Redfern railway station

Redfern railway station is a heritage-listed former railway bridge and now railway station located on the Main Suburban railway line in the Inner City Sydney suburb of Redfern in the City of Sydney local government area of New South Wales, Australia. It was designed by John Whitton and built by Department of Railways. It is also known as Redfern Railway Station group and Tenterfield railway. The property was added to the New South Wales State Heritage Register on 2 April 1999.
The station that opened on 26 September 1855 is located on what was originally the Illawarra line. It is now served by all Sydney Trains lines except the Cumberland Line and the airport branch of the Airport & South Line. Some NSW TrainLink Intercity services also call at the station.
History.
History of Redfern suburb.
Redfern's natural landscape was defined by sand hills and swamps. The Carrahdigang, more widely known as the Cadigal people, valued the area for its abundant supply of food.
The name Redfern originates from an early land grant to William Redfern in 1817. It was previously known as Roberts Farm and Boxley's Swamp. William Redfern (1774?-1833) was a surgeon's mate in the Royal Navy and was aboard HMS Standard when its crew took part in the revolt in 1797 known as the Mutiny of the Nore. Because he had advised the men to be more united, he was included among leaders who were court-martialled. Although sentenced to death, he was reprieved because of his youth and in 1801 arrived in Sydney as a convict. He served on Norfolk Island as an assistant surgeon. In 1803 he was pardoned, but remained on the island until 1808, when he returned to Sydney and was appointed assistant surgeon after being examined in medicine and surgery by Surgeons Jamison, Harris and Bohan.
In 1816 he took charge of the new Sydney Hospital, but maintained a private practice. In 1814 he reported on conditions on convict transport ships and his recommendation that all have a surgeon on board whose duties were to superintend the health of convicts was put into practice. He resigned from Government service in 1819 when not appointed to succeed D'Arcy Wentworth as principal surgeon. Despite his valuable service, many were contemptuous of him as he was an emancipist, although he had the friendship of Governor Macquarie. In 1818 Redfern received a grant of in Airds (in today's Campbelltown area) and later received more land in the area and by his death in 1823 he owned, by grant and purchase, over in NSW.
In 1817 he had been granted in the area of the present suburb of Redfern. The boundaries were approximately the present-day Cleveland, Regent, Redfern and Elizabeth Streets. The commodious home Redfern built on his land was considered to be a country house, surrounded by flower and kitchen gardens. His neighbours were John Baptist (at the Darling Nursery in today's Chippendale) and Captain Cleveland, an officer of the 73rd regiment, remembered by today's street of that name, and before its demolition, by Cleveland House, his home.
The passing of the Sydney Slaughterhouses Act in 1849 brought other businesses to the district. This act banned abattoirs and noxious trades from the city. Tanners, wool scourers and wool-washers, fellmongers, boiling down works and abattoirs had ten years to move their businesses outside city boundaries. Many of the trades moved to Redfern and Waterloo - attracted by the water. The sand hills still existed but by the late 1850s Redfern was a flourishing suburb housing 6,500 people.
The Municipalities Act of 1858 gave districts the option of municipal incorporation. Public meetings were held and after a flurry of petitions Redfern Municipality was proclaimed on 11 August 1859, the fourth in Sydney to be formed under the Act. Redfern Town Hall opened in 1870 and the Albert Cricket Ground in 1864. Redfern Post Office came in 1882. The majority of houses in Redfern in the 1850s were of timber. From the 1850s market gardeners congregated in Alexandria south of McEvoy Street, around Shea's Creek and Bourke Road.
When Sydney's original railway terminus was built in the Cleveland Paddocks, which extended from Devonshire and Cleveland Streets to Chippendale, the station's name was chosen to honour William Redfern. The station was built of iron and the first stationmaster was a Mr Fielding. In 1874 the station was replaced by a brick and stone structure, covering two platforms. At that time the present Redfern station was known as Eveleigh, after a lovely old home standing on the western side of the railway line.
When Central railway station was built, on the site of the Devonshire Street cemetery, the name of Eveleigh Station was changed to Redfern. The name Eveleigh was retained for the huge railway workshops, just beyond the station, on the site of the original Hutchinson Estate.
All that remains of the Cleveland Paddocks is Prince Alfred Park, where the exhibition building was erected in 1870 for an inter-colonial exhibition opened by Governor Belmore, after whom Belmore Park was named, on 30 August 1870.
Redfern was the scene of the maiden trip of the first double-decker tram in 1879. It travelled between the old Redfern station to the corner of Hunter and Elizabeth Streets in the city. In 1885 the Sands Sydney Directory listed 54 market gardens. While many were worked by European-Australians, by the 1870s Chinese market gardeners had acquired leases in the district and a decade later were dominating the trade.
The Eveleigh complex in 1886 became one of the largest employers in the state. Redfern was an industrial working class suburb by the end of the 19th century. Reschs brewery and other factories attracted migrants. The Syrian/Lebanese community began settling around Redfern and Surry Hills by the 1880s.
Redfern railway station.
In the early history of the New South Wales Government Railways, Redfern station was the frequently used but unofficial name of the principal Sydney terminus, a fact which has led to persistent confusion. That station, the first Sydney Terminal, was north of Cleveland Street, which is Redfern's northern boundary, and south of Devonshire Street. It opened on 26 September 1855 in an area known as Cleveland Fields which is now the railway corridor called Sydney Yard. This original 'Redfern' station comprised one wooden platform in a corrugated iron shed. As traffic increased the original station was replaced in 1874 by a brick building containing two platforms. This second station, the second Sydney Terminal which grew to 14 platforms, was designed for through traffic if the lines were extended in the city direction. This second station was found to be too far from the city centre, so a new station (the present Sydney Central station) was built to the north of Devonshire Street and opened on 4 August 1906. The 1874 station was soon demolished.
A station was opened in 1876 west of the original Redfern and called Eveleigh. In 1885 Eveleigh's platforms were reconstructed at the present Redfern site, and on 21 October 1906 this station was renamed Redfern. At the time it was named Eveleigh Station, as the main terminus for the Sydney line was then called Redfern and was located approximately halfway between the present Redfern Station and Central. The Eveleigh Station was opened to serve the new Eveleigh railway workshops, the first stage of which was completed in 1887, as well as the inner-city residential and industrial suburb of Redfern, one of Sydney's most high-density residential areas. By the 1940s, three-quarters of Sydney factory workers worked within a three-mile radius of Redfern Station, and many commuted to work by train.
The original station consisted of three island platforms serving four lines. The ticket office was located on the corner of Lawson Street and Rosehill Street, with stairs down to each individual platform. Rosehill Street was demolished to make way for the later expansion of Redfern Station to the east, while the ticket office survived and was later extended.
The construction of the Redfern station was overseen by the office of John Whitton, engineer-in-chief of the NSW Railways. Whitton had been appointed in 1856 at the beginning of the NSW railway development and remained in the position until 1890, overseeing the establishment of the main body of the NSW system. The station was extended in 1891/92 to accommodate the quadruplication of the main suburban lines, with new platforms being built during this period (Platforms 5, 6 and 7) and again in 1919 (Platforms 8 and 9) and again in 1924/25 (Platform 10). In 1913 a footbridge was erected at the southern end of the platforms to allow access to the Eveleigh workshops from the station for the workers. The footbridge extended across all the platforms with stairs down to each.
On 1 August 1926, a further two platforms opened on the southern side (9 and 10) as part of the electrification of the Illawarra line. Work on underground platforms 11 and 12 began in the 1940s but did not finish until the 1970s when the Eastern Suburbs railway line was opened in 1979. The original plans of "The City and Suburban Electric Railways (Amendment) Act" of 1947 had included additional railway lines that were never completed, resulting in unfinished platforms and tunnels existing above the current platforms 11 and 12.
Until 1994, Redfern had an overhead footbridge at the Eveleigh end of the platforms, connecting platforms 1-10 by stairs. This was demolished because the funds for its maintenance were not available. In the southern footbridge was removed as the Eveleigh railway workshops were gradually closed down and the footbridge was no longer required.
In the station underwent a major upgrade including the demolition of the northern footbridge and stairs to the platforms. A new footbridge and stairs were built, with only a pair of iron newel posts on platform 1 remaining of the earlier stairways. A single track tunnel was built for steam locomotives from Central station to access Eveleigh Railway Workshops. Known as the Engine Dive, it dives to the north of Platform 1 surfacing at the southern end of Platform 10. A number of chimneys still exist, especially on Platform 1.
The present Redfern station was damaged by fire in the 2004 Redfern riots. The ticketing area and station master's office were significantly damaged - and the windows in the front of the station were bricked up for almost a year afterwards to prevent further attacks. They have since been replaced with glass windows.
A rising public concern about the lack of disability access to the station platforms led to a petition of over 50,000 signatures and a debate in State Parliament in 2013. Transport Minister Gladys Berejiklian has committed funding to provide a lift to one platform. A lift eventually opened on platform 6 & 7 in November 2015.
The Gibbons Street exit closed in 2018 and was replaced by a new entrance on the corner of Gibbons & Lawson Streets in November 2018.
In August 2019 further improved accessibility was proposed including a new concourse at the southern end of the station.
Station configuration.
Redfern has 12 platforms, ten above ground (linked by stairs to the concourse at Lawson Street), and two underground (linked by stairs and escalators to the concourse at Gibbons Street). The two concourses are linked. Station offices and facilities such as toilets and the main indicator boards are located next to the Lawson Street entry.
As part of the construction of the Eastern Suburbs Railway (now platforms 11 and 12), it was proposed to build up to four platforms for the underground route. Two of these platforms were built and now are platforms 11 and 12, however, the two platforms above were half constructed above platforms 11 and 12. These are visible through a small gap in the wall opposite Platform 11, as well as by a boarded up entry portal under the Lawson Street Bridge (which was to be the down track), and a now filled-in dive tunnel under the Wells Street Sectioning Hut on the Central side of Lawson Street. The area in which the platforms were to be situated is visible from the station concourse at the entrance to Platform 10.
Description.
The Redfern railway station complex includes a type 19 Overhead Booking Office, erected in 1892; a type 3 waiting room located on Platform 1, erected in 1884; a store located on Platform 1, erected ; an office, located on Platform 1, erected ; five type 11 station buildings located on Platforms 1 to 10, erected in 1912; and the Eastern Suburbs Railway (ESR) Platforms 11–12, erected in 1979. Other structures in the heritage-listed complex include platforms, completed in 1884 and 1912; the Lawson Street Overbridge, completed in 1891; Air vents to engine dive, located on Platform 1; ESR Steel Framework and Tunnels, erected ; and the footbridge, steps and canopies, erected in 1999.
