975 Sentences With "balustrades" | Random Sentence Generator

Gargoyles were broken, balustrades had collapsed, flying buttresses were stained by pollution.

PARIS — Broken gargoyles and fallen balustrades replaced by plastic pipes and wooden planks.

PARIS — Tropical flowers dripped off the gilded balconies and balustrades of the Palais Garnier.

The stately yellow firehouse has balustrades, a cupola and black shutters on the windows.

But worry is trenchant and wily, able to slip through the balustrades of most any reassurance.

In 1969, a circular pergola, curved front stairs, and metal balustrades were added to the house.

Falling gargoyles and broken balustrades were the much-discussed priorities, not a modern smoke-detection system.

Bumpy paths course through 180 trail-filled acres around a brick main house, trimmed in classical balustrades.

Parliament is already ringed by crash bollards, balustrades and steel barricades, put in place after the Sept.

Bordering this beach, with its characteristic ornate white wrought-iron balustrades, are the city's most desirable streets.

Rows of half-finished houses have a magic-beanstalk feel to them, sprouting columns, balustrades and flowery stucco.

Set behind a white picket fence, it has porches with gingerbread balustrades on the first and second stories.

Many lined the balustrades of the three higher floors overlooking where others gathered in the wide space below.

When he strolls through his church, past the chipping balustrades, small children run up and smother him with hugs.

Parliament was already surrounded by lines of crash bollards, balustrades and steel barricades, put in place after the Sept.

Some people would look at it and see, under the gilded balustrades and Versailles-reproduction chaise lounges, something deeply boring.

Inside the tower, under the warm glow of brass balustrades and salmon-colored marble, employees noted the change as well.

The Skywalk has glass balustrades and is designed for the safety of visitors who want unique photos of the canyon.

The path is flanked on both sides by cast iron balustrades painted green that now enclose the recent wood sculptures.

There's a chandelier in the ornate entryway, surrounded by wrought-iron balustrades, a marble staircase, and marble pillars with gold detailing.

A few Beijing residents ventured in occasionally to fly kites from the original stone balustrades, which were cracked and discolored like old bones.

Nautical forms—streamlined curves, white walls, flat roofs, balustrades and even portholes—found their way into many European and American buildings in the 1930s.

The result is rows of Disney-style chateaus, with gray-roofed turrets, circular balconies and balustrades, stretching over a million square meters, or 20193 acres.

White-picket, wrought-iron and chain-link fences enclose the tiny front yards, as do pink marble balustrades with finials shaped like globes or, sometimes, eagles.

At City Opera, a handsome shop with a mezzanine framed by wrought-iron balustrades, she had arrived in a black crisscross jumpsuit embellished with gold buttons.

Looking at the inexhaustible catalogue of fences, edges, and balustrades framed by Ghirri, one can't help but wonder about the absent owners of these provincial houses.

It is best known for its library — a multitiered gem, with distinctive fin-de-siècle chandelier lighting; carefully wrought colored balustrades; elongated windows; and ornamental carvings on tables.

We have also seen the growth of businesses aimed at supporting entrepreneurship, like the co-working space Piloto 151, which occupies an old Spanish building surrounded by balconies and balustrades.

The interior is sleek and industrial, with an open staircase with glass balustrades and treads, radiant-heated concrete floors, corrugated metal ceilings and glass walls, several of which slide open.

Steps away from the historic core, Ha An Hotel mimics the heritage streetscape with double doors, arches and balustrades fronting handsome and cozy rooms decorated with local pottery and prints.

In the Brooklyn Museum's Beaux-Arts Court (a grand space with high ceilings, balconies, and balustrades) you become hyperaware of the museum's own adaptation of surveillance in its design and architecture.

It was best known for its library — a multitiered gem, with distinctive fin-de-siècle chandelier lighting; carefully wrought colored balustrades; elongated windows; and ornamental carvings on tables and between levels.

Victor Laloux's masterpiece, completed, like the Grand Palais, for the 1900 Universal Exposition, has a huge blond masonry base festooned with large arched windows, frilly stone garlands and classical balustrades and pediments.

Featuring balustrades and frilly railings, the new mansions extend nearly to the property lines in the prestigious Little Neck Hills, said Pattie Rifino, an associate broker with Daniel Gale Sotheby's International Realty.

Guests were beckoned inside in twos and threes, to huddle behind the balustrades of the covered arcade, sipping chilled white wine and looking doubtfully at their tarp-coveted seats in the open air.

A few groups of protesters smashed the glass panels at entrances to the property, including the office lobby and balustrades on various levels of the mall, Mapletree North Asia said in a statement on Wednesday.

Though Hamburg's $843 million philharmonic is filled with stunning architectural gems, its most interesting feature is the central auditorium, a gleaming ivory cave built from 10,000 unique acoustic panels that line the ceiling, walls, and balustrades.

PARIS (Reuters) - For years Notre-Dame cathedral was caught in a dispute between the city's archdiocese and the French state over who should pay for repairs to its crumbling gargoyles, collapsed balustrades and weather-eroded Gothic facades.

The cathedral is owned by the state and has been at the centre of a dispute between the nation and the Paris archdiocese over who should finance restoration work to collapsed balustrades, crumbling gargoyles and cracked facades.

Leaving behind the tidy, low-lying green polders of Flanders, the huge railway viaducts leading into the town along the industrial harbor are bordered by elegant granite balustrades ornamented by finials and huge carved balls of stone.

Several storeys high, painted red or bright blue and mounted with balconies, these are fenced off by concrete balustrades and garishly lit up at night in a country where most people have no access to the electricity grid.

The white marble facade is lavished with lion heads, balustrades and other flourishes drawn from Italian Renaissance palazzos, and the whole thing is topped by a three-story pavilion with a mechanical timepiece that gave the structure its nickname.

Industrial fabrication and land art have always had a macho cast, and in fact, there weren't a lot of women sculptors of her generation in the factory bending sheets of metal with welders or casting ductile iron alongside engineers accustomed to building balustrades and bridges.

The public outcry here has largely focused on a plan to overhaul the Saigon Tax Trade Center, a 1924 department store that was drastically transformed over the decades, but whose interior still has wrought-iron balustrades, an intricately tiled floor and grand staircase, and other original design features.

Only sash windows can be used, and some of the original fireplaces — for show only — have to be kept, as does a splendid marble spiral staircase with wrought-iron balustrades that leads from the front hall, itself a marvel in marble, picked out in gold and white and illuminated with stained-glass windows.

When the desk clerk learned we were celebrating our anniversary, he upgraded us to a corner executive suite with two floor-to-ceiling windows fronted by wrought iron balustrades inlaid with a gold letter A, and a living room outfitted with a second flat-screen TV and an L-shaped leather sofa.

The balustrades were in place in 1979 when the NRHP application photos were taken.

In 1875, the French National Assembly voted to allocate £80,000 for repairs of the façade and balustrades.

Cast iron balustrades and cedar balusters were handcrafted after original designs, and the two hydraulic lifts were restored.

The gathering space comprises a flat lawn surrounded by a concrete planter bed balustrades and rectangular concrete pads.

The privately owned house features Italian plaster-work and painted ceilings, intricate wrought iron balustrades, wooden panels and carvings.

The houses have fitted cherrywood kitchens, solid oak doors and skirtings and specially designed carved oak balustrades with full staircases.

These quattrocento balustrades are likely to be following yet-unidentified Gothic precedents. They form balustrades of colonettesA colonette is a miniature column, used decoratively. as an alternative to miniature arcading. Stone balusters in the Basilica of San Zeno, Verona (constructed 967–1398 AD) Rudolf Wittkower withheld judgement as to the inventor of the balusterH.

There are ornamental handrails and guard bars to the windows, and Italianate balustrades on the staircases on the first three floors.

The movement work is performed in a quadrant. In contrast to many steel bridges, the balustrades are made of decorative ironwork.

Concrete balustrades line the sides of the bridge. The bridge was listed on the National Register of Historic Places in 1990.

The ground level verandah has cast iron balustrades with timber fretwork above. A central hallway is entered from the ground floor verandah. The hall contains a timber staircase with turned timber balustrades, which leads to the upper level. The entrance to the hall features double timber doors with leadlight sidelights and a semi-circular leadlight fanlight.

On the flanking bays each level is expressed through projecting balconies which run along the north eastern elevation. The balconies have light weight metal balustrades. At the edge of the balconies, underneath the balustrades, are deep horizontal bands or valances which provide sunshading for the windows below. Built in a modernist style the surfaces of the building are undecorated.

Stained glass windows can be found topping the third floor windows. The cornice on the roof consists of three rows of eight balustrades and stone blocks. A common decorative ornament in Greek Revival and Classical Revival architecture can be found in an anthemion at the peak of the pediment. The courthouse roof is enclosed in stonework and balustrades.

Garden ornaments including the stone balustrades and gate piers were brought here by the Campbells from their now demolished property at Petershill.

Its exterior walls are covered in dark brown brick, with its upper floors are crowned with crow-stepped gables, parapets and balustrades.

The main facade has a decorated portal, openwork balconies with balustrades. Dating from the lattice of the coat of arms of the Leszczynski's.

There are floral motives on the balustrades. The building has many marble ornamentation and coffer ceiling. It has 2 terraces facing the garden.

In 1953 it was razed to make way for the Grant Park North Garage. The original peristyle was on a promenade with balustrades.

Architect Denis Santry of Swan & Maclaren adopted a Saracenic style, incorporating minarets and balustrades. The mosque was completed after four years in 1928.

One side portal and the Brautportal, the main entrance to the Marienkirche. Buttresses (along with flying buttresses) and balustrades characterise the image of the chancel. The exterior of the chancel underlies a bisection emerging from the ambulatory and the clerestory. The buttress of the Marienkirche in Osnabrück is given a very vivid design by the pinnacles as well as the neo-Gothic balustrades.

