Kedu Valley, in the southern part of Central Java, at the centre of the island of Java, Indonesia.
The main temple is a stupa built in three tiers around a hill which was a natural centre: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,520 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha.
The vertical division of Borobudur Temple into base, body, and superstructure perfectly accords with the conception of the Universe in Buddhist cosmology. It is believed that the universe is divided into three superimposing spheres, kamadhatu, rupadhatu, and arupadhatu, representing respectively the sphere of desires where we are bound to our desires, the sphere of forms where we abandon our desires but are still bound to name and form, and the sphere of formlessness where there is no longer either name or form. At Borobudur Temple, the kamadhatu is represented by the base, the rupadhatu by the five square terraces, and the arupadhatu by the three circular platforms as well as the big stupa. The whole structure shows a unique blending of the very central ideas of ancestor worship, related to the idea of a terraced mountain, combined with the Buddhist concept of attaining Nirvana.
The Temple should also be seen as an outstanding dynastic monument of the Syailendra Dynasty that ruled Java for around five centuries until the 10th century.
The Borobudur Temple Compounds consists of three monuments: namely the Borobudur Temple and two smaller temples situatued to the east on a straight axis to Borobudur. The two temples are Mendut Temple, whose depiction of Buddha is represented by a formidable monolith accompanied by two Bodhisattvas, and Pawon Temple, a smaller temple whose inner space does not reveal which deity might have been the object of worship. Those three monuments represent phases in the attainment of Nirvana.
The temple was used as a Buddhist temple from its construction until sometime between the 10th and 15th centuries when it was abandoned. Since its re-discovery in the 19th century and restoration in the 20th century, it has been brought back into a Buddhist archaeological site."
Source: whc.unesco.org/en/list/592
Town hall. 1853-58, altered 1877. By Cuthbert Brodrick, sculptures by John Thomas. Alterations 1877 by AW Morant, the Borough Surveyor. Millstone grit from approx 17 different quarries including Rawdon Hill (for carvings), Sturdy and Pool; Darley Dale stone from Derbyshire used in many of the columns; slate and lead roof. Portland stone lions by William Day Keyworth of London, 1867. STYLE: Classical/Baroque EXTERIOR: 2 storeys over basement which is terraced into the sloping ground to rear (Great George Street). Rectangular plan with slightly projecting wings on S, W, and E sides and centre on N side; a central public hall with court rooms and former council chamber at the corners, linked by corridors and offices. Round-arched windows throughout. On each facade the heavily rusticated base supports a giant Corinthian order of columns and fluted pilasters; an entablature surmounted by balustrade with urns runs all round the building. South front: the principal entrance is reached by a wide flight of stone steps flanked by 2 plinths with stone lions; basement entrances to left and right have giant pedimented lintels and screen wall with paired globe-shaped lamp standards. 10 giant Corinthian columns form a colonnade across the recessed entrance which is composed of 3 paired doors with ornate grilles below a round-arch tympanum with large sculptured group representing Progress, Art and Commerce. Set back above the south entrance the clock tower, approx 68.6m high, is composed of a deep plinth with rusticated panels, scrolled corner brackets, paterae and coat of arms; a square colonnade of 21 Corinthian columns supports a pulvinated frieze, dentilled cornice, balustrade and urns; openwork scrolled corner finials flank clock dials topped by elongated lead-clad dome with concave sides surmounted by cupola. 4 ornate ventilation shafts rise above the eaves line: square in section, moulded panels with corner paterae, frieze with flowers and swags, segmental pediment and corner urn finials. Rear (Great George Street): a cast-iron glazed canopy overlies the central 3-arch entrance (originally to Civil and Criminal Courts); 9 bays, the outer bays recessed, large keystones carved with Mythical heads. Left return (Oxford Place): the central 11-window range has a round-arched basement entrance bay 2 with 8-panel studded 2-leaf doors and giant masks carved on the keystones; the 5-window flanking bays break forward, with giant fluted pilasters; area railings with double gates are massive, with close-set rails and spearhead finials. Right return (Calverley Street): similar to Oxford Place front with central entrance, divided steps and a screen wall with rusticated plinth, cast-iron openwork panel and paired globe lamp standards... HISTORICAL NOTE: a competition judged by Sir Charles Barry gave the 1st prize to Brodrick, to design a Town Hall with public hall, corporate offices and courts of justice... EH Listing
Grand Pier, Marine Parade, Weston-super-Mare, Somerset BS23 1AL
Overview
Heritage Category: Listed Building
Grade: II
List Entry Number: 1137759
Date first listed: 19-May-1983
District: North Somerset (Unitary Authority)
Parish: Weston-Super-Mare
National Grid Reference: ST3171261416
Summary
A seaside pier built to the designs of P. Munroe in 1903/4, by contractors Mayoh & Haley, extended in 1905, and with later alterations. The superstructure is of early-C21 date.