Erected in 1892, the exterior of Redfern Station consists of a main entrance building and ticket office, built of brick in a Federation Queen Anne style with terracotta tiled hipped roof with central cupola and ornamental fleche. The central building is accessed from Lawson Street via the original central arched doorway flanked with sandstone columns and pediment or via a larger entrance to the east, which replaced an earlier arched window. Sandstone quoin blocks feature at the corners of the central portion of the entrance building, with sandstone keystones above the windows and doors and sandstone sills. A number of additions to the entrance building are visible along the Lawson Street frontage.
The building interior includes the ticket office, Station Master's office and male and female toilets. The ceiling is of timber tongue-and-groove boards with decorative ceiling roses and exposed timber beams. Electronic ticket gates lead to the overhead walkway that provides access to each of the platforms.
The brick, Type 3, waiting room, completed in 1884, features a U-shaped floor pattern with enclosed end wings. An open waiting area with a timber bench seat spans the space between each wing. The waiting room building also features a corrugated iron hipped roof and chimneys. The enclosed wings each have two double hung sash timber windows with double arched label moulds above and rendered sills with brackets beneath. Each wing also contains a fireplace.
Adjacent to the waiting room is a simple rectangular brick Store Room, completed , with three double hung sash timber windows (two facing the tracks and one facing north) and a door at its southern end. The building has a hipped corrugated iron roof hidden behind a brick parapet. Possibly former toilet.
The third Platform 1 building is a rectangular brick office building, completed , with six timber sash windows facing the platform and a door at either end. The building has a corrugated iron gabled roof. The construction date of the building is unknown, but appears to be contemporary with other Platform 1 structures.
Each of the island platforms (2-9) and the wayside Platform 10 all include variations on the Standard (A8-A10) Island Platform design, all with platform offices and some with public toilets, completed in 1912. There are five in total. The buildings are constructed of face brick with rendered architraves, sills and brackets. The buildings feature a gabled corrugated sheet metal roof with a single corbelled and rendered chimney. The roof extends to form a platform awning which spans the length of the structures, and is supported on double curved cast iron brackets upon rendered brackets. The roof extends to form a covered area to the north of each building, which is supported by simple timber posts. The string course is of two small projecting rendered bands, with the rows of brick between painted to give the impression of a deep rendered string. Most original double-hung timber windows remain. Decorative features include timber valance to awning ends and coloured glass to upper panes of windows.
Completed in 1979, Platforms 11 and 12 are underground, being part of the Eastern Suburbs Railway and Illawarra Line. These are accessed via stairs or escalators from the street level. The escalator shaft ceilings are of moulded plywood. This plywood, with recessed fluorescent strip lights, is used throughout the station platform area. Station walls are tiled, with the station name in tri-level banked blue lettering. The platforms consist of an island platform divided with tiled masonry walls. The platform faces are concrete.
The station includes 12 platforms (2 underground on ESR) formed in seven island platforms, all facing two lines except Platform 1 and Platform 10 which both face single lines. Platforms 1- 10 are constructed of brick with bitumen surface. Platforms 11 and 12 are concrete.
The northern end of the Station is defined by the Lawson Street Overbridge, completed in 1891, which carries Lawson Street across the tracks. The bridge is brick laid in English bond pattern and was constructed in 1891. The bridge has been altered and extended in various stages. Construction appears to be a combination of jack arch, steel girder and concrete slab.
Platform 1 includes four brick ventilation air vents or chimneys for the engine dive line that runs underneath the station, allowing engines to traverse between the Sydney Yard and the Eveleigh Maintenance Centre.
Above Platforms 11 and 12, exposed steelwork for an unfinished platform remains in place, completed . Unfinished tunnels also run north and south from this section of the station, indicating earlier plans for extensions that never proceeded.
The footbridge and steps to platforms was largely upgraded in 1999, and features a covered area connected to the Overhead Booking Office and glazed viewing area with access to all platforms. Platforms 2-9 also feature modern metal canopies joining access stairs to the platform buildings which forms a covered area for commuters. This was installed in 1999 as part of a new overhead walkway and access stairs to each platform. The stairs are concrete treads with steel banisters and balustrades. A pair of decorative cast iron newel posts at the bottom of the stairway to Platform 1 are all that remain from the original lattice iron stairway that was removed in .
The garden on Platform 1 runs along the western wall of the platform from the base of the stairs to the first building on the platform. Some garden plantings remain but it is not maintained to a high standard.
Condition.
As at 10 June 2009, the station building, including the Overhead Booking Office, Station Buildings on Platforms 2-10, and ESR Platforms were all in good condition. The structures at Redfern Station are in good condition with the exception of the disused tunnels at the eastern end and the exposed steelwork frames which are rusted. At least one section of tunnel has been backfilled due to threat of collapse. A condition report completed for the Lawson Street overbridge in 2006 indicated a number of structural issues that required attention.
Redfern Station has undergone a number of modifications and changes, including an upgrade of the overhead walkway and stairs in , the addition of awnings to the platforms in but overall is largely intact and has a moderate to high level of integrity. The platform buildings and overhead booking office in particular retain a high level of integrity.
Modifications and dates.
Since 2013 there have been a number of announcements concerning major upgrades for Redfern Station including the building of a lift to platforms 6 and 7. In December 2014 Transport for NSW invited customers to provide feedback on plans for the new lift at Redfern station. Work on the upgrade commenced on 13 April 2015.
The lift opened on 30 November 2015.
Accessibility and exits.
The station has three main exits - the main entrance and exit on Lawson Street next to the ticketing area (Exit A on the diagram below), a second entrance on Gibbons Street (especially for passengers using platforms 11 and 12) (Exit B on the diagram below), and a third exit to the Australian Technology Park, which is accessed by walking along platform 10 (Exit C on the diagram).
Station map.
Legend:
Transport links.
Redfern does not have a connecting bus interchange. However, two stops along Gibbon Street close to the Gibbons Street entrance (near platforms 11 & 12) serve the following State Transit, Transit Systems and two NightRide routes:
There are stops further afield in Redfern Street servicing bus routes to Railway Square and in Regent Street servicing bus routes to Marrickville, Mascot and Banksmeadow.
Heritage listing.
As at 26 June 2009, Redfern Railway Station Group is significant at a state level as a major suburban station which played an important role in the development of the surrounding residential and industrial suburbs. The overhead booking office is a rare remaining example of the Queen Anne style of railway architecture and along with the 1884 station building on Platform 1 remain as some of the last examples of these types of structures to survive in the metropolitan area. The booking office retains its overall form and much original detail.
The platform buildings on platforms 2-10 are consistent in design and represent the largest group of such buildings in the system at one site, reflecting the location's importance as a junction for commuters and for its access to the adjacent Eveleigh workshops. The addition of platforms and their associated platform buildings, including the Eastern Suburbs Railway, represent the importance of the Station as a commuter hub and reflect the expansion of Redfern Station and the Sydney network generally though the later nineteenth and into the twentieth century. Structures such as the air vents or chimneys connected to the underground engine dive, on Platform 1, are indicators of the adjacent industrial uses of the Eveleigh Yards and are unusual features on a suburban station.
The early station buildings and structures indicate the high quality of buildings provided during the mid-Victorian period of railway construction and the former importance of Redfern as an industrial and residential area in the development of the Sydney suburbs. The pair of newel posts is an example of colonial cast-iron work and represents the end of the era of ornamentation brought about by Railway Commissioner Eddy.
Redfern railway station was listed on the New South Wales State Heritage Register on 2 April 1999 having satisfied the following criteria.
The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.
Redfern Station has historic significance as a major suburban station that served Eveleigh Railway workshops as well as the surrounding industrial suburbs of Redfern, Darlington and Chippendale and as such served to promote the growth of these suburbs. The station retains a collection of early station buildings, including a prominent overhead booking office as its main entrance which is a rare example of its type, demonstrating the changing use and expansion of the station. Redfern Station is also associated with the development of the Eveleigh railway workshops for which it served as the main station for workers. The expansion of the Sydney network is evident at Redfern through the addition of platforms to cope with new lines, including the Eastern Suburbs Railway in the 1970s.
The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
Redfern Railway Station is associated with engineer-in-chief of the NSW Railways, John Whitton who oversaw the development of the station towards the end of his long employment in the role.
The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
Redfern Station has aesthetic significance with a collection of nineteenth and early twentieth century railway buildings built to set designs for the NSW railways and providing a consistency of style across the network. The overhead booking office on Lawson Street is a fine example of the Queen Anne style for railway architecture and is one of the few remaining examples of this type on the Sydney system. The remaining portion of the Station garden has some local aesthetic significance and demonstrates the former practice of maintaining a station garden at suburban stations.
The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
The place has the potential to contribute to the local community's sense of place and can provide a connection to the local community's history.
The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.
Redfern Station ticket and booking office is a rare surviving example of a Queen Anne style overhead booking office, being one of only three remaining examples on the Sydney network, Newtown and Homebush being the others. The elaborate detailing of the building, including the cupola and decorative fleche, make it unique in Sydney's railway architecture. The cast iron newell posts, remaining on Platform 1 are rare surviving examples of decorative iron work (once part of a larger iron latticework stairway) that was briefly introduced to suburban stations but discontinued by Commissioner Eddy after Redfern Station was built. The brick air vents or chimneys on Platform 1 are unusual features on a suburban station and demonstrate the connection to the Eveleigh Railyards adjacent to Redfern.
The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
Redfern Station is representative of late nineteenth-century suburban railway development with a range of standard railway designed building styles and uses for the period 1890–1925. They remain the largest group of such buildings in the NSW system. It is representative of the expansion of the railway network to accommodate increasing passengers and new lines, as illustrated by the development of the Eastern Suburbs Railway. The station continues to serve as a major commuter station on the Sydney network.


