Clock Tower of Ateca

The Clock Tower of Ateca is a structure in Ateca, Spain. A leaning tower of Mudejar style, it was built in 1560 on an ancient medieval tower of the castle of Ateca. The work was carried out by the masters Domingo and the Morisco Ameçot, a resident of Calatayud. On an old tower of the castle of Ateca, the bell tower was built, with Renaissance decoration and Mudéjar tradition.
Description.
It was built in 1560 by the master Domingo and the Morisco Ameçot and was carried out, specifically, to place a clock that was going to regulate the life of the town from that moment, probably following the Zaragoza influence of the Torre Nueva, that had the same purpose. The clock was installed in the year 1561 and was built in Zaragoza by Johan Escalante.
The Mudéjar tradition tower consists of two bodies crowned with an octagonal top. The lower body was built on a tower of the castle of Ateca and is built in mortar or plaster mortar, and presents the smooth walls. It is delimited by a cornice of brick of powerful flight. The upper body is built of brick and is also square but smaller; it is divided into two floors, the lower one contains the clock on one of its sides, and the other three have double blind semicircular windows. The octagonal top has eyelets on all sides, and from there the transition is made to the spire that covers the structure.
Legal protection.
By order of September 6, 2002, published in the BOA of September 30, 2002 of the Department of Culture and Tourism, it is declared Bien Catalogado of the Aragonese Cultural Heritage.


Bibury Court

Bibury Court is a Grade I listed Jacobean country house in Bibury, Gloucestershire, England.
The River Coln flows to the south of the property.
History.
The house was built between 1560 and 1599, and was first extended in 1633 for Sir Thomas Sackville. Later additions have since been made and the 16th-century building now forms the north wing. The Sackville family including their heirs the Cresswells owned it until 1816 when it was sold to Lord Sherborne. Thomas Estcourt Cresswell had the interior remodelled around 1759.
Sir Orme Clarke Bt CBE bought the house in the 1920s along with most of the surrounding Bibury estate from Lords Sherbourne and lived there with his wife Elfrida (née Roosevelt). The House was sold by the Sir Humphrey Clarke Bt in 1963 following the death of his mother but he, and later his son, Sir Tobias Clarke Bt, retained the Court Estate until the 1980s. The Northern portion of the estate known as Kilkenny Farm was sold to S. J. Phillips & Sons (Kemble) Ltd who had been tenant farmers to the Clarke family. The house was converted into a hotel in 1968, and back into a private home in 2015.
Architecture.
The house and outbuildings are of Cotswold stone. The entrance walls and gateway date from the early 18th century. The 16th century house now forms the north wing. The east front has a symmetrical centre with the north and south wings to either side.
The estate includes over of woodland, of pasture and over of arable farmland, making a total of .
The buildings on the estate include a 17th century Mill House and 18th century dovecote. The mill itself contains the original machinery over the mill race and a pump to supply water to theNew Barn. The Court Farmhouse dates from the 17th century. The stables are from the early 19th century, although another former stable block from the late 16th century has been converted into a bar.


Old Headquarters Area Historic District

The Old Headquarters Area at Devils Tower National Monument includes three structures and their surroundings, including the old headquarters building, the custodian's house, and the fire hose house. The buildings are all designed in the National Park Service Rustic style.
Funded as an Emergency Conservation Works project and built by the Civilian Conservation Corps in 1935, the old administration building was used as the monument's headquarters and museum until 1959. At that time, headquarters was relocated while the building continued its function as the park's primary visitor center. Today the main level of the building serves as the visitor center; the basement level has public restrooms, museum storage, interpreter's office, library, storage for search and rescue and first aid equipment and supplies, and a fuel oil furnace. The upper level, originally designed for use as a bedroom, is now used for storage and houses an evaporative cooler.
The custodian's residence was designed by the NPS Landscape Division under the direction of Chief Landscape Architect Thomas Chalmers Vint and constructed in 1931 by a private contractor, a Mr. Cummings of Deadwood, South Dakota. The building first served as the residence of the monument's second custodian, George C. Crowe. The original structure had five rooms: living room, bedroom, breakfast nook kitchen, and bathroom.
Designed by the Architect Edward A. Nickel, NPS Branch of Plans and Design, and executed by the Civilian Conservation Corps (Camp NM-1, 6th Period), the fire hose house was constructed as ECW Project #17. Work was completed by August 10, 1937, "except for shelves," according to the hand-written note on the architectural plans. The fire hose house was designed and used to house the fire hydrant and to store the monument's hose and fire fighting equipment. It has been used for that purpose since 1937.


Wakefield Westgate railway station

Wakefield Westgate railway station is a mainline railway station in Wakefield, West Yorkshire, England. It is south of Leeds to the west of the city centre, on the Wakefield Line and Leeds branch of the East Coast Main Line.
The first Westgate station opened in 1856 a few years after the town's first station, Wakefield Kirkgate. In 1867, the station was rebuilt on the opposite side of Westgate on the main line between Leeds and Doncaster. British Rail modernised the station in 1967 when large parts of the 19th-century station were demolished and replaced with austere but functional facilities. By the 21st century, there was pressure to modernise the station and between 2009 and 2013 the station was rebuilt and modernised as a result of regeneration efforts focused upon the wider area. On 3 February 2014, the rebuilt station was officially opened.
History.
Early history.
During 1856, shortly after the spur line from Wakefield's first station, Wakefield Kirkgate was built, the first Westgate station opened. Its southern side was built for the Bradford, Wakefield and Leeds Railway (GNR) on part of the private estate belonging to wealthy cloth merchant John Milnes and his mid-18th century mansion was partially demolished and its remains were incorporated into the station.
The station was used for ten years before further developments necessitated its demolition and rebuilding. No traces remain of the original station as the site was levelled and premises for Wakefield School were built on the site. The school has since been demolished.
A new station opened on the opposite side of Westgate in 1867. It was constructed for the GNR, the Manchester, Sheffield and Lincolnshire and the Lancashire and Yorkshire Railways on the main line from Leeds to Doncaster which approached Westgate from the north on an embankment before passing through the station and over the bridge in Westgate which is at the start of a 95-arch viaduct. The station was designed by Leeds engineer, J.B. Fraser. Built at a cost of £60,000, it was described by a local newspaper as "one of the most perfect stations in England – special care in designing the works having been taken…in order that every facility might be given for the easy and expeditious working of the goods and passenger traffic". A prominent feature was a turreted tower, which, as a result of lobbying by the Wakefield Tradesmen's Association, was converted into a four-faced clock tower in June 1880. The clock's mechanism was designed by the horologist and lawyer Sir Edmund Beckett and made by Potts of Leeds.
Starting in 1967, British Rail embarked on an extensive rebuild of the second station, resulting in the removal of the clock tower and most of the station buildings. The station's decorative and elegant frontage and pavilion roof were demolished and replaced with an austere counterpart. The rebuilt station was "aesthetically inferior to its earlier incarnation, soon proved to be too cramped to cope with a rise in passenger numbers". It was poorly laid out with few opportunities for retail and other services. Infilling the station forecourt to the level of the first-storey platform provided direct access to the Up platform level but there was no level access to the Down platform except via a barrow crossing.
Westgate became the main station serving Wakefield because of its location on the main line from Leeds to London. Until the mid-1960s, it had regular services to Bradford Exchange via and Ossett and via Morley Top and also to Castleford via the Methley Joint Railway, but these services fell victim to the Beeching cuts between 1964 and 1966.
Regeneration.
Improvements to Westgate Station were constrained by a lack of funding. In early 2007 Network Rail announced that a £1.4 million redevelopment scheme was planned for the station to take place by the end of 2009. The scheme was a part of the "Westgate Key Development Area" authorised by Wakefield Council. The scheme involved constructing offices, leisure, small-scale retail, hotel, restaurants and housing on the site of an old dairy and disused railway goods yards. In 2009, work on the Merchant Gate development commenced and work on the first phase was completed by September 2010.
Four years later, Westgate Station was rebuilt at the northern end of the platforms and the former overflow car park. Key aims of the project were nearly doubling station's retail facilities, an improved forecourt area, station management centre, staff offices, a customer information point, a first class waiting room and standard class waiting facilities and the installation of new passenger information technologies and automated ticket barriers to reduce fare evasion. Better pedestrian access to the multi-storey car park and taxi ranks were provided.
Few elements of the modernisation programme interfered with the operational railway except for the installation of additional canopies and the replacement footbridge. The old footbridge and some 1960's station buildings were removed. Wakefield Westgate was the first newly built station on the East Coast Main Line in decades. The programme was an element of the third phase of "Merchant Gate" redevelopment scheme and promoted by its backers as being a key part of the area's renewal. Network Rail was appointed by East Coast as the principal contractor for the programme and the Buckingham Group was the design-and-build subcontractor.
In January 2013, after planning permission was granted onsite preparations began and in March rebuilding commenced at a cost of £8.8 million, a large portion was provided via the Station Commercial Project Facility (SCPF), and 1 million each from the "Access for All" programme and the "English Cities Fund". On 23 December 2013, the station opened to service and on 3 February 2014, it was officially opened by Secretary of State for Transport Patrick McLoughlin and blessed by the Bishop of Wakefield, Stephen Platten.
Services.
In total, there are 6 tph to Leeds with additional peak services. All northbound services call at Leeds.
The station is managed by London North Eastern Railway, whose services run south from platform 1 to Doncaster and stations to London King's Cross and north from platform 2 to Leeds. A half-hourly weekday service from Wakefield to London takes approximately just over 2 hours for the journey.
CrossCountry operate train services north to Newcastle, Edinburgh and Glasgow and services south to Birmingham New Street, Exeter and the South West of England. These call every hour with some additional peak services.
Northern Trains operate stopping services between Leeds and Doncaster, calling every hour on weekdays and Saturdays. An hourly stopping service also operates from Sheffield to Leeds via Rotherham. Introduced at the May 2018 Timetable change, there is now another hourly service to Leeds. This train originates at Knottingley and runs via Pontefract Monkhill and Wakefield Kirkgate. This gives a 3tph Northern Trains service to Leeds (of which, 2tph call at Outwood).
East Midlands Railway services from Leeds to London St Pancras via Derby or Nottingham call at Westgate. They are three early morning departures from Leeds and up to four late afternoon/evening return trips from St Pancras. This is because the maintenance depot for former Midland Mainline HST power cars is the Maintrain depot at Neville Hill in Leeds. This provides a limited but useful service between West Yorkshire and the East Midlands. The former operator Midland Mainline had plans for a regular service between St Pancras and Leeds via the Erewash Valley and Leicester but these ambitions were ultimately rejected by the Strategic Rail Authority.
Facilities.
The station is staffed and has an information kiosk, ticket office and self-service ticket machines, refreshments and a newsagent. Outside is a taxi rank, a cashpoint and a bus stop. Train running information is via digital display screens, timetable posters and automatic announcements. Lifts and a footbridge connect the platforms, so step-free access is available throughout the station.
Culture.
Between 1988 and 2009, a modern art sculpture, titled 'A Light Wave', created by the Leeds-based artist Charles Quick, was located on the wall behind the old bay platform on the northbound side of the station. The installation comprised a series of wooden planks laid up against a wall, in the form of waves, and illuminated from behind by a succession of lamps. The sculpture gradually fell into a state of disrepair, which prompted its removal.
Wakefield Westgate appeared in the TV series "A Touch of Frost" as Denton Station.
See also.
Wakefield Kirkgate railway station