Some of the original timber works used huge timber sections made of kapur wood. These sections required about four months to source, supply, fumigate, treat, cut and deliver to the site. The balustrades on the second floor of the old rotunda were patterned after those in London's Royal Albert Hall. The details of the balustrades were hidden after years of paint.

The walkway is covered with tarmac and has cast iron balustrades either side, while the abutments connecting the bridge to the river bank are brick.

Front entrance, 2015 The house is situated on the western side of Whitehill Road with an easterly frontage to the street. The house has a cement rendered, brick core, which is surrounded by verandahs at both levels. The lower level verandah features paired support columns and has no balustrades. A scalloped fringe of timber battens extends between the support columns, just beneath the upper level's balustrades.

Stairs on cantilevered concrete supports lead from the lower to the upper verandahs, which have tubular steel rail balustrades. The ends of the first floor balustrades have been replaced with bag racks that are clad externally in ribbed metal, and concrete-block bag racks have been added on the ground floor. The ground floor verandahs have paved concrete floors and flat-sheeted ceilings, with cover strips.

There are two balustrades at main entrance of Lankatilaka Viharaya in Kandy and they are sometimes called Gajasinha balustrades because of the shape of the Makara there. The guard-stone (Muragala) has given a highest place to Makara. Over the head of the gatekeeper carved in there, the figures of Makara can be seen.Karava Makara flag from Sri Lanka with elephant/fish head and peacock tail.

All facades are heavily decorated. Swags are on all four chimneys, and balustrades rim most of the roof lines. A central pier on the east above the main entrance is topped with an urn, flanked by wreathed balustrades, a cornice and frieze with triglyphs and metope-ornamented medallions. The double-doored main entrance is flanked by pilasters and topped with a fanlight and ornate keystone.

Its base and outside walls are made of brick, the balustrades made of stone, and the eaves and banisters encircling the structure are made of wood.

Beckenham Redevelopment Project Advances at Pace, Kent County Cricket Club, 2014-01-29. Retrieved 2016-02-02.Kent Cricket Club, Beckenham, Delta Balustrades. Retrieved 2016-02-02.

Muslim signs dot the courtyard of the monastery and traces of the sacrifices are evident in the form of the lamb hides left on the balustrades to dry.

Two wings flank the dome and feature single-pitched roofs with dormer lights, balustrades and Ionic colonnades. Heavy stone reliefs of figures and fruit flank several windows and doors.

The house also has open porches with decorative wrought iron railings, balustrades, and cornices. Note: This includes It was added to the National Register of Historic Places in 1985.

The rectory behind the church is a fine late Victorian two-storied mansion with imposing double- storey verandah with iron lace balustrades and columns, which is rare within Blacktown. Circa 1955 the Rectory was restored, after having been vacant for many years. The two storey verandahs with cast iron columns and balustrades were removed, as was the cast iron balustrade to the top of its tower. Photographs exist of these features, which would allow reinstatement.

It has become an attractive walking destination, following its restoration. The Park was severely damaged after the 2010 Pichilemu earthquake, with all of the balustrades surrounding the park being destroyed.

A few of the three- window groups have shallow balconies with low balustrades in front of them. The building was listed on the National Register of Historic Places in 1995.

It had two access stairways flanked by steep balustrades topped with vertical cornices. Behind the platform two stairways descend Group B's retaining wall towards Group B-X.Lehmann, pp. 40–41.

Previous existing but deteriorated structures were copied, stone balustrades and other fixtures and paths were re-laid or restored. Extensive traditional planting was undertaken by the owners to augment what survived. The woven wire arbors were copied from one surviving, the stone balustrades were restored and old concrete steps and paths repaired and re-laid. The structure of the old garden was re-affirmed before being overlaid, or furnished, with rich and varied - but traditional - planting.

The stairway is flanked by wide balustrades that form the western facade of the temple platform. Structure B-X3 has been restored.Lehmann 1968, p.26. Structure B-X4 has also been restored.

The ground floor and first floor contains a large amount of early fabric, much of it dating from the 1920s including shelving, cabinetry, stairs and balustrades, etched glazing, partitions and leadlight glazing.

The dams are flanked by Naga-balustrades. On the eastern dam between the Nagas was additionally a colonnade with pillars. Behind each Naga of the east side was standing a huge Garuda.

The full image could only be seen from the balustrades, overlooking the atrium of Palazzo Grassi. Due to the floods that hit Venice in February 2020, the site-specific mosaic was dismantled.

The east section of the original porch and the balustrades on top had been removed. They have subsequently been recreated. The house was listed on the National Register of Historic Places in 1982.

Some of ruins have been scattered throughout the temple premises, these include stone inscriptions, brick dagobas, parts of the image houses, korawak gal (balustrades) and plain mura gal (guard stones) and Moon stones.

It tapers slightly and a peculiar layering indicates different types of masonry used in its construction. Its companile windows are protected with decorative balustrades and a squat spire is topped with a cross.

The other surfaces of the minbar feature a variety of different motifs. The steps of the minbar are decorated with images of an arcade of Moorish (horseshoe) arches inside which are curving plant motifs, all made entirely in marquetry with different colored woods. The inside of the staircase's balustrades were originally covered in panels of carved arabesques, but only one of these has survived. The bottom of the minbar's staircase is flanked by two much taller balustrades pierced with a horseshoe- arch frame.

The exterior of the home features extensive overhanging eaves, decorative brackets and balustrades. The house sits on top of a 2,000 sq. ft full-height stone basement. The property also includes a 1,600 sq.

EeStairs is a designer and manufacturer of staircases and balustrades and inventor of the patented 1m2 staircase. EeStairs has offices in the UK, Europe and the USA. Its headquarters are located in the Netherlands.

The central bridge is partly built from Glinica limestone. Other parts are built from concrete. The balustrades with 642 balusters are made of concrete. The platform is covered with granite blocks laid in 2010.

Ground floor front verandahs are attractively tiled. Original roof believed to be of slate and now covered in tiles. Internal joinery to the main rooms mainly intact. Stair halls to both house and balustrades.

The pyramid base now measured on each side.Laporte 1998, p.25. The stairway was widened by covering the balustrades and the pyramid was heightened by by the addition of two more talud-tablero- style levels.

Under the organ is an octagonal pulpit approached by two flights of stairs. The stairways to the pulpit have cast iron balustrades and hardwood handrails. On each side of the pulpit is a communion rail.

Its form is unusual as a result of repeated extensions and it has open verandahs with horizontal balustrades on two sides. The roof is steeply pitched and is multi-gabled and clad with corrugated iron.

The existing footbridge with stairs to each platform was constructed in 1990 and is a typical pre-stressed concrete girder footbridge. Plain metal balustrades provide safety along both sides of the footbridge and the stairs.

"Filigree" has been used metaphorically as a term for intricate ornamental designs in a number of other contexts, including larger-scale metalwork such as wrought iron or cast iron pieces such as railings and balustrades.

The four classrooms to each level are accessed via north and south verandahs, and vertically linked with internal terrazzo stairs. To the south, the verandahs have vertically battened timber balustrades, and timber lattice panels to the lower level. To the north, the timber balustrades have been replaced with chainwire and steel pipe, and the lattice replaced with sheeted timber panels. The timber posts to the gabled ends, and to the east and western ends of the verandahs are paired, and decorated with timber panels with tulip motifs.

The two bays on the ends have regular rectangular windows with keystones and a decorative recessed panel above. Below the two front windows flanking the main entrance are balustrades and cast iron fences around window wells allowing light into the basement. Above the arches is raised metal lettering saying "UNITED STATES POST OFFICE" below a limestone frieze with geometric decoration. The roofline is marked by a plain cornice, topped with a limestone-coped brick parapet interrupted by stone balustrades above each of the three central bays.

Heavily carved stone brackets support a lintel over the main doors on the building's front facades. The four columns dominating the front extend two stories and blend Ionic and Corinthian elements as they ascend from the second floor to the cornice level of the courthouse. Stone balustrades accent the small balcony on the second floor and the windows on the same floor, in the east and west wings, have a row of six balustrades below their sills, which form a continuous stringcourse around the building.Bigolin, Steve.

Re-gilding the sign at 25 Market Place, Singer's workplace and home; Camilla Rose, traditional sign writer & gilder, top; new sign completed, belowThe work of the foundry can be seen in several different locations. The Frome Museum has window balustrades and metal banister supports on the interior cantilever or torsion staircase of 1865-9. His house at 25 Market Place has window balustrades on the first floor. In 2019 the original sign above the door lintel was re-gilded, funded by the Frome Society for Local Study.

Of the three, only the 8th Street fountain still stands. Another stood at Randolph Street. By the 1980s, much of Grant Park became neglected. Fountains stopped working, gardens were not maintained, and graffiti covered the balustrades.

The retaining wall, balustrades and steps between the lawns east of the hall are listed at Grade II. Also listed at Grade II are the former lodge to the hall, and its associated gates, gatepiers and screens.

The steps that lead to the raised platform were adorned with carvings, as were the korawak galas (stone balustrades). A sandakada pahana (moonstone) was placed at the foot of the steps, flanked by two muragalas (guard stones).

Classical pilasters support pediments. The same round-arch motif is repeated on two small copper-clad dormers. Double-hung, wood windows are found throughout the building. A parapet with balustrades tops the facade above a dentilled cornice.

When built, the porches featured turned posts and balustrades; the balustrades were replaced by siding in the 1920s, and the posts were probably replaced by conventional square posts in the 1990s or 2000s. The house's original siding included bands of decorative shingling between the floors, and wooden clapboards elsewhere. The house was built about 1908, a period when the Belmont Street area was being built out with residences for workers at the city's large steel and wire factories. Most of the workers who settled in this area were Scandinavian (Swedish and Finnish) immigrants.