Exelon Pavilions

The Exelon Pavilions are four buildings that generate electricity from solar energy and provide access to underground parking in Millennium Park in the Loop community area of Chicago in Cook County, Illinois, United States. The Northeast Exelon Pavilion and Northwest Exelon Pavilion (jointly the North Exelon Pavilions) are located on the northern edge of the park along Randolph Street, and flank the Harris Theater. The Southeast Exelon Pavilion and Southwest Exelon Pavilion (jointly the South Exelon Pavilions) are located on the southern edge of the park along Monroe Street, and flank the Lurie Garden. Together the pavilions generate of electricity annually, worth about $2,350 per year.
The four pavilions, which cost , were designed in ; construction began in . The South Pavilions were completed and opened in , while the North Pavilions were completed in , with a grand opening on , 2005. In addition to producing energy, three of the four pavilions provide access to the parking garages below the park, while the fourth serves as the park's welcome center and office. Exelon, a company that generates the electricity transmitted by its subsidiary Commonwealth Edison, donated $5.5 million for the pavilions. "Chicago Tribune" architecture critic Blair Kamin praised the South Pavilions as "minor modernist jewels", but criticized the North Pavilions as "nearly all black and impenetrable". The North Pavilions have received the Leadership in Energy and Environmental Design (LEED) silver rating from the United States Green Building Council, as well as an award from the American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE).
Background.
Lying between Lake Michigan to the east and the Loop to the west, Grant Park has been Chicago's front yard since the mid-19th century. Its northwest corner, north of Monroe Street and the Art Institute, east of Michigan Avenue, south of Randolph Street, and west of Columbus Drive, had been Illinois Central rail yards and parking lots until 1997, when it was made available for development by the city as Millennium Park. As of 2009, Millennium Park trailed only Navy Pier as a Chicago tourist attraction.
In 1836, a year before Chicago was incorporated, the Board of Canal Commissioners held public auctions for the city's first lots.
Citizens with the foresight to keep the lakefront as public open space convinced the commissioners to designate the land east of Michigan Avenue between Randolph Street and Park Row (11th Street) "Public Ground—A Common to Remain Forever Open, Clear and Free of Any Buildings, or Other Obstruction, whatever." Grant Park has been "forever open, clear and free" since, protected by legislation that has been affirmed by four previous Illinois Supreme Court rulings. In 1839, United States Secretary of War Joel Roberts Poinsett decommissioned the Fort Dearborn reserve and declared the land between Randolph Street and Madison Street east of Michigan Avenue "Public Ground forever to remain vacant of buildings".
Aaron Montgomery Ward, who is known both as the inventor of mail order and the protector of Grant Park, twice sued the city of Chicago to force it to remove buildings and structures from Grant Park, and to keep it from building new ones. In 1890, arguing that Michigan Avenue property owners held easements on the park land, Ward commenced legal actions to keep the park free of new buildings. In 1900, the Illinois Supreme Court concluded that all landfill east of Michigan Avenue was subject to dedications and easements. In 1909, when he sought to prevent the construction of the Field Museum of Natural History in the center of the park, the courts affirmed his arguments and the museum was built elsewhere.
As a result, the city has what are termed the Montgomery Ward height restrictions on buildings and structures in Grant Park; structures over tall are not allowed in the park, with the exception of bandshells. However, within Millennium Park, the "Crown Fountain" and the Jay Pritzker Pavilion were exempt from the height restrictions, because they were classified as works of art and not buildings or structures. Shorter structures do not run afoul of the height restrictions. The Harris Theater, which lies between the North Pavilions, was built mostly underground to avoid the restrictions. The Northwest Pavilion, tallest of the four, is three stories high; the Northeast Pavilion is two stories, and the South Pavilions are each one story.
Design and construction.
The pavilions are named for Exelon, a Chicago-based company that generates the electricity transmitted by its subsidiary Commonwealth Edison (ComEd). The city of Chicago has collaborated with Exelon and ComEd on a variety of environmental projects, including the installation of solar power in buildings, support for sustainable design and renewable energy, and furthering educational and social awareness of green architecture in the city. The pavilions cost $7 million, $5.5 million of which was donated by Exelon and ComEd.
The lead designer for the North Pavilions was Thomas H. Beeby of Hammond Beeby Rupert Ainge Architects. Beeby's designs for the North Pavilions are "in harmony with the Harris Theater", for which he was the architect as well. The North Pavilions are along Randolph Street on either side of the theater, which is Millennium Park's indoor performing-arts venue.
The South Pavilions were designed by architect Renzo Piano of Renzo Piano Building Workshop. Piano designed the Art Institute of Chicago's Modern Wing, which is across Monroe Street from the South Pavilions and opened in 2009. The facades of the South Pavilions are limestone and glass in order to complement the Modern Wing, even though it was not completed until several years after the pavilions were finished. Piano also designed the Nichols Bridgeway, which connects Millennium Park and the Art Institute, and is next to the Southwest Pavilion.
The design process for the Exelon Pavilions began in , with construction starting in . The general contractor for all four pavilions was Walsh Construction. The South Pavilions were completed in and opened when Millennium Park celebrated its grand opening on , 2004. The North Pavilions were not finished in , but were completed in November of that year. All four Exelon Pavilions were officially opened to the public on , 2005.
Structures.
The North Pavilions were designed as minimalist black cubes, and together are capable of producing of electricity annually. The outermost layer of the exterior of each pavilion is a curtain wall made of recycled aluminum. These walls contain specially designed "mono-crystalline photovoltaic modules and insulated glass". Convection from radiant solar heat gain causes air to cycle within air cavities covered by the photovoltaic modules. A "highly heat-reflective thermoplastic membrane" is used to waterproof each roof, and helps mitigate the urban heat island effect.
The photovoltaic modules generate electricity to power much of the pavilions' lighting. The North Pavilions are the first Chicago buildings to use building integrated photovoltaic cells, which are a solar energy system incorporated into the building's structural elements. Millennium Park's planners claimed that the pavilions had the first electricity-generating curtain walls in the Midwest.
Northwest Pavilion.
The Northwest Pavilion, located at 151 E. Randolph Street, houses the Millennium Park Welcome Center and an Exelon energy display. It contains the Millennium Park offices, and public restrooms. The three-story Northwest Pavilion is the largest of the four pavilions, with , and is the only pavilion that does not provide access to the parking garage below. The Northwest Pavilion has 460 photovoltaic modules to harness solar energy, houses recycling facilities, and its "interior finishes and construction materials are derived from renewable resources".
The Millennium Park Welcome Center in the Northwest Pavilion offers guides to the park and wheelchairs. It houses exhibitions on parks and energy, and has interactive displays on how the pavilions' solar panels function and on renewable energy. There are exhibits with interactive web-based touch screens that depict the city's use of solar energy, and a dynamic multi-screen video presentation on electricity generation and usage. The building's atrium includes a sculpture by Chicago-based artists Patrick McGee and Adelheid Mers with three backlit two-way mirrors. The sculpture, titled "Heliosphere, Biosphere, Technosphere", is "designed to interpret the links between the Earth's atmosphere, the solar system and scientific applications". It is the only permanent work of art by Chicago artists within the park.
Northeast Pavilion.
The Northeast Pavilion houses a pedestrian entrance to the Millennium Park parking garage, and provides access to the Harris Theater's rooftop terrace. It is at 201 E. Randolph Street, east of the theater and west of the McDonald's Cycle Center. The pavilion's second floor has the Chicago Shop, which offers a self-guided Millennium Park audio tour for rental and sells official Millennium Park and Chicago souvenirs. The two-story Northeast Pavilion is the second-largest, with of surface area, and also has 460 photovoltaic modules to generate electricity from sunlight.
South Pavilions.
The south pavilions are east and west of the Lurie Garden along Monroe Street, and their glass walls allow views of the garden. Both of the South Pavilions provide access to the parking garage below the park. The Southwest Pavilion is the smallest of the four pavilions, and has the fewest photovoltaic modules with 16 on its roof. It is west of the garden and east of the Nichols Bridgeway. The Southeast Pavilion is east of the garden, has the second smallest area at , and has 24 rooftop photovoltaic modules. Together these two pavilions are capable of producing of electricity annually.
Reception and recognition.
Pulitzer Prize-winning "Chicago Tribune" architecture critic Blair Kamin praised the decision to have architects design the pavilions as an "inspired stroke", speculating that if their designs had been left to contractors, visitors to Millennium Park could have instead seen unimpressive "blunt utilitarian huts". Kamin was pleased with Piano's South Pavilions, describing them as "minor modernist jewels, almost house-like". He lauded the way their limestone walls complement the transparent glass by way of contrast, and noted that they anticipated Piano's then-forthcoming addition to the Art Institute of Chicago Building. Kamin gave the South Pavilions a rating of three stars out of a possible four, or "very good".
Kamin was less pleased with Beeby's North Pavilions, which he described as "nearly all black and impenetrable" and compared to Darth Vader's helmet. He acknowledged the pavilions' innovative technology, and their "urban design function" as wings for the Harris Theater, which Kamin felt "allows the theater to better stand up to the Frank Gehry-designed Pritzker Pavilion to its south". Because they were not finished when he wrote his review in , Kamin did not give the North Pavilions an overall star rating; he did express the hope that they would have a more pleasant appearance once completed.
The pavilions have been recognized for their innovative use of renewable energy and green design. In 2005, the North Pavilions received the Leadership in Energy and Environmental Design (LEED) silver rating from the United States Green Building Council. They received a Technology Award Honorable Mention in the category of "Alternative and/or Renewable Energy Use – New Construction" from the American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE). The United States Department of Energy has recognized all the pavilions as part of its Million Solar Roofs Initiative. In 2005 Chicago ranked fourth among U.S. cities in solar installations; the completion of the Exelon Pavilions took the city to a total of of installed photovoltaic systems. The pavilions together generate of electricity annually, worth $2,353 per year at 2010 average Illinois electricity prices. According to the City of Chicago, this is enough energy to power the equivalent of 14 Energy Star-rated efficient houses in Chicago.