Former Residence of Zhu De

Zhu De's Former Residence () was built in the late Qing Dynasty (1644–1911). It is located in Linlang Village, Ma'an Town, Yilong County, Sichuan, China. It has a building area of about 2560 square meters, embodies buildings such as the old houses, the Zhu De Memorial Hall, the statue of Zhu De, the Cultural relics Exhibition Hall, and Lancao Garden ().
History.
The house was built by Zhu De's ancestors in 1820, in the 25th year of Jiaqing period (1821–1851) in the Qing dynasty (1644–1911).
On 11 December 1886, Zhu De was born here. Zhu De lived here from the beginning of his life for a full 14 years, and spent his teenage years here.
In July 1980, it was listed as a provincial culture and relics site by the People's Government of Sichuan.
In 1988, it has been designated as a "Major National Historical and Cultural Sites" by the State Council of China.
On 1 August 1982, Deng Xiaoping wrote the Chinese characters "Zhu De's Former Residence" on the horizontal tablet.
On 11 December 1996, the statue of Zhu De was established. At the same year, it was listed as a National Patriotic Education Base.


Rioseco Abbey

Rioseco Abbey () is a former Cistercian abbey situated in Rioseco in the Valle de Manzanedo, in the present province of Burgos, near the River Ebro.
History.
Origins.
In 1148 the Cistercian Valbuena Abbey, of the filiation of Morimond, founded a daughter house in a small former hermitage in Quintanajuar, in the Páramo de Masa. In 1171 this new community received as a gift from the heirs of the nobleman Martino Martini de Uizozes the ancient monastery of Rioseco, the previous history of which is unrecorded. After a temporary relocation in the late 12th century to San Cipriano de Montes de Oca (La Rioja), the Cistercians moved to the Valle de Manzanedo at the beginning of the 13th century, and probably in 1204, to occupy the old monastery of Rioseco.
The site of the old monastery can still be seen by the ruins of the old conventual church. It seems that after a serious flood the new community had definitely established itself by 1236 at the latest on a new site a little to the north, on higher ground. After the move the former conventual church was put to use as the parish church of "Nuestra Señora de Parrales".
Mid-term.
By the 14th century Rioseco had become one of the most powerful economies among the Castilian Cistercians. From the middle of the 15th century however, in common in fact with most other monasteries, it experienced years of penury and crisis, before once again entering upon a period of further growth and prosperity in the 17th century.
Dissolution.
During the Peninsular War, from 1808 to 1809 the French troops stationed in Medina de Pomar appropriated a large part of the monastery's stores and from 1809 until 29 June 1814 the monks were dispossessed. Nor after their return did they stay very long, for on 29 October 1820, during the Trienio Liberal, the commissars of the revolutionary government took possession of the monastery. At a public auction held in Villarcayo, most of the community's goods were sold. The monastery itself however found no buyer, and thereafter stood abandoned. The local populace continued to make some use of the premises as store-houses, parish church and cemetery.
In the 1850s the surviving buildings, especially the extremely well preserved church, still magnificently equipped and furnished, were deliberately and systematically stripped by the Arquiaga family of everything of any value that survived, and reduced to ruins.
Description.
The monastery is in the Herreriano style. An impressive spiral staircase is still preserved, the stone walls of the church still stand, and the bóvedas retain some traces of polychromy. The cartulary is now in the Archivo Histórico Nacional (codex 91B).
Conservation.
On account of its state of dereliction the monastery features in the Lista roja de patrimonio en peligro ("Red List of Imperilled Buildings"), to which it was added at the instance of the association Hispania Nostra in 2006.


Villa Mordoch

Villa Mordoch (Greek: Βίλα Μορντόχ) is the name of a historic villa of Thessaloniki, Greece on Vasilissis Olgas Avenue.
It was property of the wealthy Mordoch family of the city. It was completed in 1905, designed by architect Xenophon Paionidis.
Today it houses public services of the Municipality of Thessaloniki.