First, the immediate dangers should be avoided by resetting the corners, removing stones that endangered the adjacent parts, strengthening the first balustrades and restoring several niches, archways, stupas and the main dome. Second, after fencing off the courtyards, proper maintenance should be provided and drainage should be improved by restoring floors and spouts. Third, all loose stones should be removed, the monument cleared up to the first balustrades, disfigured stones removed and the main dome restored. The total cost was estimated at that time around 48,800 Dutch guilders.

Hale's design added decorative stone features to the concrete exterior, including balustrades on the porch and balcony and a cornice below the balcony. The house was added to the National Register of Historic Places on February 9, 2006.

The stairs, handrails, balustrades and the floor boards of most rooms stay the same. With the construction area of 10318 square metres, the Centre Hotel has 117 rooms of different kinds which are well-equipped with support facilities.

It is the only one remaining in its original form today. The arcade was to be long, and three storeys high. Its lighter neo-classical fluted columns, delicate ironwork and carved balustrades contrasted with Rowe's heavier more stolid designs.

The newels are plain; the balustrades are gracefully turned and fastened by wooden pegs. In the original living room, which is on the left side of the hallway, is a fireplace which originally had a facing of blue tiles.

It is made of cast iron with abutments of brick and sandstone, and the balustrades consist of a latticework of saltire crosses. The footbridge to the east of the junction is of a similar design, and is also listed.

The brick and plaster building was three-storey, with balustrades and a rusticated stonework façade. Its exterior window frames were decorative. Those on the first floor facing north were a three-window grouping that features a centralized segmental pediment.

CMP 2002 There have been no obvious changes to the way the Geodesic Dome was constructed since preparation of the 2002 Conservation Management Plan, other than loss of all of the Perspex infill panels (indicating movement of the dome structure). The condition of the structure appears to have deteriorated markedly since 2002, especially the support base for the dome, comprising vertical sapling balustrades with a sapling top plate which have largely separated from each other. Attempts have been made to prop the sapling balustrades and brace between the posts as the balustrade structure is now being forced open by the weight of the dome structure itself and attempts have been made in some sections to provide a bottom plate for the sapling balustrades. The splitting of some of the poles and the rusting of the bolts and hubs as noted in 2002 is continuing.

Construction is of brick with hipped iron roof and moulded string courses. Constructed in Bathurst bricks; verandahs are decorated with timber posts, arched brackets and cast iron balustrades. The roofs are clad in iron sheeting. The architectural style is Federation Filigree.

Monumental stone pillar-gates, twenty-nine of which survive from the Han period, formed entrances of walled enclosures at shrine and tomb sites.; . These pillars feature artistic imitations of wooden and ceramic building components such as roof tiles, eaves, and balustrades.; .

The tall shaft of the building shows balanced fenestration, pilaster strips, and pinnacles. Further up, the attic storey features an arcade of paired windows with balustrades, topped off with a parapet roof decorated at the four corner towers with cupolas.

The building is three storeys tall with a basement and an attic and is built from stone with a slate mansard roof. The exterior is partially surrounded with balustrades and there is a balcony on the first floor of the building.

Today, the stone balustrades scattered around the park are the only part of the enormous main building. The park remains largely as Joseph Forsyth Johnson designed it for the exposition. The supervising architect for the entire fair was Bradford Gilbert.

The verandah has timber floors and large sections of bag rack balustrades. Part of the western end of the verandah is enclosed with chamferboard-clad walls, while the full extent of the verandah to the eastern DPW section is enclosed by chamferboards and areas of louvres above bag racks. Sections of early, horizontal timber rail balustrades survive in places, including to the western and central stairs. Original timber screens with square glass panes from the B&P; section survive: two panels relocated to the far western end of the verandah, and one panel at the eastern end of the B&P; section.

The eastern end of Block B is clad in modern corrugated metal. Large areas of timber awning windows, with fanlights, line the southern Boulton & Paul walls, with brackets attached to the mullions and supporting the overhanging eaves. The verandahs have timber floors, continuous timber posts, flat-sheeted raked ceilings and enclosed balustrades, which are either clad in chamferboards (Block A) or profiled metal-clad bag racks (Block B). The Block A-B walkway aligns with the similar Block B-D walkway to the south. The highset covered walkways have continuous timber posts, railed balustrades, timber floors and flat roofs with flat-sheeted ceilings.

Stone Asuras hold the nāga Vasuki on a bridge leading into the 12th century city of Angkor Thom. Nāga bridges are causeways or true bridges lined by stone balustrades shaped as nāgas. In some Angkorian nāga-bridges, as for example those located at the entrances to 12th century city of Angkor Thom, the nāga-shaped balustrades are supported not by simple posts but by stone statues of gigantic warriors. These giants are the devas and asuras who used the nāga king Vasuki in order to the churn the Ocean of Milk in quest of the amrita or elixir of immortality.

The Court has a large terraced forecourt facing south to Liverpool Street. The parcel of land on which the court sits runs north to Central Street. The terraced outdoor areas to the street frontage feature carved sandstone balustrades and grand entrance staircase.

The ISHC designed plain bridges for its rural spans, but because this span is in town it features decorative elements: bichrome concrete detailing, molded concrete balustrades, and incised spandrel panels. The bridge was listed on the National Register of Historic Places in 1998.

Its design includes a two- story porch with balustrades on each floor, tall windows with limestone lintels and keystones, and a cornice with ornamental brackets and moldings. The building was added to the National Register of Historic Places on January 21, 1988.

The Tudor design continues in the building's interior, which includes wood panels in its lobby, wrought iron balustrades on its staircases, and marble fireplaces in the apartments themselves. The building was added to the National Register of Historic Places on March 15, 1984.

The gable ends are decorated with scalloped bargeboards. The verandahs have chamfered posts with simple rectangular capitals and carved scalloped bases. The balustrades are constructed of square section balusters and handrail. The building has timber sash windows, and French doors opening out to the east.

Around the drum of the dome is a relief consisting of forty panels that represent twelve tablets of the first Roman Law. Five bronze eagles adorn the balustrades on the corners of the building. The eagles and “Enlightenment” were resurfaced with gold leaf in 1994.

The entrance itself is flanked by Ionic pilasters and topped by a fanlight and dentillated segmental pediment. The south and east sides each feature porches with Doric columns and balustrades. The house was listed on the National Register of Historic Places on August 18, 1992.

The timber balustrades on the staircase are of an unusual decorative design. The upper level contains three bedrooms and one bathroom. Two of the bedrooms have access to the front verandah via the French doors. The internal doorways have rectangular fanlights with decorative timber fretwork.

The church is one vessel internally, with aisles and shallow transepts. There is a baptistery at the south-west. A gallery runs along the west with a projected canted front, with pine balustrades. Stairs to the gallery lie at the north-west of the church.

St. Paul's stone and wood entrance tower, unchanged from its original form, lacks some of the original wooden corner pinnacle details noted at Trinity's original stone and wood tower. Both Trinity and St. Paul's lack their original wood crenelated nave roofline balustrades as well.

The interior's brass balustrades, mahogany doors inlaid with mother-of-pearl, and finely carved fireplaces were eventually complemented by lavish landscaping: ponds, grottos, kiosks, an ice house, a hothouse, and a subterranean passage from house to gardens.Taylor, Beverly. "Elizabeth Barrett Browning." Victorian Women Poets.

The new cycling track kept its original size of 167 m and steep bankings, and was officially renamed "Kuipke". During the Six Days of Ghent in November 2006, Spanish cyclist Isaac Galvez died after colliding with Dimitri De Fauw and subsequently crashing in the balustrades.

The architectural style of the pyramid includes features that were popular during the Early Classic period, such as wide balustrades flanking the main stairway and the rounded corners of the temple. These features indicate the continued influence of earlier traditions.Valdés & Fahsen 2005, p.142.

The Phoenix Causeway is a larger road bridge named after the former Phoenix Ironworks, which was constructed in 1979 to provide a bypass for Cliffe High Street, and the Grade II listed Cliffe Bridge carries the High Street over the river. It was designed by Nicholas Dubois, and built in 1726-27. It consists of a single arch in red brick with stone dressings, but the original design has been modified. An inscribed keystone was obscured when a footway was added to the north side of the bridge in 1888, and cast iron balustrades replaced the original brick balustrades when the bridge was reconstructed in 1932.

In the south, the building has two-and-a-half registers; the western facade has two floors; and the east appears to include three-stories. In the western facade is a chamfered niche, with windows above it, with the central surmounted by garlands and scrolls, similar to those over the palace portico. Along the southern facade, overlooking the river, is a state room consisting of three balconies with balustrades, recessed central window and projected staircase. The imponent eastern facade includes a grande staircase, but with recessed central zone girded by the towers, and decorated by balustrades and ornamented platforms (festooned by wrapped garlands and dolphins).

The west facade is symmetric, and has a terrace with two balustrades. The backside has a door in the middle, that can be reached using two steps. There is a wooden balcony above that door. The back facade has three dormers just like the front facade.

The seriana on the second floor is partially walled-up. All other openings are large single windows with stone frames recalling the motifs of the serlianas. The long wing also has a ground portal. All the windows on the noble floors are equipped with balustrades and mascarons.

Its decorative influence is found in the sunburst on the projecting front dormer, the decorative brackets along the eaves, and the large porch with its lattice- like base, spindle balustrades, and turned posts. The house was listed on the National Register of Historic Places in 1982.

He wasn't finally paid for his work until 1866. "He was recalled repeatedly through 1879 for completing porches, balustrades, interior woodwork, other improvements and repairs."Pulice, Michael J. 2011. Nineteenth-Century Brick Architecture in the Roanoke Valley and Beyond: Discovering the True Legacies of the Deyerle Builders.

The West Mitchell Street Bridge is a seven-span highway T-beam bridge constructed of reinforced concrete, with broad ogee arches supporting each span. It is long and wide. The deck is asphalt, lined by sidewalks and side balustrades. The bridge is extensively detailed, with Moderne features.

The interior features a double-flight stone staircase with cast-iron balustrades. Edwin Lutyens extended the house to the south east in 1916. The house is made from red brick and is partly rendered in stucco. The drawing room was lined with limed oak by Basil Ionides.

