View allAll Photos Tagged openwork
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:
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 three years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola.
Shot with my Sony Alpha 700 and Sigma 10-20mm lens, single RAW shot processed 3 times in Lightroom and HDR'd using Photomatix Pro 3. The picture looks to be leaning to the left, but if you scroll up you will see the tower is parallel to your browser.
(David Smith / david [at] davidsmithimages.co.uk)
Este órgano de Villasandino fue construido en el año 1.734 por Pedro Merino de la Rosa (según consta en una inscripción del secreto, aprovechando parte de la caja de otro anterior del siglo XVI.)
Made in 1734 by Pedro Merino de la Rosa, according to an inscription in the windchest, using part of a previous organ from the 16th century.
The horizontal trumpet pipes would not be from the 16th century.
www.catedraldevalencia.es/en/index.php
Source : Valencia Cathedral
Gothic style (14th and 15th century)
Architects: Unknown, lower part (14th century)
Martín Lobet, upper part (15th century)
The Dome, an octagonal tower is one of the most important parts of the old cathedral. It has two sets of eight pointed arches one above the other. This is a bold and sophisticated example of Gothic architecture, with its large windows with translucent alabaster stone and varied combinations of openwork creating a sense of grace and luminosity.
Up to the 17th century, the mysteries of Jesus and Virgin Mary's life were represented in the transept, and singing children were placed on the first floor of the dome, dressed as angels. At the end of the performance of the Pentecost, a pigeon used to come down from above throwing fireworks symbolizing the Holy Spirit.
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
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 restored West Bromwich Town Hall.
The building along with the West Bromwich Central Library were fully restored in 2024, now complete as of 2025.
Grade II Listed Building
Description
SANDWELL MB HIGH STREET (south-west side)
SP 0091 SW
West Bromwich
14/104 Town Hall
GV
II
Town hall and library, now town hall. 1874 - 5 by Alexander and Henman with
library by Weller and Proud. Brick with stone dressings and slate roof. Two
storeys with basement and attic. Facade has entrance steps behind three moulded
pointed arches springing from round piers with foliated caps. Above the two
outer arches are gabled oriel windows, with gabled attic dormers above. To
the left of the centrepiece are three bays, to the right one. The ground floor
windows have flat lintels recessed within Caernarvon arches. The first floor
windows have round heads. Projecting forwards slightly at the right is a
tower. Its second floor window has a stone balcony. Below the pyramid roof
is a continuous arcade with detached shafts. Rising from the left hand side
of this roof is a chimney, now truncated. To the front and rear are timber
dormers. The tower is surmounted by an open timber bellcote with a short
slated spire. Adjoining to the left of the facade is the former library.
This has stone storey and impost bands. At the right is a gabled projection
with two pointed windows on the first floor and a moulded pointed window,
formerly a doorway, below. To the left are three bays, the left hand one
projecting slightly. The ground floor windows are of two pointed lights with
central shafts which have foliated capitals. Interior: main hall has galleries
on three sides and apsidal end with raked seating and organ. Nave roof supported
on iron trusses pierced in openwork pattern. At gallery level are cast iron
columns with transverse and longitudinal iron arches.
Listing NGR: SP0022491410
Main view from the High Street.
Published in the Birmingham Mail TalkBack page as Picture of the Day on Wednesday 21st May 2025.
Traditional Chinese wood windows and doors featuring filigree/ lace/ openwork cutout design.
A pretty bad photo. I wasn't paying attention... half the right panel was cut off!!!!
The hamstone octagonal font is probably C15th, with a C17th openwork cover
The chapel began as a daughter church of Queen Camel and belonged to the Crown, as did most in the area until the time of Empress Maud. However, the growth of Somerton in the 12th century likely pressured them to try to improve the inferior status of their church. The Empress allowed them a grant and therefore c. 1140, the church was given burial rights, making it, in its turn, a mother church, with the vicar being appointed by the monks of Muchelney Abbey.
The Anglican Church underwent a major reshaping in the mid 15th century, and further restoration in 1889. It is built of local lias stone cut and squared, with Hamstone dressing.
It is notable for a carved roof, with dragons (Wyverns - the symbol for the county of Somerset; Somerton was at one time the county town), angels, and two small cider barrels purportedly carved by the monks of Muchelney Abbey. Sir John Betjeman was also inspired by an inscription on the candelabra. The church is quite plain on the outside but inside is one of the finest wooden carved roofs in the county. It is shallow pitched with massive, richly decorated tie beams and short king posts. The whole area of the roof is divided into square carved panels set in the framework of the structural timbers which are decorated with carved bosses where they intersect. There are 640 panels each carved with the same quatrefoil design. In the triangular spaces above each beam are twenty-two dragons facing each other in pairs. It is said there are bullet holes in the timbers, caused by soldiers who camped in the church in 1646 before the Battle of Langport. The 17th century pulpit and altar table are Jacobean woodwork.
en.wikipedia.org/wiki/Church_of_St_Michael_and_All_Angels...