Munson Valley Historic District

Munson Valley Historic District is the headquarters and main support area for Crater Lake National Park in southern Oregon. The National Park Service chose Munson Valley for the park headquarters because of its central location within the park. Because of the unique rustic architecture of the Munson Valley buildings and the surrounding park landscape, the area was listed as a historic district on the National Register of Historic Places (NRHP) in 1988. The district has eighteen contributing buildings, including the Crater Lake Superintendent's Residence which is a U.S. National Historic Landmark and separately listed on the NRHP. The district's NRHP listing was decreased in area in 1997.
Early history.
Crater Lake lies inside a caldera created 7,700 years ago when the high Mount Mazama collapsed following a large volcanic eruption. Over the following millennium, the caldera was filled with rain water forming today's lake. The Klamath Indians revered Crater Lake for its deep blue waters. In 1853, three gold miners found the lake. They named it Deep Blue Lake, but because the lake was so high in the Cascade Mountains the discovery was soon forgotten.
In 1886, William Gladstone Steel accompanied a United States Geological Survey party led by Captain Clarence Dutton to survey Crater Lake. The team carried a half-ton survey boat, the "Cleetwood", up the steep mountain slope and lowered it into the lake. During the visit, Steel named many of the lake's landmarks including Wizard Island, Llao Rock, and Skell Head. The lake's natural beauty made a great impression on Steel. As a result, when he returned from survey trip, he began advocating that Crater Lake be established as a national park.
On 22 May 1902, President Theodore Roosevelt signed the bill making Crater Lake the Nation's sixth national park. The United States Department of the Interior was charged with developing road access and visitor services for the park. This was a difficult job because of the park's remote location at the summit of the Cascade Mountains. By 1905, a "steep and tortuous" road to the crater rim had been completed. This access road was essential for the future development of the park.
In 1913, Congress appropriated funds for the Army Corps of Engineers to build a road around Crater Lake. The initial road survey identified the northern end of Munson Valley, south of the rim, as the best site for the road crew's seasonal headquarters and supply depot. Not only was Munson Valley a central location, the surrounding valley provided timber for expanding the park facilities. However, United States entry into World War I slowed development of park infrastructure. The road around the lake was finally finished 1918. Once the road was completed, the National Park Service continued to use the Munson Valley site as a staging area for development projects throughout the park.
Government Camp.
By 1924, the Munson Valley facilities were known as "Government Camp" and the site had become the park's summer headquarters. Though the site had adequate space, the facilities were poorly designed and cheaply constructed. In 1925, National Park Service approved a master plan for developing Munson Valley. The development program began in 1927, and was overseen by the National Park Service's Landscape Engineering Division, headed by Thomas C. Vint. The major components of the plan included construction of new administrative buildings, a new maintenance area, living quarters for park staff and seasonal employees, and general support buildings.
Between 1927 and 1930, a park warehouse, mess hall, bear-proof meat-house, comfort station with employee restrooms and showers, four small cottages, and two utility buildings were built. All these structures were designed in a common rustic style using timber from nearby stands and locally quarried stone.
Between 1932 and 1936, houses for the park superintendent, park naturalist, and several other employees were completed along with four more utility buildings, a second comfort station, and a dormitory for park rangers. The old log headquarters building was demolished and a new rustic stone structure built in its place. The plaza in front of the new administration building had a landscaped island in the center with space to park 50 cars around the outside. During this period, Civilian Conservation Corps crews planted over a thousand trees and several thousand shrubs in the Government Camp area. In addition, many small features such as flagstone walks, rustic signs, stone bridges, and drinking fountains were incorporated into the landscape. In 1938, Government Camp was renamed "Park Headquarters" by Superintendent Ernest P. Leavitt.
Development in Crater Lake National Park was curtailed during World War II. Maintenance became the primary concern of the park staff, as Civilian Conservation Corps manpower disappeared with the onset of the war. This began a period of decline in park facilities.
Park Headquarters.
After World War II, the National Park Service began using the Munson Valley complex year-around. This had a tremendous impact on the historic landscape. Many landscape features including curbing, planting beds, and walkways had to be removed in order to widen narrow roads to accommodate snow plows. Some porches had to be removed and snow tunnels were added to buildings for winter access. In 1954, all of the planters, lawns, and walks around the employee cottages were removed to facilitate snow removal. The traffic island near the upper group of cottages was also removed along with several utility buildings in the maintenance area to allow space for snow plows to turn around.
Over the years, there were other changes as well. The Fire Hall was demolished in 1969. In 1986, the ranger dormitory and the administration building were remodeled. A new snow tunnel was added to the west side of the administration building replacing the south entrance tunnel built in 1958. In 1990, several rustic utility buildings were torn down, and a gas station was removed in 1992. Despite the loss of landscape and original structures, the headquarters complex still reflects the original Munson Valley master plan and is a good example of the National Park Service rustic architecture. As a result, the area was listed as a historic district on the National Register of Historic Places in 1988 (NRHP #88002622). The historic area was at first but was later reduced to .
Structures.
There are eighteen primary structures in the Munson Valley Historic District. While most of the buildings have been remodeled, they still reflect the rustic style of architecture which is the common design theme that makes the Munson Valley headquarters complex historically unique.
Munson Valley Historic District extends south from the Superintendent's Residence and ends at the park warehouse at the north end of the maintenance area. The eighteen historic structures were built between 1926 and 1949. They include, from north to south, the Superintendent's Residence, the park Naturalist's Residence, a cluster of staff residence cabins, the Administration Building, Ranger Dormitory, Transformer Building, Comfort Station, Mess Hall, Warehouse, and Machine Shop.
The historic district also includes various utility buildings including a mess hall, meat house, transformer building, comfort station (later converted to a sign shop), warehouse, and machine shop. These buildings all share common structural design elements that typify the park's rustic style of architecture including massive stone masonry, rough-sawn board siding, stained timber beams, dormer windows, and steep pitched roofs.
At Munson Valley, rustic structures successfully blend with the natural environment. The buildings in the historic district are excellent examples of the rustic style of architecture, and represent one of the National Park Service's most successful development programs. In addition, the landscape surrounding the historic district remains virtually intact. As a result, the Munson Valley Historic District is significant as an expression of American naturalistic design.
Access.
Munson Valley is located high in the Cascade Mountains, above sea level. It is north of Klamath Falls, Oregon. The Munson Valley Historic District is south of Crater Lake and the Rim Village visitor area which is also a historic district (NRHP #97001155). In the Crater Lake area, winter lasts eight months with an average snowfall of per year, and many snow banks remain well into the summer. While most park roads are closed in the winter, the park headquarters, visitor center, and the other Munson Valley facilities are open year-around. However, winter storms make driving in the Crater Lake area unpredictable. During the summer, weather is generally warm, but nights are often quite cool. The National Park Service charges a $10 fee for private passenger vehicles entering the park. Commercial vehicles are charged between $25 and $200 depending on the vehicle's capacity.


Peter Thumb

Peter Thumb (1681–1767) was an Austrian architect whose family came from the Vorarlberg, the today westernmost part of Austria. He is best known for his Rococo architecture, mainly in Southern Germany. Outstanding examples of his work include the pilgrimage church at Birnau on Lake Constance and the monastery library at the Abbey of Saint Gall, Saint Gallen, Switzerland.
His works include:


Dorton House, Buckinghamshire

Dorton House is a Jacobean country house near the village of Dorton in Buckinghamshire, England. It was built between 1596 and 1626. It currently houses Ashfold School, an independent preparatory school. Dorton House is a Grade I listed building.
History.
Historic England gives a build date for the house of the early 17th century, noting a datestone for 1626 on an external soffit. Elizabeth Williamson and Nikolaus Pevsner, in their revised "Buckinghamshire" volume of the "Buildings of England", give a rather later date of 1675. Both attribute the house to Sir John Dormer.
The house was sold in 1783 to Sir John Fletcher and remained in his family until 1928 when it was sold to Major Michael Beaumont who served as a British soldier, Conservative Member of Parliament for Aylesbury, Justice of the Peace and Deputy Lieutenant of Buckinghamshire.
The Royal London Society for the Blind purchased the house in 1939, as a school, before they moved to Wildernesse at Dorton House in Seal, Kent, in 1955.
In 1955 the house was purchased by James Harrison and turned into Ashfold preparatory school.
Ashfold School is a co-educational independent day and boarding preparatory school for about 270 pupils aged from 3 to 13 years. Actor brothers Edward and James Fox attended the school when it was near Haywards Heath in West Sussex.
Architecture and description.
The house is in a Jacobean Style and is in a horseshoe shape. The house was built from bricks made from local clay fired at the bottom of Brill Hill.


Woerden railway station

Woerden railway station (Dutch: "Station Woerden") is the railway station of Woerden, Netherlands. The railway station was opened on 21 May 1855 on the Utrecht–Rotterdam railway. In 1911 a new building was built in Jugendstil, that still exists. During 1993-1996 the railway station was modernised, replacing the wooden roof and stairways by modern ones.
During the closing decades of the twentieth century growing numbers of stopping trains at the station and a sustained rise in the level of motorised traffic led to increasing delays both for cyclists and for motorists at the level crossing directly adjacent to the station on its western side. The matter was finally addressed early in the twenty-first century with the construction of a short section of a road tunnel under the railway lines: this replaced the old level crossing.
The station has two platforms and two entrances. On every entrance, there is bicycle parking.
Train services.
The following services call at Woerden:
Accidents.
Woerden train accident.
Near the station a British furlough train derailed on 21 November 1960 killing 2 people and 10 people were injured.
Harmelen train disaster.
Near the station the worst railway accident in the history of the Netherlands took place on 8 January 1962, killing 93 people.


Tepicon Hall

Tepicon Hall is a historic dining hall located at Tippecanoe River State Park in Franklin Township, Pulaski County, Indiana. It was built about 1938 by the Works Progress Administration and is nearly all that remains of Camp Tepicon. It is a one-story, "T"-shaped, rustic timber frame building with a gable roof. It is sheathed in clapboard siding and board-and-batten siding on the gable ends.
It was listed on the National Register of Historic Places in 1992.


John G. Diefenbaker Building

The John G. Diefenbaker Building is a building in the New Edinburgh neighbourhood of Ottawa, Ontario. The building served as Ottawa's city hall from August 2, 1958 to January 1, 2001, and is commonly known as Old City Hall. Purchased in 2003 by the Government of Canada, it was known by its municipal address, 111 Sussex Drive, until September, 2011 when it was renamed after Canada's 13th prime minister, John Diefenbaker.
Construction.
The building is located on Green Island at the point where the Rideau River empties into the Ottawa River. The historic city hall on Elgin Street had been destroyed by a fire in 1931. For the next 27 years the city operated out of temporary offices in the Transportation Building. The International Style building was opened on August 2, 1958 by Princess Margaret as a member of the Canadian Royal Family. It is noted for being the first building in Ottawa to be fully air conditioned. It was designed by John Bland of the firm Rother, Bland and Trudeau and is considered one of the most important International Style buildings in Canada, winning the Massey Medal for design in 1959. The original drawings for the building are held at the McGill University Library Special Collections as part of the John Bland Archive.
City hall expansion.
In 1988 Ottawa mayor Jim Durrell initiated a controversial scheme to expand the building, quadrupling its original size. Architect Moshe Safdie was chosen for the redesign, carried out in 1992-93. Conflict soon broke out between Safdie and the city. Safdie demanded a higher fee and delayed the project for several months before the city acquiesced to his demand. Then a conflict broke out over a pair of eighteen story observation towers. City council voted to cut the towers to save the million dollars they cost. This infuriated Safdie who felt the towers were essential to the design. The panel that picked the design had singled out the tower as one of the highlights of the design. Eventually the city compromised and a bare scaffold was erected.
The new building caused considerable controversy in the city with some liking the design, but others seeing the $72 million structure a waste of money. The building was much larger than the city needed and for several years large sections were vacant. In 1999 offices were rented out to Global Affairs Canada, which is based nearby, and this mostly filled the building.
Federal government ownership.
On January 1, 2001, Ottawa was amalgamated with Cumberland, Gloucester, Goulbourn, Kanata, Nepean, Osgoode, Rideau, Rockcliffe Park, Vanier and West Carleton. It was decided that the new city would be based at 110 Laurier Avenue West. This building was considerably smaller but more centrally located. In 2003 the Old City Hall was sold to the federal Public Works department. Today the building mainly houses Global Affairs employees. For several months it was also the site of the Gomery Inquiry hearings.


