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September 2006. North and South Carolina. Brattonsville Historic Building "Miss Kitty" shows the way around the plantation
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Ferrybridge C Power Station, Ferrybridge, West Yorkshire
This is Ferrybridge C Power station, a coal fuelled power station in West Yorkshire. I have always wanted to visit this power station, infact any power station as I had never visited one before so when I met up with Mark Hepples last weekend we drove here as I had a few hours before I had to head back South. The conditions were great for the long exposure image I had in mind, the only thing I was disappointed with was the lack of steam coming out of the cooling towers. I suppose we were there on a Sunday and it was after everyone had make their breakfast and also with the weather being that bit warmer and lighter means that people don't have to use as much power. It was almost like it was just ticking over unlike its cousin few miles away, Eggborough power station was pumping out the steam but sadly we didn't have time to visit that one, maybe Eggborough was doing all the work.
I have gone for a very severe crop on this image as I really wanted to emphasise the towers and the sky, really trying to help give the viewer a sense of scale and proportion. In the original I have the River Aire in the lower part of the image and in a future upload I will include this for you. Also one thing I did struggle with in the post production was trying to bring out the detailing on the steam coming out of the cooling towers. You can see it on a couple of the towers but not all, mainly because its blended in with the tones of the sky. I think my next visit will be in Winter when its much cooler and it will be working harder which will give better steam plumes but overall I really like this image.
On a separate note, I decided to get my sensor cleaned at Fixation in Vauxhall, London. I know, most of you will be tutting at me or calling me a wimp for not doing it myself ;-). I just didn't wanted to risk doing it myself on my main camera with the risk of breaking it, I am going to practice first on my old camera.
Hope you all had a great weekend and have a good Monday.
Photo Details
Sony Alpha SLT-A77
Sigma 10-20mm 1:4-5.6 EX DC HSM
LEE 0.9 ND Pro Glass
RAW
f/16
17mm
ISO50
50s exposure
Software Used
Lightroom 4.4
Information
The Ferrybridge power stations refers to a series of three coal-fired power stations situated on the River Aire in West Yorkshire, England. The first station on the site, Ferrybridge A power station, was constructed in the mid-1920s, and was closed as the second station, Ferrybridge B power station, was brought into operation in the 1950s. The A station has been retained since it closed. In the 1960s, Ferrybridge C power station was opened with a generating capacity of 2000 megawatts, which at the time was the largest of any power station in the UK. The B and C stations operated together until the B station's closure in the 1990s. The B station has since been demolished.
Ferrybridge C power station is currently the only power station operating on the site. Since 2004 is operated by SSE plc. It is capable of co-firing biomass and is currently being fitted with Flue Gas Desulphurisation (FGD) plant. There are plans to build a fourth, D station on the site.
On 1 November 1965, three of the cooling towers collapsed due to vibrations in 85 mph winds. Although the structures had been built to withstand higher wind speeds, the design only considered average wind speeds over one minute and neglected shorter gusts. Furthermore, the grouped shape of the cooling towers meant that westerly winds were funnelled into the towers themselves, creating a vortex. Three out of the original eight cooling towers were destroyed and the remaining five were severely damaged. The towers were rebuilt and all eight cooling towers were strengthened to tolerate adverse weather conditions. Following the accident, it was expected that the station would not be opened for some time after the scheduled date. However it was possible to connect one of the remaining towers to the first completed generating set and the station began generating soon after the expected date. The reconstruction of the destroyed towers began in April 1966. The station first fed electricity into the National Grid on 27 February 1966. It was the first 2000 MW power station in Europe.
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Same father and son seen a few images back, walking into the grand interior of this building
See more images of my journey in my Petra set.
The lost city of Petra now in Jordan, was established around 312 BC, as the capital city of the Nabataeans and then it became a lost city around 363 AD, when it was destroyed by an earthquake and already was in decline because the trade routes had changed. The buildings here are carved into existing stone in the mountains of what is now Jordan. There also was an elaborate aqueduct system to bring water to the city and control flooding. The aqueduct system is what was destroyed in the earthquake. Most of the buildings remain. It was a lost city to the Western world until a Swiss explorer, Johann Burckhardt found it in 1812. You can download his book for free from Kindle where he describes coming upon the city on page 328 in Travels in Syria and the Holy Land
Petra is a world heritage site and is one of the wonders of the world. You can learn more about Petra in Wikipedia
According to Wikipedia, Petra is "featured in films such as: Indiana Jones and the Last Crusade, Arabian Nights, Passion in the Desert, Mortal Kombat: Annihilation, Sinbad and the Eye of the Tiger, and Transformers: Revenge of the Fallen.
It was recreated for the video games Spy Hunter (2001), King's Quest V, Lego Indiana Jones, Sonic Unleashed and Civilization V.
