View allAll Photos Tagged outside_project
Just staring at my bedroom ceiling this morning.
In the summer, if the weather is nice, it feels like I’m SO busy. Always an outside project or an adventure; deep cleaning or house maintenance that gets saved for a sunny day. I get Sun Guilt, where if it is sunny I feel like I should be doing something. Not good on long Alaska days: Sunrise at 4:22am and Sunset at 11:38pm, it doesn’t really get dark on a clear day. Last night it was lighter outside at midnight than it is on a cloudy afternoon.
Feels like I can’t keep up this pace. I’ve already been running myself out of mental energy. So I am Just laying here trying to recharge and not feel guilty about the bright sun, the weeds I need to pull, laundry to fold, dishes in the sink... massive mess in my studio to deal with...
The entire project has been arranged onto a large Quilting hoop. The covered stones surround the base of the arrangement. I was inspired with an outside project I had done a few Summers ago.
♥ & Maya & Elfie
☼p 30 april bracht de maatschappelijk bewogen Italiaanse topkunstenaar Michelangelo Pistoletto een bezoek aan Doel en zag hij de kunstwerken die gemaakt werden in het kader van de KunstDoel-Inside/Outside projecten. Pistoletto was zo onder de indruk van de schoonheid van het dorp en de solidariteit die deze projecten in de kunstensector hadden losgeweekt, dat hij zich ter plaatse voornam de nieuwe Vlaamse regering bij haar aantreden een brief te schrijven over het lot van Doel. Pistoletto voegde deze week de daad bij het woord en stuurde een pakkende brief naar de Vlaamse regering.
Biella, 13 juli 2009
Hooggeachte Minister President van de Vlaamse Regering,
Beste Meneer Peeters,
Donderdag 30 april bracht ik een bezoek aan het dorp Doel op uitnodiging van KunstDoel vzw, een partnerorganisatie van Cittadellarte's Love Difference beweging.
Minister President, ik was diep getroffen door de esthetische kracht van deze plek. Toen ik vanaf de Scheldeoever het omliggende landschap aanschouwde, was het alsof ik op een metafysische as stond waar verschillende tijdsgewrichten elkaar kruisen: Voor mij zag ik het rustige dorp met het pittoreske haventje; achter mij de rivier en de druisende Antwerpse haven; rechts van mij het oude windmolentje in de schaduw van de twee machtige torens van de kerncentrale; en links van mij de reusachtige kranen van het Deurganckdok.
Minister President, ik heb al vele plaatsen bezocht over heel de wereld, maar dit is werkelijk een unieke plek. Mijn gastvrouwen van KunstDoel vertelden me dat de bestaande plannen voor de bouw van een tweede containerdok misschien niet in de nabije toekomst zullen gerealiseerd worden wegens de gewijzigde economische context. Als dit inderdaad het geval is, roep ik u dringend op deze plek te bewaren voor latere generaties, als een authentiek stukje erfgoed dat heden en verleden, natuur en cultuur, landbouw en industrie, water en land met elkaar verbindt.
Deze eeuwenoude plek is van een onschatbare waarde en ik ben ervan overtuigd dat het een prestigieuze artistieke en toeristische trekpleister met internationale uitstraling zou kunnen worden. Daarnaast zou het een aangenaam en rustig oord kunnen zijn voor zakenlui en havenmensen om even te verpozen en ontspannen…
Wegens de nabijheid van de stad Antwerpen en de bereikbaarheid via de rivier is het tevens een uitgelezen en gemakkelijk toegankelijke bestemming voor dagjestoeristen, eventueel in combinatie met het rustieke dorpje Lillo op rechteroever en het Liefkenshoekfort voorbij het Deurganckdok.