Altenburg station

Altenburg station is on the Saxon-Bavarian Railway from Leipzig to Hof in the city of Altenburg in the German state of Thuringia. South of Altenburg, in Lehndorf, the line to Gera branches to the west. Passenger services on other lines have been closed to Zeitz and to Narsdorf.
History.
Terminal station.
The original Altenburg station was located elsewhere in today's Fabrikstraße (street). Its opening ceremony was held on 19 September 1842 and it was the first station in the Ernestine duchies. The Duchy of Saxe-Altenburg required the station to be built as close as possible to the Residenzstadt (city with a royal palace) of Altenburg, which had the consequence that a further construction of the line to the south was not possible for topographical reasons and thus to the station was built as a terminal station. As a result, the line to Hof first ran a short distance to the north and then made a 180-degree turn into the valley of the Pleiße, which is located east of the city.
Altenburg Hauptbahnhof.
Increasing traffic meant that the terminal station could no longer cope. In 1876, work began on a new station a little further to the east and the mainline was moved to a new route running south through a 375 m long tunnel. On 25 September 1878, the first train ran through the new tunnel. There are still remains of the former station in Fabrikstraße. The roof of Altenburg tunnel was removed for the electrification of the Leipzig–Hof line between 1957 and 1959.
Immediately northwest of the passenger station the, now defunct, Zeitz line ran through the marshalling yard, which is now let as sidings to the Villmanngruppe company.
As part of economic stimulus package, Altenburg station is being renovated by DB Station & Service. The focus of the project is the renewal and renovation of the platforms (raising of the platform edges to suit Intercity-Express services) and the sealing of the main platform roof. A new lift will facilitate access to the central platform, which are used by tracks 2 and 3.
Passenger services.
The station is on served by services on timetable routes 501.5 and 540, which are operated by DB Regio. Express service RE3 to Gera and Erfurt runs every two hours, express service S5X hourly to Halle, Leipzig and Zwickau. Regional service S5 runs hourly towards Leipzig (northbound) and every two hours to Zwickau (southbound).


Arthur Meinig

Arthur Meinig (Hungarian: Meinig Arthur) was a German-born Hungarian architect. He was born in Waldheim, Saxony on 7 November 1853 and died in Budapest on 14 September 1904. After studying in Dresden, he worked for architects Fellner and Helmer in Vienna. In 1883 he moved to Budapest and soon became the favorite architect of Hungarian aristocracy. He created buildings in the styles of Neo-Gothic, Neo-Renaissance, and especially in Neobaroque.


Charles Mix County Courthouse

Charles Mix County Courthouse, located on Main St. between Fourth and Fifth Sts. in Lake Andes, South Dakota, was built in 1918. It was listed on the National Register of Historic Places in 1993.
It is a three-story building, the only Prairie School-style courthouse in the state. It was designed by architect William L. Steele who also was involved in the design of the well-known Woodbury County Courthouse in Iowa.


Stephen C. Earle

Stephen Carpenter Earle (January 4, 1839 – December 12, 1913) was an architect who designed a number of buildings in Massachusetts and Connecticut that were built in the late 19th century, with many in Worcester, Massachusetts. He trained in the office of Calvert Vaux in New York City. He worked for a time in partnership with James E. Fuller, under the firm "Earle & Fuller". In 1891, he formed a partnership with Vermont architect Clellan W. Fisher under the name "Earle & Fisher".
Earle's most noted work is the Richardsonian Romanesque Slater Memorial Museum on the campus of the Norwich Free Academy in Norwich, Connecticut, where he had a generous budget and a sympathetic patron. In 2015, the "Hartford Courant" called the Slater Museum the "crown jewel among Norwich's cultural treasures" and "a masterpiece of Romanesque revival design."
In December 1913, Earle died at Memorial Hospital in Worcester after becoming ill with pneumonia.
Selected works.
He designed university buildings, commercial buildings, churches, and more. Among his university clients were Clark University, Worcester Polytechnic Institute, and Grinnell College.


Sullivan Center

The Sullivan Center, formerly known as the Carson, Pirie, Scott and Company Building or Carson, Pirie, Scott and Company Store, is a commercial building at 1 South State Street at the corner of East Madison Street in Chicago, Illinois. Louis Sullivan designed it for the retail firm Schlesinger & Mayer in 1899 and later expanded it before H.G. Selfridge & Co. purchased the structure in 1904. That firm occupied the structure for only a matter of weeks before it sold the building (the land under it was owned at the time by Marshall Field) to Otto Young, who then leased it to Carson Pirie Scott for $7,000 per month, which occupied the building for more than a century until 2006. Subsequent additions were completed by Daniel Burnham in 1906 and Holabird & Root in 1961.
The building has been used for retail purposes since 1899, and has been a Chicago Landmark since 1975. It is part of the Loop Retail Historic District.
Architecture.
The Sullivan Center was initially developed because of the Chicago Great Fire of 1871. In 1872, the Leopold Schlesinger and David Mayer decided to open a dry good store. They had met while working together prior to the Chicago Fire. Leopold Schlesinger had immigrated to Chicago in 1862 from Germany, and David Mayer was brought to the United States of America as an infant in 1852, also from Germany. In 1881 Schlesinger and Mayer had moved their dry-goods store into the Bowen Building that was on the corner of State and Madison. In 1890, Schlesinger and Mayer hired Adler and Sullivan to prepare plans for the removal of the Bowen Building's attic story and the addition of two stories across the Bowen Building and the adjacent four-story structure to the south. The facades were added to match the bottom stories of the building and the building was painted white.
In 1892, Schlesinger and Mayer hired Adler and Sullivan to do further remodeling and add a new entrance to the corner of State and Madison. In 1896, Sullivan, no longer working with Adler, was asked back by Schlesinger and Mayer to redesign the façade and add two stories to the newly leased four-story building on Wabash avenue, as well as connecting it to the State Street store. That never happened because Schlesinger and Mayer changed their minds to make it a ten-story building, which also never happened. It eventually got painted white and then a bridge was added that connected the second story of the building to the elevated railroad. In 1898, Schlesinger and Mayer decided to remove the original building located on State and Madison replace it with a new building designed by Sullivan. Sullivan had both a nine and twelve-story proposal made up for this new building. They eventually started with a nine-story portion of the building that was made on the Madison Street side next to the original portion of the Adler and Sullivan renovations.
In 1902, Schlesinger and Mayer came back to Sullivan wanting a twenty-story building on State and Madison, eventually settling for the final twelve stories. The Madison Street portion that was added earlier did not structurally support twelve stories so was left as is. Sullivan came up with a three-stage plan to finish the new building and allow Schlesinger and Mayer to keep their business running during the Christmas season.
The building is remarkable for its steel-framed structure, which allowed a dramatic increase in window area created by bay-wide windows, which in turn allowed for the greatest amount of daylight into the building interiors. This steel framed structure uses the post-and-lintel technique to provide a strong, light, and fireproof steel skeleton. The exterior of the building consists of a grid of piers and spandrels that reveals the post-and-lintel technique that supports the building. The design was the first use of what became known as the Chicago window. At street level, the broad expanses of glass allowed for larger displays of merchandise to outside pedestrian traffic creating the idea of the sidewalk showcase. In between the windows were bands of terra cotta, replacing an earlier plan for white Georgia marble, to save cost and weight and to avoid delays arising from a stonecutter's strike. The design featured bronze-plated cast-iron ornamental work above the rounded tower. The project also included a fire suppression sprinkler system, supplied from a water tower on the roof.
Sullivan designed the corner entry to be seen from both State and Madison. The attractive ornamentation above the entrance would give the store an elegant and unique persona important to the building's competition with neighboring stores. The building is one of the classic structures of the Chicago school. The way this technique was used on the lower floors of the building was so elaborate that it used the natural lighting and shadows to seem almost as if it were magically floating above the ground. The top floor of the 1899 and 1904 sections of the building were recessed to create a narrow loggia topped by an intricately detailed cornice that projected beyond the facade of the building. This was removed around 1948 and the 12th floor redesigned to replicate the lower floors.
In the early years of development there was an addition that grew to be very valuable in spotting the building from afar. This addition was the pedestrian bridge that connected the train station, behind the store on Wabash Avenue, to the second floor of the Sullivan Center. This too was coated in elaborate metalwork and provided a sense of special entry to those who used it.
In February 2006, the first phase of a multi-year restoration of the building's upper facade was completed. In addition to cleaning, the cornice and supporting columns were recreated on the 12th floor. A 2001 report put the budget at $68.9 million for this renovation.
In August 2006, Bon-Ton Stores Inc., parent company of Carson Pirie Scott, announced that after the 2006 Christmas season, the department store in the building would close. There were no immediate announcements as to what would occupy the building after the store's closure. After holding clearance sales, Carson's closed in February 2007.
The three-building complex, now renamed the Sullivan Center, is currently owned by Madison Capital, a private real estate company based in New York City.
In 2008, a second renovation project of the decorative iron work on the lower three floors began. This included the State Street facade as well as rear portions of the building which face Wabash Avenue. Part of the funding for this renovation was provided by the City of Chicago. The Wabash facade was completed in August 2009 and the work on State Street in late 2010.
Tenants of the Sullivan Center include the School of the Art Institute of Chicago and Gensler. In December 2010, Freed and Associates announced it was in talks with retailer Target, who expressed an interest in occupying part of the structure. On February 15, 2011, the retailer announced it would lease spread over two floors of the building. The new store opened July 26, 2012, and was met with favorable reviews for its clean design while being sensitive to the historic character of the structure.


