86-88 Windmill Street, Millers Point

86-88 Windmill Street, Millers Point is a heritage-listed residence located at 86-88 Windmill Street, in the inner city Sydney suburb of Millers Point in the City of Sydney local government area of New South Wales, Australia. It was added to the New South Wales State Heritage Register on 2 April 1999.
History.
Millers Point is one of the earliest areas of European settlement in Australia, and a focus for maritime activities. One of two Victorian Georgian style terrace houses constructed .
Description.
Georgian style Victorian two-storey townhouse with four bedrooms, ground-floor verandah, attic and basement. Shutters to all windows, cast-iron panels to verandah balustrading. Storeys: 2 Construction: Painted rendered masonry, slate roof. Painted timber joinery. Iron lace balustrade. Style: Victorian Georgian.
Nos 86-88 Windmill Street are two of a terrace of three Georgian terrace houses modelled on the masonry terrace houses of British cities and closely following the planning, size, facade design and construction of the standard urban housing in Britain. The three houses in the terrace (Nos. 84, 86 and 88) appear to be part of a larger terrace including the two houses at either end (Nos. 82 and 90). However, the documentary evidence and closer inspection on site demonstrates that the three townhouses at Nos. 84-88 were constructed first as a stand-alone terrace and that Nos. 82 and 90 were constructed after. Nos. 82 and 90 are both freestanding houses sharing no walls with the original houses at Nos. 84-86. The unified design of the five houses probably indicates a high degree of cooperation between the three owners of the five houses and the general level of skill of builders and tradesmen.
Condition.
External: Good
Heritage listing.
As at 23 November 2000, this is one of a pair of Georgian style Victorian townhouses, having high streetscape value. It is part of the Millers Point Conservation Area, an intact residential and maritime precinct. It contains residential buildings and civic spaces dating from the 1830s and is an important example of 19th century adaptation of the landscape. The pair of houses at Nos 86-88 Windmill Street, part of a larger group built by the Musgrave family, is of State significance as a rare surviving example of a modest group containing a shop and residences dating from the late 1850s, and are an integral part of the Millers Point and Dawes Point Village Precinct Conservation Area. This pair of houses forms part of a group of buildings constructed in stages by the Musgrave family from until 1861, containing their business premises (No. 84), family residences and additional residences that could be let. The Musgrave family's move to the lower North Shore indicates not only their increasing wealth, but also the tendency in the 1870s and 1880s of the middle classes to move to the suburbs, retaining their town properties simply as an investment.
This pair of houses forms an integral part of the small commercial area at the eastern end of Windmill Street that developed to serve the local area, as well as sailors and ferry goers. As individual buildings, they are highly significant as rare surviving examples of the modest Colonial Georgian houses, demonstrating the effect of the Sydney and London Building Acts which sought to control the spread of fire by controlling the materials and design of town houses in tight urban environments. The buildings show the transition from English Georgian to Colonial Georgian styles, employing decorative metal work imported from England in forms modified to suit the Australian climate. The surviving original architectural elements of the three buildings built by the Musgraves are an important record of modest Colonial Georgian architecture, including the cedar joinery, fanlights and cast iron. The surviving cast-iron work is a typical early nineteenth-century pattern, which can still be found in London and elsewhere in Millers Point. The configuration of the passage to the rear lane, with its staircase, is unusual, and no other similar examples have been identified; most passages occur at street level (as can be seen in Kent Street).
This pair of houses forms an integral part of the Colonial Georgian townscape of Millers Point, one of the most intact surviving colonial townscapes in Australia. The housing in the block between Argyle Place and Windmill Street is of a higher density than most of the other surviving early townscapes. This group, at the eastern end of Windmill Street, including the early public houses and the shop at No. 67 Windmill Street, is very important as an example of a Colonial Georgian townscape. The individual buildings are important as they retain original details. This pair of houses exemplifies the adaptive re-use of the Colonial Georgian housing stock inherited by the Department of Housing from the MSB in the 1980s, with modern rear wings attached to the back of houses that were originally planned without internal bathrooms. The pair of houses is an excellent indication of the standard of buildings retained by the Sydney Harbour Trust following the resumption of the area in the early twentieth century.
86-88 Windmill Street, Millers Point 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.
Evidence of the small commercial area that developed at the eastern end of Windmill Street, containing shops and public houses which catered to the local residents, sailors and ferrygoers.
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.
Associated with the commercial activities of the Musgrave family, containing their business premises, residences and houses intended to be rented. The family were associated with the area for over half a century.
The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
Although three separate buildings, the group at Nos 82-90 Windmill Street appears as one building, indicating that the form and details were in common usage in the 1850s. The high standard of construction resulted in the retention of the larger houses following the Darling Harbour Resumption. The demolition of the smaller houses at the rear provides an indication of the cut off point between retention and demolition.
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 long-term residents have a strong attachment to the place and its townscape, as demonstrated by their involvement with the Green Bans. One of the first areas to be recognised (and included in a planning scheme) as being significant for its townscape.
The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales.
There is considerable research potential relating to the development of the building group and the development of the commercial area at the eastern end of Windmill Street as a whole, as well as the commercial activities of the Musgrave family.
The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.
A building form once common throughout Sydney by 1850, this group of late Georgian style terrace houses are among the very few to survive; the main concentration of the type are within the area resumed in 1900. These houses have been in public ownership for over a century, and have undergone few alterations externally (with the exception of the rear wings).
The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
This scale and character of building once characterised the inner ring of suburbs (Woolloomooloo, Surry Hills Chippendale, Pyrmont and Ultimo), however a large proportion of the 1850s building stock has been demolished. A representative example of the urban renewal projects undertaken by the Department of Housing in the mid 1980s, with rear wings added to the rear of houses.


Artigas Gardens

The Artigas Gardens () are a park in La Pobla de Lillet, Barcelona. Built between 1905 and 1906, they were designed by the modernist architect Antoni Gaudí. As with many others of his works, Gaudí filled the gardens with arches and Catholic symbols. By the end of 1971, the gardens were practically abandoned. In 1992, they were restored under the supervision of the Reial Càtedra Gaudí. The current sculptures are the work of Ramon Millet i Domènech.
History and description.
Design, building process.
In 1905, Gaudí travelled to Lillet to build the chalet of Catllaràs, a mountain refuge for the engineers of the coal mine that supplied the Asland cement plant in the nearby municipality of Castellar de n'Hug. The cement plant was owned by Eusebi Güell, a rich industrialist who was Gaudí's principal patron. While in Lillet, Gaudí stayed in the house of the textile magnate, Joan Artigas i Alart, who had an estate named "Font de la Magnèsia", on the Llobregat river. As thanks for the hospitality of Mr. Artigas, Gaudí designed these gardens for him.
Gaudí had done a similar project, although on a smaller scale, at Park Güell which he was then building in the Gràcia District of Barcelona. He sent some of Park Güell's workers to Lillet, and the resulting stylistic and structural similarities between the two locations are obvious. As he did with Parc Güell, Gaudí designed the Artigas Gardens fully integrated with the surrounding natural environment. He also built an artificial grotto, a typical Gaudí hallmark, like the one he had designed for the cascade of the Parc de la Ciutadella.
Features, symbols.
Gaudí designed the garden for the visitor, with a path highlighting several places of interest:
As with so many others of his works, Gaudí filled the gardens with Christian symbols. For these gardens, he took the symbols from the four gospels. Tetramorph images are found throughout the park: the angel of Saint Matthew at la Cascada; the eagle of Saint John at the Coix arch bridge, which crosses the Llobregat river; the lion of Saint Mark at la Pèrgola; and the bull of Saint Luke at the Bull Fountain. These four images are situated in the form of a cross.
Restoration.
By the end of 1971, the gardens were practically abandoned when an article about the Gardens was published which brought Gaudí's authorship to light. In 1992, they were restored under the supervision of the Reial Càtedra Gaudí. The current sculptures are the work of Ramon Millet i Domènech. The gardens are now owned by the municipality and are open to the public.


House at 574 Bellefontaine St.

The House at 574 Bellefontaine St. is a historic house located at 574 Bellefontaine Street in Pasadena, California. Architect Sylvanus B. Marston of Marston, Van Pelt & Maybury designed the Swiss chalet style house, which was built in 1911 for developer G. Roscoe Thomas. The two-story house is built on a steep hill and has an "L"-shaped layout; the main entrance is located on the north side's second story. The front facade includes a large gable on the south side and a smaller one over the entrance porch; the larger gable features half-timbered woodwork. A stair tower at the back of the main corner has a pointed roof and an adjacent chimney stack. The north leg of the house has a second-story porch in the rear, while the west leg features arched windows and doors on the first floor and casement windows on the second.
The house was added to the National Register of Historic Places on August 6, 1998.


Hillsborough River State Park

Hillsborough River State Park is located in the northeast corner of Hillsborough County, Florida near Zephyrhills (which is itself in Pasco County). It is a popular park due to its proximity to the city of Tampa.
The park consists of over 2,990 acres, and there are more than seven miles of trails that run throughout it. Popular activities include fishing, canoeing, kayaking, picnicking, camping, birding, easy to moderate hiking, trail running, and nature photography. The park has award-winning campgrounds, a restaurant, and gift shop. Canoes and bicycles can be rented at the park.
Environment.
Much of the park is a live oak hammock due to its proximity to the river. Certain sections are swampy, but much of the forest surrounding the river is elevated, so floods are not regular. Land near the entrance of the park consists of pine trees and saw palmettos. The park is cleaved into two halves by a swiftly flowing section of the Hillsborough River. This section of the river is noted for having several clusters of small rapids, including Class II rapids. It is considered a blackwater river, and is one of the few rivers in Florida to have a system of rapids.
History.
Park Creation.
Hillsborough River State Park is one of the eight original Florida State Parks created in 1938. The park was originally built by the Civilian Conservation Corps (CCC), and some of the original structures remain, including the buildings that now house the administrative offices and Interpretive Center, the suspension bridge, and a section of fence. These demonstrate the rustic architecture style that was popular with the CCC.
The Second Seminole War.
Also located on park land is a replica of Fort Foster, which was originally built in 1836 during the Second Seminole War. Tours of the fort are given on weekends, which is the only way to view the fort. On special occasions, reenactments happen at the fort, where visitors can interact with "soldiers" in replica uniforms to learn about their duties at the fort. The Interpretive Center, which is located near the original entrance to the park, showcases many artifacts from the war. Both sides of the conflict are represented in the center, with a collection of more than 100 objects on display.


Nottingham Castle

Nottingham Castle is a former fortified-castle in Nottingham, England. In the Middle Ages it was a major royal fortress and occasional royal residence. In decline by the 16th century, it was largely demolished in 1651. It occupies a commanding position on a natural promontory known as "Castle Rock", with cliffs high to the south and west.
The Duke of Newcastle later built a mansion on the site, which was burnt down by rioters in 1831 and left as a ruin. It was later rebuilt to house an art gallery and museum, which remain in use. Little of the original castle survives, but sufficient portions remain to give an impression of the layout of the site.
The castle closed for a major refurbishment from 2018, with announced re-opening scheduled for Spring 2021.
Medieval history.
The first Norman castle on Castle Rock was a wooden structure of a motte-and-bailey design, begun in 1068, two years after the Battle of Hastings, on the orders of William the Conqueror. This wooden structure was replaced by a far more defensible stone castle during the reign of King Henry II, of an imposing and complex architectural design, which eventually comprised an upper bailey at the highest point of the castle rock, a middle bailey to the north containing the main royal apartments, and a large outer bailey to the east.
For centuries the castle served as one of the most important in England for nobles and royalty alike. In a strategic position due to its location near a crossing of the River Trent, it was also known as a place of leisure, being close to the royal hunting grounds at Tideswell, the "Kings Larder" in the Royal Forest of the Peak, and also close to the royal forests of Barnsdale and Sherwood. The castle also had its own deer park in the area immediately to the west, still known as The Park.
While King Richard I ("the Lionheart") was away on the Third Crusade, along with a great number of English noblemen, Nottingham Castle was occupied by supporters of Prince John, including the Sheriff of Nottingham. In the legends of Robin Hood, Nottingham Castle is the scene of the final showdown between the Sheriff and the heroic outlaw.
In March 1194, an historic battle took place at Nottingham Castle, part of the returned King Richard's campaign to put down the rebellion of Prince John. The castle was the site of a decisive attack when King Richard besieged it after constructing some siege machines similar to those used on crusade. Richard was aided by Ranulph de Blondeville, 4th Earl of Chester, and David of Scotland, 8th Earl of Huntingdon. The castle surrendered after just a few days.
Shortly before his 18th birthday, King Edward III, with the help of a few trusted companions led by Sir William Montagu, staged a coup d'état at Nottingham Castle (19 October 1330) against his mother Isabella of France, and her lover, Roger Mortimer, 1st Earl of March. Both Isabella and Mortimer were acting as Regents during Edward's minority following their murder of his father Edward II at Berkeley Castle. William Montagu and his companions were accompanied by William Eland, castellan and overseer of Mortimer's castle, who knew the location of a secret tunnel which would take them higher up in the castle to a normally locked door. In the dark of night on 19 October 1330, Montagu and his companions entered the tunnel, climbed up to the door, which had now been unlocked either by Edward III or a trusted servant, and overpowered Mortimer, killing Mortimer's personal guards. Mortimer was bound and gagged, led out of the tunnel and arrested, along with Queen Mother Isabella. Mortimer was sent to the Tower of London, and hanged a month later. Isabella of France was forced into retirement at Castle Rising Castle. With this dramatic event the personal reign of Edward began. These events seem to be echoed in an interpolation made to a metrical chronicle in around 1331, which describes the caves beneath the castle as having been carved out by Lancelot in his attempts to hide Guinevere from King Arthur following their adulterous affair. This seems to be the earliest reference to Lancelot and Guinevere's adultery that exists.
Royal residence.
Edward III used the castle as a residence and held Parliaments. In 1346 King David II of Scotland was held prisoner. In 1365 Edward III improved the castle with a new tower on the west side of the Middle Bailey and a new prison under the High Tower. In 1376 Peter de la Mare, speaker of the House of Commons, was confined in Nottingham Castle for having "taken unwarrantable liberties with the name of Alice Perrers, mistress of the king".
In 1387 the state council was held in the castle. Richard II held the Lord Mayor of London with Aldermen and Sheriffs in the castle in 1392, and held another state council for the purpose of humbling Londoners. The last visit recorded by Richard II was in 1397 when another council was held here.
From 1403 until 1437 it was the main residence of Henry IV's queen, Joan. After the residence of Joan maintenance was reduced. Only upon the Wars of the Roses did Nottingham Castle begin to be used again as a military stronghold. Edward IV proclaimed himself king in Nottingham, and in 1476 he ordered the construction of a new tower and Royal Apartments. This was described by John Leland in 1540 as:
the most beautifulest part and gallant building for lodging... a right sumptuous piece of stone work.
During the reign of Henry VII, the castle remained a royal fortress. Henry VIII ordered new tapestries for the castle before he visited Nottingham in August 1511. By 1536 Henry had the castle reinforced and its garrison increased from a few dozen men to a few hundred. In 1538 the Constable, the Thomas Manners, 1st Earl of Rutland, reported on the need for maintenance. A survey in 1525 stated that there was much "dekay and ruyne of said castell" and
part of the roof of the Great Hall is fallen down. Also the new building there is in dekay of timber, lead and glass.
Civil war.
The castle ceased to be a royal residence by 1600 and was largely rendered obsolete in the 17th century by artillery. A short time following the outbreak of the English Civil War, the castle was already in a semi-ruined state after a number of skirmishes occurred on the site. At the start of the Civil War, in August 1642, Charles I chose Nottingham as the rallying point for his armies, but soon after he departed, the castle rock was made defensible and held by the parliamentarians. Commanded by John Hutchinson, they repulsed several Royalist attacks, and they were the last group to hold the castle. In 1648 the Royalist commander Marmaduke Langdale, fleeing after defeat in the Battle of Preston, was captured and held in Nottingham Castle, but he managed to escape and make his way to Europe. In 1651, two years after the execution of Charles I in 1649, the castle was razed to prevent it being used again.
The present 'Ducal Mansion'.
After the restoration of Charles II in 1660, the present 'Ducal Mansion' was built by Henry Cavendish, 2nd Duke of Newcastle between 1674 and 1679 on the foundations of the previous structure. Despite the destruction of the keep and fortifications of the upper bailey, some rock cut cellars and medieval pointed arches survive beneath the mansion, together with a long passage to the bottom of the rock, commonly known as Mortimer's Hole, through which guided tours take place, starting at the Castle and ending at Brewhouse Yard.
The mason for the Mansion was Samuel Marsh of Lincoln, who also worked for the Duke at Bolsover Castle. His designs are generally thought to have been strongly influenced by Rubens's engravings, in his book "Palazzi di Genova". The Duke's mansion is a rare surviving example in England of Artisan Mannerist architecture.
However, it lost its appeal to the later Dukes with the coming of the Industrial Revolution, which left Nottingham with the reputation of having the worst slums in the British Empire outside India. When residents of these slums rioted in 1831, in protest against the Duke of Newcastle's opposition to the Reform Act 1832 they burned down the mansion.
The original exterior stairs on the eastern façade of the mansion were subsequently demolished to create a parade ground for the Robin Hood Rifles.
The mansion remained a derelict shell until it was restored in 1875 by Thomas Chambers Hine, and opened in 1878 by the Prince of Wales, (later King Edward VII) as Nottingham Castle Museum, the first municipal art gallery in the UK outside London. The new interiors ignored the original floor levels and fenestration to accommodate a top-lit picture gallery modelled after the Grand Gallery of the Louvre.
The gatehouse of the medieval castle and much of the walling of the outer bailey was retained as a garden wall for the Ducal mansion. However, the northernmost part of the outer bailey was lost when an approach road was constructed in the 1830s for the development of The Park Estate on the former deer park.
On Christmas Day 1996 a landslip, caused by a leaking water main, led to 80 tonnes of earth and retaining wall from the Restoration terrace next to the Mansion falling to the bottom of the Castle rock. This revealed some remains of the original castle foundations and the bedrock. After a lengthy controversy on the best conservation/restoration approach, the terrace was reinstated with a traditional stone façade. The terrace offers great views to the south of the city, and appeared in the film "Saturday Night and Sunday Morning", a film about the changing attitude of youth in a changing industrial society.
A drawing of the Ducal Mansion appeared on millions of packets of rolling tobacco and cigarettes made by John Player & Sons, a Nottingham firm. Most packets had the phrases "Nottingham Castle" and "Trade Mark" bracketing the image of the non-fortress-like structure. This led the novelist Ian Fleming to refer to "that extraordinary trademark of a dolls house swimming in chocolate fudge with Nottingham Castle written underneath" in "Thunderball", in the knowledge that his British readers would be familiar with the image.
The building and grounds closed for a major, multi-million renovation from 2018, with announced re-opening scheduled for Spring 2021.
Nottingham Castle Museum.
Until its closure in July 2018, the ducal mansion was still in use as a museum and art gallery. It housed most of the City of Nottingham's fine and decorative art collections, galleries on the history and archaeology of Nottingham and the surrounding areas, and the regimental museum of the Sherwood Foresters. Notable elements of the collections were:
Additionally, The Nottingham Castle Victoria Cross Memorial, dedicated on 7 May 2010, lists Albert Ball and 19 other Nottinghamshire recipients of the Victoria Cross.
Fine art from Britain and continental Europe was on display in the Long Gallery of the Castle. It included works by artists from Nottinghamshire such as Thomas Barber, Richard Bonington, Henry Dawson, Paul Sandby and John Rawson Walker, and 20th-century works by Edward Burra, Tristram Hillier, Ivon Hitchens, Dame Laura Knight, Harold Knight, L.S. Lowry, William, Ben and Winifred Nicholson, Stanley Spencer, Matthew Smith and Edward Wadsworth.


Lindau-Insel station

Lindau-Insel station () (until May 15, 1936 "Lindau Stadt", until December 12, 2020 "Lindau Hauptbahnhof") is the largest station in the city of Lindau (Bodensee) and was its most important station until passenger service resumed at Lindau-Reutin station () on December 13, 2020. In the urban area there is also "Lindau-Aeschach" station and "Lindau-Reutin" freight yard. Formerly there were also "Lindau-Siebertsdorf" (called "Lindau-Zech" until 15 May 1936), "Lindau Langenweg", "Lindau Strandbad", "Schoenau", "Oberreitnau" and "Rehlings".
Location.
Lindau-Insel is a railway terminus and lies on the island of Lindau in the immediate vicinity of Lindau harbour. The current station building, which is protected as a monument, was built between 1913 and 1921 in the Art Nouveau style.
The station is about 500 metres long and is connected by a four-track line running over an embankment to the mainland. The embankment and the parallel Seebrücke road bridge, which is about 500 metres to the east, form the perimeter of the so-called Kleinen See (small lake), which lies between the suburb of Aeschach and the island. On the west side of the station there is a small marshalling yard and the former depot. Meanwhile, some workshops in the rear are still used for vehicle maintenance.
The railway lines separate the districts of Hauptinsel (main island) from the Hinteren Insel (rear island). However, a pedestrian bridge and the Thiersch road bridge run above the tracks. As part of the "Lindau 21" project, it is proposed that the terminal station be replaced by a through station on the mainland at Lindau-Reutin to simplify operations.
History.
Lindau is the terminus of the Allgäu Railway, running from Munich via Kempten. Its southeastern section from Oberstaufen to Lindau was completed on 1 September 1853. From 1869 to 1939 there was a ferry port for the carriage of freight wagons to Romanshorn and from 1873 to 1899 to Konstanz. In 1899, the Bodenseegürtel Railway was opened from Radolfzell via Friedrichshafen. The Vorarlberg Railway runs from Lindau via Bregenz, Dornbirn and Feldkirch to Bludenz and is operated by the Austrian Federal Railways (ÖBB). As a result, Lindau is also a border station. Formerly the ÖBB had its own ticket office in Lindau station; this was replaced by ticket machines, which still exist.
The route to Bludenz was electrified on 14 December 1954 and is still the only electrified line to Lindau. In Lindau station, tracks 1 to 3 are electrified. Even Swiss Federal Railways electric locomotives are scheduled to run to Lindau.
Operations.
Long-distance passenger services.
EuroCity line 88 (DB-designation) provides regular connections from Munich via Lindau to Zurich. In addition, a single pair of Intercity services run on German line 32 from Münster via Lindau to Innsbruck. EuroCity and Intercity trains change traction between electric and diesel locomotives in Lindau.
Formerly, Express trains of the ÖBB ran from Lindau, including direct links to Vienna. Today Austrian long-distance trains mostly start in nearby Bregenz. Since December 2010, a daily service operated with Railjet rollingstock has run from Lindau. Initially it runs as a Regional-Express service to Bregenz with a stop in Lochau-Hörbranz. It runs as a Railjet service from Bregenz to Vienna.
Regional services.
Regional services are operated from Lindau station by three companies in three different directions. "DB Regio Allgäu-Schwaben" runs towards Bavaria, "DB ZugBus Regionalverkehr Alb-Bodensee" runs towards Baden-Wurttemberg and "ÖBB" runs towards Austria.
Interregio-Express (IRE) trains run every two hours to and from Friedrichshafen bound for Ulm or Stuttgart. These are supplemented by hourly Regionalbahn (RB) services which operate to and from Friedrichshafen.
Circulating to and from Hergatz among others are "Arriva-Länderbahn-Express" (ALEX, now operated by Netinera) services to and from Munich and the "Allgäu-Franken-Express" (a Regional-Express) to and from Nuremberg. Additionally a Regionalbahn service operates to and from Augsburg as well as individual Regional-Express services to and from Ulm via Kempten.
The ÖBB operates Regional (R) and Regional-Express (REX) services to Bludenz or St. Margrethen in Switzerland.
City buses.
Bus routes 1 and 2 of "Stadtbus Lindau" operate from the station forecourt to all part of the city of Lindau.


Auberge de France

Auberge de France () refers to two auberges in Valletta, Malta. They were both built in the 16th century to house knights of the Order of Saint John from the langue of France, which induced the entire Kingdom of France except for Auvergne and Provence which were separate langues.
The first auberge was built sometime after 1570, and it is still partially intact. The second, larger auberge was built after 1588, and it was destroyed by aerial bombardment in 1942. The site of the latter is now occupied by the Workers' Memorial Building, which was constructed in the 1960s.
First auberge.
Following the transfer of the capital city of Malta from Birgu to Valletta, the langue of France had to move from its original auberge in Birgu to a new site in Valletta. The first French auberge in Valletta was built sometime after 1570, on a site bounded by Old Mint Street, South Street, Scots Street and Windmill Street, and it was designed by the Maltese architect Girolamo Cassar. It remained in use until the construction of the second auberge sometime after 1588.
The original auberge later temporary housed the German langue while Auberge d'Allemagne was undergoing repairs in 1604, and part of it was later leased to the Treasury to house the mint of the Order until 1788. Parts of this building, including most of the façade except for the main doorway, are still in existence.
Second auberge.
By the 1580s, this first auberge was too small to house the langue of France, so on 2 April 1588 the French langue requested to transfer its headquarters to a plot on the corner of South Street and Old Bakery Street. This site was occupied by the house of Bali Fra Christopher le Bolver dit Montgauldry, which was eventually incorporated into the new auberge. The second auberge is claimed to have been designed by Cassar, but there are other claims that suggest it was by another architect.
The second auberge continued to house the langue of France until 1798, when the Order left Malta due to the French occupation. It was subsequently used for a number of purposes, and by the 1830s, it was the residence of the Commissary General. The building was included on the Antiquities List of 1925 together with the other auberges in Valletta. At the time of its destruction, the auberge was the headquarters of the Department of Education.
On 8 April 1942, during World War II, Auberge de France was hit by a German heavy-calibre bomb and it was completely destroyed. The ruins were cleared after the war and the Workers' Memorial Building was erected in its place in the 1960s. This building houses the offices of the General Workers' Union.
The second Auberge de France was built in the Mannerist style, typical of its architect Girolamo Cassar. However, the building's layout differed from Cassar's usual design, since a pre-existing structure was integrated into the auberge. This resulted in an asymmetrical façade, with the main entrance being located to the right, and with its windows having a variety of designs and sizes. The auberge's courtyard was located at the rear of the building.
A plaque on the Workers' Memorial Building describes the auberge as "one of the finest buildings of the Knights of St. John".


Plaza Theatre (Sydney)

The former Plaza Theatre in Sydney, New South Wales is a heritage listed building designed as a 2000-seat cinema by Eric Heath for the Hoyts Group. It is an example of central Sydney's inter-war building boom in theatre buildings and one of a handful of central Sydney's surviving theatre buildings.
Location.
The building is located at 600 George Street, Sydney on the western half of the block bounded by Wilmot Street and Central Street to the sides and Pitt Street to the rear. It is a prominent feature of the entertainment sector's streetscape.
History.
The Plaza Theatre was built during a "golden age" of cinema-going in Australia and was opened on 11 April 1930.<ref name="Australia, Macmillan Company 1981, p.2/102">The Heritage of Australia, Macmillan Company, 1981, p.2/102</ref> By 1950 cinema attendance had declined and this was further affected by the introduction of television in 1956. Many suburban cinemas closed down and in the city a number of theatres were demolished for redevelopment. In 1977 the Plaza was closed as a cinema and the foyer was converted to a McDonald's and the auditorium was converted to a skating rink, concert venue and restaurant. A Heritage order prevented its demolition until 1995 when the auditorium became Planet Hollywood. That area is now a licensed bar.
The theatre's organ was built circa 1923 by the Rudolph Wurlitzer Company of North Tonawanda, New York and was installed at the Plaza in 1937 from the Wintergarden Theatre, Brisbane. It was removed around 1968 and the console was relocated to a private residence in Harris Park, New South Wales.
The building is of historic significance at a State level due to its ability to reflect the inter-war boom period of picture palace buildings in Sydney and for its contribution to the development of Sydney's George Street cinema precinct. It is an example of the Spanish Mission style and is particularly notable for its external Baroque detailing. It is listed on the Heritage Register of New South Wales as well as the Register of the National Estate.
Design and construction.
The building was constructed in the years 1929 and 1930 by the building firm James Porter & Sons and to a design by Eric Heath. The brickwork facade is rendered in a rough cast stucco giving an exaggerated texture. The raised decorative detailing is in precast concrete. There are five floors. including a basement. and the three storey facade above the awning is symmetrical. It is dominated by a three window four Corinthian column loggia. The columns are supported on pedimented brackets and finish in an entablature incorporating spiral [urn]s. The individual windows are topped by decoration, and the north-west corner is chamfered.
Interiors.
The majority of the interior detailing has been lost since the building's demise as a cinema, although remnants remain in the McDonald's restaurant that is now in sections of the original foyer. These include sections of the beamed ceiling, typical Spanish motifs and coloured and stencilled floral motifs on the ceiling. Sections of the polychrome stencilled ceilings in the auditorium remain.


Saddlehorn Utility Area Historic District

The Saddlehorn Utility Area Historic District in Colorado National Monument comprises a complex of park service buildings, designed by the National Park Service Branch of Plans and Designs in the National Park Service Rustic style. The primary designer was National Park Service architect Kenneth M. Saunders, who employed the local red sandstone in the buildings, which included shops, fuel shed, repair and storage buildings. The buildings were constructed in 1941 by Public Works Administration and Civilian Conservation Corps labor.
The utility area is located at the intersection of Rim Rock Drive and the Saddle horn Loop, named after a distinctive nearby rock formation. It is separated from the caretaker's house by a low hill. Construction was carried out by craftsmen, known as LEM's (Local Experienced Men), with suitable skills, reputedly stonemasons of Italian descent. Much of the material came from Rim Rock Drive construction.
The three Saddlehorn National Register properties were nominated to the National Register of Historic Places as a multiple property submission on the basis of their related design and history. The utility area was built by CCC camp NM-2-C.


Photice

Photice or Photike () was a city in Epirus in the Roman and Byzantine periods. In the late Middle Ages it was known as Hagios Donatos (Ἄγιος Δονᾶτος).
History.
The city was likely settled since Classical Antiquity, but is only known in later times. It appears in the 6th-century "Synecdemus", and according to Procopius of Caesarea, it was restored by Justinian I (). Procopius says that it originally stood in a marshy situation, and that Justinian built a citadel upon a neighbouring height. That citadel was likely named after Saint Donatus; in the lists of Justinian's buildings provided by Procopius, there are two forts of that name in the province of Epirus Vetus.
The city is attested as a bishopric, a suffragan see of the Metropolis of Naupaktos, since the Council of Chalcedon in 451. Only a few of its bishops are known: John (at the Council of Chalcedon), Diadochus (signatory of a letter on the murder of Proterius of Alexandria to Emperor Leo I the Thracian), Hilarius (signatory of a letter to Pope Hormisdas), Manuel (at the time of Germanus II of Constantinople), Antony (in 1564), and Nicholas (). From the 10th century, the see was moved to nearby Bela, probably for a short time at first; by the 13th century, the bishopric resided permanently at Bela. By that time, Photice itself was known as Hagios Donatos; the "chastel de Saint Donnat" was promised as his wife's dowry to Philip of Taranto by Nikephoros I Komnenos Doukas, Despot of Epirus.
In the revolt of Epirus in 1338/39 against the Byzantine emperor Andronikos III Palaiologos (), Hagios Donatos remained loyal to the emperor. In 1367 or 1368 the town, under its ruler Bardas, abandoned the allegiance to the Serbian ruler of Epirus, Thomas Preljubović, but in 1380 Thomas purchased its possession. In 1411 the town submitted to Carlo I Tocco, who later appointed his second son, Torno, as its governor. Paramythia, which eventually succeeded the settlement, is attested at about the same time. The Ottomans knew the town as "Aidonat Kalesi".
Location and remains.
Its site is located near the modern area of Limponi, some 2 km northwest of Paramythia. Remains of the fortifications on a rocky plateau, stretching in an east–west direction with sheer cliffs to the west, include walls up to 5 m high, remains of a gate with tower, and of a square keep. The wider area features a number of Byzantine monuments:
At the site of Balsamari, remains of a three-aisled Byzantine basilica, probably dating to the 11th century, dedicated to Saint Photeine. Its dimensions are 13.7 m × 12.3 m, and its walls survived in places up to 2.5 m in height. West of Balsamari, at Palioklisi, remains of an early Christian basilica on a hilltop. Probably three-aisled, some 20 m × 14 m large, with walls up to 2 m high, in the apse up to 4.5 m. West of Plioklisi is the Panagia Lampobithra (or Lampovitsa), a ruined small, one-aisled church, some 7 m × 5 m large.
In Paramythia itself lies the Church of the Dormition or Great Church (Μεγάλη Εκκλησία), a late Byzantine three-aisled basilica. Some 100 m to the north are remains of a Byzantine bath-house. Some 3 km south of Paramythia, near the village of Chrysavgi, remains of a three-aisled basilica (6th/7th century).
Catholic titular see.
A titular see of Photice () was established by the Roman Catholic Church in 1933. It has had two incumbents, and has been vacant since 1978:


Saint-Louis station

Saint-Louis station (French: "Gare de Saint-Louis") is the main railway station in the border town of Saint-Louis, Haut-Rhin, France.


Santi Andrea e Bartolomeo (Rome)

Santi Andrea e Bartolomeo is a Catholic church in Rome (Italy), in the "Rione" Monti, on Via Santo Stefano Rotondo.
History.
Of very ancient origins, its history is linked to that of the hospital of San Giovanni.

The primitive church was built on the family home of Pope Honorius I (who died in 638), together with the monastery, as recalled in the biography of Pope Adrian I: «"monasterium ss. Andreae et Bartholomaei, quod appellatur Honorii papae"».
During the 14th century the church was completely renovated, then rebuilt between 1630 and 1636 by Giacomo Mola under the pontificate of Urban VIII and finally transformed in eighteenth-century style in 1728, when the facade - which incorporates a fifteenth-century portal - was completed.
Description.
The church is almost triangular in shape; the Cosmatesque floor was created by the guardians of the Archconfraternity of the Holy Savior, Marco Diotaiuti and Giovanni Bonadies, in 1462.

It has only one altar at the bottom of the apse and contains a fresco in Byzantine style, which belonged to the chapel (later demolished) of St. Mary the Empress near the monastery of Santi Quattro Coronati.


San Nicola da Tolentino agli Orti Sallustiani

San Nicola da Tolentino agli Orti Sallustiani (Italian: Saint Nicholas of Tolentino in the Gardens of Sallust) is a church in Rome. It is referred to in both Melchiori's and Venuti's guides as "San Niccolò di Tolentino", and in the latter it adds the suffix "a Capo le Case". It is one of the two Roman national churches of Armenia. The church was built for the Discalced Augustinians in 1599, and originally dedicated to the 13th century Augustinian monk, St. Nicholas of Tolentino (also called "San Niccolò" or "Nicolò da Tolentino").
History.
The interior was refurbished during 1614–1620 by Carlo Buti and Martino Longhi, supported by patronage by the Pamphilj family. The Milanese architect Francesco Buzio was also involved in the redesign. Starting in 1654, again with Pamphilj patronage, the church was rebuilt with designs by Giovanni Maria Baratta, one of the main pupils of Alessandro Algardi. In 1883, the church was given to the Pontifical Armenian College by Pope Leo XIII. The Armenian Catholic Church is in full communion with the Roman Catholic Church.
Interior.
The main altarpiece of "San Giovanni Battista" is by Baciccio. The sculpture of the "Madonna with Child offering the Miraculous Bread to St Nicholas, St Augustine and St Monica" over the main altar was completed by Domenico Guidi with Angels by Baratta, with surrounding stucco-work by Ercole Ferrata. The high altar was based on a design by Algardi.
The first chapel on the right has a depiction of "Miracle by St Nicholas of Bari" (1710) by Filippo Laurenzi. The "Annunciation" is by Pughelli, and lateral canvases by Giovanni Ventura Borghesi.
In the second chapel on the right is an altarpiece by Lazzaro Baldi.
In the third chapel on the right side is the sepulchral monument of Cardinal Federico Lante delle Rovere, with paintings by Pietro Paolo Baldini.
The third chapel on the left, the Gavotti chapel, was designed in 1668 by Pietro da Cortona who began the ceiling fresco work, although after his death, it was finished by Ciro Ferri. The chapel was dedicated to the "Madonna of Savona". The sculptural relief at the altar of the "Apparition of the Blessed Virgin of Savona to Blessed Anthony Botta" was completed by Cosimo Fancelli, and statues of "St Joseph" by Ercole Ferrata and "St John the Baptist" by Antonio Raggi.
The second chapel on the left, the Buratti chapel, was designed by Giovanni Battista Mola, the father of Pier Francesco Mola.
THe first chapel on the right has a "St Phillip Neri" painted by Cristofaro Creo.
The dome is octagonal, with eight windows. The cupola is frescoed (1643) by Pietro Paolo Baldini and depicts four female angels symbolizing the four fundamental virtues of the Augustinian Order: Chastity, Humility, Poverty and Obedience. There is also a fresco depicting "Glory of St Nicholas of Tolentino" by Giovanni Coli and Filippo Gherardi. The Sant'Agnese altarpiece to the left of the crossing is a copy of a Guercino original found in the Doria Gallery.


Oregon Caves Historic District

Oregon Caves Historic District covers in the main visitor area of Oregon Caves National Monument in southern Oregon. The district includes four primary buildings plus two other structures. Because of the unique rustic architecture of these National Park Service buildings and the surrounding park landscape, the area was listed on the National Register of Historic Places in 1992.
History.
Elijah Davidson discovered the Oregon Caves in 1874 while bear hunting near Sand Mountain (now renamed Mount Elijah after Davidson). While Native Americans may have known of the caves prior to Davidson's discovery, no evidence of earlier exploration or use has been found. Thus, Davidson is credited with being the first person to enter the caves.
In 1907, Joaquin Miller visited the caves. After his visit, he wrote an article that highlighted the cave's unique beauty. The article gave the caves nationwide exposure. Under authority of the Antiquities Act of 1906, Federal Government ordered a site survey, which was completed in 1908. As a result, of the survey and continued advocacy from Miller and others prominent citizens, the Oregon Caves were designated as a National Monument by President William Howard Taft in 1909.
The United States Forest Service was given responsibility for the Oregon Caves National Monument in 1909. Due to the caves remote location the first permanent road to the site was not completed until 1922. In 1934, oversight of the monument passed to the National Park Service. Over the next nine years, the Park Service worked with the Civilian Conservation Corps to develop and landscape the Oregon Caves site to attain the look of a "rustic alpine village" nestled in a mountain canyon. The Park Service's naturalistic design principles dictated the use of indigenous materials and rustic stone work. Every element was careful set in place to highlight the rugged character of the canyon. Cedar-bark sheathing was used as a unifying design element on all the buildings. While some changes have been made to the original structures, the buildings still retain their unique rustic character which is enhanced by the surrounding park landscape. In 1992, part of the Oregon Caves National Monument was designated a historic district and listed on the National Register of Historic Places.
Structures.
The buildings in the Oregon Caves Historic District illustrate the National Park Service rustic-style architecture. The historic structures remain generally intact with only a few minor exceptions necessary for general site rehabilitation due to landslide, flood damage, and safety codes. The Oregon Caves Historic District has four primary buildings plus two other structures. The primary buildings are the Chalet, built in 1924 and reconstructed in 1942; the Oregon Caves Chateau built in 1934; the Guide Dormitory, built in 1927 with major additions in 1940 and 1972; and the Ranger Residence, built in 1936. The most noteworthy of these is the Chateau, which is individually listed on the National Register of Historic Places (NRHP # 87001346).
Five of the six structures within the historic district, the four primary buildings and an original Checking and Comfort Station, are considered contributing structures with common, distinctive features. All the buildings were built between 1926 and 1942 with rough-cut, Port Orford cedar-bark sheathing, wood-shingled roofs, and rustic stone work.
In addition to the existing structures in the historic district, there were seven rustic duplex-cottages built on a step slope south of the Chalet behind the Ranger Residence. These cottages were constructed in 1926, as rental units for park guests. After 1935, some were also used as ranger residences. Each cottage was slightly different due to unique site topography. However, all of the cottages had cedar-bark sheathing and gabled roofs that matched the features of the nearby Chateau and Chalet. They were removed in 1988.
Setting.
The Oregon Caves National Monument is located on Mount Elijah in the Siskiyou Mountains. It is sited on in upper Cave Creek Canyon with elevations ranging from to above sea level. Cave Creek originates inside the Oregon Caves emerges near the Chateau. The creek flows westward through a steep canyon out of the monument.
The natural environment surrounding the Oregon Caves Historic District has not changes significantly since the historic structures were built. The overall site design and landscaping successfully blended the historic structures into the natural setting. The Chalet and Chateau are located on the canyon bench near the cave entrance with the Ranger Residence and Guide Dormitory sited along opposite sides of the canyon. A plaza area is located between the Chalet and Chateau. The Plaza landscaping and stone masonry walls provide shade and rustic accent that highlight the historic district's primary buildings. In addition, the surrounding forest is dense and hides the service road, adding to the district's rustic feeling.
Access.
The Oregon Cave Historic District is within the boundaries of the Oregon Caves National Monument. The monument is located in the Siskiyou Mountains of southwest Oregon, seven miles (11 km) north of the Oregon-California border. It is east of Cave Junction, Oregon on Oregon Highway 46 which terminates at the monument's day-use parking lot.
The weather in the Oregon Caves area is generally moderate. However, storms can occur without warning and are sometimes very intense. In addition, fog is common in the winter and early spring. The average rainfall is approximately per year, and the average annual snowfall is . During the winter, the access highway is often closed temporarily during heavy snow storms.