Telus Tower (Montreal)

The Telus Tower is an office building at 630 René Lévesque Boulevard West in Montreal. It was built for Canadian Industries Limited from 1960 to 1962, given the name CIL House. Designed by architect Gordon Bunshaft from the architectural firm Skidmore, Owings and Merrill with local architects Greenspoon, Freedlander and Dunne, it stands 135.6 m (445 ft) and 34 storeys tall. In 1960, Bunshaft had recently completed his seminal work, Lever House in New York City.
During the 1960s when Montreal's financial district shifted from its St. James Street center to midtown, The CIL House also became the annex headquarters of the Bank of Montreal when it added a main banking branch there. Then-named Dorchester Boulevard West became the financial center of Montreal and Canada with the largest Canadian banks and insurance companies having a presence. In later years, CIL moved its head office operations to Ontario. The Royal Trust later received naming rights to the building when it located its head office there until the merger with the Royal Bank of Canada. The name Royal Trust Tower now refers to another building in Toronto.
Today, it is home to the Montreal operations of Telus, the head office of Telus Health Solutions, but also houses the local offices of Accenture, Roche, Canada Life, Clyde & Co, Fairstone Financial, Inc., as well as a Bank of Montreal branch.


Tooting Broadway tube station

Tooting Broadway is a London Underground station in Tooting in the London Borough of Wandsworth, South London. The station is on the Northern line, between and stations and is in Travelcard Zone 3.<ref name="cite map/Standard Tube Map"></ref>
It is located on the corner of Tooting High Street (A24) and Mitcham Road (A217).
Location.
The station building is a corner lot, located at the junction of two major roads, which are A24 Tooting High Street and A217 Garratt Lane. South Thames College is just outside the station, while St. George's Hospital is a few minutes' walk away. Other attractions nearby include Tooting Market, Tooting Methodist Church and Tooting Primary School. The station is located in the centre of a busy district and serves a dense residential area. The area is commonly referred to as Tooting Graveney.
History.
In the period following the end of First World War, the Underground Electric Railways Company of London (UERL) began reviving a series of prewar plans for line extensions and improvements that had been postponed during the hostilities. Finance for the works was made possible by the government's Trade Facilities Act 1921, which, as a means of alleviating unemployment, provided for the Treasury to underwrite the value of loans raised by companies for public works.
One of the projects that had been postponed was the Wimbledon and Sutton Railway (W&SR), a plan for a new surface line from Wimbledon to Sutton over which the UERL's District Railway had control. The UERL wished to maximise its use of the government's time-limited financial backing, and, in November 1922, presented bills to parliament to construct the W&SR in conjunction with an extension of the UERL's City and South London Railway (C&SLR) south from through Balham, Tooting and Merton.
The C&SLR would connect to the W&SR route south of Morden station and run trains to Sutton and the District Railway would run trains between Wimbledon and Sutton. Under these proposals, the station on the C&SLR extension would have been named "North Morden" and the station on the W&SR route would have been called "South Morden" (the current Morden South station is in a different location).
The Southern Railway objected to this encroachment into its area of operation and the anticipated loss of its passenger traffic to the C&SLR's more direct route to central London. The UERL and SR reached an agreement in July 1923 that enabled the C&SLR to extend as far as Morden in exchange for the UERL giving up its rights over the W&SR route. Construction of the C&SLR extension was rapidly carried out and Tooting Broadway station opened on 13 September 1926.
Former proposals.
A post-war review of rail transport in the London area produced a report in 1946 that proposed many new lines and identified the Morden branch as being the most overcrowded section of the London Underground, needing additional capacity. To relieve the congestion, the report recommended construction of a second pair of tunnels beneath the Northern line's tunnels from Tooting Broadway to Kennington. Trains using the existing tunnels would start and end at Tooting Broadway with the service in the new tunnels joining the existing tunnels to Morden. Designated as route 10, the proposal was not developed by the London Passenger Transport Board or its successor organisations.
In 2013, it was announced that Transport for London's plans for Crossrail 2 included consideration of a station at Tooting Broadway. In October 2015, the plan was changed in favour of a route via Balham.
Incidents.
On 4 May 1971, a train collided into a dead-end siding at Tooting Broadway. The train overran the buffers, killing the driver.
Design.
The station is a Grade II listed building. Along with the other stations on the Morden extension, the building was designed by architect Charles Holden. They were Holden's first major project for the Underground. He was selected by Frank Pick, general manager of the Underground Electric Railways Company of London (UERL), to design the stations after he was dissatisfied with designs produced by the UERL's own architect, Stanley Heaps. Built with shops to each side, the modernist design takes the form of a double-height curving screen clad in white Portland stone with a three-part glazed screen in the centre of the façade divided by columns of which the capitals are three-dimensional versions of the Underground roundel. The central panel of the screen contains a large version of the roundel. The station only has access to the platforms via escalators.
Services and connections.
Services.
Tooting Broadway is between Tooting Bec and Colliers Wood stations on the London Underground Northern line, in Travelcard Zone 3. Train frequencies vary throughout the day, but generally operate every 2–4 minutes between 06:17 and 00:01 in both directions. The typical off-peak service, in trains per hour (tph) is:
Southbound trains can terminate at Tooting Broadway on occasion rather than continue on to the end of the line at Morden, which is three stations to the south. To return north, out of service trains run south from the southbound platform into a reversing siding between the two running tunnels before reversing and running north through points on to the northbound platform where they return into service.
Connections.
London Bus routes 44, 57, 77, 127, 131, 155, 219, 264, 270, 280, 333, 355, 493 and G1 and night routes N44 and N155 serve the station. In addition, bus routes 57 and 264 provide a 24-hour bus service. Tooting, the nearest railway station, is an 18-minute walk away along the A217 Mitcham Road.
In popular culture.
Tooting Broadway station features in the opening credits of the BBC comedy "Citizen Smith" and again in the closing sequence of the very last episode.
The station is referenced in the title of the Kitchens of Distinction's song "On Tooting Broadway Station" from their third album "The Death of Cool".


Woolverstone Hall

Woolverstone Hall is a large country house, now in use as a school and available at times as a function venue, located south of the centre of Ipswich, Suffolk, England. It is set in on the banks of the River Orwell. Built in 1776 for William Berners by the architect John Johnson of Leicestershire, it is an outstanding example of English Palladian architecture and is a Grade I listed building while associated buildings are Grade II. From 1951 to 1990, it housed Woolverstone Hall School, a boarding school operated by London County Council (LCC).
History.
It has been speculated that a Viking chieftain named Wulf sacrificed a native villager on a glacial monolithic stone, giving rise to the name "Wulf's stone". Domesday Book recorded two manors in the area which were merged in the 13th century and presided over by a succession of families until 1773 when it was purchased for £14,000 by William Berners (died 1783). William Berners owned Berners Street in London, which became known later for the Berners Street Hoax. He erected Woolverstone Hall in 1776. A high obelisk was erected in 1793 to William's memory by his son, Charles Berners (1767–1831), High Sheriff of Suffolk, which was damaged and demolished during World War II. In 1823, alterations and additions were done by Thomas Hoppe, including side wings.
The estate passed to Charles's brother and, in the 1880s, Henry Denny Berners, LL.B., Archdeacon of Suffolk, resided at Woolverstone Hall. His son John became the next owner, followed in 1886 by John's brother, Hugh Berners (died 1891), a Royal Navy captain. The estate became the seat of Charles Hugh Berners, High Steward for Harwich, Essex, great-grandson of William Berners. The manor was sold to Oxford University in 1937. It was requisitioned as a naval training establishment during World War II and, in 1950, the London County Council took it over as a boys' boarding school--Woolverstone Hall School. In 1992, the property was sold to the Girls' Day School Trust, who relocated Ipswich High School to Woolverstone Hall. In 2017, the property and school were purchased by Ipswich Education Ltd, a subsidiary of the China-oriented investment banker London & Oxford Group.
Woolverstone Hall became a Grade I listed building on 22 February 1955.
Architecture and fittings.
Woolverstone Hall comprises a central block with flanking wings connected by colonnades. The central block is of three storeys: a rusticated basement, first floor and attic, and has at its front centre a pediment supported by four Ionic columns. The house is built of Woolpit brick, with Coade stone ornamentation. The main living areas were originally in the central block while the wings contained offices, the kitchen, larders, laundry room, and a brewhouse. A 20th-century renovation added two-storey single-bay links to wings, and the attic.
Internally, the building still contains the original Adam style fireplaces and ceilings decorated with gold leaf. The modest staircase has a wrought-iron honeysuckle balustrade.
The apartments contain a collection of paintings by ancient and modern artists. The music room has been converted to a library.
Grounds.
Originally situated in a 400-acre wooded park extending to the River Orwell, it sat opposite Orwell Park, and contained a herd of fallow deer. The curved front offers views of the river and the Nacton shore.