Petra appeared in the novels Left Behind Series, Appointment with Death, The Eagle in the Sand, The Red Sea Sharks, the nineteenth book in The Adventures of Tintin series and in Kingsbury's The Moon Goddess and the Son". It featured prominently in the Marcus Didius Falco mystery novel Last Act in Palmyra. In Blue Balliett's novel, Chasing Vermeer, the character Petra Andalee is named after the site.[23]
The Sisters of Mercy filmed their music video for "Dominion/Mother Russia" in and around Al Khazneh ("The Treasury") in February 1988. You can see it here www.last.fm/music/The+Sisters+of+Mercy/_/Dominion+%2F+Mot...
In 1994 Petra was featured in the video to the Urban Species video Spiritual Love.
Petra was featured in episode 3 of the 2010 series An Idiot Abroad."
Taken 5/2/13, uploaded 8/8/13, 20130502-_aR72 TA Spic Twk DSC3255-Edit-Edit.tif-
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My inspiration from the website was the cover of the 2009 catalogue (which is on the website). The amount of times I've poured over this catalogue it's was only right that I should take my inspiration from it's cover!
Also, in the techniques section of the website Leslie Lightfoot talks about color blocking which is one of my favourite ways to put a layout together!
There are gemstones in the tree stamp and the scalloped borders, but they haven't really photographed well.
Materials:
CL288 - Scallop Border
CL182 - Trees, birds and messages
CL151 - Share Laughter
CL305 - Sending Happy thoughts
CH151 - Art flowers spring
CH139 - Black gemstones
CH138 - Pink gemstones
CH153 - Clear gemstones
Papers - Deja Views
Rub-on title/quote - Fancy Pants
Thanks for looking!!
My blog: www.scissorsista.wordpress.com
This beach at Carrapateira on Portugal's Algarve coast is known as Praia da Bordeira and noted for its rugged limestone cliffs and extensive sand dunes that spread inland to Carrapateira village.
Three glorious kilometres of uninterrupted sand. Sitting on the mouth of the Ribeira da Bordeira, it’s an exposed (sometimes windy) place, but has good waves, popular with surfers. The surrounding cliffs are popular among foolhardy fishermen who teeter hundreds of meters above the ocean to hook their lunch.
Copyright www.annclarkphoto.co.uk Photography by Ann Clark, Bridgend.
Please do not use this image on websites, blogs or other media without asking my written permission .....© All rights reserved!
Please visit my website at www.annclarklandscapes.co.uk for more images and information on landscape photography workshops run throughout the year and www.annclarkphoto.co.uk for wedding photography
Manuela's personal site is big, bold, and beautiful (the 3 B's?). But
it's not in-your-face bold, and I like the way things are laid out on
the page.
I made this way back in June for the blog day. I was doubting about the background, being striped alcohol inks as I hadn't seen it before. Today I see this card from Stamping Mathilde
www.flickr.com/photos/stampingmathilda/3719780406/in/pool...
and didn't feel so bad about it!
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Enjoy 50Mpx !
Original 8688 x 5792
74x50cm@300dpi
110x74cm@200dpi
Canon 5DSR
Canon 24-105mm
Tous droits réservés © L. VALENCIA
Merci de ne pas utiliser cette photo sans mon autorisation
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Card created for the "website" challenge at Hero Arts. I was inspired by the letters found here.
Blogged here.
TFL!
Materials used:
Stamps: HA CL269 Glamourous You
Ink: Ranger Distress Ink (Walnut Stain)
Paper: HA "pool" notecard & Scribble Scrabble
Ribbon: Taylored Expressions
Bling: Hero Arts
PrismaColor Colored Pencils & Gamsol
Staples: Tim Holtz Idea-ology
Letter U: Pressed Petals
Being on Portland in Dorset we are surrounded by quarries!! Portland Stone is world famous and still quarried to this day
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Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
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One of the best portfolio sites I've seen, Thilo shows off his excellent work in a stylish, sophisticated way. I love the attention to detail, from the nicely customized lightbox windows for his projects to the heading typography throughout the page.
Visit the site: www.thilothamm.de/
Read more about this Web Design Inspiration set on Flickr
I met Paige in town and she agreed straight away to be part of the 100 strangers project. We walked over to a spot with an interesting but sort of plain background and had a very brief chat before shooting.
Paige was very relaxed and seemed to be a natural in front of the camera. I have seen similar poses here in the group and I wanted to try it out for one of my portraits. Paige knew exactly what to do when I suggested the pose and the shoot was over in a couple of minutes.
Find out more about the project and see pictures taken by other photographers from around the world, in the Flickr group 100 Strangers.
Well my old website host changed their rules so I decided to transition to a new host.
I would love your feedback on it. It's still a work in progress.
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Website : REGARDS DU MONDE
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From the New South Wales Office of Environment and Heritage website (www.environment.nsw.gov.au/heritageapp/ViewHeritageItemDe...):
History:
The railway from Wentworth Falls to Mount Victoria was opened in 1868, passing through what was to become Katoomba. The Great Western Railway was intended to initially reach Bathurst but, beyond that town, its terminus was not stated.