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
A view of the chancel, altar and east window of this attractive Victorian village church, above which is a waggon roof with moulded ribs.
It also has a small piscina, wrought-iron openwork to altar rail and
excellent mid C19 stained glass by Hardman in the 3-light east
window with octofoil light
Golden Goose Super Star Sneakers In White Leather With Openwork Star
www.goldengoosestar.com/golden-goose-super-star-sneakers-...
Here is a late Victorian villa located towards the north end of the village. It's a good example of the type, with steeply pitched gables under slate roofs with ornate openwork barge-boards and coloured brick string courses within the mass walling. Note the use of just a few strategically placed carved stones in the chimney stack and the use of coloured bricks to make up a diapered pattern under the apex of the smaller gable. As to its exact date of build, I cannot say, but c.1890, possibly extending through into the early Edwardian period. The only downside for me, is the modernised windows, but then that too reflects the history of the house and changing times.
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
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
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
north side aisle, 17th-century enclosure ;
the text "in·mel / svrsvm / adhelo" means something like "I lift my breath {desire?} in melody" ;
in vignettes above the ajour carvings are scenes from the life of the donor, Hermannus Loemellus
The case was made for an organ completed by Christian Vater of Hannover in 1731. The present instrument was made by Alfred Kern & Fils.
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
Finally finished and photographed the yellow counted-cutwork cloth I have been working on for the last four months, on and off. The fabric is a fine primrose-yellow linen, with a thread count of about #42/46 (it's not an exact evenweave). I bought the cloth from an antiques stall for 50p, with the hem and the drawn-thread border already done. All the rest of the stitchery was done with 1 strand of stranded cotton, to match the fabric.
Blogged here: suetortoise.wordpress.com/2012/01/06/a-year-with-stitches/
Discovered in the Valley of the Kings in Luxor,
Egypt in 1922. Artefacts moved to the Egyptian
Museum in Cairo at the time of excavation. The
entire collection is currently in the process of
transferring to the Grand Egyptian Museum in
Cairo.
Inventory:
JE 61885
SR 1/ 3453
Carter 267-1
Carter 267-j
GEM 136
Title: Gold Openwork Pectoral, Chain and
Counterpoise with Lapis Scarab Flanked by
Thoth
By artist: Unknown
Date: 18th Dynasty of the New Kingdom
Medium: Gold
Silver
Lapis Lazuli
Turquoise
Faience
Calcite
Size:
Pectoral:
H 8.6 cm
W 10.8 cm
Chain:
L 34.3 cm
Counterpoise:
H 8.4 cm
W 7.8cm
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
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 stone creature
Das Goldene Wunder, as the altar is called, measures 5.65x7.4m when fully opened, and contains 36 painted panels & 30 sculptured panels, plus a number of painted panels on the ousides of the closed shutters. It was commissioned in 1521 from Jan Gilleszoon Wrage, sculptor, and Adriaan van Overbeck, painter, of Antwerpen. Here Helena presents the true cross to her son, the emperor Constantine.
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).
ca. 1997 --- Model Shalom Harlow on the runway at the Spring/Summer 1997 Chanel couture collection designed by Karl Lagerfeld, wearing a white and metallic openwork strapless evening dress and pearl choker. --- Image by © Condé Nast Archive/Corbis
Nathan, with reference to 2. Sam. 7, 12
The altar was made between 1470 & 1485; these prophets are on the right side of the altar.
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.
Looking east through the rood screen to the chancel
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 carriages 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.
50BC
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 make masks with inlaid enamel in hair and eyes. The many 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.
I am about 1/3 of the way through the body of this afghan - it's an enjoyable and pretty easy pattern, and I like the somewhat contemporary design created by the openwork triangles. The yarn is Lion Brand Homespun "Sierra", and it is creating a lovely subtle striping.
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.
East window: Agnus Dei, 1840
Our July Birthstone Bracelet is made with our decorative openwork birthstone heart charm in sterling silver featuring a synthetic ruby stone. Enhanced by two Pandora sterling silver clips on our Moments Silver bracelet with heart Clasp, this set is a perfect and unique gift for anniversaries, Birthdays or any other important occasion.