Carlo Fontana

Carlo Fontana (1634 or 1638–1714) was an Italian architect originating from today's Canton Ticino, who was in part responsible for the classicizing direction taken by Late Baroque Roman architecture.
Biography.
There seems to be no proof that he belonged to the family of famous architects of the same name, which included Domenico Fontana. Born in Brusato, near Como (now part of the town of Novazzano in Canton Ticino, Switzerland), Fontana went to Rome before 1655. He became a draughtsman for the architectural plans of Pietro da Cortona, Carlo Rainaldi, and Gian Lorenzo Bernini. Bernini employed him for nearly a decade in diverse projects.
His first independent project may be the church of San Biagio in Campitelli, completed by 1665. His façade at San Marcello al Corso (1682–83) is described as one of his most successful works. For his patron, Innocent XII, he erected the immense building of the Istituto Apostolico San Michele at Ripa Grande, organized around its church; the baptismal chapel at St. Peter's; and slightly modified and finished Palazzo Montecitorio, which had been begun as Bernini's Palazzo Ludovisi, for Niccolò Ludovisi during the reign of the Ludovisi pope Gregory XV, and which he publicized by a "Discorso" (1694).
At the request of Clement XI he built the public oil deposits ("Olearie Papali") within the ruins of the Baths of Diocletian (currently used for temporary exhibitions), the portico of Santa Maria in Trastevere, and the basin of the fountain of San Pietro in Montorio. He designed the Casanate library at Santa Maria sopra Minerva, designed the ribbed hemispherical dome for the duomo of Montefiascone (completed long after his death) and the casino in the Vatican, and collected all the models of the building.
Fontana mainly worked in Rome, assisted by his nephews Girolamo and Francesco Fontana (1668–1708), but he sent a model for the cathedral of Fulda, and others to Vienna for the royal stables. Among his other foreign works were the designs for a Jesuit complex in Azpeitia, Spain, in the village of Loyola where Saint Ignatius of Loyola, the founder of the Jesuit Order was born. This grandiose basilica was a major influence upon baroque architecture of the New World.
Fontana was an able artist and a good designer, but lacked the innovation that characterized early Baroque architects like Cortona and Borromini. In addition, he was more successful as an architect than as a writer. By order of Innocent XI he wrote a diffuse historical description of the "Templum Vaticanum" (1694), which included his project for completing St. Peter's. In this work Fontana advised the demolition of that dense nest of medieval houses called "La Spina" which formed a sort of island from Ponte Sant' Angelo to the piazza of St. Peter's; the project was completed under Mussolini, creating the "Via della Conciliazione". Fontana made a calculation of the whole expense of St. Peter's from the beginning to 1694, which amounted to 46,800,052 crowns, without including models. He also published works on the Colosseum; the Aqueducts; the inundation of the Tiber, etc. Furthermore, twenty seven manuscript volumes of his writings and sketches are preserved in the Royal Library at Windsor.
Fontana was "principe" of the Accademia di San Luca in 1686 and 1692–1700. Fontana's studio was one of the most prolific in Europe; its designs for fountains, tombs, and altars were often imitated or reproduced abroad. Among Fontana's disciples, who spread his fame throughout Europe, were Giovanni Battista Vaccarini in Sicily, Filippo Juvarra in Italy and Spain, James Gibbs in England, Matthaus Daniel Poppelmann in Germany, Johann Lucas von Hildebrandt and Fischer von Erlach in Austria, Nicodemus Tessin the Younger in Sweden, and Nicola Michetti in Italy and Russia.
Other Fontana pupils include Giovan Battista Contini and Carlo Francesco Bizzaccheri.


St James, Norton

St James, Norton is the Church of England parish church of the Norton district of Sheffield, South Yorkshire, England.
History.
The Domesday Book of 1086 records a manor at Norton but not a church. The earliest parts of the building are Norman: the 11th-century inner doorway in the south porch and six corbels, evidently re-set, flanking it on the east and west walls of the porch. The arch over the doorway has zigzag moulding but is heavily restored. If the doorway is 11th-century, the claim by John Charles Cox (1843–1919) that Robert FitzRanulph ("circa" 1117–72) founded the church can be discounted.
The church has a west tower, all but the top of which is Early English Gothic. Also Early English is the baptismal font inside the church.
Much of the rest of the church is Perpendicular Gothic. The nave has north and south aisles. The north aisle has five bays and was built about 1200. The south aisle has a three-bay arcade and is 14th-century. East of the south aisle is a south chapel with its own two-bay arcade, which was completed in 1524.
In the 19th century the church was restored, the vestry and organ chamber were built and the south porch was rebuilt with a new Gothic Revival vault.
The west tower has a ring of eight bells. John Taylor & Co of Loughborough, Leicestershire cast or re-cast them all in 1896, in time for the Diamond Jubilee of HM Queen Victoria in 1897.
Churchyard.
In the churchyard are the base and truncated shaft of a 14th-century stone cross. Its gritstone base, with four steps, and plinth are thought to be original, while its socket stone and shaft are believed to be 18th- or 19th-century replacements. The cross is a Scheduled Ancient Monument and is Grade II listed.
In the churchyard is the Chantrey tomb, designed by the sculptor Francis Leggatt Chantrey (1781–1841) and completed on his death in 1841. He is among the family members buried in it. The tomb is also Grade II listed.


Changsha Meixihu International Culture and Arts Centre

The Changsha Meixihu International Culture and Arts Centre (Chinese: 梅溪湖國際文化藝術中心) is a cultural complex located in the Meixihu subdistrict of Changsha, Hunan, China. It was completed in 2019. The complex was designed by British architectural firm Zaha Hadid Architects.
Design.
The complex contains three separate cultural institutions: a theatre, a contemporary art museum (MICA), and a multi-purpose venue. It has a total floor area of 115,000 square metres. The design of the complex is characteristic of Zaha Hadid Architect's neo-futurist style. The exterior of the buildings are dominated by sweeping white-tiled curves.
The theatre, known as the Grand Theatre, is the largest building in the complex. It provides all front-of-house functions in lobbies, bars, and hospitality suites, as well as ancillary functions including administration offices, rehearsal studios, backstage logistics, wardrobe, and dressing rooms. The theatre has a capacity of 1800 seats.
The MICA art museum contains an atrium for large-scale installations and events, and has dedicated spaces for community workshops, a lecture theatre, a café, and a museum shop. The multi-purpose venue has a capacity of 500 seats.
Two pedestrian bridges connect the complex to Festival Island, a linear islet located in Meixi Lake.
Transport.
The complex is connected to line 2 of the Changsha Metro.


Church of St Mary, Seavington St Mary

The Church of St Mary in Seavington St Mary, Somerset, England, dates from the 15th century and is recorded in the National Heritage List for England as a designated Grade II* listed building.
The former Anglican parish Church of St Mary has 13th-century origins, but the current building is largely from the late 15th century, with restoration around 1880. The three-stage tower is from the 16th century, and contains six bells. There of these date from 1621 and were made by George Purdue of Closworth; the others are from the 20th century, and were made by John Taylor & Co in Loughborough.
The parish was previously held as a chapelry of South Petherton by Bruton Abbey and after the dissolution of the monasteries belonged to Bristol Cathedral.
It is a redundant church in the care of the Churches Conservation Trust. The church was declared redundant on 1 July 1983, and was vested in the Trust on 15 May 1985.


St Mary-le-Bow

St Mary-le-Bow () is a historic church rebuilt after the Great Fire of 1666 by Sir Christopher Wren in the City of London on the main east–west thoroughfare, Cheapside.
Bells.
The sound of the bells of St Mary's is prominent in the story of "Dick Whittington and His Cat", in which the bells are credited with having persuaded him to turn back from Highgate and remain in London to become Lord Mayor. The bells are also referred to in the nursery rhyme "Oranges and Lemons"; traditionally, people born within earshot of Bow Bells are considered to be "Cockney."
Details of the bells:
Weights in hundredweights, quarters, and pounds. The bells are hung for full circle ringing.
The previous "great bell at Bow", the tenor bell of the ring of bells installed in 1762 and destroyed in an air raid of 1941, weighed 58 hundredweight, with six tons of ironwork braces cut into the inside walls of the tower as reinforcement. Earlier still, the first great bell was a byword for having a sonorous tone as, in 1588, pamphleteer Robert Greene sarcastically likens the verse of Christopher Marlowe to the bell's "mouth-filling" resonance.
Bow bells mileposts.
Ordinarily, distances by road from London are now measured from Charing Cross but, before the late 18th century, they were measured from the London Stone in Cannon Street, or the Standard in Cornhill. However, on the road from London to Lewes, the mileage is taken from the church door of St Mary-le-Bow. To note the reference point used, mileposts along the way are marked with the rebus in cast-iron of a bow and four bells.
History.
Archaeological evidence indicates that a church existed on this site in Saxon times. A medieval version of the church had been destroyed by the London Tornado of 1091, one of the earliest recorded (and one of the most violent) tornadoes in Britain, although the newly completed arched crypt survived.
During the Henry II period, the church, known as “St Mary de Arcubus”, was rebuilt and was famed for the arches (“bows”) of stone. At that period the high vaulted crypt—although only accessible from within the church—had windows and buttresses visible from the street. However, the anecdotalist and historian John Stow wrongly attributes the name to 1515–16, when a crown steeple made of Caen stone in the form of arches supporting a lantern, was completed. This is the form of the steeple in the Agas woodcut of 1561 (right). This erroneous explanation for the source of the name gained some traction in the centuries to follow, including an endorsement by Palace of Westminster architect Augustus Pugin.
From at least the 13th century, the church was a peculier (sic) of the Diocese of Canterbury and the seat of the Anglican ecclesiastical court, the Court of Arches, to which it gave the name. The “bow bells”, which could be heard as far away as Hackney Marshes, were once used to order a curfew in the City of London. This building burned in the Great Fire of London of 1666 (whereupon the Court of Arches transferred sittings to the nearby Doctors' Commons).
The church with its steeple had been a landmark of London. Considered the second most important church in the City of London after St Paul's Cathedral, St-Mary-le-Bow was one of the first churches to be rebuilt after the fire by Christopher Wren and his office. The current structure was built to the designs of Wren between 1671 and 1673; the steeple was completed in 1680. The mason-contractor was Thomas Cartwright, one of the leading London mason-contractors and carvers of his generation.
In 1914, a stone from the crypt of St Mary-le-Bow church was placed in Trinity Church, New York, in commemoration of the fact that King William III granted the vestry of Trinity Church the same privileges as St Mary-le-Bow vestry, the forerunner of lower-tier local government. Since the early 1940s, a recording of the Bow Bells made in 1926 has been used by the BBC World Service as an interval signal for the English-language broadcasts. It is still used today preceding some English-language broadcasts.
Much of the current building was destroyed by a German bomb during the Blitz on 10 May 1941, during which fire the bells crashed to the ground. Restoration under the direction of Laurence King began in 1956 (with internal fittings by Faith-Craft, part of the Society of the Faith). The bells as listed above, cast in 1956, were eventually installed to resume ringing in 1961. The church was formally reconsecrated in 1964, having achieved designation as a Grade I listed building on 4 January 1950.
In the church is a memorial to members of the Norwegian resistance who died in the Second World War, which is in two parts; a commemorative plaque and a relief of Saint George and the Dragon by Ragnhild Butenschøn.
In the churchyard is a statue of Captain John Smith of Jamestown, founder of Virginia and former parishioner of the church.
Since 1989, there has been a restaurant in the crypt: Café Below.
Services today.
St Mary-le-Bow ministers to the financial industry and livery companies of the City of London. Consequently, services feature weekday morning and evening led prayers lasting just a quarter of an hour generally at 08:15 (except Tuesdays) and 17:45. There is a memorial in the church to the first Governor in Australia, Admiral Arthur Phillip, who was born in the parish. Through this connection the Rector of St Mary-le-Bow is the Chaplain of the Britain–Australia Society.
It is still home to the Court of Arches today.
Organ.
The organ is a two-manual and pedal design by Kenneth Tickell and Company, with design and construction initiated in 2004. It occupies the case of the previous Rushworth and Dreaper organ (from the 1960s). The inaugural recital was given by Thomas Trotter in September 2010. The resident organist is Thomas Allery.