Leviathan Building


Winchester Auto Store

The Winchester Auto Store is a historic commercial building located at 323 West 8th Street (corner of Spring Street) in Little Rock, Arkansas. It has also been known as the Winchester Building. It is a single-story masonry structure, with a rounded corner at the street corner, and a flat roof. Its street-facing facades have metal casement windows, and the main entrance, set in the curved corner, is framed by windows made of glass blocks. It was built in 1947 by Dennis and Maude Winchester to house their retail auto parts store. The Winchester's family business began about 1930, and included stores in Little Rock and Pine Bluff. This building remained in use as an auto parts store until 1978, and has largely been vacant since then. It was sold by the Winchester family in 2016.
By February 2019, the building had been purchased by Polk Stanley Wilcox Architects (PSW), a firm which had once occupied the Ross Building, also National Register-listed in 2019. The firm was renovating it and planned to move into it in late 2019. An application for tax credits for the renovation was approved in 2018.
The building was listed on the National Register of Historic Places in 2019.


Rim Trail

The Rim Trail is a hiking trail located on the South Rim of the Grand Canyon National Park, located in the U.S. state of Arizona. It is a trail between the South Kaibab Trailhead west to Hermit's Rest.


Higham Park

Higham Park is a Grade II* listed neoclassical style house and gardens, located at Bridge, Kent, south of Canterbury.
History.
Origins.
The basis of Higham Park was formed from 1320, when lands on the north east of the Elham Valley now within the Kent Downs Area of Outstanding Natural Beauty and Special Landscape Area, were ceded to the De Hegham family by Edward II.
In 1534 it was bought by Thomas Culpeper. His Elizabethan cellar floor is the oldest part of the present house, rebuilt to a neoclassical design in 1768.
Throughout its history, Higham Park has been frequented by the rich and famous: Mozart stayed here as a nine-year-old; while Jane Austen, Ian Fleming and General Charles de Gaulle were all guests.
William Gay.
In 1901, London banker William Gay purchased the estate to enable him to house his extensive collection of rare plants and orchids. He reorganised Higham's garden, engaging Harold Peto to design an Italian water garden, complete with canal, the longest in any garden in England. The gardens have been restored by the current owners to their original Edwardian format.
Zborowski family.
In 1910, Countess Margaret Laura Zborowski purchased the estate for £17,500, which included the farm, and twelve houses. Born Margaret Laura Astor Carey, she was a granddaughter of William Backhouse Astor, Sr. of the prominent Astor family. She had been Madame de Stuers before her divorce from Alphonse Lambert Eugène, Chevalier de Stuers (1841–1919). In 1880, she had married Count Eliot Zborowski, who died at the La Turbie hill climb in 1903. Countess Zborowski immediately commissioned a £50,000 refurbishment of the house from the architect Joseph Sawyer, who added the Palladian architecture front, encasing the eighteenth century core.
On her death in 1911, the estate was inherited by her 16-year-old son, Count Louis Vorrow Zborowski. Louis instantly became the fourth richest under-21-year-old in the world, with cash of £11 million and real estate in the United States, including of Manhattan and several blocks on Fifth Avenue, New York City.
Setting up an engineering works in the stables, Louis and engineer Clive Gallop designed and built the first aero-engine powered racing cars in the world. The pair built four cars, one of which was later immortalised in Ian Fleming's fantasy novel and film production.
The first was powered by a 23,093 cc six-cylinder Maybach aero engine, called "Chitty Bang Bang". A second "Chitty Bang Bang" was powered by 18,882 Benz aero engine. A third car was based on a Mercedes 28/95, but fitted with a 14,778 cc 6-cylinder Mercedes aero engine and was referred to as The White Mercedes. These cars achieved some success at Brooklands.
Another car, also built at Higham Park with a huge 27-litre aero engine, was called the "Higham Special" and later "Babs" and was used in J.G. Parry-Thomas's fatal attempt for the land speed record at Pendine Sands in 1927.
In January 1922 Louis, his wife Vi, Gallop and Pixi Marix together with a couple of mechanics took Chitty Bang Bang and the White Mercedes across the Mediterranean for a drive into the Sahara Desert, in the tracks of Citroen's kegresse expedition.
Zborowski devised and built a gauge miniature steam railway that circled the gardens. In a plan with fellow millionaire racing driver Captain J.E.P. Howey, he agreed to donate the rolling stock and infrastructure to a project that became the Romney, Hythe and Dymchurch Railway on the south Kent coast, started after Zborowski's death.
Zborowski joined the Mercedes-Benz team in 1924, but while driving in the Italian Grand Prix that year at Monza, he hit a tree and died instantly. He was just 29 years old.
Highland Court.
In 1928, Zborowski's widow sold the estate to Walter Whigham, chairman of Robert Fleming & Co. merchant bank. Changing the estate name to Highland Court to avoid confusion with the pronunciation of his surname, Whigham's weekend guests included his friend Ian Fleming, who had watched Zborowski's racing cars as a school boy at Brooklands. Whigham's wife, part of the Moët family, remodelled the staircase of unpolished white Italian marble to resemble that of the Hôtel Ritz in Paris. She did however preserve the original wrought ironwork, which had been made by Messrs. Bramah, the same company who produced the gates for the Grand Entrance of Hyde Park, London. In 1929 Whigham built a model farm on the estate, which still exists today as part of the Highland Court Conservation Area.
Hospital.
During the Second World War, like many other country estates, the house was requisitioned by the War Office, designated for use by the British Army as a hospital. It remained serving as a hospital post-War, operating as the gynaecology unit of the Kent and Canterbury Hospital from 1951, until it was closed in 1981.
Renovation.
The property and were placed on the market by the local NHS Trust in 1994, with associated planning permission to build a 200 bedroom hotel. On 1 September 1995, cousins Amanda Harris-Deans and Patricia Gibb, and Gibb's son Barry, bought the property and land for £1.5M.
They began an ongoing renovation of the virtually derelict estate, but by the mid-2000s the majority of the works were complete.