The church is the cathedral "Sanctissimae Trinitatis" since 1980. The staggered facade is completed by two balustrades that are decorated width 74 statues of saints. The church hosts the crypt of the Wettin Dynasty. The Frauenkirche was built by the citizens of Dresden between 1726 and 1743.

To the east of the house there is a further terrace, surrounded by balustrades with views towards the Pynsent Column. There are flagstone walkways leading to panels of lawn, interspaced with topiary spheres. The walkway leads to an area of ornamental shrubs and a woodland garden.

After the war, the staircase was only partially repaired. It was neglected during the 1950s and the 1960s. The staircase remained that way until 1987. That year, a project of the full reconstruction of the staircase was completed, including the restoration of the balustrades, columns and lanterns.

Exploration of the site in May 2006 reveals loss of the balustrades, the bridge and the lake, which has been filled and is now used for horses. The remainder of the site is heavily wooded and has dense undergrowth, with some contemporary fly tipping of refuse.

The cabin is surrounded by a covered walkway and three covered walkways project from it at right angles to each other. Wrought iron balustrades enclose all of the walkways. They are roofed with corrugated iron. The walkway that surrounds the cabin is supported by wrought iron brackets.

Entrances on Galena Boulevard and Stolp Avenue feature double cut limestone balconies with stone balustrades. The Stolp Avenue entrance leads to the main lobby. Inside, the lobby features a pink Tennessee marble floor with a Tennessee dark timber base. Fluted columns are made of black walnut.

It was approached by a twofold flight of steps, with iron balustrades, ascending from the right and the left. Hanging from the walls and ceilings there were numerous bronze and silver chandeliers. The synagogue contained a valuable collection of ritual objects. The building was repaired in the 19th century.

This type of development is now obsolete as it was discontinued after the Second World War. There is not much decoration on the facade of the shophouses. Only moulded capitals to the columns and lozenge shaped grille blocks forming balustrades to the verandahs exists in some of the shophouses.

The balustrades of the balcony, supported by white brackets are painted black as are the bars to the windows. The door is green and is surrounded by a white frame. The courtyard to the building is arched. The main hall is elegant, with a grand staircase and marble furnishings.

The fish pond has been filled in and now contains plantings. The pavilion, designed by C. H. Hansen, is a single-story, open air, cross-gable-roof structure. Concrete urn balustrades encircle the pavilion, and link podia topped with short Tuscan columns. The columns support the entablature and roof.

The Hibbard Apartment Building is a nine-story structure with 40 units. The exterior is primarily red brick, with limestone on the first two stories. The façade is decorated with limestone decorative elements such as balustrades, pediments, and quoins. A pair of swags are located below the cornice.

Entrance is gained through a double set of wooden doors. Double sets of casement windows open either side of this door. The verandah has short balustrades at each end, but none across the front. Four plaques are fastened to the front wall, two on either side of the door.

The stylistic concrete piers are cement rendered. There are dressed stone cutwaters embedded in concrete to the upstream leading edges. A cantilevered pedestrian footbridge is attached to the upstream side of the bridge. It has wrought iron stanchions, chain wire and timber top-rail balustrades on both sides.

Walnut balustrades and banister run along the staircase. The second floor houses four bedrooms which open to the main hall gallery. One is above the parlor, one is above the library, and two small bedrooms are above the kitchen. A bathroom and servant's quarters are also over the kitchen.

The Gairloch Bridge is a low level concrete bridge. It is simple and unadorned in appearance with no posts or balustrades. The superstructure has the appearance of a shallow concrete slab about wide. The roadway atop this slab is edged with concrete curbing and covered with worn bitumen.

The front and side verandahs have solid, curved timber valances and battened balustrades. Bellcast hoods sit over the casement windows to the gabled fronts of the flanking wings. Small timber louvred rectangular vents sit above the hoods. The fleche rising from the middle wing roof ridge has been removed.

This cubic area defines the main part of the house, fronted by a half-moon Doric portico, which is supported by in the front by two small Doric columns. The portico fronts a double-gallery with balustrades, where the front of the double-gallery is defined by four large, fluted Doric columns. The front of the hipped roof includes two wide dormers with multiple-paned sash, and the sides of the main part of the house are graced by two exposed brick chimneys. Also flanking the main part of the house are a porte-cochere and a sun room, both capped with balustrades, and preserving the overall symmetry of the structure.National Archives Identifier: 40972436.

Its surfaces are covered with more highly elaborate ornamentation including carvings and bands of fine wooden mosaics, forming somewhat different motifs from the rest of the minbar. The outer sides of these balustrades feature curved interlacing bands around quatrefoil and dodecagonal forms, while the inner sides feature an eight-pointed star composition (an abridged version of the pattern on the main flanks of the minbar) which is framed by a band of blackwood deeply carved with a Qur'anic inscription of Kufic Arabic letters on an arabesque background. The top of the staircase is framed by similar but much shorter balustrades pierced with horseshoe arches. These in turn have their own set of curving motifs, mosaics, and arabesque panel decoration.

Small Temple of the Aten at Akhetaten, modern Amarna Two temples were central to the city of Akhetaten, the larger of the two had an "open, unroofed structure covering an area of about at the northern end of the city". Temples to the Aten were open-air structures with little to no roofing to maximize the amount of sunlight on the interior making them unique compared to other Egyptian temples of the time. Balustrades depicting Akhenaten, the queen and the princess embracing the rays of Aten flanked stairwells, ramps, and altars. These fragments were initially identified as stele but were later reclassified as balustrades based on the presence of scenes on both sides.

A circular window with tracery tops both. The upper stage has the belfry, with lancet arched balustrades and paneled corner piers topped with pinnacles above the eaves. The wood-shingled pyramidal roof is topped with a crocket. The south (front) facade has a single tripartite lancet arch stained glass window.

Walnut grove is a five-bay house with a raised brick basement. The front porch is distinctive Greek Revival. The flat porch roof over the entrance is supported by four square Tuscan columns joined by the original balustrades. The entry is adorned with carved sidelights and a leaded tracery transom.

The pub is a heritage-listed building of local significance built in the Victorian Filigree style. It is a two-storeyed corner hotel with a panelled lace upper verandah, timber posts to street and iron lace balustrades. It is a rare example of a hotel still in its original state.

The hall is split with a half-wall created by the stairway balustrades and handrail. There are five bedrooms on the upper level. The north bedroom includes a Roman brick fireplace and a walk-in closet. Plumbing throughout the house was replaced, first in the 1930s and then again in 1992.

The prayer hall is a monumentally sized timber building with a turquoise hip roof, painted dougong (wooden brackets), a six-pillared portico, and five doors. It is raised upon a large stone platform lined with balustrades. The expansive prayer hall consists of three conjoined buildings, set one behind the other.

Decorative balustrades are located below each window. The columns support a classical entablature that consists of a molded architrave, an incised frieze with an egg-and-dart molding, and a cornice that features a dentil course. A balustrade tops the building. The interior of the original portion contains the postal lobby.

The lower section of the building's facade is decorated with a series of horizontal lines formed by protruding granite blocks, and the upper section of the building is decorated with detailed pediments, a dark-colored cornice, and balustrades. Pilasters were also used, each adorned with a granite carving of a shield.

For the glass stairs and balustrades Diamond Schmitt Architects co-operated with Malishev Engineers, who were instrumental in designing Award Winning structures, most notably 36m long structural glass stair (first use of structural glass in public building in Russia) and large 100t spiral staircase which is hung from the ceiling.

The idea to draw upon this style was from Hill, who suggested it to McMahon after his trip to Europe. This includes its tiers of continuous balconies with balustrades, large bracket supports for the balconies, steep pitched gable roofs, intersecting gables, two-storey dormers, a lantern cupola, and its brightly contrasting walls.

Above the verandah roof are paired brackets to the eaves of the main roof. The house is set less than a metre above the ground and is supported by brick piers. The verandahs are gracefully simple, with no balustrades. The timber support posts have moulded capitals and triangular shaped, cast-iron brackets.

A balustrade, punctuated by sculptures atop the giant pilasters, capped the composition, one of the most influential of Michelangelo's designs. The two massive ancient statues of Castor and Pollux that decorate the balustrades are not the same as those posed by Michelangelo, which now are in front of the Palazzo del Quirinale.

The Lodge, iron gates and gate piers at the eastern entrance to the estate were added in the late 19th century, when balustrades and steps were added between the house and the lawns. The stable block, which was probably designed by Sir John Belcher, was also added in the late 19th century.

A white picket fence frames the building as viewed from Buckley Street. The front and side verandahs feature double slat balustrades and arched timber verandah sweeps. The verandah ceiling is lined with timber. A verandah room is enclosed on the western side with tongue and groove timber boards and double hung sash windows.

Ponte dei Bareteri Ponte dei Bareteri is a bridge in Venice, Italy.restauro balaustre ponti – ponte dei Bareteri It is named after manufacturers of caps (barète in Venetian dialect) which were common in the area. The original bridge was wood, replaced by stone in 1508. Both balustrades were restored between 2006 and 2007.

The work is broken into three volumes. Volume one focuses on overall principles, in particular: situation, layout, buildings and their fittings. Volume two contains descriptions and illustrations of decorative balustrades. Volume three covers doorways, windows, walls, decorative pavements, artificial mounds, rock selection, and a final chapter, chapter ten on borrowed scenery (jie jing).

Full- height partition walls have been erected in the former post office public space. Floors are lined with recent carpet. Door furniture has generally been replaced though some china and brass door handles remain. Access to the first floor is via an elegant timber staircase with walls and balustrades of paneled timber.

Materials used were hardwood. The grand staircase, which came from Gilda Hofileña's ancestral house, is made of ironwood, or "balayong", which is not susceptible to termites and impenetrable by nails. The balustrades were individually carved by carpenters. The portico The floor is made of narra, and polished regularly, giving it a shiny surface.