Mits een relatief kleine investering zou het dorp een ideale en hoogst originele locatie kunnen zijn voor fabuleuze openluchtvoorstellingen en internationale kunsttentoonstellingen, die werk zouden kunnen verschaffen aan de resterende dorpsbewoners en aan mensen uit omliggende gemeentes. Doel een nieuwe, culturele bestemming schenken binnen de reusachtige haven zou ook goodwill creëren onder de bevolking ten aanzien van het Antwerps Havenbestuur. Het zou een voorbeeld kunnen zijn van een succesvolle en vernieuwende verzoening van industriële, sociale, culturele en politieke belangen, een voorafspiegeling van een nieuwe en warmere samenleving…
Hooggeachte Minister President, het Doeldossier biedt een ongekende kans om nieuwe economische waarden een praktische invulling te geven -- warme en verzoeningsgerichte waarden waarnaar de bevolking in deze barre economische tijden zozeer verlangt. Ik ben zeker dat de socio-culturele sector u enorm dankbaar zou wezen als deze plek een nieuwe en inspirerende toekomst zou gegund worden…
In het volste vertrouwen dat uw Regering de best mogelijke oplossing zal uitwerken voor het dorp Doel,
verblijf ik,
met de meeste hoogachting,
Michelangelo Pistoletto
Pistoletto schrijft brief naar Kris Peeters | KunstDoel
Pistoletto Writes Letter to Flemish Government Fri, 07/17/2009 - 16:13 — Eva ☼n 30 April, world-famous Italian artist Michelangelo Pistoletto paid a visit to Doel and saw the works of art made within the framework of the KunstDoel-Inside/Outside projects. Pistoletto was so impressed by the beauty of the village and the wave of solidarity it had generated within the art sector, that he decided to write a letter regarding the fate of Doel to the new Flemish Government. This week, he lived up to his words and wrote a heartfelt plea for the preservation of Doel to Flemish Minister President Peeters. The picture shows the moment on the river bank -- "standing on a metaphysical axis where different time ages intersect" -- described in Pistoletto's letter.
Biella, the 13th of July 2009
Right Honourable Minister President of the Flemish Government,
Dear Mister Peeters,
On Thurday, 30 April I paid a visit to the village of Doel at the invitation of KunstDoel vzw, an organization that is twinned to Cittadellarte's Love Difference movement.
Minister President, I was deeply struck by the esthetical power of this place. Watching over the surrounding landscape from the riverbank, I felt as if I was standing on a metaphysical axis where different time ages intersect: Right before me, the quiet village with the picturesque dock; behind me the river and the bustling port of Antwerp; to the right, the ancient windmill overshadowed by the two colossal cooling towers of the nuclear power plant; and to the right the gigantic cranes of the Deurganck Dock.
Minister President, I have visited many places throughout the world, but this spot is really unique. My KunstDoel hosts told me that existing plans for a second container terminal may not materialize in the near future due to the changed economic context. If this is indeed true, I would urgently appeal on you to conserve this place for future generations to enjoy, as an authentic remnant that links the present and the past, nature and culture, agriculture and industry, water and land…
The value of this immemorial place is immeasurable and I am sure it could become a prestigious artistic and tourist venue with international fame, and also a pleasant, tranquil place for businessmen and port people to stay and relax…
Its closeness to the city of Antwerp and accessibility via the river would make it a perfect and easily reachable destination for day trippers, possibly in combination with the rustic village of Lillo at the right bank and the Liefkenshoek Citadel located beyond the Deurganckdock.
With some relatively small investments, the village could become an ideal and highly original venue to stage fabulous open-air productions and international art exhibits, which would generate employment opportunities for remaining locals and people from surrounding villages. Granting Doel a new, cultural destiny within a huge port would also generate much goodwill among the people toward the Antwerp Port Authority. It could become an example of a successful and novel reconciliation of industrial, social, cultural and political interests, a prefiguration of a new and warmer society….
Right Honourable Minister President, the case of Doel offers an unprecedented opportunity to implement new economic values - warm and reconciliatory values that the people are longing for in these harsh economic times. I am sure the entire socio-cultural community would be enormously grateful if this place were granted a new and inspiring future…
Fully trusting that your government will elaborate the best possible solution for the village of Doel,
I remain,
Yours truly,
Michelangelo Pistoletto
Pistoletto Writes Letter to Flemish Government | KunstDoel
♦☼♣♀
laatste nieuws... :::doebie doebie doebie DOEL:::
Almost 20 years ago, we put in a complete Purrfect Fence cat containment fence in our yard. We made it small but it worked SO well! After that amount of time, we had made alterations and the weather had finally worn it. So- we had a commercial chainlink fence put in, and NOW?!! We are putting the new Purrfect Fence adaptation fence top in! We have 200 feet of fence, so it's a fairly large project for just Ken & I. Our yard is not level, as you can see, and it is SO tall that we have to use ladders.
Ken spent most of today cutting off the u-bolts that attach the hardware to the fence, while I pulled up the last 40 feet of our old fence, that was staked into the ground so the cats could not get out at the bottom. ALL some hard stuff today!
On this run, you can see we have the hardware attached and arms in. Next, we will attach the polyfencing and zip up the entire top of the fence. No small feat, and the gates all pose another problem in themselves, but we have a plan! Things are moving along, but not finished yet!
And thanks to ALL help with our design from the Purrfect Fence man himself- Matt Hough - founder and owner of the company. He has helped us from the very first fence we put up! I can't say enough about that.
http://www.PurrfectFence.com
Just staring at my bedroom ceiling this morning.