Reasons for Designation
Grand Pier, Weston-Super-Mare, is designated at Grade II, for the following principal reasons: * Rarity: pre-1914 seaside piers are rare and this example retains a significant proportion of its early substructure; * Architectural interest: the cast-iron substructure retains its distinctive appearance with openwork girders and columns on an impressive scale; * Historic interest: Grand Pier remains a significant historic feature of the Weston-Super-Mare seafront, and is redolent of the resort's early-C20 heyday, which is an important period of seaside development nationally. .
History
Seaside resorts first emerged in the C18 as rival to inland spas, and became increasingly accessible to greater volumes of visitors after the coming of the railways in the mid-C19. The seaside's most characteristic buildings were piers, established from the beginning of the C19 to provide landings for steam ferries. They soon became used for strolling, or promenading, and later examples were built on a larger scale to accommodate entertainment buildings. Grand Pier, Weston-Super-Mare belongs to the latter category and was first built in 1903/4 to the designs of P. Munroe, engineer. The pier was extended in 1905 to provide a passenger steamer landing stage, although following a lack of use it was reduced in scale. The pier was altered and embellished at regular intervals in the C20, often responding to the changing tastes of the seaside-going public, or to replace structural damaged caused by the coastal elements. Notably, a fire in 1930 destroyed the theatre at the pier end, and a new pavilion was constructed three years later.
The pier continued to evolve through the C20 and early-C21, until a serious fire destroyed much of the superstructure in 2008. The deck and buildings were rebuilt with planning consents, and the substructure repaired and reinforced. The pier reopened in 2010.
Details
MATERIALS: the pier is constructed of cast-iron, attached via concrete beams to a rubble stone abutment at the shore end. Additional fabric, including steel reinforcement, and the superstructure including the timber deck, have been added in the C21.
PLAN: the pier extends approximately 370m from the land, with the remains of a landing stage standing beyond the pavilion end. The shore end is 18 metres wide. The promenade and landing stage are 12m wide. The pavilion end is 64m wide.
EXTERIOR: the shore end comprises a stone abutment with concrete reinforcement. There are modern shops and entrance façade above. The abutment is lined by rubble stone walls with cobbled slipways that lead down to the beach. The walls and hard standings have been repaired or replaced. The pier deck stands on a cast-iron substructure of openwork girders, which are supported by cast-iron columns set in screw piles. The tubular columns have capitals and plinths and are progressively taller as the land falls away to the sea. They are arranged in groups of 8 or 10 with cross-braces under the lattice girder framework. A number of C21 steel piles have been inserted between with bracing. The bays toward the sea end have lateral bracing at lower level. The pavilion end is supported by a 10 x 10 column arrangement with cross-bracing and lateral bracing at lower level. Further support is provided by tubular steel piles inserted in the C21. These columns have no capitals and have been extended up to the C21 metal substructure beneath the pavilion deck. The landing stage is contiguous with the pavilion end and has a lattice girder substructure. Beyond, 12 tubular columns in a circular arrangement rise approximately one metre above ground level. The pavilion end/ landing stage substructure was raised in height and strengthened in the 2009 rebuild.
The deck, railings and buildings are not of special interest.
© Historic England 2020
The case was made for an organ completed by Christian Vater of Hannover in 1731. The present instrument was made by Alfred Kern & Fils.
The belfry of Bruges, or Belfort, is a medieval bell tower in the historical centre of Bruges, Belgium. One of the city's most prominent symbols, the belfry formerly housed a treasury and the municipal archives, and served as an observation post for spotting fires and other danger. A narrow, steep staircase of 366 steps, accessible by the public for an entry fee, leads to the top of the 83-metre-high building, which leans about a metre to the east.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 m broad but 84 m deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
The building is a central feature of the 2008 film In Bruges.
The belfry was added to the market square around 1240, when Bruges was prospering as an important centre of the Flemish cloth industry. After a devastating fire in 1280, the tower was largely rebuilt. The city archives, however, were forever lost to the flames.
The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic style was added to the rooftop in 1822.
A poem by Henry Wadsworth Longfellow, titled "The Belfry of Bruges," refers to the building's checkered history: