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Cleaning the Mitchell Library 😀 Charing Cross, Glasgow #mitchelllibrary #publiclibrary #glasgowlife #stonecleaning #steamcleaning #glasgow #glasgowlibraries
David and John Bryce, 1874-78. 3-storey attic and basement 9-bay Italianate former palazzo bank. Polished cream sandstone ashlar (stonecleaned). Blind balustrade to basement area. Banded vermiculated piers at ground; 3 Ionic porches, that at centre with coupled columns, with arched pilastered doorways with shell tympana and 2-leaf panelled doors. Corinthian aedicules at 1st floor, emphasised at centre. Lugged architraves to 2nd floor windows. Bracketed cornice and balustraded parapet with dormers set behind.
Built as the head Edinburgh office of the Glasgow based Union Bank. The Banking Hall was completed by John Bryce as David Bryce died in 1876 (original furniture by John Taylor & Son of Edinburgh); it was refurbished in 1977 by Thomas Alexander. Vacated by the bank in 1995.
Built 1850. Single storey and basement, flat-roofed classical former school with Roman Doric portico (now with structural issues). Harshly stone-cleaned ashlar, channelled in places. Cill course, cornice, blocking course and cavetto coping. Paired pilasters, Doric columns on square plinths; bracketed windows. 3-bay portico with centre door, windows in flanking bays and dividing pilasters.
In 1830 The Philp School opened in Charlotte Street, moving into this building in 1850 and closing in 1891. The building has since been used in a number of ways, including a Masonic Hall, restaurant and also a night club. A commemorative plaque was erected by the Kirkcaldy Civic Society in 1992. The harsh stone-cleaning has deteriorated the masonry badly.
Alan Dreghorn, architect, 1739-56. Rectangular galleried church, 5 x 7 bays, symmetrical with 5-stage steeple. Polished ashlar, stonecleaned. Bays marked by giant Corinthian pilasters and angle pilasters. All openings in Gibbsian surrounds. Corinthian hexastyle portico, outer and centre bays to ground have round arched doorways; inner bays to ground and 1st have niches. Dentilled pediment with cartouche in tympanum. Steeple: square section to lower 2 stages; angle urn finials over 2nd, clock faces to 3rd; dome surmounted by ball finial and weathervane.
The design for this church is based largely upon James Gibb's London’s St Martin-in-the-Fields (1722), and it introduced a new style for large scale classical church design to Scotland. The interior has the plasterwork of James Clayton and the fittings are of exceptional quality.
St Andrew's became the centrepiece to a symmetrical square of 3-storey terraced houses laid out in 1760's, (now mostly demolished or altered) and set the pattern for later building layout in Glasgow.
The architect, Allan Dreghorn was a wealthy timber and lead merchant and a prominent number of Glasgow's ruling elite and held several municipal posts (Treasurer and Bailiff). His skill as an architect is amply attested by St Andrew's, his main surviving work. It is presumed that his own workshops provided the carved timberwork for the church.
Mrs Newbold's title, hence the inverted commas. The slide frame is also stamped 'Jul 67', and numbered 59, but so far we haven't made any real sense of the numbers we find on the slides.
I think this may be Mrs Newbold's sleeve on the left!
Stone kitchen floor - cleaned, sealed and polished by Alex Stone and Tile Services (Los Angeles / San Fernando Valley, Ca).
By the renowned practice J W & J Hay (Liverpool), 1854-56. An early gothic, U-plan former school. Part stonecleaned squared and snecked sandstone with ashlar dressings, trefoil headed windows. Bordered door with decorative iron work. Turret above corbelled out in re-entrant angle from flanking gable. Octagonal belfry head (with trefoil headed openings to each face). Tall polygonal slated roof. Small single light to left of turret. Leaded glazing, diamond-and square-pane to front.
The building has always been used as a school and now is also a residential home for girls. Provides a collegiate gothic contribution to a varied streetscape. Opened 12th May 1856 as a Ragged School.
The Hays of Liverpool were born in Coldstream. The eldest son, John, was born in 1811; the second William Hardie, in 1813; and the much younger James Murdoch in 1823. Like so many other wrights at the time their father and his brother William, and their father before them, provided architectural drawings when required.
Of the three brothers the eldest, John, was essentially self-taught and had 'indomitable perseverance and energy of purpose'. In his brother James's words 'he was educated chiefly as a surveyor in the city of Edinburgh [and] had early imbibed a strong partiality for the classic styles, and so early had be become imbued with a love of architecture...' Less is known of the training of the second brother, William, who commenced practice at 19 St James Square, Edinburgh, in or before 1837 and became one of the architects favoured by the Free Church Building Society after the Disruption of 1843. The much younger James was probably articled to one of his brothers.
By 1847 or earlier William and James were also based in Liverpool helping with the volume of business in Merseyside and Cumbria, although initially the success of the practice seems to have been almost entirely based on responding to advertisements for architects in provincial northern English and Scottish newspapers. They operated a Scottish practice for a while, however the failure of supervision resulted from chronic over-commitment on widely scattered Scottish sites and it quickly led to the progressive loss of their Scottish practice, their win for the Edinburgh Free Tolbooth Church being cancelled in June 1856 and the commission for St Mary's Free Church, Edinburgh, where the Deacon's Court was particularly difficult, in July 1858. The final professional disaster came in 1860 when the roof of their only classical church, Augustine in Edinburgh, began to push out the walls and as at the Free Tolbooth they were superseded by Bryce.
James Craig, 1769; extended E by Archibald Elliot, 1819. Polished cream sandstone ashlar (stonecleaned). Channelled basement, giant Ionic order to ground and 1st floors; entablature with fluted frieze, rosettes and dentilled cornice; full ashlar attic storey articulated by piers with ball finials at corners.
Built for Andrew Crosbie of Holm, and later copied at No 36 at Laurence Dundas's insistence. Converted by Archibald Elliot to form the Royal Bank of Scotland's head office. In 1830 it became the Douglas Hotel. Queen Victoria stayed here, as did Walter Scott on his last visit to Edinburgh in 1832.
There are plans by Robert Adam in the Soane Collection for a different house which appears to be on this site, but Craig's authorship is confirmed by a design for the building in his hand and its similarities to other designs by him, notably for Crawford Priory in Fife.
Next door (shown left) is Harvey Nichols by Comprehensive Design Architects who also designed Multrees Walk that runs along side the store - a pedestrian precinct lined with designer shops.
The Harvey Nichols project entailed the redevelopment of Edinburgh’s St Andrew Square Bus Station site replacing the 1960/70s office blocks and bus station with Multrees Walk linking the St James Centre to St Andrew Square. A covered bus station containing 18 operational and 5 layover stances with airport style internal public facilities is included in the scheme, just to the north of Harvey Nichols and Multrees Walk. The Harvey Nichols / Multrees Walk project was completed in Autumn 2002 at a construction cost of £32m.
By William Young, 1882-88, interior 1887-90. Contractors, Morrison and Mason. Sculpture by John Mossman and George Lawson. Large extension to the E by Watson and Salmond, 1912. A statement of Civic pride and prosperity, the City Chambers occupies the whole block site between George Square and John Street. It’s style is mainly rich Italianate. Each elevation is faced in light polished ashlar now stonecleaned, fronting a fireproof framework of brick, iron, steel and concrete.
By William Young, 1882-88, interior 1887-90. Contractors, Morrison and Mason. Sculpture by John Mossman and George Lawson. Large extension to the E by Watson and Salmond, 1912. A statement of Civic pride and prosperity, the City Chambers occupies the whole block site between George Square and John Street. It’s style is mainly rich Italianate. Each elevation is faced in light polished ashlar now stonecleaned, fronting a fireproof framework of brick, iron, steel and concrete.
The interior is richly and elaborately detailed in the finest materials. Most elaborate is the stair to the Banqueting Hall using polychrome Brescia and black Irish marble and Numidian mosaics to the vaults. Glasgow City Chambers is said to contain more marble than the whole of the Vatican and has been used as a stand-in for filming on more than one occasion. It has also represented the Kremlin.
By James Nisbet, 1792. 3-storey, 9-bay former classical tontine building. Polished cream ashlar sandstone (stonecleaned and restored). Rock faced rustication to basement. Channelled arcaded windows at ground with similar tripartite doorway at centre with radiating fanlight. 1st floor windows with raised architraves and cornices; pedimented to inner bays. Composite giant panelled pilasters at 1st and 2nd floors to centre 3 bays and outer bays; fluted frieze between framing pilaster and centrepiece. Flag poles flank centre window at 1st floor.
The former Tontine Building, which was never completed, was fitted out as cavalry barracks during the Napoleonic Wars. It then became a government office and much altered at ground. The ground floor arcading was restored in 1984. It is a significant surviving part of the original fabric of Edinburgh’s New Town, the most important and best preserved examples of urban planning in Britain. Captured here during the Edinburgh Festival.
By William Young, 1882-88, interior 1887-90. Contractors, Morrison and Mason. Sculpture by John Mossman and George Lawson. Large extension to the E by Watson and Salmond, 1912. A statement of Civic pride and prosperity, the City Chambers occupies the whole block site between George Square and John Street. It’s style is mainly rich Italianate. Each elevation is faced in light polished ashlar now stonecleaned, fronting a fireproof framework of brick, iron, steel and concrete.
The interior is richly and elaborately detailed in the finest materials. Most elaborate is the stair to the Banqueting Hall using polychrome Brescia and black Irish marble and Numidian mosaics to the vaults. Glasgow City Chambers is said to contain more marble than the whole of the Vatican and has been used as a stand-in for filming on more than one occasion. It has also represented the Kremlin.
John Young, after James Craig, 1781; internal alterations and rear additions by the respected duo William Burn, 1823 and David Bryce, 1847-51. Symmetrical 3-storey and basement classical former house on corner site with forecourt of Dundas House. Identical building opposite side of Dundas House, flanking it. Polished cream sandstone ashlar (stonecleaned). Giant Ionic order to ground and 1st floors dominate this building. Built by John Young to match the other building on the insistence of Laurence Dundas.
By William Young, 1882-88, interior 1887-90. Contractors, Morrison and Mason. Sculpture by John Mossman and George Lawson. Large extension to the E by Watson and Salmond, 1912. A statement of Civic pride and prosperity, the City Chambers occupies the whole block site between George Square and John Street. It’s style is mainly rich Italianate. Each elevation is faced in light polished ashlar now stonecleaned, fronting a fireproof framework of brick, iron, steel and concrete.
The Banqueting Hall is a barrel vaulted double height room, designed by William Leiper with murals by the "Glasgow Boys", Walton, Lavery, Henry and Roche. Panel at end of Banqueting Hall by Alexander Roche.
By William Young, 1882-88, interior 1887-90. Contractors, Morrison and Mason. Sculpture by John Mossman and George Lawson. Large extension to the E by Watson and Salmond, 1912. A statement of Civic pride and prosperity, the City Chambers occupies the whole block site between George Square and John Street. It’s style is mainly rich Italianate. Each elevation is faced in light polished ashlar now stonecleaned, fronting a fireproof framework of brick, iron, steel and concrete.
The Council Chamber with Spanish mahogany panelling, a frieze of Tynecastle Tapestry and gilded ceiling with central dome.
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By respected architect John Honeyman, 1878. Italianate Baroque church with tower to NW and apsidal narthex to N gable.
Rectangular with galleried interior and extensive basements. 6-bay regular W front with advanced taller outside bays (that to N rising to tower). Polished cream sandstone, stonecleaned. Rough rusticated to basement, channelled to ground.
Muttontown, NY 11545 - Property Maintenance, Stone, Brick, Pavers
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Many of the houses on Little Horton Lane have been stone-cleaned. This terrace is solid and substantial looking.
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The scaffolding has started to come down from Olympia after some stone-cleaning. I presume they are going to do the lower part from the pavement!
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