White River Bridge

The White River Bridge was built in 1929 in Mount Rainier National Park as part of the Yakima Park Road project. The new road was planned to open up access to the northeastern portion of the park. The bridge, spanning the White River, was built by contractor John D. Tobin of Portland, Oregon, who had previously built the Narada Falls Bridge and the Christine Falls Bridges, both listed on the National Register of Historic Places. Plans for the bridge were drawn by the National Park Service Branch of Plans and Designs in the National Park Service Rustic style, with construction supervision by NPS landscape architect Ernest A. Davidson. The three-centered arch spans , with a stone-faced concrete structure.
The bridge was placed on the National Register of Historic Places on March 13, 1991. It is part of the Mount Rainier National Historic Landmark District, which encompasses the entire park and which recognizes the park's inventory of Park Service-designed rustic architecture.


Never Turn Back

The Never Turn Back is a grade II listed public house in Caister-on-Sea, Norfolk, England. It was designed by A. W. Ecclestone in the Art Deco and Streamline Moderne styles and built in 1956 (opening the following year) as a memorial to the nine lifeboatmen who died in the Caister lifeboat disaster of 1901.
Arthur William "Billy" Ecclestone was chief surveyor of Norfolk brewers Lacons.


Sunrise Historic District

The Sunrise Historic District, also known as the community of Sunrise, Washington, is located at approximately on a ridge overlooking the northeast side of Mount Rainier in Mount Rainier National Park. The district comprises seven individual structures designed in accordance with the principles of the National Park Service Rustic style. The area is inhabited and open to the public only during a brief period in the summer season.
Planning.
The area was originally known as Yakima Park, and became accessible with the construction of a new road in the northeastern portion of the park, planned by Ernest A. Davidson of the National Park Service Landscape Division and the Bureau of Public Roads. Davidson prepared a master plan for Yakima Park, by way of contrast to development in the southern portion of the park at Paradise and Longmire, where haphazard development had become a significant management problem. Davidson's plan included a large hotel supporting a community of housekeeping cabins, an automobile service station, toilet facilities, and the unique blockhouses and stockade.
Initial construction was completed in 1932 with the first phase of the Sunrise Lodge, the Sunrise Comfort Station, the service station, the South Blockhouse and the Stockade. The North Blockhouse and Community Building were completed in 1944.
Structures.
Sunrise Lodge.
The Sunrise Lodge is a large shingled structure with a steeply-pitched roof, built by the Rainier National Park Company in 1931. The 2-1/2 story building was intended to be the first wing of a resort hotel. It was built in about six weeks, serving as the centerpiece of a complex of 200 tourist cabins. The lodge accommodated dining facilities and staff dormitories. The cabins were removed through the late 1930s and 40s, sold to Eastern Washington farmers for migrant labor housing, or for housing around Puget Sound. Foundations for another wing of the planned U-shaped hotel were excavated, but never completed. The incomplete hotel continued in its original function, and is open on a seasonal basis in the present day.
Designation.
The area was placed on the National Register of Historic Places on March 31, 1991. The Yakima Park Stockade Group was declared a National Historic Landmark on May 29, 1987. The Sunrise Comfort Station was individually listed on the NRHP on March 13, 1991. The Sunrise Historic District is in turn part of the Mount Rainier National Historic Landmark District, which encompasses the entire park and which recognizes the park's inventory of Park Service-designed rustic architecture.


3 World Trade Center

3 World Trade Center (also known as 175 Greenwich Street) is a skyscraper constructed as part of the rebuilding of the World Trade Center in Lower Manhattan, New York City. The tower is located on the east side of Greenwich Street, on the eastern side of the World Trade Center site.
The current 3 World Trade Center is the second building at the site to bear this name. The original building was the Marriott World Trade Center, a hotel located in the southwest corner of the World Trade Center complex. The hotel was a 22-story steel-framed structure with 825 rooms. It had a roof height of . Construction began in 1979 and it opened in July 1981 as the Vista International Hotel. The entire World Trade Center complex was destroyed during the September 11 attacks in 2001.
Construction originally began in 2010, but was delayed until 2014 because of a lack of an anchor tenant. The building's concrete core was topped out to maximum height in August 2016, with the perimeter steel structure following on October 6, 2016. The building opened on June 11, 2018. The building was designed by Rogers Stirk Harbour + Partners, and is managed by Silverstein Properties through a ground lease with the Port Authority of New York and New Jersey, the landowner. It is high, with 80 stories. , it is the Ninth-tallest building in the city.
Previous building (1981–2001).
The Marriott World Trade Center was a 22-story steel-framed hotel building with 825 rooms. It had a roof height of 73.7 m (242 ft) and was designed by Skidmore, Owings & Merrill. Its structural engineer was Leslie E. Robertson Associates with Tishman Construction serving as the main contractor. Construction began in 1979. It opened on July 1, 1981 as the Vista International Hotel and was located at the southwest corner of the World Trade Center. It was heavily damaged in the 1993 World Trade Center bombing and was subsequently closed until repairs were completed the following year. Forty people died when the hotel was destroyed during the September 11 attacks. The hotel's remains were later dismantled to make way for construction of the National September 11 Memorial & Museum.
New building.
Background.
3 World Trade Center was originally planned for a podium of seven stories for trading floors, with a 73-floor office tower rising from it. The diamond braces initially planned for the front and rear faces of the building have been dropped from the design and the tower is to be built without them. However, the diagonal bracing on the sides would remain. The four spires in the original design gave the tower a pinnacle height of 1,240 feet (378 m), meaning it would have become the third-tallest building in New York City by pinnacle height, but the spires were later removed from the design, thus reducing the height by about 88 feet (approximately 26.8 m). The total floor space of the building is planned to include of office and retail space. The building's groundbreaking took place in January 2008, and at that time it was scheduled to be completed by 2014. Unusual for a high-rise, the building's concrete core would be built before the rest of the structure was completed. The structural engineer for the building was WSP. Pritzker Prize-winning architect Richard Rogers, of Rogers Stirk Harbour + Partners, was awarded the contract to design the building.
On May 11, 2009, it was announced that the Port Authority of New York and New Jersey was seeking to reduce 175 Greenwich Street to a "stump" building of approximately four stories. The overall plan, which also called for a similar reduction in height for 2 World Trade Center and the indefinite postponement of 5 World Trade Center, would halve the amount of office space available in the fully reconstructed World Trade Center to . The agency cited the recession and disagreements with developer Larry Silverstein as reasons for the proposed reduction. Silverstein opposed the plan, filing a notice of dispute on July 7, 2009. By doing so, the development firm began a two-week period during which renegotiated settlements and a binding arbitration regarding the construction of the four World Trade Center towers could be made. Silverstein Properties, which has paid the Port Authority over in financing, noted the organization's inability to meet construction obligations in its official complaint.
In November 2010, three PureCell fuel cells were delivered at the World Trade Center site which together will provide about 30% of the tower's power.
Delays.
By the beginning of 2012, Silverstein Properties and the Port Authority of New York and New Jersey reached an agreement to only build 3 World Trade Center to seven stories, unless tenants can be found to fund the building. According to a March 2010 agreement between Silverstein Properties and the Port Authority, Silverstein Properties must find tenants to lease 400,000 square feet of the building and it must raise in private financing in order to receive additional funding. If Silverstein Properties meets those triggers, then the Port Authority, City of New York, and New York State will provide an additional towards the tower's completion. Silverstein Properties also needs to provide financing for the remaining cost of the tower before it can be completed. The existing foundation of the tower was built entirely with insurance proceeds, and until Silverstein Properties meets the requirements. The agreement also implemented a "cash trap" to make sure that public investments are paid off before Silverstein Properties makes any profits from the tower.
The tower portion of 3 World Trade Center was to be fully built after meeting the requirements. A spokesperson speaking on the issue of rebuilding the site commented: "Three WTC should be up by 2015; although; we do have one milestone to hit: We need to get a 400,000-square-foot tenant in order to get a financing backstop that makes sure we will complete that building. So, that's a question mark, and it's a major priority of Silverstein Properties". The Port Authority believes that the 2010 agreement will allow market demand to drive the construction of the towers and help to limit public investment since the Port Authority has other projects that need attention in the region.
By February 2012, the ground floor concrete was almost done and the lower podium had reached the 5th floor. On May 18, 2012 a construction update was released which stated that the superstructure work was continuing, and that forms, rebar, and concrete placement work was also continuing. Additionally, utilities for the site were being installed. The construction agency expected the lower podium to reach a capped height of 7 stories by September 2012. In late June 2012, David Zalesne, president of Owen Steel, confirmed that construction of the tower would continue and that Owen Steel has been selected to provide the structural steel for the building.
On October 2, 2012, the large advertising and media company GroupM was confirmed by several sources to be in the preliminary negotiations to anchor 3 World Trade Center in a deal that would allow construction to begin on the planned 80-story office tower. The lease would be about 550,000 square feet in size, a large enough commitment to qualify the project for up to $600 million in public benefits in the form of a mix of equity and loan guarantees from the city, the state, and the Port Authority. In December 2013, GroupM was signed on as anchor tenant. This allowed the tower to resume construction in late 2013. In January 2014, Senator Chuck Schumer negotiated a $340 million round of financing through federal Recovery Zone bonds to finance the project's construction. A subsidy, which would have doubled the loan given to the construction of 3 World Trade Center, was postponed by the Port Authority of New York and New Jersey in April 2014 until June 2014.
Resumption of construction.
On June 25, 2014, the Port Authority of New York and New Jersey reached an agreement with Larry Silverstein to finance the completion of 3 World Trade Center, and construction of the tower resumed. The financing included the sale of $1.6 billion of tax-exempt bonds, the largest-ever unrated bond deal in the municipal bond market. Other sources of funding included $600 million in insurance proceeds, $210 million in cash contributions from the New York City and State governments, and $55 million in cash from Silverstein Properties itself. Following the financing, the tower crane returned and a new anticipated completion of late 2017 was announced.
In 2015, the design was modified and the height reduced by , from to its current height of . , 3 World Trade Center's core had risen to the 19th floor and steel to the 14th floor. On June 28, 2015, one more tower crane was built on the site. Another crane arrived in July, bringing the total to four cranes. On May 20, 2016, the tower's concrete core reached the symbolic height of , thus officially reaching supertall status and exceeding the roof height of neighboring 4 World Trade Center.
On June 23, 2016, 3 World Trade Center's core was topped out. In a ceremony held at the base of the building, a 2-ton bucket of concrete was signed by workers, and executives, including developer Larry Silverstein, and was hoisted up with an American flag, which was also used with the topping out of 7 and 4 World Trade Center, to the top of the tower. On the evening of August 11, 2016, a construction crane struck one of 3 World Trade Center's windows. There was a heavy wind gust at the time, and construction workers were securing the crane when it veered into a 12th-story glass panel, cracking it. No one was injured.
On October 6, 2016, the last steel beam was lifted and installed on top. The glass facade was completed in August 2017, at which point several retailers had signed leases for the atrium retail space. GroupM, an advertising company, had also signed a lease for some of office space in the tower. The building officially opened on June 11, 2018, with the buildings tenants so far being GroupM, McKinsey & Company, Tradenda Capital, and IEX.