Fraenkelufer Synagogue

The synagogue on Fraenkelufer () in Berlin's Kreuzberg district was built as an Orthodox Synagogue between 1913 and 1916 according to plans and under the direction of the master builder of the Jewish Community of Berlin, Alexander Beer. The structure was located on Kottbusser Ufer 48–50, today's Fraenkelufer 10-16. On Kristallnacht, the evening of November 9-10th, 1938, the main building of the synagogue was badly damaged. Further destruction in the following years led to the structures ultimate demolition in 1958/1959 after the end of World War II. Today the surviving outbuilding, previously used for the youth service, has been renovated and is home to a Conservative Synagogue. A complete reconstruction of the main synagogue that was destroyed by the National Socialists is being planned for its original location.
History.
1913–1933: Construction and Life in the Weimar Republic.
The Jewish master builder Alexander Beer designed the neoclassical synagogue in 1912 after the Jewish community acquired the site in 1911. Construction work began a year later and the inauguration took place on September 17, 1916. With over 2,000 seats, this synagogue was one of the largest in Berlin. In addition to the main prayer hall, the building complex also had a weekday synagogue, a hall for youth services, a wedding hall, and meeting and living rooms. In 1925 the Jewish community opened a kindergarten and after-school care center and in the following years a youth home and a holiday playground on the site. Twice a week there was also an afternoon religious school.
The rabbi of the synagogue from its inauguration until 1932 was Isidor Bleichrode. He was later replaced by Rabbi Julius Jakobovits. The composer and collector of synagogue music Arno Nadel officiated as cantor and choir director.
1933–1942: The Synagogue during National Socialism.
The systematic social, economic exclusion and expropriation of the Jews by the National Socialists resulted in poverty and material hardship. The Jewish community tried to provide help through welfare offices and a Jewish Winter Aid (Jüdische Winterhilfe) distribution point, which were located in the building complex. In 1935 a relief kitchen was set up in the basement of the synagogue.
As early as 1930 the synagogue was defaced with swastikas and other anti-Semitic slogans. Like many other buildings belonging to the Jewish community, this synagogue was set on fire during the November pogroms, Kristallnacht, in 1938. Since the synagogue was adjacent to a city school, the fire brigade and police kept the spread of the flames in check. The synagogue was badly damaged, but not destroyed, however the main prayer hall could no longer be used for services. From December 1938 until October 1942, the congregation therefore met in the youth synagogue in the side wing of the building instead. Since only seven Berlin synagogues were reopened after the November pogroms, other congregations in the neighborhood also held their services in the building.
After Rabbi Julius Jakobovits emigrated to Great Britain, where his son Immanuel Jakobovits later became Chief Rabbi, Rabbi Georg Kantorowski, Rabbi Regina Jonas and Rabbi Martin Riesenburger occasionally officiated in the synagogue.
At the end of 1941 the building was used to store looted Jewish property from around Berlin. At the beginning of 1942 the Gestapo occupied the entire property and used it to park military vehicles. In a bombing raid on Berlin in 1944 the site suffered further destruction and in 1958/1959 the main building was fully demolished.
Reopening in 1945.
Immediately after the war, the youth services building was the first synagogue in Berlin to be reopened in time for Rosh Hashanah, the Jewish New Year celebrations, in September 1945. This is primarily thanks to the initiative of the Jewish American soldier Harry Nowalsky. The Jewish Hungarian-American war photographer Robert Capa immortalized this special moment in a series of pictures for ’’Life’’ magazine. Some of these images have been displayed in the synagogue since 2016. In the years following its reopening in 1945, weddings, bar mitzvahs and religious instruction took place in the synagogue.
In 1985, around 25 Torah curtains from various synagogues were found hidden in the attic and were restored. Some of them can be viewed today in the synagogue on Fraenkelufer.
A memorial stone by Cornelia Lengfeld erected on the property boundary in 1989 reminds visitors of the destruction in the past. The building is a historical monument, and a memorial plaque on the embankment shows the earlier construction and tells the story of the site's destruction.
The community since its rededication in 1959.
On April 22, 1959, the former side wing of the synagogue was consecrated again, after significant reconstruction and has since been used for prayers and community life. There, rabbis of different affiliations take turns, from liberal to orthodox. In the beginning, the community of prayer consisted of survivors and returnees. Many of them lived and worked in the immediate vicinity of the synagogue. Over the years, immigrants from different countries also joined, and in the 1980s and 1990s, many immigrants came from the former Soviet Union. From the mid-2000s, the congregants became even more diverse and international: Many young Israelis, North and South Americans, people from different European countries and beyond have made Kreuzberg and Neukölln - and with it the Fraenkelufer Synagogue - their new home.
In 2012 the Friends of the Fraenkelufer Synagogue (Freunde der Synagoge Fraenkelufer e. V.) was founded by supporters and members in order to actively shape community life and to organize cultural and educational events. The community has grown so much that the reconstruction of the original synagogue building as a Jewish community and cultural center is now being planned.
Planned Reconstruction.
The synagogue is to be completely rebuilt in its original location in Kreuzberg. The project represents the first time that a fully complete reconstruction of a synagogue that was destroyed during the Nazi period in Berlin will come to fruition. Other projects in the city to date are partial or considered renovations.
On the initiative of the SPD Politician , the Förderverein Jüdisches Zentrum Synagoge Fraenkelufer e.V. set up a board of trustees that will deal intensively with the reconstruction. The 20-person committee attaches great importance to the fact that the new synagogue is based on the architectural style of the previous building. The committee includes Raed Saleh, Monika Herrmann, Michael Müller, as well as representatives of the Jewish and Muslim communities and people from business and the media. In order to actually make progress, donations must first be raised and the population's understanding of this reconstruction must be deepened, especially in times of increasing anti-Semitism. The laying of the foundation stone is planned for 2023, 85 years after the destruction in the night of the pogrom. Completion is planned for the 110th anniversary of the synagogue in 2026.
Architecture.
The synagogue consisted of a main building with several auxiliary buildings on a triangular site, in which a weekday synagogue, official apartments and a building for the youth service were housed. Accordingly, it was not only intended to serve as a place of worship, but also as a community center and was used in this way in the early years.
The synagogue building consisted of a three-aisled structure that offered space for 2,000 people. It was built as a pillar basilica, with the facade facing the Landwehr Canal structured with windows in the upper storey. As an architectural style, Beer chose a neoclassical style with elements from medieval and baroque buildings; a large portico with four Greek columns represented the dominant three-part entrance area.
The smaller synagogue for youth services was structured by Doric half-columns. By the end of the 1970s, its facade was painted green and white. It is roughly half as high as the former main sanctuary building.