In June 2009, another major refurbishment project was begun on the bridge. The deck was resurfaced, and decorative elements like the terra-cotta balustrades were restored. The cost of the work was estimated at $5 million. By late October, most of the work (except the top layer of asphalt) had been completed.

The building has an entrance in the centre of both the George Street and William Street elevations. Each entrance is marked with a broken segmental pediment. Behind the upper colonnades there is a long recessed balcony. The use of fine wrought iron detail to balustrades, railings and gates complements the masonry detail.

The three-storey stone building has a slate roof. The south front has a three-bay with a pediment. It was designated as a listed building in 1985. Some of the walls and balustrades are also listed, as is the late 18th or early 19th century sandstone bridge south of the house.

The culverted River Sheaf joins the Don beside Blonk Street bridge, named after Benjamin Blonk, who was the tenant of Castle Orchards Wheel from the 1750s to the 1770s. The three-arched bridge was built by Woodhead and Hurst between 1827 and 1828. It was altered in 1913 and has cast iron balustrades.

The eastern elevation has two projecting verandah wings with multi-faceted roofs and tall brick chimneys. The verandahs have timber balustrades, columns and decorative capitals. Two service wings extend from the rear of the building. The residence has a generous entrance hall, several marble fireplaces and high quality timber joinery throughout the interior.

It has a central gabled entrance, facing Stirling Terrace, and is the only entrance to the rotunda. This gabled section appears to be a recently added item. A perimeter timber balustrades is continuous around the rotunda interrupted only at the entrance. Timber posts and beams support a timber framed, zinc clad roof.

There, the dark oak pulpit is raised and flanked by similar balustrades on either side. Behind it is a large pedimented cornice with similar pilasters and columns to the entrance. The organ is located in the recess. At the rear of the church is a gallery and the stairs to the bell tower.

The total cost of the church was £4,583. The rebuilt church was rectangular in plan, with a tower, topped by a spire, rising from the north-west corner. There were five round headed-windows on the main, north front, with a circular window above each one. The walls were topped by balustrades.

The earthquake of 1980 brought down the frescoed ceiling, and failure to protect the fragments led to their degradation, as well as the interior. Vandalism further despoiled the interior or marble and balustrades. The building has not been reconstructed or deconsecrated. The interior has a Greek cross plan with four corner chapels.

Hennessy owned and operated a successful store in Butte. With the clout of financial backing from Daly, Hennessy hired Frederick Kees, an architect from Minneapolis, to design one of Butte's most elegant buildings. Hennessy's department store opened for business in 1898. Inside, shoppers encountered marble staircases, oak counters, and solid bronze balustrades.

He worked for various established architects, and with a group of young companions, he prepared an entry for a project for the construction of the Chamber of Commerce in Carrara. For the ornamentation of the facade, the 22-year-old Berrocal invented a solution for the balustrades. His work was based on eight modules with which he obtained a number of permutations and combinations that far exceeded the requirement to make each of the building's balustrades different from the others. In 1957, he exhibited his first sculptures, in wrought iron, at the Galleria La Medusa, in Rome. The works that he produced during the summer, in the studio he rented in Mougins on the Côte d’Azur, concluded his cycle of activity as a painter.

Mount Carmel Convent is of aesthetic significance due to its well-composed design which, externally features a combination of decorative elements including cast iron and timber balustrades, glazed face brick walls with rendered sections, timber latticework and a statue of Mary and Jesus in the south eastern gable. Interior features including pressed metal ceilings, stained glass and leadlight windows, and arts and crafts style timber balustrades and joinery contribute to the aesthetic value of the place. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons. The Convent has strong associations with the local community, and with the Sisters of Mercy, who use it as a holiday retreat during the summer months.

Skirtings and architraves are timber of a simple profile. Verandah walls are single-skin, lined with VJ, T&G; boards with exposed external framing. Verandah floors are timber, and ceilings are raked and lined with VJ, T&G; boards. Joinery to the verandahs includes square timber posts and two- rail timber balustrades with battened balusters.

The staircases are constructed of timber and are an internal element. The staircases are modified to the present stairs of 175mm risers and 220mm thread. The staircases have timber handrails and simple banisters are made of polished hardwood, which are free standing as balustrades. The staircase arrangement is straight with an elevated base landing.

All architectural details are well finished and include steel framed windows and balustrades; terrazzo window sills, toilet partitions and floors in the entrance lobby, stairs, stair hall and bathrooms. Original fittings, fixtures, furniture and signage are retained throughout the building. Internal walls throughout are rendered and painted in a limited palette of light colours.

Centred on the ridge is a skylight. The verandah is open on its two street elevations, with a concrete floor, dowelled balustrades and stop-chamfered posts. The south-eastern and south-western verandahs are enclosed and clad in chamferboards. At the rear is a brick safe with a steel door opening into the office.

The original structure was demolished in 1932 and replaced with an ornate reinforced concrete skew arch. The structure includes an ornate cornice to the parapet and balustrades. The existing western edge beam was demolished in 1983 due to a vehicular impact with a new aluminium parapet. The structure was Grade II listed in 1985.

The original 1883 station building was built by the District Railway. It was a red brick building with an enamel pecked half roundel attached to the arched window space above the booking office entrance. A lampshade branded Tiffany was above the roundel. The original stairs to the platforms with cast iron balustrades are retained.

Henry built the house himself, using timber cut on the property and finished in the sawmill he operated. An expert carpenter helped with the fancy-work details, such as the turned balustrades. The couple moved into the house in about June 1889. Ford later added a workshop, where he experimented with gasoline-powered engines.

Balustrades were solid, other than decorative timber batten panels centred beneath timber bracket arches with side openings. The battening pattern used was consistent throughout: below arched openings and on the front stair balustrade in the infill latticework. The house cost between £1,200 and £2,000. The house was the venue for family and formal events.

The pyramid is high and measures at the base. It was built using cut stone and has four stepped levels, each of which terminates in a cornice. The pyramid faces west onto the plaza and has two access stairways with 27 steps each. The stairways are flanked by smooth balustrades built from well-fitted slabs.

It has considerable unity in its scale, form and use of materials. The main structure of the building is of brick on a stone foundation. The columns, pilasters, balusters to the colonnade, the parapet and side entrances are of Murphy's Creek sandstone. There are cast iron balustrades on the recessed verandahs and external stairs.

Floors are lined with recent linoleum strip sheeting with carpet in some areas. The internal stairwell has walls lined with long lengths of chamferboards and fibre cement sheeting with cover strips. The staircase has treads and risers of polished timber and balustrades with timber cappings. The balcony space has walls and ceilings lined with plasterboard.

The symmetrical two and a half story building is largely rectangular. It was built with red brick with Bedford limestone trim. Balustrades and modillions are detailed with galvanized iron and tin. The main entrance is a double door on the south, facing Second Street, while a second public entrance faces Joliet Street on the east.

The house is surrounded on 3 sides by a stepped verandah with a skillion roof. The rear verandah has been enclosed and extended. The front pediment features a decorative timber bargeboard and finial, and the verandah has been enclosed sideways-sliding sashes featuring panelled coloured glass. The original cast iron balustrades have been retained.

It probably had a double portico, modified in about 1830 into a five-bay upper piazza with Doric columns and balustrades. The three center bays project forward and have a pediment and oculus. The piazza and house have entablature with modillion and dentil blocks. In the 1830 renovations, the house was extended toward the rear.

These disappeared into various archives in the 1960s, but were relocated in 2015. His widow died on 26 October 1965 in New York. By the time of Guimard's death, many of his buildings had already been demolished or remodeled beyond recognition. Most of his original Metro station edicules and balustrades had also been removed.

In front of the hall lies a stone gazebo surrounded by stone balustrades. Inside the hall sit twelve engraved folding screens. The pottery sculpture on the beams was renovated in 1981. Memorial tablets of ancestors were placed on a 21-step wooden shelves in the Back Hall, which was once used for worship of ancestors.

The balustrades of both the northwest and southeast towers of the building fell down after the earthquakes; in the northwest tower, a pole broke; and there were some cracks and minor damage to the walls. Repairs took place in February 2011, with an investment of fourteen million pesos (US$28,000) by the government of Pichilemu.

It was reported to be in excellent condition as at 4 May 2009, with original outbuildings, slate roof, chimneys, cast iron balustrades, posts, brackets, valences, timber back verandah, doors and windows. It also retains its original garden setting. The interior has been substantially altered to accommodate a school.LEP, 2000: last updated 3 December 2004.

The simplified classicism of the 1930s remained dominant and only slightly changed well into the 1950s. Again, public and other important buildings but this time also apartment buildings were decorated with classically orientated ornaments. Main entrance doors, railings, and lighting sconces were made of richly decorated ironwork. Often, balustrades were used instead of railings.

St. Clair Shores: Somerset, 1999, 630. being used to cover the facade,Gordon, Stephen C., and Elisabeth H. Tuttle. '. National Park Service, 1978-12-11. while the ironwork includes elements such as balustrades of wrought iron around the first-story windows and the cast iron used to create the main stairway to the house.

A pedestal and a statue are dated 1628, while two other statues were added in 1629, and the balustrades finished in 1648. It was made by Adam Lottman. The painting “the Assumption of the Virgin” is by Gerard Seghers. Among the works of art is a painting once considered by Peter Paul Rubens of the Descent from the Cross.

The building is dominated by a large rounded two storey bow window consisting of three sash windows on each floor. The hipped slate roof is concealed by balustrades. The eastern entrance has a two storey square porch. The interior has a grand entrance hall with an open well staircase with moulded segmental arches, modillion cornice and a roof light.

This is typically very expensive and rare but valuable in terms of historic preservation. Dimension stone is also reused. Buildings immediately spring to mind, but such things as the ornate stone walls, arches, stairways and balustrades alongside a boulevard can also be renovated and reused. Sometimes the old interior of the building is kept as is, after repair.

The central bay has a gabled doorway framed by buttresses. On each side of the doorway is a lancet window. The upper storey contains a three light window under a gable. Inside the church is a gallery of tiered seats, and a central pulpit decorated with floral panels on the front, and pierced balustrades on the sides.

Each wing has an internal stair, and the northern wing has a ground floor toilet block extension and the southern wing a ground floor entrance verandah. Windows are mostly casements, but some sash windows survive from the original structure. Internally, circulation is via the northeast verandah. Stairs are concrete with timber handrails, and metal balustrades and newel posts.

The church was rebuilt many times. The current plan is elliptical, masked externally by the square structure. The balustrades of the presbytery and the sacristy doors (made of painted wood and imitation marble) alternating with one another, make the interior regular-shaped. The altar (made of marble and wood), is topped by a nineteenth-century painting of the Crucifixion.

Each of the gables to the street is formed with fibre cement sheeting with vertical batten cover strips. In the centre of each gable is a lattice-formed roof ventilation grill. The side porch has similar details to front porch but has timber slatted balustrades. A recent landing and timber framed stairs have been added to the side porch.

The verandah has a timber floor, timber posts, balustrades formed by bag racks and a raked ceiling clad in flat sheeting. The northern end is enclosed in wired, fixed glazing. The interior comprises four classrooms, with two store rooms connected to the southern side of the southern classroom. Doors connect the two southernmost and the two northernmost classrooms.

A parapet and a terrace with balustrades along the sides, both among the building's prominent Beaux-Arts elements, line the roof. In addition to its government functions, the courthouse has hosted large community events and serves as the focal point of downtown Murphysboro. The courthouse was added to the National Register of Historic Places on December 29, 2015.

The south and northwest corner entrances both feature porches; these porches, along with a since-removed porch on the east side, originally had classical columns and balustrades but were later remodeled. The house was added to the National Register of Historic Places on April 20, 1995. The New Boston Historical Society operates a local history museum in the house.

He painted a Birth of Mary, an Annuciation, and "Assumption of the Virgin". The painting of the Archangel Saint Michael is attributed to Giacinto Diano. The architect Lazzari designed the main altar, the interior balustrades, and the base of the funereal monument for Gennaro Acampora, rector of the church. The revered icon on the main altar is anonymous.

The ceiling is blue with a sunburst design surrounded by Fox griffins. At the rear of the lobby, the grand staircase leads to the mezzanine level. Two plaster lions with jeweled eyes guard the base of the stairs and fish-like creatures adorn the balustrades. On the mezzanine level, four additional columns frame two-story windows enclosing the auditorium.

The hall has an ornately carved timber dog-leg double staircase and return landing with elaborate timber balustrades and coffered timber ceilingi the Jacobean manner. A panelled room leads off the hall with finely carved timber fireplace and coloured panes to the twelve-paned sash windows. All the main doors have ornate pedimented architraves. The servants' wing still exists.

Dr. Alois Wollenmann House is a historic home located at Ferdinand, Dubois County, Indiana. It was built in 1903, and is a two-story, roughly square, frame Swiss Cottage style dwelling. It has American Craftsman detailing and features decorative shingles and turned balustrades and brackets. It has a one-story rear addition housing a kitchen and sunroom.

The lower floors are rusticated; the rusticated stone continues as quoining to the upper floors, contrasting with the smoother ashlar masonry. The stone balustrades of the tower gallery are supported by corbelling with modillion cornicing. The lantern is covered with a black zinc domed roof, while the light itself is enclosed. The interior is constructed for efficiency.

The porches of the first two floors have plain square posts and simple modern. When surveyed for the National Register in the 1980s, the porch had square posts with simple capitals, and balustrades with turned balusters. Its main roof eave was modillioned, and it had a third-floor porch set recessed in an arch. The house was built c.

The house has two and a half stories with a hipped roof, and is constructed of red brick and brownstone. The exterior boasts bay windows, Corinthian columned porches, parapet balustrades, and a modillion cornice; the interior features notable frescos, paneling, plasterwork and stained glass. Behind the original house is a two-story, red brick church hall, built in 1917.

Since this time the Bowen Court House has functioned as a District and Magistrate's Court. The building remained substantially unchanged for many years, apart from some minor additions and alterations. A verandah was added to the north-west elevation in 1913, and the balustrades and posts have been altered. It underwent a $4 million refurbishment in November 2004.

Mocatta also designed balustrades and a set of eight Italianate pavilions to ornament John Urpeth Rastrick's Ouse Valley Viaduct for the L&BR.;Cole (1958), pp.151-55. Mocatta was also involved with Charles Pearson's scheme for a Central London Railway station in Farringdon Street and drew up plans circa 1845, but this scheme was never implemented.

The steel girders used for the balustrades are 1.5 m high and 24.6 m long. A special slewing crane was designed for the project to lift and mount a quarter of each floor level. Concrete was delivered by night to the construction site to minimize traffic obstruction. The office building stretches to 39 stories, of which five are underground.

Its porches are topped by low jigsawn balustrades. The house sits on of land, along with a similarly- decorated barn, carriage house, and dog house. The barn and carriage house both have living quarters on the upper level. and The house was built about 1847 for John Godfrey, as a summer residence for his family; its architect is unknown.

Argent Apartments is a historic apartment house located at Glens Falls, Warren County, New York. It was built about 1895 and is a rectangular, three story, frame building covered by a slate mansard roof and clapboard sheathing. At the corners are three story towers with open galleries. It features two tiered porches with turned posts and balustrades.

The scullery in the northeast corner is of painted brickwork and hardboard ceiling, with recent mosaic tiled floors. The WC, between scullery and eastern entrance, has rendered walls. There are stairs leading up at the eastern end of the hall, and adjacent to the vestibule. Balustrades are of turned cedar with monumental and elaborate newel posts.

The columns support entablatures that include classical balustrades. Windows with ornately carved hoods featuring split pediments and eagle-and-shield motifs are directly above the arched openings. Ionic order pilasters separate windows on the upper stories of the pavilions. A balustrade runs between each of the pavilions at the roofline, topping the recessed portion of each elevation.

The staircases have cast iron balustrades with timber handrails and marble or terrazzo treads. Steel casement windows are used throughout with the exception of Units 3 and 4 which have timber casements. Internal walls are generally double brick with a rendered finish. The former caretakers flat located on the roof is of lightweight construction with a corrugated iron roof.

Footpaths wide on either side of the bridge were formed by concrete cast in situ and cantilevered out from the adjacent beams. These footpaths were separated from the roadway and the bridge's edge by lightweight aluminium balustrades and safety fences installed by Bristile."Narrows Opening", p. 29 The street lights were integrated into the safety fence.

The pyramidal base is topped by a shrine containing three rooms, the final room of the three is circular. The temple has three steep stairways flanked by balustrades. The main stairway ascends directly from the plaza, those on either side are perpendicular to the main stairway. The balustrade of each stairway terminates at the top in a vertical panel.

For the overall design of the building, Baker chose the neo- classic architecture of the Italian Renaissance, and also combined an idiom of the English Renaissance, as well as significant elements of Cape Dutch detail, such as in the carved main doorways and fanlights and in much of the wrought- iron brass work and balustrades of the smaller areas.

Over this are three pargetted panels under a four-light canted casement window. The roof is curved and surmounted by a weather vane. On each side of the steps at street level are modern shop fronts. Above these, at the front of the Rows, are balustrades behind which are sloping stall boards, then the walkway and shop fronts.

It supports one set of a standard gauge railway line on hardwood sleepers flanked by timber decking and timber balustrades along each side. The turntable is long and revolves within a cement paved dish having sandstone edge walls. The end locking plates are stamped "TT17". At each end are the stub ends of 2 railway tracks.

After the Marshall House incident, soldiers and souvenir hunters carried away pieces of the flag and inn as mementos, especially portions of the inn's stairway, balustrades, and oilcloth floor covering.Goodheart, p. 289.(1) (2) Relics associated with Ellsworth's death became prized souvenirs. President Lincoln kept the captured Marshall House flag, with which his son Tad often played and waved.

A. S. Rugge House is a historic home located at Glens Falls, Warren County, New York. It was built about 1880 and is a -story, gable-roofed brick Italianate style residence. It features 1-story side and entrance porches with turned posts and paneled balustrades. It was added to the National Register of Historic Places in 1984.

The cottage has four rooms organised off a central corridor, an attached kitchen wing and front and rear verandahs. The front steps have been removed and the front verandah balustrades sheeted with fibro. The rear verandah is enclosed and accommodates a small porch and toilet. Within the cottage, several partitions have been removed and new openings made.

Blind windows are then used to excellent effect. The external wall cladding and elements such as the Porte Cochere, the clock tower, balconies, balustrades and external stairs are built of Sydney "yellowblock" sandstone. Externally, metal grilles, window and door frames are used. A vehicular ramp leads up to the main entrance midway between the ground and first floor levels.

Unlike other temples in Khajuraho, its sanctum is Pancharatha on plan (top-view). Its shikhara is clustered with minor urushringas (refer images of temple top i.e. shikhara). The wall portion is studded with balconied windows with ornate balustrades. It has two rows of sculptures (refer images of temple's outer wall) including divine figures, couples and erotic scenes.

On the right, the main entrance is accessible via a few stairs, flanked by two hand rails adorned with sculpted festooned urns. The arche shaped portal boasts round shape transom lights. At street level, openings are round-topped, with a bulging corner stone. Upper floors display balustrades on the avant-corps, separated by festoon motifs from the level above.

The building's north entrance on Massachusetts Avenue has a 6 x 6 foot (1.8 x 1.8 m) stoop flanked by limestone balustrades. Above the entrance and ground floor windows are limestone corbels and guttae. The corbels support limestone second floor balconies and a vase balustrade. The third floor balconies are made of limestone and feature cast iron railings.

The first floor has small balconies with timber balustrades braced in diagonal patterns. The house has timber sash windows and French doors. The sandstone house has decorative external detailing in stone and timber trim. The square-snecked rubble stonework is dressed with projecting quoins, keystones, toothed windows surrounds and string courses and the tower has an arched cornice.

Each face of the octagonal base of the dome has a round window. A vented fleche surmounts the dome and three other similar fleches are mounted on the ridge of the roof. Panels of classical balusters form the parapet around the dome and the balustrade to the upper level verandah. The ground floor verandah has wrought iron balustrades.

Linwood Lawn is a historic home located at Lexington, Lafayette County, Missouri. It was built between 1850 and 1854, and is a two-story, rectangular, Italianate style brick dwelling. It measures 71 feet by 110 feet and features a heavy cornice, detailed balustrades, bay windows, and detailed columns. Also on the property is a contributing brick, octagonal ice house.

There is exquisite mirror work in gateway with architectural elements of haveli style including, carved balustrades, over-arching balconies, chabutras, jaalis, etc. are present. The temple has a unique Manastambha (or column of honour) inspired by the Jain Manastambha and the Kirtistambha at Chittore in Rajasthan. The Manasthambha is sixty story in height and enshrines an idol of Mahavira.

However, even at this early stage, provincial architects had begun to incorporate certain vernacular features of Sicily's older architecture. By the middle of the 18th century, when Sicily's Baroque architecture was noticeably different from that of the mainland, it typically included at least two or three of the following features, coupled with a unique freedom of design that is more difficult to characterise in words: # Grotesque masks and putti, often supporting balconies or decorating various bands of the entablature of a building; these grinning or glaring faces are a relic of Sicilian architecture from before the mid-17th century (Illustrations 2 and 9). # Balconies, often complemented by intricate wrought iron balustrades after 1633 (Illustrations 2 and 9), and by plainer balustrades before that date (Illustration 6). # External staircases.

The stairs are concrete and have metal balustrades with timber handrails. Internal walls are generally plaster-lined with simple skirtings, and classrooms retain timber picture rails. Original timber double-hung windows and double doors with large, three- light fanlights remain in the internal corridor walls. Ceilings are lined with flat sheeting and ornamented by timber battens forming a grid pattern.

The entrance of each temple had statues of robust and seated men which supported the standard- bearers and banners of handmade bark paper. Each stairway was defined by balustrades flanking the stairs terminating in menacing serpent heads at the base. These stairways were used only by the priests and sacrificial people. The entire building was originally covered with stucco and polychrome paint.

The 1934 stairwell has concrete stairs, metal balustrades with timber posts and top rails, and original timber doors. Internal walls are generally plaster-lined with simple skirtings, and classrooms retain timber picture rails. One set of original timber folding doors survives between two classrooms on the ground floor. The location of removed folding partitions is indicated by surviving bulkheads in other classrooms.

The path to this monument was cut out of the hillside and several bridges were used to overcome differences in level. The Egyptian tomb is the only folly to survive to the present with its structure essentially intact. :The Gothic bridge A high-arched, steeply-approached bridge in Gothic style with decorated balustrades is shown spanning a stream. It no longer exists.

The interior houses a single-space wide nave with a large wooden barrel vault, enclosed by a wooden matroneum. Patches of the rich painting decor have survived on the walls, unfortunately repainted and partially plastered. Balustrades and matroneum are covered with polychrome floral and geometric motifs. In the chancel stands a brick altar designed by Heinrich Seeling, with an openwork clearance.

The manor is considered to be one of Rosenbaum's most historically faithful buildings. The building is richly decorated with pilastres, half-columns, terraces, balustrades, stucco garlands and rococo sea shells. Some of the decorations were produced in the renowned workshop of sculptor August Volz in Riga. The manor is considered to be one of the most artistically accomplished manor houses in Estonia.

But as Brooklyn Police Fire Marshall Patrick Keady noted later in his Special Report, instead of the orderly procession that had originally informed Jackson's evacuation estimates, everyone attempted to sally the stairs at once. Anything but orderly, people jammed in the doorway and stumbled under the relentless press from people behind them. Their feet got caught in balustrades; they tripped and fell.

The total length of > the bridge is about, I should say, 400 feet. The whole building is well > defended by strong side rails and balustrades, as well on the outer sides as > on the inner line. The three are uniform. The whole of the upper part, above > the roadway, is painted of a light colour, and has a very airy appearance.

Before it was a place of sacrifice.” The steps to the dais were said to have been flanked by immense balustrades. “At the beginning of one was the colossal image of a frog; at the beginning of the other a crocodile.” He also said the guides told him the city had been inhabited by the Chorotegas "a thousand or more years ago".

The building's first three stories are clad with limestone and decorated with flat Corinthian columns and balustrades on the second-story windows. The remainder of the building is brick and includes a dentillated cornice at its roof and a second cornice above its eleventh story. The building was added to the National Register of Historic Places on May 14, 1986.

Architects McNally and Quinn designed the French Renaissance Revival building; their design includes a brick exterior with classically ornamented stone on the first three stories, decorative balustrades and window surrounds on the upper floors, and two small, steep hip roofs atop the projected sections of the facade. The building was added to the National Register of Historic Places on May 22, 2007.

In 1934 the house was gutted by fire. Major restoration efforts were soon undertaken, and by May 1936 it had been largely reconstructed. Fortunately the outer pavilions of the house and many agricultural buildings remained intact, as well as the entrance steps, balustrades and colonnades. The façade of the house was restored as close to the original as was possible.

Dragon Bridge is a triple-hinged arch bridge and has a span of . Its style was designed by Jurij Zaninović. He envisaged the concrete covering, the balustrades and the sheet-copper dragon statues of the bridge, which is now a symbol of the city. The chief attraction of the bridge are these four dragon statues standing on pedestals at its four corners.

A flight of granite steps leads to the base of the tower. The tower is entered from a door on the north west, this being the most sheltered side. It is divided into three storeys by cast iron floors connected with a spiral prefabricated cast iron staircase which continues up to the lantern. The gallery uses wide angled decorative balustrades.

The gable ends have decorative timberwork and paired brackets. The sides of the building to the river and land entry are open and have timber balustrades and corner posts. Those to the north and south have small rooms set on either side of the central passageway. The interior has a timber floor and ceiling and there are timber bench seats against the walls.

Open stairwells with off-form concrete external balustrades are located at regular intervals along the building. The external areas of off-form concrete have been painted. Windows are metal framed, with the original windows composed of a large panel spanning the window space at the top with two smaller windows below. All are pivoted horizontally and double-glazed with Venetian blinds enclosed.

Mountain View Farm is a historic farm property in rural Yell County, Arkansas. It is located at the eastern end of County Road 218, south of Plainview. The main house is a two-story American Foursquare structure, built out of brick and covered by a hip roof. A two-story porch extends across the front, with spindled balustrades and exposed rafters.

The Hogan's Creek Park System is one of the most notable features of Springfield. These historic parks and structures which define the southern boundary of the neighborhood constitute of Springfield or approximately five percent of the total land area. Klutho Park comprises and Springfield Park another . Along the creek itself are the balustrades and bridges designed by Henry John Klutho in 1929.

Throughout the building, the brickwork has finely-shaped corners and the rendered walls have stop-chamfering. Verandahs run the length of the rear elevations giving access to the rooms and to concrete stairs at each end of the building. The stairs have decorative iron balustrades and timber handrails. The floors of the circulation areas are polished concrete with a painted margin.

The entire panoply of painted stucco and brick, including Mannerist panelled pilasters, capitals, entablatures and mock balustrades, integrated with tall timber windows, confers on the building a notably opulent quality. Originally the structure comprised a centre row of cast iron columns supporting steel lateral girders. All but one of these columns have gone and the beams strengthened by embracing double channels.

Crowell Mitchell House is a historic home located at Batesburg-Leesville, Lexington County, South Carolina. It was built in the 1880s and is a two- story, frame Victorian dwelling. The front facade features ornamental double- tiered porches which connect flanking bays. It is representative of a typical middle-class residence with spacious simple rooms, large window area, and scrollwork balustrades.

The northernmost of the beaches is Playa Las Terrazas or Playa Principal (The Terraces Beach or Main Beach), which is in front of Ross Park. It is popular for surfing. Near the beach and at Ross Park, there are balustrades and long stairs dating from the early 1900s. There is a balcony over the rocks at the southern end of the beach.

This two-tiered platform is lined with detailed balustrades and is decorated with numerous sculptures depicting imaginary and real animals, such as dragons and phoenixes. The stone-paved courtyard is lined with two rows of rank stones, called pumgyeseok (), indicating where the court officials are to stand according to their ranks. The whole courtyard is fully enclosed by wooden cloisters.

It faces west towards the plaza and had a single access stairway flanked by sloping balustrades that terminate in vertical sections at the upper extremes. The pyramid was of fine workmanship using well-cut stone slabs. However, itw was poorly preserved and the southern part had partially collapsed. The surviving portions of the building allowed it to be accurately restored by archaeologists.

The house has a terracotta tiled roof, which extends over verandahs to three sides, and which features terracotta finials. A prominent feature of the house is the decorative timber work to the verandahs. The balustrades are wide, white slats, and centrally located in each verandah bay is a circular motif. A scalloped valance is also made from wide, white slats.

The impressive porch is carved coral stone and original, carved Jacobean balustrades have survived through a building fire. The building is now used as a library and for study space. The campus is entered via road lined with august trees of varying species, including giant silk cotton, whitewood or white cedars, mahogany and others. An ornamental lake is fed by a natural spring.

The Priory is representative of mansions that were built to house the wealthy families of the late nineteenth century. It is a two-storey Victorian mansion dating from 1877, one of the first on Burwood Road. It features a three-storey elaborately decorated tower, a two-storey verandah with cast iron balustrades and an attractive bay window. It has an expansive garden.