Mount Pleasant Square

Mount Pleasant Square is a Georgian garden square on the border of Rathmines and Ranelagh, in the city of Dublin, Ireland. It is about twenty five minute walk from Grafton Street.
Completed in 1834, the square is widely celebrated for its elegance and quiet charm. In her article in "The Georgian Squares of Dublin", Susan Roundtree writes: "It has justifiably been described as one of the most beautiful early 19th-century squares in Dublin." In the 24 March 1978 edition of In Dublin magazine, Gordon Lynch wrote, "The recently face-lifted Mount Pleasant Square, which is protected by a preservation order, is the only curved square in Dublin, if such a thing is possible."
There are 56 terraced houses on three sides of a central open space, now housing a tennis club and a small public park. The north and south sides are crescents rather than typical borders of a square. About half of the houses are occupied by young families, while several remain in apartments. Homes on the west side have south-west facing back gardens, there is a Victorian Era post-box on the south-west corner of the square, and 24-hour disc parking is enforced.
History.
Mount Pleasant Square is about 100 yards from where the Ranelagh Gardens once stood. The public park beside the LUAS station is all that remains of what were once far more extensive grounds. Richard Crosbie became the first Irish person to fly a balloon when he took off from the gardens in 1785. Crosbie wanted to cross the Irish Sea, but only made it to Clontarf.
After the Act of Union in 1801, middle-class professionals abandoned Georgian mansions on the northside, and moved to places with smaller, more manageable houses in new southside suburbs such as Rathmines and Ranelagh. As Susan Roundtree notes: “The first suburban boom accelerated during subsequent generations and established the pattern of city centre migration to the suburbs.”
According to a January 2015 article in the English Daily Telegraph, Mount Pleasant in London, which presumably inspired the usage in Dublin, "was the tongue-in-cheek name for the medieval dumping ground of household refuse, ashes, and other trash, along the banks of the woefully polluted Fleet River in Clerkenwell (before the river was buried underground). The street name remains, though the irony is lost."
Mount Pleasant Square was developed in the early 19th century, much of it by the Dolan family. Terence Dolan was a glove maker from Chester who bought plots of land from a Solomon Williams (also of Chester) in three transactions: in 1807, 1808 and 1812.
On the first plot of land – on the south side of what is now the square – Dolan built eight houses (Nos 36–43). At the time, these houses would have had commanding views of the city centre. A speculative developer, Dolan leased out the properties on short leases and raised the money to build more houses. By 1812 he had acquired all the land on the north and west sides of the square.
The second son of Terence Dolan, Terence Thomas Dolan, was a key mover behind the Rathmines Township, and was one of its first commissioners in 1847. By 1848 he effectively owned 32 of the houses on the square. His son, Henry Joseph Dolan, became President of Mount Pleasant Lawn Tennis Club in the centre of the square, when it was established in 1893.
The social composition of the houses has always been varied. In the past, many doctors and solicitors lived on the square, which is relatively close to Fitzwilliam Square and the Law Library. The square once housed two schools, and in 1911 the 14 inhabitants of No 27 included a carpenter, a scholar and a fishmonger. Of the 387 people who lived on the square that year, there were 149 Catholics, 177 Church of Ireland, 20 Presbyterian, 10 Methodist and 7 Baptists. An average of 7 people lived in each house.
Architecture.
Most of the houses are two-storey over basements that are below ground level. Many of the gardens have now been shortened to accommodate mews buildings. There is a lot of variation in individual house construction, as the plot sizes are not uniform.
Susan Roundtree notes that the houses were probably built by tradesmen rather than skilled craftsmen. Three bay houses were soon joined by smaller, two-bay houses that were effectively miniature versions of the city houses with two principal rooms on each floor. The basement walls are about two feet thick, with limestone calp used throughout. The windows were typical vertically sliding timber sashes.
Mount Pleasant Square is an example of rus in urbe, 'a countryside in the city'. The overall composition is more impressive than any one house. With its bucolic curtain of trees and handsome terraced Georgian houses, the atmosphere on this well-preserved square is often described as Dickensian, as if residents step into a period drama every time they leave the house. There is something elegant, if slightly bashful, about the whole effect: drooping trees, little traffic, gentle plop of tennis balls.
Public park.
The small public park beside the tennis club is unsatisfactory. It was the subject of a planning controversy in the 1970s. At one point it seemed inevitable that the thin sliver of land would be given over to a garage, but a well-orchestrated outcry ensured its survival as a public amenity.
The Dolan Family.
Terence Dolan was the main developer of Mountpleasant Square in the early 19th Century. His son, Terence T. Dolan, a solicitor, was one of the key motivators in establishing the Rathmines Township in 1847 and was one of its first commissioners. He lived at number 31, the largest house on the square, with an archway to Mountpleasant Avenue. The family retained property interests in the square well into the 20th Century.
Old Mount Pleasant.
The houses at Old Mountpleasant predate the houses in Mountpleasant Square. Among the early residents was Thomas Ivory, a Corkman who was one of the most important architects working in Dublin in the latter part of the 18th Century (and the only one of the three major architects of Georgian Dublin who was Irish). Ivory designed a number of significant surviving buildings in the city including the Blue Coat School (now the Law Society Headquarters in Blackhall Place) and Newcomen Bank in Castle Street (now the Rates Office). He was also Master of the Architectural Drawing School in Dublin. He died in 1786.
The Swan River.
The Swan River, although now hidden from view, defines the landscape and topography of Ranelagh. From its source near Kimmage Manor it flows through Rathmines and Ranelagh and joins the River Dodder below Ballsbridge. In Ranelagh it flows to the east through Mount Pleasant Square (where the arch leads out to Mount Pleasant Avenue) before crossing into Ranelagh Gardens.
Ranelagh Multi-Denominational School.
This RIAI Gold Medal award-winning school was designed by O'Donnell & Tuomey Architects and opened in 1998 (subsequently extended). It replaced the 'tin school', a hall built in 1893 (later a church). The new building is contemporary in design but its scale and finishes (salvaged brick and timber) are in sympathy with the adjoining historic buildings.
Local amenities.
Mount Pleasant Lawn Tennis Club has squash, badminton and tennis courts, as well as a table tennis table, a snooker table and a bar.
The Hill Pub occupies a prominent position at the south-east corner of Mount Pleasant Square. It is best described as a handsome pub from the outside.
Mount Pleasant LTC.
The square is home to one of Dublin's leading racquet sports clubs, and the only club in the city with tennis, squash and badminton sections (and table tennis too). Mount Pleasant L.T.C. was founded in 1893, making it amongst the oldest clubs in Dublin.
The club holds a variety of tournaments, including Tennis Open Week, one of the largest tournaments in Ireland. Mount Pleasant is among the premier badminton clubs in Leinster. Membership stands at around 1,000 with about 700 tennis members and the rest more or less equally divided between squash and badminton.
Mount Pleasant Square in literature.
The cover of John McGahern's novel, The Pornographer, features the curved north terrace of Mount Pleasant Square.
References.
Susan Roundtree, The Georgian Squares of Dublin


Old Administration Building (Bryce Canyon National Park)

The Old Administration Building at Bryce Canyon National Park, Utah, U.S.A., also known as the Bryce Canyon Nature Museum, was the first National Park Service building built within the park. Located near Sunrise Point in a heavily used portion of the park, the building was designed by the National Park Service Branch of Plans and Designs in the National Park Service Rustic style preferred at the time for park structures. It is in the immediate vicinity of the Bryce Inn.
The Administration Building was built in 1933 in logs on a stone foundation. The T-shaped 1-1/2 story building was built in two phases. The first phase was the large public room in the eastern portion of the building. The addition contained Park Service office space.


Connaught Theatre

The Connaught Theatre is a Streamline Moderne-style theatre and cinema in the centre of Worthing, in West Sussex, England. Built as the Picturedrome cinema in 1914, the venue was extended in 1935 and became the new home of the Connaught Theatre (established nearby in 1931). The theatre houses touring West End theatre productions, musicals, thrillers, dramas and children's productions. Since 1987, it has been a dual use cinema/theatre with two screens, and has a seating capacity of 512. When it opened, it was a rare example of a conversion from a cinema to a theatre: the reverse was much more common in 1930s Britain, when many theatres became cinemas. The Connaught Studio (previously known as The Ritz cinema), next door, was the venue for the short-lived The End of the Pier International Film Festival.
History.
The Connaught Theatre occupies the former Picturedrome cinema, which was built in 1914 on the site of Stanmore Lodge and opened in July of that year. Its seating capacity was 850 in a single tier, with four boxes at the rear, and the auditorium was octagonal. In 1926, Swiss impresario Carl Adolf Seebold, who owned other cinemas in Worthing and who had been the Picturedrome's musical director since it opened, bought it.
In 1916, Connaught Buildings were built next to the cinema, and an entrance passageway was built from the street to the Picturedrome through the new building. The Connaught Buildings (and later Connaught Hall and Theatre) seem to have taken its name from Prince Arthur, Duke of Connaught and Strathern and Earl of Sussex. The new premises housed the Connaught Hall, which in 1917 became a venue for vaudeville entertainment. It was licensed as a theatre in April 1931 by Walter Lindsay, formerly a theatre director in London; the first full season of repertory theatre began in the autumn of 1932. Terence De Marney became director of Connaught and Bill Fraser became involved in the theatre.
In 2014, Connaught theatre celebrated its centenary of service. Several well-known actors had their start in this theatre like; Elizabeth Spriggs, Christopher Lee, Peter Cushing and Ian Holm.
The two venues coexisted until 1935; in that year the Worthing Repertory Company, which had been outgrowing the Connaught Buildings, moved next door to the Picturedrome, renamed the building the Connaught Theatre and commissioned an architect to extend the façade of the building in an Art Deco style. Carl Seebold contributed £60,000 (£ as of ) towards the cost of the work. The first production, a play called "Theatre Royal", was given on 30 September 1935; it formed the centrepiece of a special opening week programme, and was very successful.
The establishment of the Connaught in former cinema premises represented an unusual reversal of the contemporary tendency for theatres to be converted into cinemas—a trend seen throughout Britain in the 1930s.
A temporary closure during World War II was followed by a period in which the theatre was managed on Seebold's behalf by a group associated with the J. Arthur Rank Organisation, who pursued a policy of employing young actors who later became important figures in film, television and theatre. Glenda Jackson, Susannah York, Charles Morgan, Maria Charles and several others appeared at the theatre during this period. In the 1950s, Alan Ayckbourn appeared in several plays at the Connaught. In 1956, Winston Churchill visited the theatre to see his daughter Sarah perform in Terence Rattigan's play "Variation on a Theme". Harold Pinter acted at the Connaught under the stage name David Baron, moving to a house just a few yards from the theatre in Ambrose Place in the 1960s. Pinter's first wife, actress Vivien Merchant acted at the Connaught during this period. Giles Cooper worked with Pinter at the Connaught. Robin Maugham wrote several plays which he directed and premiered at the Connaught, including "The Claimant" (1962) and "Winter in Ischia" (1964). Actress Marina Sirtis, perhaps best known for her role on "", began her career in repertory at the Connaught in 1976. Actor Robert Blythe has also worked in repertory theatre at the Connaught.
Ownership passed from Seebold to other commercial interests in April 1950, when he sold the lease for £35,000 (£ as of ). The theatre began to struggle, and closed in 1966, but campaigners successfully petitioned Worthing Borough Council to buy and run it instead. Productions began again in 1967— one of the first performances was "The Beggar's Opera", the first opera seen in Worthing for 136 years— and the capacity was increased to its present 512 seats when the auditorium was revamped in 1972. The council agreed to provide more funding for the theatre after it was forced to close temporarily on two more occasions in the 1970s. The remodelling in 1972 introduced film projection facilities, which have been used regularly since 1987.
Architecture.
Originally designed by Eastbourne architect Peter Dulvey Stonham, the building was refurbished in 1933 to the plans of A.T. Goldsmith. His design added a new first-floor cocktail bar and lounge area to the original Picturedrome auditorium. Two years later, the entrance foyer on Union Place was rebuilt in Moderne style, with two rendered storeys, parapeted, in three bays.
Facilities.
The theatre has a licensed bar, cloakroom facilities, disabled facilities and parking.