Arnos Grove tube station

Arnos Grove is a London Underground station located in Arnos Grove in the London Borough of Enfield, London. It is on the Piccadilly line between Bounds Green and Southgate stations and is in Travelcard Zone 4. The station opened on 19 September 1932 as the most northerly station on the first section of the Piccadilly line extension from Finsbury Park to Cockfosters. It was the terminus of the line until services were further extended to Oakwood on 13 March 1933. When travelling from east of Barons Court and through Central London, Arnos Grove is the first surface station after the long tunnel section of the Piccadilly line. The station has four platforms which face three tracks.
The station was designed by architect Charles Holden, and has been described as a significant work of modern architecture. On 19 February 1971, the station was Grade II listed. In 2005, the station was refurbished with the heritage features also maintained. In July 2011 Arnos Grove's listed status was upgraded to Grade II*. The station was awarded with the Best Newcomer and the Best Overall Garden in the Underground in Bloom 2011 competition and also in the London in Bloom competition.
Location.
The station is located on A1110 Bowes Road, serving a medium-sized residential area. Arnos Grove is the first surface station after the long tunnel section which starts east of Barons Court and passes through Central London. The station and surrounding neighbourhood of Arnos Grove take their names from the Arnos Grove estate, which was to the north of the station. The station is part of the Arnos Grove group of stations, comprising all seven stations from Cockfosters to Turnpike Lane, and the management office for the group is in Arnos Grove station. Linked to the station by a lineside passageway is Ash House, which is a drivers' depot. Nearby attractions include Arnos Park, Broomfield School and Bowes Road Library. Arnos Grove is known for its circular ticket hall and as a quiet, peaceful and green neighbourhood until the 1960s. When the Piccadilly line extension came, Edwardian villas were built in the area.
History.
The Great Northern railway (GNR) and its successor, the London and North Eastern Railway (LNER), for many years refused consent for any extension into the suburbs of Haringey and Enfield. In 1902, parliamentary approval was obtained to ban any further extensions of London Underground lines northwards from Finsbury Park. This created a bottleneck at Finsbury Park, back then the northern terminus of the Piccadilly line. By 1923, a public campaign against the 1902 parliamentary ban emerged, and Frank Pick had risen to Assistant Managing Director of the Underground group. To help address this issue, Frank Pick gathered photographs of the congestion at Finsbury Park and distributed to the press. In 1925, the LNER gave in to the objection. Pick began working on the extension proposal and obtained parliamentary approval in 1929. The alignment was based on the absence of property development along the line. Funding was obtained from legislation under the Development (Loan Guarantees and Grants) Act instead of the Trade Facilities Act. Tunnel rings, cabling and concrete was produced in Northern England, while unemployed industrial workers there helped in the construction of the extension. 22 tunnelling shields were used during construction which started in 1930. The station was opened on 19 September 1932 as the terminus on the first section of the Piccadilly line extension to Cockfosters. The line was further extended to Oakwood on 13 March 1933. Its name was chosen after public deliberation: alternatives were "Arnos Park", "Bowes Road" and "Southgate".
Incidents.
On the night of 13 October 1940, during the Blitz, a lone German aircraft dropped a single bomb on houses to the north of Bounds Green station. The destruction of the houses caused the north end of the westbound platform tunnel to collapse. As a result, train services between Wood Green and Cockfosters were disrupted for two months. On 11 August 1948, a passenger train was derailed when the front and rear bogies of a carriage took different routes at a set of points at the station. On 7 July 2005, a bomb exploded on a train travelling between King's Cross St. Pancras and Russell Square. Train services between Hyde Park Corner and Arnos Grove were disrupted until 4 August of the same year.
Station building.
Like the other stations Charles Holden designed for the extension, Arnos Grove was built in a modern European style using brick, glass and reinforced concrete and basic geometric shapes. A circular drum-like ticket hall of brick and glass panels rises from a low single-storey structure and is capped by a flat concrete slab roof. The design was inspired by the Stockholm City Library and Swedish architect Gunnar Asplund. The centre of the ticket hall is occupied by a disused ticket office (a passimeter in London Underground parlance) which houses an exhibition on the station and the line.
The station today.
Three parallel train tracks pass through the station, with two double-sided platforms between the central track and the outer tracks. The edges of the platforms are labelled platform 1 and 2, and platform 3 and 4, in such a way that the two outer tracks are accessible from platforms 1 and 4, and the central track, usually used by trains that terminate and reverse at Arnos Grove station, is accessible from platforms 2 and 3. Platforms 1 and 2 are designated for trains to Cockfosters while platforms 3 and 4 are for trains to Central London.
In July 2011 Arnos Grove became a Grade II* listed building. The building is one of the 12 "Great Modern Buildings" profiled in The Guardian during October 2007. Arnos Grove Drivers' Depot won Best Newcomer and Best Overall Garden in the Underground in Bloom 2011 competition for their new project which also got them an award in the London in Bloom competition. Their website tells the whole story with photographs of the garden and the awards ceremonies.
Station improvements.
In 2005 the station underwent a refurbishment programme including improvements to signage, security and train information systems. General repairs and redecoration were carried out, flooring was renewed, and better lighting, an improved CCTV security system and Help Points were installed, with the latter being suitable for people with limited hearing. Some of the original signs are in a 'petit-serif' adaptation of the London Underground typeface, Johnston Delf Smith Sans. This typeface was designed by Charles Holden and Percy Delf Smith, a former pupil of Edward Johnston.
During the refurbishment programme, all these heritage features were maintained as well:
Services and connections.
Services.
A journey between Arnos Grove and Southgate typically takes slightly more than four minutes. Train frequencies vary throughout the day, but generally operate every 3–9 minutes between 07:07 and 01:07 eastbound, and every 2–6 minutes between 05:19 and 00:06 westbound. When operational problems occur on the line, Arnos Grove station may act as a temporary terminus of a reduced service – either a shuttle service between Arnos Grove and Cockfosters or a truncated service from Central London. The station has a set of seven sidings to its south for stabling trains.


Fort Matanzas National Monument Headquarters and Visitor Center


Tilanqiao Prison

The Tilanqiao Prison (), formerly known as the Ward Road Gaol or Shanghai Municipal Gaol, is a prison in Hongkou District of Shanghai, China. Originally built in the foreign-controlled Shanghai International Settlement, it is now run by the Chinese Ministry of Public Security. Throughout the first forty or so years of its life it was the largest prison in the world and earned a reputation as the "Alcatraz of the Orient".
Ward Road Gaol period (1903–1941).
Tilanqiao Prison was built to hold those convicted of crimes in Shanghai's International Settlement. Prior to its construction foreign convicts were held in ad hoc prisons within their consulates (or, if British, the Amoy Road Gaol) until they could be returned to their home country, and Chinese citizens were handed over to the native Chinese authorities. In 1901, however, with the growing size of the International Settlement and, in the aftermath of the Boxer Rebellion, a fear the Qing government could no longer control its citizens, the Shanghai Municipal Council drew up plans for a modern-style jail based on Singaporean and Canadian designs. Construction began at 117 Ward Road that year, with the first prisoners introduced to their cells on 18 May 1903.
Originally comprising 450 cells across two four-storey blocks, the prison was expanded after the 1911 Xinhai Revolution, when the previously Chinese-run courts of the Settlement were abandoned by the Qing government and occupied by the Shanghai Municipal Police (SMP). Further extensions took place in 1916 and continued until 1935 when the prison reached a grand total of some 70,000 square metres (17 acres), including six prison blocks, a juvenile block, a hospital, an administration block, workshops, a kitchen and laundry, and an execution chamber, all surrounded by a wall with guard-towers. The execution chamber is considered unique in pre-Second World War China in that it carried out death by hanging, with the body dropping through a trapdoor directly into the prison hospital's morgue. Over the years specialist rooms were added to the prison, including 'isolation rooms' with rubber wallpaper, and a secure command centre for regrouping in event of a riot.
The prison population comprised a mix of Chinese and European males found guilty by the Settlement's consular courts (though some European countries preferred not to send convicts to Ward Road Gaol, instead transferring them to prisons in their home countries or other colonies). Female Chinese convicts were only interned in Ward Road between 1904 and 1906, after which they were sent to female prisons elsewhere in the province. European women were housed in a Foreign Women's Block, but this closed in 1922 and women were placed in the French Concession's prison. In 1925 a decision was made to no longer imprison Western convicts at Ward Road, instead sending them to the Settlement's Caucasian-only prison: Amoy Road Gaol.
Between 1925 and 1930 Ward Road Gaol was therefore a prison predominantly housing Chinese prisoners, controlled and run by a predominantly British and Indian staff. In 1930 Chiang Kai-shek's Kuomintang government negotiated for all male prisoners, Western or Chinese, to be sent to Ward Road Gaol and for it to be run as close to Chinese guidelines as possible. This was agreed in theory, though the British staff were unwilling to enforce Chinese discipline as provided in the guidelines, as this was considered harsh - even by the prison's own rough standards.
For its existence, Ward Road Gaol has been considered one of the harshest in the world. Silence was enforced at all times and overcrowding was rife. In 1934 there were only 2925 cells between its 6000 inmates. Tuberculosis was found in nearly 65% of long-term prisoners, suicide was not uncommon, and discipline was enforced through physical punishment by use of long batons. The majority of warders were Indian Sikhs, who were generally despised by Chinese prisoners. Western prisoners were separated from the Chinese and were relatively better cared for, being given lighter duties, separate cells and softer uniforms. After 1930 they too were officially brought under the same discipline system as the Chinese, however.
Wartime period (1932–1949).
After the First Battle of Shanghai ended with the "de facto" control of Hongkou, Ward Road Gaol found itself located in the middle of the Japanese-controlled sector of the International Settlement. Again, during the hostilities of 1937, the prison was trapped between the Chinese and Japanese armies. It was accidentally shelled a number of times, with prisoners killed and guards injured. A short cease-fire allowed 500 prisoners to be released to safe areas, but the Japanese cancelled further prisoner releases after the Municipal Council stated it could not simply turn loose young offenders into a dangerous environment.
The Imperial Japanese Army (IJA) let the Municipal Council process and detain Chinese and foreign prisoners in Ward Road until 1941, when the IJA launched its occupation of the International Settlement as the opener to the Pacific War. Taken over by the Japanese and used to hold both civil and political prisoners, the prison nonetheless retained many of its Sikh and European guards. This changed when it was turned over to the Wang Jingwei Government in 1943, and subsequently renamed "Tilanqiao Prison" after the surrounding district. For the rest of the war the prison was used to hold thousands of Chinese dissidents who dissented against the Nanjing government, Western prisoners of war, and some European civilians. Many prisoners were removed from the prison by the Japanese and used as forced labour. It was during the Japanese residency of the site that Ward Road saw its first and only escape, when two Americans and one British naval officer, all Allied POW's, managed to escape from the prison with Chinese assistance. In September 1944, USMC Corporal Jerold Beers Story, USN Lieutenant Commander Columbus Darwin Smith, and Commander John B. Wooley RN traveled 700 miles over seven weeks across Japanese-occupied China until they reached friendly forces.
In 1945 the Axis Powers surrendered and Tilanqiao Prison was brought under the control of Chiang Kai-shek 's Kuomintang government. The KMT used the prison to detain several hundred Japanese war criminals and a number of Chinese who had been part of Wang Jingwei's government. In 1947 the first trials of these criminals were held. Thirteen Chinese hanjian prisoners being executed inside the prison's walls.
In 1948, the underground Communist Party member Wang Xiaohe was executed by the Guomindang after a show trial. The execution took place in the prison yard by firing squad rather than in the execution chamber.
Modern period (1950-).
With the victory of the Communists (PRC) in the Chinese Civil War in 1949, Shanghai's Tilanqiao Prison was brought under the control of the Municipal Military Control Commission and renamed the Shanghai People's Prison. In 1951 it was turned over to the civil Public Security Bureau and again renamed; this time to Shanghai Prison. It continued under this name until 1995 when it was named Shanghai Tilanqiao Prison.
Today Tilanqiao Prison is one of China's largest and most (in)famous prisons, often held and reported as a model prison by the PRC state. Nevertheless, human rights groups and Western governments argue the prison continues to engage in torture, deprivation and cruelty. Allegations of torture and ill-treatment toward high-profile prisoners such as Mao Hengfeng have been used to highlight apparent abuses at the prison.