In the summer, if the weather is nice, it feels like I’m SO busy. Always an outside project or an adventure; deep cleaning or house maintenance that gets saved for a sunny day. I get Sun Guilt, where if it is sunny I feel like I should be doing something. Not good on long Alaska days: Sunrise at 4:22am and Sunset at 11:38pm, it doesn’t really get dark on a clear day. Last night it was lighter outside at midnight than it is on a cloudy afternoon.
Feels like I can’t keep up this pace. I’ve already been running myself out of mental energy. So I am Just laying here trying to recharge and not feel guilty about the bright sun, the weeds I need to pull, laundry to fold, dishes in the sink... massive mess in my studio to deal with...
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
The view near a frame where you can take photos of the castle and post them to www.facebook.com/EastnorCastle
There are many views of the castle from the lake, not just from this side.
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Exterior of the Walmart Supercenter in Glen Burnie, Maryland.
This store is somewhat unusual as Walmart stores go. According to what I've found, this store was built in 1991 as a Leedmark hypermarket store, which closed in 1994. Following the closing, Walmart and Mars Supermarket occupied space in the building. A long interior corridor existed along the front of the building. The Mars store closed in 2008, and Walmart expanded to a Supercenter in late 2010.
While the building now looks mostly like a typical Walmart Supercenter, clues to the building's past remain. The building is taller and boxier outside, the ceilings are higher inside, there are no skylights, and additional supports from the (now demolished) interior corridor are visible at the front of the store.
Ben Schumin is a professional photographer who captures the intricacies of daily life. This image may be used under Creative Commons Attribution-ShareAlike 2.0. Please provide artist attribution, as well as a link to the original photo and to the license terms.
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Published in the Birmingham Mail on Tuesday 18th July 2017.
A mushroom along the Sherwood Forest Trail in Lower Bidwell Park.
#366 #project366 #project3662016 #onephotoaday #aphotoaday #365project #project366 #project365 #lightroom
I turned my bedroom into a pinhole camera by covering the window with black paper and aluminum foil, leaving only a small hole. Now the entire scene outside projects onto my walls and ceiling (upside down). These four photos are from this experiment. The Procrastinating Doc also has a photo from this.
“Siren”
----------------------------------------------------
The wave came up over my feet and I took a step further into the water, feeling the flow of the tide tugging me forward. A few meters out a smooth rock rose above the tide. The light danced off of its surface as the water washed over it. I wanted to get closer and I waded out until the bottom just about disappeared. Sanity prevailed and I took a step back, resisting the siren’s call.
----------------------------------------------------
Location: Fitzgerald Marine Reserve, Half Moon Bay, California, USA
----------------------------------------------------
Camera: Nikon D810
Lens: 14mm F2.8
Focal Length: 14mm
Shutter Speed: 1/25 sec
Aperture: f 8
ISO: 200
#Focus_on_nature #rei1440project #wildernessculture #thegreatoutdoors #getoutdoors #outdoorlife #getoutthere #mountainlife #mountainsarecalling #theoutbound #Adventureculture #outside_project #goexplore #welivetoexplore #natureaddict #neverstopexploring #iheartnature #in2nature #liveadventurously #exploretocreate #kings_luxury #globalcapture #sunset
Butte Creek BLM Trail with @andrea.m.narciso
Random Factoid • today is my Mom's BDay.
#onephotoaday #aphotoaday #365project #project366 #project365 #thisischico #chico_california #explorebuttecounty #explorebuttecountyca #optoutside
“Golden”
----------------------------------------------------
This was one of those mornings where reality transcends belief and the camera serves as objective witness to a scene I would not believe had I not experienced it. If a unicorn walked past me while I took this photo it would not have seemed out of place.
----------------------------------------------------
Location: Marin Headlands, California, USA
----------------------------------------------------
Camera: Nikon D3S
Lens: 20mm F1.8
Focal Length: 20mm
Shutter Speed: 1/25 sec
Aperture: f 8
ISO: 200
#Focus_on_nature #rei1440project #wildernessculture #thegreatoutdoors #getoutdoors #outdoorlife #getoutthere #mountainlife #mountainsarecalling #theoutbound #Adventureculture #outside_project #goexplore #welivetoexplore #natureaddict #neverstopexploring #iheartnature #in2nature #liveadventurously #exploretocreate #kings_luxury #globalcapture #sunset
#escaypeday
Forecast by #Escaype
A Good Friday 2017 visit to Eastnor Castle in Herefordshire.
A look around the castle building.
The various views of the castle as seen from Eastnor Lake.
If you want to, you can share your castle photos to www.facebook.com/EastnorCastle (or share it to the castle with their Twitter or Instagram accounts or use the #EastnorCastle hashtag).