Museu do Ipiranga

The Museu Paulista of the University of São Paulo (commonly known as Museu do Ipiranga) is a Brazilian history museum located near where Emperor Pedro I proclaimed the Brazilian independence on the banks of Ipiranga brook in the Southeast region of the city of São Paulo, then the "Caminho do Mar," or road to the seashore. It contains a huge collection of furniture, documents and historically relevant artwork, especially relating to the Brazilian Empire era.
The most famous work of art in the collection is the 1888 painting "Independência ou Morte" (Independence or Death) by Pedro Américo.
A few months after the Brazilian Declaration of Independence, people started to suggest a monument on the site where the declaration took place, although they were not sure about what sort of memorial construction to build. In 1884, Italian architect Tommaso Gaudenzio Bezzi, who was hired to develop the project, chose to build an eclectic-styled construction similar to the French Palace of Versailles with impressive and perfectly manicured gardens and fountain.
The museum closed in August 2013 for extensive restoration and modernisation; it is due to re-open in 2022.
Design and construction.
In 1884, Italian architect Tommaso Gaudenzio Bezzi was chosen to design a monumental building to be built at the place where Brazilian Independence would have been proclaimed. The long palace was inspired by a Renaissance palace and is considered an example of Eclectic architecture. The museum was opened to the public on September 7, 1895, six years after the Proclamation of the Republic. In 1909, Belgian landscape designer Arsenio Puttermans projected the gardens around the main building, which were later redesigned by landscape designer Reinaldo Dierberger in the 1920s.
A reorganization of the collection was instituted in 1922 by Afonso d'Escragnolle Taunay at the time of the Centenary of Independence of Brazil, with a special emphasis on the history of the state of São Paulo. Paintings and sculptures related to the history of Brazil were installed in the lobby, grand staircase and Great Hall.
A satellite museum, the Republican Museum "Itu Convention" ("Museu Republicano "Convenção de Itu"") opened on April 18, 1923 in Itu, a city in the interior of the state of São Paulo. The museum is located in the family home of Almeida Prado where the Republican Party of São Paulo was founded in 1873. The Itu museum remains under the administration of the Paulista Museum and has a collection that focuses on the history of Brazil in the late 19th and early 20th century.
Collections.
The Museu Paulista has a large collection of objects, furniture, maps, and works of art with historical relevance, especially those that have some relationship with the Independence of Brazil and the corresponding historical period. One of the most well-known works in his collection is the painting ( ("Independence or Death"), painted by the artist Pedro Américo in 1888. The museum has significant collection of photographs, including those by Militão Augusto de Azevedo (1837-1905), Guilherme Gaensly (1843-1928), and Werner Haberkorn (1907-1997). The museum has a facsimile of one of the oldest maps of Brazil, the Map of Céspedes Xeria, produced in 1628. In addition to exhibitions, the activities of the Ipiranga Museum include educational programs, courses, and scientific research. The collection of the museum continues to expand via donations or acquisitions. An important part of the activities of the museum involves physical conservation, study, and documentation of the collection.


Villa Mairea

Villa Mairea is a villa, guest-house, and rural retreat designed and built by the Finnish modernist architect Alvar Aalto for Harry and Maire Gullichsen in Noormarkku, Finland. The building was constructed in 1938–1939.
The Gullichsens were a wealthy couple and members of the Ahlström family. They told Aalto that he should regard it as 'an experimental house'. Aalto seems to have treated the house as an opportunity to bring together all the themes that had been preoccupying him in his work to that point but had not been able to include them in actual buildings.
Today, Villa Mairea is considered one of the most important buildings Aalto designed in his career.
Introduction.
The plan of the Villa Mairea is a modified L-shape of the kind Aalto had used before. It is a layout which automatically created a semi-private enclosure to one side, and a more exclusive, formal edge to confront the public world on the other. The lawn and the swimming pool are situated in the angle of the L, with a variety of rooms overlooking them. Horizontals and overhangs in the main composition echo the ground plane, and the curved pool weds the nearby forest topography. In contrast to these softening devices, the main facade has a more rigid, formal mood, and even possesses a canopy restated in a garden pergola vocabulary of bindings, poles and slats.
The interiors of the Villa Mairea are richly articulated in wood, stone and brick. The spaces vary in size from the grand to the cabin-like.
Clients.
The Villa Mairea was designed for Harry and Maire Gullichsen, to whom Aalto was introduced in 1935, by Nils-Gustav Hahl. Hahl was keen to promote his bentwood furniture designs. Maire, after whom the house was named, was the daughter of Walter Ahlström, of the Timber and Paper Company. She studied painting in Paris during the early 1920s, and in 1928, married the businessman Harry Gullichsen, who four years later became managing director of the A. Ahlström Company. Maire and Hahl had the idea of founding an "avant-garde" art gallery in Helsinki to act as a focus of progressive culture, and in due course this became ‘ARTEK’, now world-famous as manufacturers and distributors of Aalto's furniture and glassware.
The Gullichsens believed in the possibility of a social utopia based on technological progress, and found in Alvar Aalto a designer who shared their ideals and could give them convincing architectural expression. Aalto and his first wife Aino had undertaken various projects for the Ahlström Company, including workers' housing, social facilities, and the celebrated Sunila Plant, completed in 1939, but it was in the Villa Mairea itself that the character of their utopian vision was demonstrated most fully.
Family projects.
The villa was the third major house built with Ahlström money. In 1877 the founder of the company, Maire's grandfather Antti Ahlström, had built an imposing wooden house as a family residence in Noormarkku, a village a few miles inland from the town of Pori on Finland's west coast; at the turn of the century her father, Walter, commissioned an "art nouveau" house on a nearby site. As Aalto's biographer Göran Schildt has pointed out, each was representative of the values of their time: the first an expression of semi-feudal authority organized around a highly formalized style of living, the latter underlining ‘the domestic happiness afforded by solid riches, with comfortable rooms, cosy furniture and luxurious, well-tended garden grounds’. The new villa – to be used as a summer house, a form of retreat to nature traditional in Finland – was intended to express the aspirations of the new generation and of the Gullichsens’ vision of ‘the good life’ which they believed industrialization would eventually make available to the majority in the newly independent state.
Initial concepts.
Aalto began work on the Villa towards the end of 1937, and was given an almost free hand by his clients. His first proposal was a rustic hut modelled on vernacular farmhouses. Early in 1938, however, inspiration came from a radically different source, the residence named ‘Fallingwater’ designed by Frank Lloyd Wright, which had just received international acclaim thanks to an exhibition at the Museum of Modern Art in New York and publication in "Life" and "Time" magazines, as well as in architectural journals. Such was Aalto's enthusiasm for the design, Schildt tells us, that he tried to persuade the Gullichsens to build their home over a stream on Ahlström land a few miles out of Noormarkku.
Serpentine.
The influence of Fallingwater is evident in several sheets of studies, which show boldly cantilevered balconies and an undulating basement story intended as a substitution for the natural forms of the stream and rocks. In later sketches, the free-form basement appears as an upper-floor studio with a serpentine wall sunk into a one-and-half storey entrance hall, forming a drop-ceiling around the fireplace. The undulating, wave-like form was already established as a leitmotiv of Aalto's work: it was familiar from the vases designed for the 'Savoy Restaurant' in Helsinki. It also featured prominently in the second-prize-winning entry for the Finnish Pavilion at the Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris World Fair of 1937), named ‘Tsit Tsit Pum’. Aalto won the first prize with a different design and, never one to waste a good idea, used vast sinuous partitions as the primary spatial device of his masterly design for the New York Fair of 1939.
The free forms of nature were seen as symbols of human freedom, and as early as 1926 Aalto remarked that the ‘curving, living, unpredictable line which runs in dimensions unknown to mathematics, is for me the incarnation of everything that forms a contrast in the modern world between brutal mechanicalness and religious beauty in life. The fact that the Finnish word "aalto" means ‘wave’ doubtless added a certain piquancy to his attraction to the motif.
L-shape.
Throughout his early studies for the Villa, Aalto envisaged an L-shaped plan similar to that of his own house in Munkkiniemi (1934–36). There, the ‘L’ shape distinguishes between the house proper and the integral studio; at Villa Mairea, it separates the family accommodation from that of a courtyard - garden variously enclosed by combinations of walls, fences, trellises and the wooden sauna. Demetri Porphyrios has pointed out that this plan form is common amongst Scandinavian aristocratic residences; it was also used, for example, by Gunnar Asplund in his celebrated Snellman House of 1919. Although Aalto's clients had asked for an ‘experimental’ house, it is significant that he first envisaged it as a reversion to a vernacular form, and then as a variant on a familiar plan type; in embodying a vision of the future, Aalto is at pains to endow the dwelling with strong memories of the past.
'Proto-Mairea'.
In the early spring of 1938 the Gullichsens approved a design which Schildt has called the Proto-Mairea, on the basis of which construction began in the summer. The plan established the basic disposition of accommodation found in the finished house, with the dining situated in the corner between the family rooms and the servants' wing, and the bedrooms and Maire's studio upstairs, the latter originally expressed as a free-form curve in elevation, rather than plan.
Aalto's analysis of the activities to be accommodated produced a schedule of reception rooms which included an entrance hall with an open fireplace, a living room, a gentlemen's room, a ladies’ room, a library, a music room, a winter garden, a table tennis room and an art gallery. It read more like the programme for a Victorian country house than a demonstration of the social-democratic dwelling of the future, and Aalto was far from satisfied with the design. A young Swiss student working in his office at the time recalls that he used to scold the model like a naughty dog, explaining to her that 'those people don't need so many rooms'.
Redesign.
After the foundations had been excavated Aalto had a new idea and was able to persuade his clients to accept a radical redesign in which only the plan footprint and servant wing remained more or less intact. The basement was greatly reduced in area, and the main entrance moved from its curious position at the side and rear to a much more obvious location in front of the dining room. Marie's studio was re-positioned to occupy the place above the former entrance canopy, whose shape it echoes, and the various reception rooms were accommodated in a large 14 metre-square space. The separate art gallery was removed and its place taken by the sauna, which nestles against a low L-shaped stone wall, the remainder of the original wall and trellis being replaced by a short fence and earth mound.
Harry Gullichsen's only objection to the revised design was the lack of a separate library where he could hold confidential business meetings, for which Aalto proposed a small room screened by movable shelving units which did not reach the ceiling. Aalto suggested that these units could also be used for storing Maire's art collection – an idea which, he pointed out, should be 'socially supportable as it could be realized in a small, even single room, dwelling' where the inhabitant has ‘a personal relationship to the phenomena of art'. Not surprisingly, this arrangement did not offer the necessary acoustic privacy and the shelving units were permanently sited (although not actually fixed), with one angled to suggest frozen movement; the gap under the ceiling was filled with an undulating glazed screen. ii
Final design.
Although the revised plan followed the existing foundations, the transformation achieved a compression and coherence in the spatial organization which had been almost entirely lacking in the ‘Proto-Mairea’. The entrance opens into a small top-lobby, from which another door straight ahead leads into an open hall positioned four steps below the main level. One enters on axis with the dining table beyond, but the axiality is undermined by asymmetry of a screen of wooden poles and a free-standing, angled wall which together define an informal ante-room between the living room and dining room. The angle of the low wall is set from the corner of the white-plastered fireplace diagonally opposite, which becomes the natural centre of attention as one ascends the step into the living room. Similar diagonal relationships are established between Harry Gullichsen's private library/study and the ‘winter garden’ (which Maire used for flower arranging and from which a stair leads directly up to her studio), and between the main staircase and open sun-lit part of the living room into which eyes are drawn as you emerge from behind the vertical poles which screen the stairs.
Living room.
The open living room is planned around a rectilinear structural grid whose dimensions are adjusted to suit the disposition of rooms above. This is in contrast to the conventional Modernist practice exemplified by the work of Le Corbusier by comparison with the sophisticated spatial composition of the ground floor. Aalto varies the dimensions of the structural grid in both directions, and the circular steel columns are randomly placed; in one case, they are tripped clad with wooden strips or bound with rattan, and in the library, one of the three columns in arbitrarily changed to concrete (early sketches also show it as free-form in plan). Aalto is at such pains to subvert any clear geometric reading of the structural and spatial organization that it comes as something of a discovery that the whole plan is in fact regulated by a series of squares. This is in contrast to Mies van der Rohe, by whom the structural grid was conceived as a regular counterpoint to the independent spatial disposition of the ‘free plan’.
Although this geometry contributes to the formal discipline which underpins the episodic spatial composition, and is emblematic of an ‘ideal’ house, it is only in the dining room that one can directly sense the underlying order.
Dining room.
The dining room itself is a double-square in plan, and the triple-square of the service block is centred on it; the formality is entirely appropriate to the activity of dining and entertaining and can be interpreted, as Klaus Herdeg, an architect and author, has argued, as an architectural embodiment of the social traditions of the bourgeois family. Harry Gullichsen, as head of the household, occupied the head of the table facing towards the entrance. From there he could see along the axis to the entrance and beyond into the pine forest through the clerestory windows above the vestibule, and also diagonally through the entire living room. Mrs. Gullichsen would occupy the seat at the opposite end of the table, conveniently close to the servery and kitchen, from where, as Herdeg writes, she ‘can contemplate her husband silhouetted against the dining room’s asymmetrical fireplace, while through the window she can see the sauna, the pool, the garden court, and the pine forest - things natural or traditional. Most of these views the father would only see reflected in an artifice, the living room windows.
Terrace.
The flat roof of the dining room is extended to form a covered terrace, which connects with the irregular roof of the small timber sauna. The terrace is served by a fire which backs up against the fireplace in the dining room, and over which a rustic stone staircase rises to the wooden deck on the roof. The angle of the stairs determines the line of the plaster which rises diagonally across the fire to level out over the door. The same angle is continued outside in the flue which connects at the first-floor level into the service wing – a typical example of a rigorous formal integration which underlies Aalto’s at times seemingly willful manipulation of form. The rectangular pier at the end of the terrace affords another example. Viewed in isolation this seems to be simply another instance of Aalto’s desire to break the ‘artificial rhythms’ established by a regular grid, akin to the doubling and tripling of columns in the living room, but it is also an act as a visual and formal termination to the implied band of secondary circulation which runs through the door between dining room and terrace, past the servery wall which defines the entrance hall.
Upper floor.
By comparison with the sophisticated spatial composition of the ground floor, the upper or first ("second-U.S") floor is a relatively straightforward assemblage of private rooms. The main stair arrives in an intimate upper hall, with its own fireplace placed directly above the one below. Mr. and Mrs. Gullichsen's bedrooms are paired on either side of an en suite bathroom, which are entered under a slightly dropped ceiling, with vents for air conditioning. The upper hall terminates in the familiar serpentine line.
The three children's bedrooms open onto a large circulation/play space, fitted with wall bars for exercise. Their windows are obliquely projecting bays, which read almost as objects on the façade, rather than openings in it, and are angled to address the line of approach to the main door. The guest bedrooms are disposed along a single-banked corridor and look out full-height windows and present a blank wall to the family's private garden.