The station opened in 1874 as 'The Crushers'. A sandstone quarry suitable for producing ballast for the construction and maintenance of the line was developed just to the north of the line, and from 1874 The Crushers was a stopping-place for trains with quarrymen, equipment and wagons for transporting ballast. A platform was provided in 1877 close to the level-crossing keeper's cottage (demolished in 1902).
In 1881 a new timber platform and station were built, to the west of the level-crossing. The goods yard between the stations and Bathurst Road (then the Great Western Highway) was developed in 1883-4. This expansion was necessary because of Katoomba's growth in the 1880s and 1890s as a tourist and local commercial centre. The goods yard contains a valuable collection of traditional railway structures, including the 5 ton jib crane (no. T171), the goods shed 54’ x 12’ dating in part from 1881 and an unusual curved timber loading platform. There is also an office for the yard gatekeeper and for a signalman, all dating from the early 1900s.
In 1891, the 1881 station building was moved to the improved goods yard to the south. The Katoomba Times reported on 10 October 1891 that 'the old Katoomba station building is to be the goods shed, and was put into position last Wednesday (7 October 1891)', with the 1884 crane adjacent to the east. Around 1921 the goods yard was altered, the siding was realigned and the goods shed (the former station of 1881) was moved 18 metres to the east, where it still resides. The 1884 five-tonne crane was moved along with the shed to its present position.
The present island platform and building at Katoomba date from 1891 and was constructed for £6,922 (including the subway) by Quiggan and Kermode, builders. They are unusual for two reasons. Firstly, the timber building is curved and, secondly, the building design was only used in the Sydney metropolitan rail system. It is the only such building constructed outside the Central to Parramatta line. It is one of 4 such structures remaining extant from a number of stations containing Type 10 buildings including Newtown, MacDonaldtown, Ashfield, Lewisham (all demolished - possibly other examples) and Summer Hill, Homebush and Croydon (extant). Extensions to the building in the same style were carried out in 1913 for £216. Its dominant feature is the extension of the roof bearers to form awnings on both sides and the position of small ornate brackets under the awning beams, marking a transition from the use of posted verandas to cantilevered awnings. The platform was reached by the use of a pedestrian subway constructed in 1891, which were rare outside Sydney.
The other main platform building is the elevated, timber signal box, which was commissioned in 1903. The signal box contains a cam and tappet 40 lever interlocking machine that was installed in 1945. It is typical of the construction time and is similar to boxes at Mount Victoria, Newnes Junction, Lithgow Yard and Exeter.
The line was duplicated in 1902. A two-room timber building was built on the western end of the platform in 1909 for an inspector and an electrician and this building was extended in 1945 for use as a staff meal room. An 'out-of' shed completed the platform structures.
At the entrance to the Station are the ‘Progress Buildings’ which are shown on a plan as part of a new ‘Booking and Parcels Office Building’ dated 20/12/1938. The buildings are a single storey group of three shops facing south to Bathurst Road with an additional shopfront facing east to the exit from the railway station subway. The eastern most shop, 283-285 Bathurst Road, retains its original brass shopfront, albeit with some modification, and tiled piers between, the shop entries are recessed from the street with splayed shopfront reveals. The tiled and marble threshold records the name "MARX" an early Katoomba businessman who used the premises. The Progress Buildings are still owned by RailCorp and leased for private business.
The railway residence at 8 Abbotsford Rd was sold in 1964.
Why significant?
Katoomba Railway Station and Yard is of state significance as a unique railway site in NSW developed around a former ballast quarry and is significant for demonstrating Katoomba’s growth in the 1880s and 1890s as the first tourist and local commercial centre in the Blue Mountains, before the duplication of the Western line in 1902.
The 1891 station building is significant as one of few surviving timber railway station buildings known as ' Standard Eddy', designed under Commissioner Eddy, and demonstrating the introduction of island platform buildings in NSW. Katoomba station building is the only known example of this station type outside the inner city area and is unique to the other examples for its curved form along the platform. The adjacent signal box with its garden beds and planting is also an important and integral element within the station group and is a rare example of a timber on-platform signal box.
The site of the goods yard is of particular significance as it was part of the original Katoomba station precinct dating from 1878, which was used for locomotive turning and minor servicing and stabling of trains. While fulfilling a minor railway use at present for per way maintenance, it contains two relatively rare items, which are the former 1881 timber station building as its goods shed and the 1891 crane.
The station group comprises a homogenous collection of timber structures adding significance to the townscape and streetscape with direct relationships to both. Situated at the focal point of Katoomba, the station is connected visually and physically to the town's commercial heart by the pedestrian subway and landscaped surrounds. The adjacent Progress Buildings from part of the station group and contribute to the early 20th Century character of the commercial precinct of Katoomba with their largely intact shopfronts.