Villa Pigneto del Marchese Sacchetti

The Villa Pigneto or Sacchetti, or also the Casino al Pigneto del Marchese Sacchetti was a villa in Rome, Italy, designed by the Baroque artist Pietro da Cortona. A second, plainer, Villa Sacchetti, now called Villa Chigi, is found at Castelfusano near Ostia and also was decorated (if not designed) by Cortona.
The Roman villa was an elaborately decorated suburban casino or (lodge), that stood only for some decades after completion in 1630, just at the then-outskirts of Rome (now Pigneto Sacchetti train stop) at the foot of Monte Mario. From the top rampart of the garden entrance, one should have been able to glimpse above the surrounding pine forest ("pigneto") the domes of St Peter's Basilica and central Rome.
As the name casino implies, this was a "pleasure house", a lodge where notables could take refuge from the crowded Rome. The villa suburbana was commissioned by the Florentine Marchese Marcello Sacchetti, papal treasurer of the profligate Barberini Pope Urban VIII. Other members of this family benefited for a few decades from association with the pope, including his brother Giulio, named cardinal, and another brother, named general of papal armies. Cortona, a fellow Tuscan, designed the villa for his long-time patron.
We can only reconstruct the villa from etchings, paintings, plans, and scant architectural ruins left, although the findings generally agree. The effort was the fruit of one of Cortona's first architectural designs. The house was built on a high plinth on a hillside. The favored garden approach had three tiers, not unlike Vignola's Villa Giulia from the previous century; daring symmetric flights of stairs gave drama to the entrance and flanked a large basin-fountain with cascading waters and a nymphaeum. Atop a three-story pavilion with lower forward-thrusting wings. The concave forward embrace of the wings is reinforced by the central exedra, which recalls the Cortile del Belvedere (Cortile della Pigna) in the Vatican. Unlike the Villa Giulia and the Belvedere, the facade is elaborately decorated. Statuary, in a style reminiscent of Palladio's Palazzo Chiericati (1550) at Vicenza, crenelates the skyline. In a model to be repeated by Cortona's never-implemented plans for Palazzo Chigi in Rome and later by the Trevi Fountain, this palace integrates the fountains into the entrance.
Within 50 years, the Sacchettis and Barberini fell out of favor, the palace fell in great disrepair, and soon became a ruin. The villa also had its contemporary critics; Bernini likened the structure to a "Christmas crib" (Presepio) In the middle of the 19th century, the site was sold by the surviving Sacchettis, and the remaining structure razed. It was, for its day a daring design, which influenced other baroque creations. Today, the area is a park ("Pineto").


Metropolitan Cathedral of Sucre

The Metropolitan Cathedral of Sucre, also called Cathedral Basilica of Our Lady of Guadalupe is a cathedral of Sucre, formerly La Plata, Bolivia is the seat of the Roman Catholic Church in Bolivia. It was built between 1559 and 1712.
Music.
Juan de Araujo, was "maestro de capilla" of the Cathedral of La Plata 1680–1712, training up four important criollo composers: Andrés Flores, Sebastián de los Ríos, Roque Jacinto de Chavarría, and Blas Tardío y Guzmán who himself was maestro from 1745.


Palace of Beaulieu

The Palace of Beaulieu ( ) is a former Royal Palace in Boreham, Essex, England, north-east of Chelmsford. The surviving part is a Grade I listed building. The property is currently occupied by New Hall School.
History.
The estate on which it was built – the manor of "Walhfare" in Boreham – was granted to the Canons of Waltham Abbey in 1062. After various changes of possession, it was granted by the Crown to Thomas Butler, 7th Earl of Ormond in 1491. By this time, it had a house called New Hall.
In 1516, New Hall was sold by Thomas Boleyn, father of Anne Boleyn, to King Henry VIII for £1,000. The king rebuilt the house in brick at a cost of £17,000. He gave his new palace the name Beaulieu, meaning "beautiful place" in French. The name expressed Henry's desire for fine things, though the name change did not outlast the century.
On 23 July 1527 Henry's court arrived at Beaulieu on his summer progress, staying, unusually, for over a month in the company of a large number of nobles and their wives, including Anne Boleyn's father who had been created Viscount Rochford, the Dukes of Norfolk and Suffolk, the Marquess of Exeter, the Earls of Oxford, Essex, and Rutland, and Viscount Fitzwalter. It was here that Henry devised a scheme to allow him to cohabit with his intended successor of Queen Catherine of Aragon, Anne Boleyn, by obtaining a Papal bull that declared Henry's marriage to Catherine invalid, effectively allowing him to commit bigamy by claiming he was technically unmarried in the first place. This plan was dropped when Cardinal Wolsey discovered the plan, though Pope Clement VII did, in fact, issue a bull to the same effect that December.
In October 1533, the daughter of Queen Catherine, Mary, who had been staying at Beaulieu for some time, was evicted, as the king had recently granted the palace to George Boleyn (Anne Boleyn's brother). George had been a keeper at Beaulieu when the palace was in the hands of the king. The royal inventory of 1547 noted 29 great beds, four bathing rooms with wooden floors and beds set in the wall, and a library with 37 titles.
After Anne Boleyn was beheaded and Henry married Jane Seymour, he was convinced by his new wife to bring his daughters back to court. In 1537, when Queen Jane died after giving birth to a son, Edward, Mary, Henry's eldest daughter was made godmother to her half-brother Edward and acted as chief mourner at the Queen's funeral. Henry granted her a household and Mary was permitted to reside in royal palaces. Her privy purse expenses for nearly the whole of this period have been published and show that Hatfield Palace, the Palace of Beaulieu (also called New Hall), Richmond, and Hunsdon were among her principal places of residence.
Queen Elizabeth I granted the estate in 1573 to Thomas Radclyffe, 3rd Earl of Sussex, who seems to have largely rebuilt the north wing. It is not known though whether he rebuilt other parts of the palace; a fire had occurred in Henry VIII's time and the palace could have been mostly rebuilt then. Soon after the north range was completed, Thomas installed Elizabeth's coat of arms above the main entrance which is still visible today. In 1622, Robert Radcliffe, 5th Earl of Sussex, sold it to George Villiers, 1st Duke of Buckingham for £30,000.
During the English Civil War, Oliver Cromwell took possession of the estate for the sum of five shillings. After reverting to the 2nd Duke of Buckingham at the Restoration, it was sold to George Monck, 1st Duke of Albemarle, and the court of King Charles II was frequently entertained there. Cosimo de' Medici, Grand Duke of Tuscany, visited in 1669 and a member of his retinue produced a view of the house. A copy of this view was published in 1821.
Benjamin Hoare acquired the property in 1713, but it was in a poor state when purchased in 1737 by John Olmius, elevated to the peerage as Baron Waltham in 1762, who demolished and rebuilt much of the former palace. The north wing was left largely untouched and forms the present house. John was succeeded in 1762 by his son Drigue who died childless in 1787, aged 40, when New Hall devolved on his sister, the Honourable Elizabeth. However, she died the same year and her husband John Luttrell, later the Earl of Carhampton, took on the Olmius name; but, already owning the Carhampton estate including Painshill, he sold New Hall in 1798.
The purchasers in 1798 were the English nuns of the Order of the Holy Sepulchre, who opened a Catholic school there the following year. New Hall School remains a school to this day. The Royal Arms of Henry VIII are in the school chapel. In 2006 a book, "New Hall and its School", was published by Tony Tuckwell.
The Beaulieu name is now remembered in the name of the nearby housing estate, Beaulieu Park, Boreham.
In February 2009, Channel 4's "Time Team" visited and excavated the grounds of the former palace. The special programme was broadcast on 13 April 2009. In the excavations, the team uncovered the chapel, west wing and the gatehouse.