John W. White House

The John W. White House is a historic house at 1509 West Main Street in Russellville, Arkansas. It is a broad two-story brick structure, in a broad expression of the American Foursquare style with Prairie School and Craftsman elements. It is covered by a hipped tile roof, with a hipped dormer on the front roof face. A single-story hip-roof porch extends across the front, supported by rustic stone piers and balustrade. The house was built in 1916 for a wealthy banker and businessman, and is one of the finest high-style houses in the city.
The house was listed on the National Register of Historic Places in 1988.


Galeries Lafayette Paris Haussmann


Fall River Entrance Historic District

The Fall River Entrance Historic District in Rocky Mountain National Park preserves an area of park administration buildings and employee residences built in the National Park Service Rustic style. The area is close to Estes Park, Colorado, at the original primary entrance to the east side of the park. The area includes the Bighorn Ranger Station, several houses, and some utility buildings. The buildings were designed in the 1920s and 1930s by the National Park Service Branch of Plans and Designs. Many of the 1930s buildings were built by Civilian Conservation Corps labor.
The district was listed on the National Register of Historic Places in 1988, and enlarged in 2018.


Joseph Ireland

Joseph Ireland (c.1780–1841) was an English architect who designed Roman Catholic Church buildings in the early nineteenth century. He specialized in Romanesque revival architecture and worked with Joseph John Scoles.
Life.
Ireland was born into a Catholic family from Crofton, near Wakefield. He worked almost entirely for Roman Catholic patrons, notably the Vicar Apostolic of the Midland District, John Milner. From 1812 until 1819, he employed Joseph John Scoles, a relative, as an apprentice.
From 1816 to 1818, he was the architect of Church of All Saints, Hassop, originally built as a private chapel for Hassop Hall and its owner Francis Eyre. The design was based on Inigo Jones' St Paul's Covent Garden. In 1821, he built a Greek-style chapel beside Houghton Hall for Charles Langdale who had inherited the estate.
In 1824, he was behind the initial plans for St Austin's Church in Wakefield. In 1826, the plans came to fruition when the Society of Jesus set up a mission there and started the building work the following year. For the next two years, he worked on St Peter and St Paul Church in Wolverhampton and a chapel for the Dominican Order in Hinckley. The priory in Hinckley was the centre for the Dominicans in Britain and the chapel was dedicated to St Peter. It was demolished in 1976.
Other works included Holy Cross Chapel in Leicester from 1817 to 1819, St Mary's Chapel in Walsall in 1825 and Saints Peter and Paul Chapel in Wolverhampton in 1826. In 1829 he built a chapel at Tixhall Hall, Staffordshire for the Clifford family; it was dismantled following the sale of the estate in 1840 and rebuilt as the church of John the Baptist at Great Haywood.


Shire Hall, Newport

The Shire Hall () is a municipal building in Newport, south Wales. It is a Grade II listed building.
History.
Following the implementation of the Local Government Act 1888, which established county councils in every county, it became necessary to establish a permanent meeting place for the newly formed Monmouthshire County Council. The site selected by county leaders was open land to the west of Queen's Hill in Newport.
The building, which was designed by the county architect, William Tanner, opened as the "County Council Offices" in 1902. The design for the original two-storey structure involved a symmetrical main frontage with five bays facing onto Pentonville with the end bays slightly projected forward; the central section, which also slightly projected forward, featured a porch with a curved pediment; there was triple window on the first floor and gable above with a roundel containing the words: "Monmouthshire County Council 1889". Cadw, has described it as an "impressively-designed Edwardian civic building".
An extra bay to the right, an extra three bays to the left and an extra storey on top of the building were all added in 1913. The Queen's Chambers to the right were also remodelled and given an extra floor at that time and an octagonal shaped council chamber was subsequently built to the rear of the main building. The county council continued to meet at the Shire Hall until the county council was abolished in 1974.
The building continued to be used by the local council as workspace until 1978 and then remained empty until 2012. In May 2011 SK Design submitted plans to convert the building into 20 flats; this proposal was subsequently modified to 19 flats but the proposal did not come to fruition. In May 2013, the hall was sold to Secret Millionaire Jahan Abedi who submitted plans to convert the building into 11 one-bedroom apartments and seven two-bedroom flats with a reception area and a bicycle storage area. Abedi was later quite critical of the bureaucratic challenges he had needed to overcome to obtain a planning consent. Nevertheless, he secured funding from Finance Wales and completed the development in 2014.


Mannheimer Rosengarten

Mannheimer Rosengarten is a concert hall and congress centre in Mannheim, Germany designed by German architect Bruno Schmitz. It was built between 1900 and 1903 in an Art Nouveau style, with a main hall that can accommodate up to 2,300 guests. Artists that have performed at Mannheimer Rosengarten include Sting, Simply Red and Whitesnake.


Lucas Theatre

The Lucas Theatre is a theater in Reynolds Square, Savannah, Georgia, United States. Built in 1921, the theater closed in 1976 and was slated to be demolished, but preservation efforts lead to the theater reopening in 2000. The theater, owned by the Savannah College of Art and Design, is the home venue for the Savannah Philharmonic Orchestra.
History.
The Lucas Theatre was designed by architect Claude K. Howell in the Spanish Baroque style and opened to the public on December 26, 1921. The theater, located on Abercorn Street, was the idea of Arthur Lucas, a businessman from Atlanta who named the theater after himself. Lucas, whose first theater was opened in Savannah in 1907, would go on to own several dozen theaters throughout Georgia, including the Fox Theatre in Atlanta. At the time of its construction, the theater could hold about 1,700 people, and some called it the "Jewel of Savannah". The building's interior featured a large dome and floors made of marble, while the outside of the building featured a large wrought iron marquee. In 1927, the theater became the first building in Savannah to have air conditioning when it was installed in May of that year. At some time in the 1930s, the wrought iron marquee was replaced by a neon sign.
Following World War II, downtown Savannah experienced a downturn, and the theater fell into a state of deterioration. The theater closed in 1976 and was slated to be demolished, with the property converted to a parking garage, but a group of Savannahians organized to prevent its demolition. In 1986, they purchased the building and began an extensive and costly renovation process. During the filming of "Midnight in the Garden of Good and Evil" in 1997, members of the film crew, including film director Clint Eastwood and leading actor Kevin Spacey, participated in fundraising events. The theater reopened in 2000 with a screening of the film "Gone with the Wind". The theater is owned by the Savannah College of Art and Design and is the home venue for the Savannah Philharmonic Orchestra, in addition to hosting the annual Savannah Film Festival and the Savannah Music Festival. The building is located in the Savannah Historic District.


West-Park Presbyterian Church

West-Park Presbyterian Church is a Romanesque Revival Presbyterian church located on the corner of Amsterdam Avenue at 86th Street on the Upper West Side of Manhattan in New York City. It consists of a main sanctuary and chapel.
Congregation history.
The congregation was founded in 1852 as the 84th Street Presbyterian Church, building its first chapel of timber in 1854 on 84th Street and West End Avenue, to designs by one of the city’s most prominent architects, Prague-born Leopold Eidlitz. The church changed its name to Park Presbyterian Church in 1887. The name became West-Park Presbyterian when the midtown West Presbyterian Church (founded 1829) merged with Park Presbyterian in 1911.
Present church building.
The small congregation moved north in uptown Manhattan a number of times. Upon moving to the Upper West Side, one wealthy new pastor (from 1879), Anson Phelps Atterbury (1855–1931), proposed a grand church in the hopes that the congregation would expand with the expected increases to the neighborhood that the new IRT lines along Broadway would bring. That pastor commissioned Leopold Eidlitz to build a diminutive midblock brick Romanesque Revival chapel in 1884, a style Eidlitz described as "muscular" Romanesque and considered appropriate to an evangelical Protestant church. After a further $100,000 was raised, the main sanctuary was built in 1889-90 on the abutting corner site, to designs by Henry Franklin Kilburn in intricately carved brown and red sandstone in a stylistic continuation of Eidlitz's Romanesque chapel but re-cladding that brick chapel in sandstone and adding an offset diminutive tower. The corner features a giant ribbed bell-domed belltower, which dominates the neighborhood and if not for the competing heights of apartment towers “would be one of the West Side’s loveliest landmarks,” according to the "AIA Guide to NYC".
In 2016, the church hosted SONNET REMIX 2, a celebration of Shakespeare's Sonnets featuring artists presenting the sonnets including Stairwell Theater, Carman Moore, Jason Trachtenburg, Joel Gold, Ariana Karp, Matt and Rafferty of Evolfo.
Preservation.
In the 1980s, the church was re-pointed with cement, which has resulted in substantial erosion of the soft sandstone. Around the same time, the church installed a new elevator for handicap accessibility in the parish house (the original chapel).
In the early 2000s, the congregation hired a developer to address their financial situation, diminished attendance, and role in society. Their findings proposed the replacement of the complex with an eighteen- to twenty-three-story residential tower and a smaller new corner glass church, designed by the architectural firm of Franke, Gottsegen & Cox. The design featured a “prow-shaped base of stone,” with a sweeping 125-foot glass carillon tower providing “a luminous well of light.” The current social outreach and education facilities would be doubled and the modern design, the architects asserted, would create a sense of refuge and “communitarian communality.” The architects described the design: "...the crisscrossing of the structure, like a canopy of trees, but you won’t be able to see the top, which we think is an expression of sacredness,” adding, “the sanctuary is very flexible and interfaith use is possible so that space can be shared with other denominations.”
In response, activists organized the “Friends of West-Park” to protest the development while concurrently working toward a viable alternative plan as well as funds. The group principally feared the loss of air and light with the new tower. The co-chairman of Friends of West-Park stated that the group was not interested “in telling the church that it had to maintain itself for the community good without the community taking some role [but instead they] formed a development company capable of doing what [they] say and working on a partnership with the church.” The "Friends" suggested selling Eidlitz's chapel for redevelopment to a non-profit, probably a school, to offset the cost of renovation, with neighboring buildings preparing to lease air rights. Most of the external walls would be preserved, restoring the sandstone and stained glass but not the original roof shape nor the forty-foot interior, which would be gutted. Its sanctuary would be raised to gallery level and fitted with movable seating; since divided windows already exist, the alteration would not be externally evident, leaving the commercially ideal ground floor for other uses, possibly social outreach or educational. One architect responsible for the sympathetic second plan explained that “successful rehabilitation allows the character and original intent of the first architect to come through. So the question is, If not every square inch is sacred turf, how much modification can the structure bear without losing what makes it special?” Rev. Brashear of West-Park was quoted as receptive to the community input but stated that the congregation, trustees, and various levels of the Presbytery are still deciding the unprotected church’s fate.
The congregation moved to share space in 2008 with the neighboring Renaissance Revival-styled, Saints Paul and Andrew United Methodist Church (1897), protected as a city landmark and itself a product of a 1937 denominational merger.
The church was finally declared a landmark by the New York City Landmarks Preservation Commission on January 12, 2010.