Grade I listed building
Listing Text
SO 73 NW
4/31
EASTNOR CP,
EASTNOR,
Eastnor Castle
18.11.52
GV
I
Country house. 1811-1820 by Robert Smirke for 2nd Baron Somers; internal alterations, mostly decorative by Augustus Welby Northmore Pugin, 1849/50 and G. E. Fox 1860s; Sir G. G. Scott also proposed alterations but these were not fully undertaken. Ashlar; lead and slate roof concealed behind embattled parapet; the roof trusses and floor beams are cast iron, an early example of the use of iron in domestic buildings; octagonal ashlar stacks disguised as turrets. A Picturesque, yet still symmetrical castle in a serious neo-Norman and early English style: rectangular with E-plan entrance front and flanking towers joined by short diagonal links. 2 storeys and cellars in a battered plinth; to the north- and south-east the castle is raised on a mound and has tall retaining walls. Entrance front is dominated by a boldly massed centre which raises through 3 stages and is stepped up towards the middle of the building; round corner turrets and arched parapets to the outside; projecting porte-cochere under an embattled parapet and with 3 tall round archways of 3 orders of columns which have cushion capitals. To hither side of the centre are 3:1 bays, the outer ones being advanced and terminated by tall, 3 stage corner towers which are clover leaf on plan and have corbelled parapets and single-light, round-headed, windows set in deep embrasures. The central 3 bay sections have 3-light Early English style windows on the ground floor set back in recesses and divided by flat buttresses, roll-moulded cill band below and corbelled blocking course above, behind which the upper floor is recessed with large pane sash windows in neo-Norman style surrounds which have columns and cushion capitals. The outer single bays have 3-light Gothic style windows but set in neo-Norman surrounds; plain tripartite windows on first floor. Large central double doors and simple round-headed doors at base of outer towers, that to the left leads to an outer parapet walkway at the foot of the side elevation. The north-east (side) elevation rests on a tall, battered retaining wall, and is of 3 bays, the centre being a full height canted bay of 3 windows; the fenestration is a variation of the Entrance Front. Garden elevation of 4:3:4 windows and tall corner towers as Entrance elevation. The central 3 windows are set in a 3 stage tower which is canted to the out- side. 2-light Geometric style windows on ground floor; neo-Norman style surrounds and columns to the centre; 3-light plain, round-headed windows on the first floor, but Geometric style outer windows. To the south-west of the Castle is the attached kitchen wing of 2 storeys forming a T-plan with a court on the south side; four 2-light casement windows under hood-moulds; tall, 2-stage square towers terminate the 2 arms of the wing.
INTERIOR: little of the original Smirke interiors survive. Front Staircase
Hall, redecorated by G E Fox 1860s. Entrance Hall: Smirke, probably re-
modelled by Scott, and redecorated by G E Fox in the 1860s; the carving
is by William and James Forsythe of Worcester; the dimensions are 60 feet
long by 55 feet high; Romanesque style "triforium" gallery and 2-light
"clerestorey" windows with Venetian style tracery; panelled ceiling and
braced trusses; panelled doors in neo-Norman style surrounds; decorative
stencilling in canvas by Fox. Octagon room has a coffered ceiling. Gothic
Drawing Room: the plasterwork is by F Bernasconi and Son but the painted
decoration was designed by Pugin and executed by the Crace firm in 1849-50;
fan vaulted ceiling: large, wrought, 2 tier chandelier by Pugin, 1850
but made by Hardman of Birmingham; highly elaborate fireplace with ogee
head and family heraldry, a painted family tree is above; linenfold
panelling, chairs, table and sideboard all by Pugin. Library: by G E Fox
late 1860s, in an Italian Renaissance style; find inlaid woodwork, Istrian
stone chimneypiece apparently with a representation of Garibaldi; coffered
ceiling with paintings of the Virtues and the Vices. Little Library: also
by Fox, incorporating woodwork from the Accademia degli Intronati at Siena,
1646) Malvern Hills granite fireplace and Gibbons carving from Reigate Priory
flanking the overmantel mirror. Dining Room: by Smirke but altered, painted
and panelled ceiling; panelled dado and built-in Gothic style sideboards;
furniture also by Smirke. Staircase Hall: plain staircase by Smirke, arcaded
balustrade of cast iron and wood. State Bedroom: some of the earliest work
of the Royal School of Needlework, early C20 for Lady Henry Somerset. Many
drawings and work books survive in the muniment room of the house. The
accounts for the 1811-12 period amount to £85,923 13s 11½d.
(N Pevsner, The Buildings of England: Herefordshire, 1963. Country Life, 7.3.68;
14.3.68 and 21.3.68).
Listing NGR: SO7350036876
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Reed Bed view.