Reamer Barn

The Reamer Barn is a historic barn near the village of Oberlin in the northeastern part of the U.S. state of Ohio. Constructed at the end of the nineteenth century, it was built to house a gentleman farmer's cattle herd, and it has been named a historic site because of its distinctive architecture.
Property history.
Born in nineteenth-century Pennsylvania, Daniel P. Reamer moved to northeastern Ohio and established general stores in Oberlin and the nearby village of Wellington. He left the region in 1872 and settled in Leavenworth, Kansas, where he became a successful door-to-door seller of furniture to businesses and government offices, working for the A.H. Andrews Furniture Company. His standing within the company was high enough that he was seemingly able to get his nephew Robert a job with the firm, but within a few years he decided to return to Ohio. He accomplished this goal in the late 1870s, and twenty years after settling back into Oberlin, he chose to purchase a small herd of Jersey cattle and arranged for the construction of a new barn to house them. Rather than building a simple vernacular structure for his cattle, he obtained the services of an architect: his nephew Daniel A. Reamer, who produced a Swiss-influenced Gothic Revival design. Constructed on the foundation of an earlier structure completed in 1837, the new barn served Reamer for three years until his 1900 death. Reamer's former neighbors across the road, the Dudley family, purchased his property in 1907, which they proceeded to operate as a dairy farm into the 1950s. Later owners have not continued the barn's original use; by the 1970s, it was used only for storage.
Architecture.
An Art Nouveau structure built with weatherboarded walls, the Reamer Barn is topped with three distinctive ventilators on the gabled roofline. Other significant elements of the design include the rounded panels partway up the sides, and an ornamental bargeboard that extends out from the northern end of the building. These elements won the barn attention soon after its construction, both because of their practical benefits and because of their rarity as architectural styling on a farm building.
Preservation.
Although it had been converted into storage, a historic preservation survey of New Russia Township conducted in the late 20th century deemed the Reamer Barn one of the township's most significant buildings. As such, it was listed on the National Register of Historic Places in early 1979 because of its architecture. It is one of twelve National Register-listed locations in and around Oberlin.


Surbiton railway station

Surbiton railway station is a National Rail station in Surbiton, south-west London, in the Royal Borough of Kingston upon Thames. The station is managed and served by South Western Railway, and is in Travelcard Zone 6. It is from and is situated between and on the main line.
It has been considered as one of the finest modernist stations in Great Britain and is a Grade II listed building.
History.
The London and Southampton Railway intended its line to go via Kingston but Kingston Corporation objected, fearing a deleterious impact on their coaching trade, and the railway passed about south of the town with the first "Kingston" station opening in 1838 on the east side of King Charles Road. In either 1840 or in 1845 it was resited west to Surbiton, then little more than a farm. The Hampton Court Branch was built in 1849, the New Guildford Line which diverges at the same point opened in 1885.
Successive renamings of the station were "Kingston Junction" in late 1852, "Surbiton and Kingston" in 1863 when the present Kingston railway station opened on the branch line, and "Surbiton" in 1867. The station was completely rebuilt in 1937 by the Southern Railway with two island platforms with Southern Railway designed canopies. The buildings were designed by James Robb Scott in an art deco style. In 1984/85 a large mural titled 'Passengers' was painted in the booking hall by artist Graeme Willson. It has since been removed.
The station had a moderately sized goods yard which was situated on the eastern side of the station platforms. Two additional sidings were located on the western 'up' side of the station and were served by a short loading platform. In addition to local goods facilities, the main yard was also used as the loading point for the short lived Surbiton – Okehampton car carrier service that ran between 1960 and 1964.
The main goods yard finally closed in 1971 with all localised freight operations then being moved to the nearby goods yard at Tolworth on the Chessington branch. The former goods yard site at Surbiton ultimately became the main station car park although some land was also subsequently developed into residential flats.
One of the two 'up' sidings remains in place and still sees occasional use with civil engineering stock.
A major incident occurred on 4 July 1971 when a freight train derailed on the points at the London end of platforms 3 & 4. Unaware of the incident, the driver continued through the station with the result that two derailed wagons eventually toppled over south of the platforms and obstructed the down fast through line. At the same time, a down express passed through the station and collided with the derailed wagons at a speed that caused the front of the express to derail and topple over. The leading coach finally came to rest as it struck the road bridge that passes under the line south of the station. There were no fatalities and the cause of the initial derailment was eventually attributed to overloading of some of the ballast wagons in the freight train which resulted in buffer locking when the train initially left Clapham Junction yard that day.
The front ticket office at Surbiton is open seven days a week.
Services.
South Western Railway operate all services at Surbiton using Class 450, 455 and 456 EMUs. The station is served by both inner and outer suburban South Western Railway services.
The typical off-peak service in trains per hour is:
Due to the COVID-19 pandemic, the fast services to London Waterloo, Alton and Basingstoke are currently reduced to 1 tph each.
Platforms.
The station has four platforms on two islands, all of which can be accessed by 12 carriage trains.
Connections.
London Buses routes 71, 281, 465, K1, K2, K3 and K4 and non-TFL routes 514 and 515 serve the station.
Appearances in media.
The station was used for filming of "Harry Potter and the Half-Blood Prince" in October 2007.
Surbiton station also appears in "Agatha Christie's Poirot": "The Adventure of the Clapham Cook", a TV adaptation of the short story by Agatha Christie and the first episode of the 1989 ITV series. Having been set in the 1930s Art Deco period and external shots of Hercule Poirot's fictional residence "Whitehaven Mansions" being filmed at Florin Court, the station assists in maintaining the authenticity of the programme and was built within a year of Florin Court.


Masthugg Church

Masthugget Church () in Gothenburg, Sweden, was built in 1914. Its position on a high hill (Masthugget) close to the city and near the Göta älv makes it a striking sight – the church tower is high in itself. The church represents the National Romantic style in Nordic architecture and was designed by Sigfrid Ericson. The church, which has become one of the symbols of Gothenburg, is a popular tourist attraction.


Rainbow Falls State Park

Rainbow Falls State Park is a public recreation area on the Chehalis River one mile east of the town of Dryad, Washington. The state park's feature of shoreline, the waterfall for which the park is named, and some of the last standing old-growth trees in the Chehalis Valley.
History.
The Civilian Conservation Corps built the park and its log structures in 1935. In 2007, the park suffered severe flooding which destroyed bridges along the Willapa Hills Trail as well as the park's main entrance. Park-goers began using an alternate entrance to the park in May 2008.
Activities and amenities.
The park offers camping, hiking trails, fishing, and swimming.


Sejny Synagogue

The Sejny synagogue is a former synagogue in Sejny, Poland, also called the White Synagogue in Sejny.
History.
The large, Neo-baroque style building on Pilsudskiego Street was erected in the 1860s, replacing an older building. It was used by the Nazis as a fire station, the interior was gutted and all furnishings were destroyed. It was restored - with a plain, modern interior - in 1987 and now serves as a cultural center, theater and museum.
Called the "Borderland Foundation" (Fundacja Pogranicze), the foundation and its cultural center are dedicated to the cultures of the region: Polish, Lithuanian, Belarussian, Jewish, Ukrainian and Russian. A Klezmer band is based at the cultural center.
The nineteenth century yeshiva building also survives, and is also used by the Borderland Foundation.


Clanx Castle

Clanx Castle () is a ruined castle in the Appenzell District of the canton of Appenzell Innerrhoden in Switzerland.
History.
The castle is first mentioned in 1219 as "in arce Clanx", named after the Sax family holding in the Calanca valley. It was built by the Abbot of St. Gall Ulrich von Sax (1204–20) and his brother, the Abbey-Vogt Heinrich. The castle quickly became the center of the Abbey's lands in Appenzell. In 1236 Heinrich's uncle, the famous knight and minnesänger Heinrich III von Sax, took over the castle. During a contested election for Abbot of St. Gall in 1272, Ulrich von Güttingen received support from the Habsburgs in exchange for a promise to take the castle and lands away from the Sax family. Two years later, in 1274, Heinrich III was forced out and the Habsburg knight Ulrich von Ramschwag was given the castle. In 1277 Abbot Rumo von Ramstein traded Blatten Castle and other estates with Ulrich von Ramschwag, bringing Clanx back under the Abbey's control. In 1278 the Appenzellers revolted against the Abbot and unsuccessfully attacked Clanx. In 1289, the Habsburgs attacked Clanx in an attempt to gain control over Appenzell. After a six-week siege, the Habsburg forces paid the castle's defenders a bribe to open the castle gates. The defenders departed in peace and the castle was burned.
The Abbot was eventually victorious in the war against the Habsburgs. In 1298 he rebuilt Clanx Castle and continued to administer and control Appenzell from it. Over the following century the relationship between the Abbot and Appenzell worsened. In 1401 Appenzell revolted and began the Appenzell Wars. One of the first actions of the Appenzell army was to besiege and apparently quickly take Clanx. However, a few months later, the castle was back under the Abbot's control. In the following year a combined army from Appenzell and the city of St. Gallen attacked and captured Clanx. This time the victorious army decided to burn the castle before they left. After the Appenzell Wars, the Abbey retained control over the ruined castle and the hill on which it stood. In 1491, they sold the ruins and surrounding land to a private owner.
In 1885, the castle ruins were rediscovered during construction of a restaurant. The restaurant was completed, but destroyed in a storm in the same year. In 1949 the foundations of a strong square tower, a smaller corner tower on the highest point of the hill and parts of the walls were excavated.
Castle site.
Today the eastern half of the castle as well as part of the western wall have been excavated and repaired. The castle gate, south-east of the main tower, was reconstructed in 1949. The main tower is a large, square building in size with walls that are up to thick.
See also.
List of castles and fortresses in Switzerland


Ackins House

The Ackins House was a historic house in Floyd, Arkansas. Located on the east side of Arkansas Highway 31 just north of its intersection with Arkansas Highway 305, it was one of the small number of early houses to survive in White County at the time it was listed as a historic site.
Description and history.
Built around 1880, it was a -story timber-framed single pile structure with a central hall plan. A hip-roofed porch extends across much of the main facade, supported by turned posts. Despite later alterations, it was one of the best-preserved houses of this type in the county.
The house was listed on the National Register of Historic Places on July 11, 1992. It has been listed as destroyed in the Arkansas Historic Preservation Program database.