Dells of the Eau Claire County Park

Dells of the Eau Claire County Park is in the north-central Wisconsin Town of Plover, east of the city of Wausau. It is divided in two by the Eau Claire River. The river flows through a rocky gorge to form cascades and waterfalls as it passes over and around weathered boulders, outcrops, and other formations. The depth of the river can vary depending on the time of the year. The park also has areas designated for camping, swimming, hiking, and picnicking.
Although the park shares a name with the city of Eau Claire, Wisconsin, that city is over 100 miles away to the west. Also, this park should not be confused with the Wisconsin Dells, an area with its own formations over 100 miles away to the south.
The park was listed on the National Register of Historic Places on July 15, 2016 (#16000429).
History.
In 1923 the Marathon County Park Commission bought 60 acres around the dells of the Eau Claire, establishing its fourth county park. Charles Ramsdell, a landscape architect from Minneapolis, planned the initial development of the park, which included trails, a picnic grove, and a concession stand, keeping in mind the County Park Commission's directive to not "replace the natural and picturesque with the artificial and commonplace park development." Through the 20s and early 30s the county cleared brush, built stone steps, and developed a baseball field.
The rustic stone highway bridge that carries County K across the river above the gorge was built in 1927. It was designed by G.H. Kirsch of the Wisconsin Highway Commission, a 116.5-foot reinforced concrete, filled spandrel arch bridge. The concrete was faced with a rubble stone veneer to "accent its rustic surroundings." W.H. Fischer and Sons of Antigo was the general contractor.
In 1937 Ingwal S. Horgen, another landscape architect and by then Marathon County's park superintendent, created the Master Plan for the park, concentrating buildings in one area to preserve the natural features, and laying out trails and paths to highlight those features. He deliberately left large areas in permanent forest. The footbridge was part of his plan, and the Rustic-styled buildings, a style just then becoming common in American parks. Eighty years later, much of Horgen's design is still in place.
Civilian Conservation Corps Company 3649th Camp Rib Mountain carried out much of Horgen's design, working with him. That company also worked on Rib Mountain State Park and Eau Pleine County Park. From 1935 to 1942 the CCCs built the foot-bridge, stone steps, the Combination Building, and other structures. They picked the stones for the foot-bridge from the gorge, to match the gorge.
The park received designation as a State Natural Area in 1973. It was listed on the National Register of Historic Places in 2016.
Geography.
The river in Dells of the Eau Claire County Park runs through a rock gorge with waterfalls and rapids.
A portion of the Ice Age Trail passes through the park.
Geology.
Bedrock outcrops along the river have been dated around 1.8 billion years old.
Precambrian-age rhyolite schist, formed through metamorphosis, is the type of rock that lies flat and also stands upright at places in the gorge. Geological processes have tilted this rock to near-vertical positions, creating formations of varying heights. The northern edge of the gorge has the highest vertical tilts.
The swirling action of sand and gravel in the water current has also produced potholes.
Flora.
The forested areas as well as the river banks and gorge feature a northern mesic forest of hemlock, sugar maple, mountain maple, yellow birch, and Canada yew.
Climate.
With an average annual snowfall of 52 inches in Marathon County, run-off from snowmelt creates higher water levels in the Eau Claire River during the springtime. In summer and fall, water levels in the Eau Claire River tend to be lower, with average rainfall seldom exceeding 4 or 5 inches per month.
Recreation.
Most of the developed recreational areas lie north of the Eau Claire River within the park's boundaries. North of the river and west of a county highway that runs through the park are over 25 campsites (16 with electricity) and a swimming beach above a dam approximately a half-mile from the river gorge. North of the river and east of the highway are a group campground, three shelters, and a playground area. There are a number of nature trails that wind north and south of the river throughout the park.
Danger and tragedy.
A sign along the gorge warns park visitors: “Danger. Use only developed beach. Rocks – Undercurrent deadly.” Between 1977 and 1995, four deaths were attributed to mishaps among the rocks and water of the gorge.