Lan Su Chinese Garden

Lan Su Chinese Garden (), formerly the Portland Classical Chinese Garden and titled the Garden of Awakening Orchids, is a walled Chinese garden enclosing a full city block, roughly in the Chinatown area of the Old Town Chinatown neighborhood of Portland, Oregon, United States. The garden is influenced by many of the famous classical gardens in Suzhou.
History.
In the early 1980s an effort was started to build a Chinese garden in Portland, and in 1988 Suzhou and Portland became sister cities. Portland mayor Vera Katz continued those efforts in the 1990s and assisted in the non-profit group that operates the garden in finding a site for a garden. The garden was designed by Kuang Zhen and built by 65 artisans from Suzhou on land donated by NW Natural on a 99-year lease; groundbreaking occurred in July 1999, and construction was completed 14 months later at a cost of about $12.8 million. 500 tons of rock, including Chinese scholar's rocks from Lake Tai (Taihu stone), were brought from China and used in the garden. The garden's grand opening was on September 14, 2000. The construction of the central lake has created problems at times, such as leakage and one case of three visitors fallen into it.
In 2010, to mark the 10-year anniversary of the garden, the garden was renamed to Lan Su Chinese Garden. Su represents Suzhou and Lan represents Portland.
Features.
About 90% of the plants featured in the garden are indigenous to China. However, no plants were brought from China due to import bans. Instead, many plants were found in gardens and nurseries in Oregon, having grown from plants brought over before the import ban. Some plants in the garden are as old as 100 years. There are over a hundred trees, orchids, water plants, perennials, bamboos, and unusual shrubs located throughout the garden. In total there are more than 400 species. The dominant feature is the artificial Lake Zither at the center of the garden.
It includes examples of a number of structures common to Chinese gardens, including covered walkways ("lang"), bridges ("qiáo"), and structures such as:


CBC Radio Building (Halifax, Nova Scotia)

The CBC Radio Building was a landmark Streamline Moderne-style office building located in Halifax, Nova Scotia overlooking the Halifax Citadel and Halifax Public Gardens which served as the home of CBC Radio in Nova Scotia from 1944 to 2014.
Origins.
The building was made for Fred C. Manning, a Nova Scotia businessman who built a chain of gas stations and car dealerships during the 1920s and 30s known as the United Service Corporation. Completed in 1933, it originally served as a car dealership, gas station and Manning's head office. Sydney Perry Dumaresq, one of a family of famous Nova Scotian architects, designed the building in the Streamline Moderne-style, a 1930s variation of Art Deco known for its elegant curves and often associated with transportation facilities of the era. In order to maximize the use of the corner property, parking was provided on the roof of the building, with access via a specially built elevator.
CBC Radio.
In 1944, the CBC Radio station CBHA and other CBC services in Nova Scotia moved into the building installing their transmission tower on the roof in the first few years. CBC studios soon grew to occupy more of the building which came to serve as home to English CBC Radio One station CBHA-FM and Radio Two station CBH-FM as well as radio administration and various arts programs. The Canadian humourist Max Ferguson began his CBC career in the building in 1946, creating the character "Rawhide" to host a morning country and western show that soon became a satirical hit. After renting for many years, the CBC purchased the building in 1981. However, in the wake of staff reductions and programming cuts, the CBC sold the building in 2014 as part of plans to consolidate television and radio in a new facility on 7067 Chebucto Road in the Armdale neighbourhood of Halifax's West End.
Arts space.
In addition to its role as the Halifax home of CBC Radio, the building also offered free space to a wide range of arts organizations, playing a vital role in the growth of the province's cultural scene. The offices of the classical music organizations Debut Atlantic and the St. Cecilia Concert Series were housed there at the invitation of then-regional radio director Bill Donovan. in 1993, the building also became home to the Atlantic Film Festival at the invitation of then-CBC Television director Fred Mattocks, following the festival's loss of office space at the National Film Board of Canada's centre on Barrington Street, which was destroyed by fire in 1991. Other arts organizations with space at the building included the Centre for Art Tapes, the Atlantic Filmmakers Cooperative, the Linda Joy Media Arts Society, the Moving Images Group, Shortworks, and dance groups Mocean Dance and Live Art Dance.
Demolition.
CBC broadcast its final shows from the building in November 2014. The building was purchased by South West Developments who began demolition on it in March 2016. The former site of the CBC building and the adjacent YMCA will be the location of a 13-storey condominium.


St Helen Witton Church, Northwich

St Helen Witton Church, Northwich, is in the centre of the town of Northwich, Cheshire, England. It is recorded in the National Heritage List for England as a designated Grade  I listed building. The church is now known as "St Helen's, Witton" or "Northwich Parish Church". It is an active Anglican parish church in the diocese of Chester, the archdeaconry of Chester and the deanery of Middlewich. Alec Clifton-Taylor includes it in his list of 'best' English parish churches.
History.
The church was originally a chapel of ease to St Mary and All Saints, Great Budworth and the area was then known as Witton. The present building dates from the 14th century, with additions in the 15th, 16th and 19th centuries. A tradition that Witton had a chapel as early as the 13th century cannot be verified, but by the mid-14th century a church (technically a chapel of ease) stood on the present site. It was roughly the same length as the current building, had transepts but no aisles, side chapels or clerestory, and was covered by a steeply-pitched roof rising from about the height of the present arcade. There would have been a chancel arch with a great beam or loft across it bearing a rood, but no chancel step. The only seats would have been stone benches around the walls.
Gradually this evolved into the church as it is today. North and south aisles, narrower than those currently present, were added in the 15th century. The tower was built or rebuilt in about 1498, and the name ‘Thomas Hunter’ prominently displayed on it indicates it was the work of the mason of that name who was also associated with nearby Norton Priory. A porch in roughly the same position as the current porch was added at this time, or perhaps even earlier. The present porch however is certainly no earlier than 1500 and possibly much later: an inscription on its beam commemorates a substantial repair in 1756.
The aisles were rebuilt and widened between 1536 and 1549, bringing what had been a side chapel (now the Lady Chapel) into the body of the church. The nave was later also widened, at the expense of the north aisle, and a clerestory added by 1550 at the latest. Probably at this time the present roof over the nave was installed, though there is debate as to whether it was commissioned for the church originally. Later the chancel was widened to match the nave. The chancel was embattled soon after 1624, when Thomas Farmer, the master of Witton Grammar School, left money for the purpose in his will.
In the 18th century galleries (since removed) were gradually added on three sides of the interior, and in 1767 an organ and organ gallery also installed, possibly over the chancel. Later the organ was placed in the west gallery.
In 1841 a major restoration was undertaken which involved the re-siting of the pulpit, changes to the chancel steps, rebuilding of the south and west galleries, renovation of the roof and the making of a grand west door. (Previously the only entrances had been that via the porch to the south and a small door giving access from outside to the tower steps). Twenty years later a large crack developed in the chancel which therefore had to be taken down and rebuilt in 1861–62, and at this time the present three large coloured glass windows behind the altar were installed. Apart from the roof therefore the chancel is substantially mid-Victorian. In 1883–86 further work was carried out on the church by the Lancaster architects Paley and Austin. The north aisle, then only wide, was widened to make it correspond with the south aisle. A large northeast vestry was added, and a baptistry was created inside the church. Other work done at much the same period included the addition of an altar rail, a new pulpit and the re-flooring of the whole church.
Although there have since been further changes to the interior (including the addition of screens at the east end of the aisles and new coloured glass windows), by the 1890s the church looked much as it does today. It formally became a parish church when "the District Chapelry of St Helen Witton, otherwise Northwich", came into being on 7 August 1900.
Architecture.
Exterior.
The church is built in red sandstone with flattish roofs concealed by parapets. The plan consists of a tower at the west end, a six-bay nave with north and south aisles, a chancel with a polygonal east apse, a vestry to the north and a south porch. The tower has four stages, is crenellated and has diagonal buttresses and a west door. Above this is a four-light window, two-light bellringers' windows on the north and south faces, an empty niche on the west face, a clock with faces to all sides and paired two-light bell openings.
Interior.
Over the nave and chancel is a continuous camber-beam and panel oak ceiling with diagonal cross-braces, large carved bosses at the junctions of the main beams and smaller ones at the junctions of the secondary beams. There are no memorials of distinction and most of the old fittings were discarded in the 19th-century restorations. A 17th-century altar table is still present. The three-manual organ was built between 1870 and 1880 by Young and Son and later rebuilt by Charles A. Smethurst. The clock is a double three legged gravity feed made by engineers W. H. Bailey of Salford. Taking the place of a still earlier clock mentioned in the churchwardens' accounts it was installed in 1888 and refurbished in 1911. There is a ring of eight bells cast by John Taylor and Company of Loughborough in 1911. The earliest mention of bells in the churchwardens' accounts is in 1692. Until 1877 there were six bells, two more being cast by Taylor's and added that year. All eight bells were taken down, recast and rehung in 1910, again by Taylor's. Inscriptions on the bells before they were recast showed five had been cast in 1712 and one in 1852: the inscription on the No. 5 bell at the time of the 1910 recasting read "Richard Sanders of Bromsgrove made us all six". The parish registers begin in 1561 and the churchwarden's accounts date from the 17th century.
External features.
In the churchyard is a red sandstone sundial with a copper dial which is listed Grade II. It was erected in 1800 by the stonemason John Moors at a cost of £10.3s.3d. The churchyard also contains the war graves of seven soldiers of World War I, and a Royal Navy sailor of World War II. An upper portion of a floriate medieval gravestone removed during 19th century renovations lies near the south porch.
References.
Citations
Sources