It has cast iron balustrades, timber posts and a shingle valence between the upper and lower levels. The shingle valence can also be seen built into the enclosed verandah. The verandahs have skill ion roofs that are hipped at the corners and ends. The overhangs on the verandah roofs are wider than those on the main part of the house.

The church has a cruciform plan with three bay naves. It has two bell towers that have a pyramidal spire, a large dome and smaller ones on the transepts. The church's façade includes a colonnaded portico having rectangular recesses topped by an entablature, a cornice and balustrades. The façade is divided into three bays by flat pilasters topped by Corinthian capitals.

Still more windows were shattered and balustrades toppled, but the worst was over by the end of May 1941. It was not until the 1950s that this damage to the South Wing was repaired. The work required skilled masons, whose services were hard to come by in the early post-war years. Sir Albert Richardson was appointed architect for the reconstruction.

The building is made in the style of French classicism, brick, plastered, H-shaped in plan, with a developed central avant-corps and lateral wings. It is also three storeys high with an attic. The facades are decorated with figured window frames and rustication, moulded balconies and balustrades. The front entrance is decorated with an arched portico with stucco and ionic columns.

A hip-roof dormer pierces the roof above the porches. The western facade is somewhat similar in appearance; the first-floor porch has been glassed in, and there is an eyebrow dormer above the porches. Windows on the first floor are twelve-over-one on the first floor and six-over-one on the second. The porch balustrades are diamond-shaped woodwork.

An ornate oval medallion with a garland, acanthus leaves, and a shell motif tops the doorway. Rectangular, first-story windows have flat arches with projecting keystones. A colonnade that features paired Ionic columns with stylized foliated motifs and unusual tassel ornamentation dominates the three central bays of the second and third stories. Small balustrades with urn-shaped members extend between the columns.

The verandahs have cast iron balustrades with a timber valance and brackets. The verandah walls have single skin vertically jointed boards with French doors and sash windows. The front entrance has leadlight fanlight and sidelights, and opens to a central corridor leading to the rear of the building. A rear verandah has been enclosed and the rear subfloor space has been bricked in.

At the end of the nave a chancel arch frames the organ and choir loft. A dais with low timber balustrades is located in front of the choir screen under the crossing. The pulpit and baptismal font are positioned on this dais. The transepts are visually separated from the crossing by structural timber columns and decorative timber arches that span between the columns.

Each of these lesser temples has no stone body and roof, and only consists of base part and balustrades. The main temple is facing west and took form of a square with size . The temple has no real base (foot) part, so the sub-basement part also serves as the base part. The siar is adorned with makara supported by dwarf (gana).

On the upper floors are four arched windows flanked with borders. The entire facade is covered in smooth azulejos with figues in white, blue and yellow, with imitation balustrades over the windows. It is decorated by cornices and surmounted by rectangular merlons. The yard currently covered and subdivided by moveable partitions is surrounded on its perimeter by a balcony, constituting an exhibition gallery.

The palace is a typical example of Venetian Gothic architecture of the 14-15th centuries. The square-shaped façade has three levels and a mezzanine. The ground floor offers two Gothic portals: the central one and the smaller one on the left. The two noble floors have central quadriforas supported by balustrades and flanked by pairs of ogival single-light windows.

Built in the shape of the letter "L", the two-story house featured a complex gabled roof, a two-story bay window on one of the narrower gables, and balustrades at both floor and ceiling level on porches on the rear and in the ell of the main part of the house., Ohio Historical Society, 2007. Accessed 2010-10-22.

The rear wings are generally of unpainted brickwork, including several brick chimneys decorated with cornices and corbels. Each wing is terminated with a timber lean-to, housing the amenities. The verandahs of these wings have cast iron balustrades matching that of the western verandah. The Public Bar features a silky oak bar with a curved central bay and mirrored shelving behind.

The first floor verandahs are supported by paired cast iron columns with corinthian capitals; these are in turn supported by masonry plinths. Between these are cast iron balustrades with timber hand rails. These columns support a dentiled soffit. Similarly paired cast iron columns support the first floor balcony and the ground level balustrade has moulded concrete balustrading with hourglass-shaped balusters.

Norman bases and capitals have been added, together with plain cylindrical Norman shafts. Balusters are normally separated by at least the same measurement as the size of the square bottom section. Placing balusters too far apart diminishes their aesthetic appeal, and the structural integrity of the balustrade they form. Balustrades normally terminate in heavy newel posts, columns, and building walls for structural support.

A shallow porch with a beamed ceiling lies behind the Ionic columns. A porch rail is composed of short stone balustrades connecting the columns. Opposite the stairs leading to the porch are two centrally placed bronze entrance doors with a decorative iron grille clerestory. Alongside the entrance are vertical stone relief panels supporting an entablature and antefix resembling those on the front facade.

The structure is a single storey Flemish bond face brick building with white rendered mouldings. The heavily moulded Darling Street facade has tuckpointed brick with five arches forming a symmetrical arcade. The central portico is surmounted by a pediment on Corinthian pilasters. There are masonry balustrades to the verandah and at parapet level, the parapet being broken by a large central pediment.

These semis have been extended with fibro additions. A two storey semi 1913-16 to the north is more impressive in its architectural expression and features sunhoods, decorative eaves and balustrades. During the Cockatoo Docks and Engineering Phase (1933-48) numerous warehouses were built which dominate the lower levels of the island. These are predominantly steel framed and clad with corrugated iron sheeting.

The vestibule has four Doric columns supporting an entablature and shallow-pitch hip roof, with a double-door entrance at the center. A three-stage square tower rises above the ridge line. The first two stages are quite short, the upper one topped by a broad eave. The belfry rises above, with broad corner boards and round-arch openings with balustrades.

There are panelled doors with toplights and double-hung windows between the classrooms and the corridor. The east and west wings each house two classrooms and former cloakrooms. The high ceilings, regular external windows and internal windows and doors provide substantial natural light and cross ventilation. The two stairways, near either end of the building, have steel balustrades, cast newels and timber handrails.

The house is 2-1/2 stories in height, with a hip roof topped by an elaborate square belvidere. A porch wraps around two sides of the main block, supported by chamfered square posts with brackets at their tops, and with spindled balustrades. Its interior retains original period decorative elements. A 2-1/2 story gabled ell extends to the right side.

The front parapet wall is punctured by three large arched openings with pairs of narrow arched bays in between. Timber slat balustrades capped with bread-loaf profile handrails are located either side of the central opening. A timber slatted gate is located at the stop of the steps. The building has a hipped roof and is clad in corrugated metal sheeting.

The southern elevation opens into a courtyard space created by the adjacent building. It is edged by an open verandah with arched openings and timber slat balustrades. The building consists of offices surrounded on all four sides by verandahs. The verandahs to the east and south remain open while the verandah to the north has been enclosed to form offices.

The interior of the Italianate pump house building retains its original machinery, floors, and balustrades. Two Woolf Compound Engines were originally installed, each one a condensing rotative beam engine producing 100 hp built in Dundas. A massive stone structure was built around each 90-ton, engine for support. One of these steam engines still operates, now powered by an electric motor.

It is named after Charles Dundas, the first chairman of the Kennet and Avon Canal Company. The aqueduct is long with three arches built of Bath Stone, with Doric pilasters, and balustrades at each end. The central semi-circular arch spans ; the two oval side arches span . The canal crosses back across the Avon and the railway on another aqueduct at Avoncliff.

The house is a one-story wood frame building with a T–plan. The facade has an undercut gallery and an ornamented entry. The front of the gallery is defined by six square columns and square balustrades. The centered steps are inset within the gallery and lead to the door which is flanked by engaged square columns supporting a full entablature.

The second tier is supported by caryatides, winged syrens, gilt; the parapet, Neptune and Amphitrite, attended by sea gods and goddesses. The third tier is supported by griffins, gilt; the parapet, grotesque ornaments. The fourth tier is supported by rams, gilt; the parapet, grotesque ornaments. The parapet of the boxes on either side of the gallery, balustrades painted on canvas.

The American Legion Memorial Bridge is long and wide, with a roadway width of . The span is formed by a barrel-vaulted elliptical arch. Sidewalks, supported by concrete brackets, overhang the face of the arch. The original balustrade railings on the bridge have been replaced with planks, but the approaches still contain the original solid-concrete parapets and concrete balustrades with urn-shaped spindles.

A modified standard steel beam bridge, erected in 1911, supported on steel trestles with bracing extending from the street ramp over the highway and over the Up main tracks with stairs to the island platform and to both streets. With the exception of original steel structure all components of the bridge have been replaced since the 1990s. The footbridge has contemporary canopies and metal balustrades.

Soundview Manor is a historic home located on four acres in White Plains, Westchester County, New York. Built in 1920 by landowner Robert B. Dula, and is a stuccoed, frame building in the Classical Revival style. It is "L"-shaped and has a three-story, three-bay central section flanked by two-story, one-bay blocks on each side. The house has flat roofs, with prominent balustrades.

Evins-Bivings House, also known as the Dr. James Bivings House, is a historic home located at Spartanburg, Spartanburg County, South Carolina. It was built about 1854, and is a two-story, white clapboard house in the Greek Revival style. The house features double piazzas with massive Doric order columns and notable balustrades. Also on the property are the original kitchen, slave quarters, smokehouse, and well.

"70 Wonders of the Modern World". Reader's Digest, 1998, p. 1. The starkness of the exterior is softened by artistic windows, which break through the line of the eaves, the rooftop conservatory, and bronze sculptures of four nude males by Franz Metzner, which are mounted on the tower that rises above the stairwell. Regimented upright balustrades line the balconies, touched with Art Nouveau ornamentation.

The Pillow - Thompson House exhibits many key characteristics of Queen Anne architecture, and is one of the finest examples of the style in Helena. The wraparound porch, overhanging gables, ornamented eaves, spindel work, polygon tower, and terra cotta roof tiles are all common in homes of the period built in the Queen Anne style. The exterior columns and balustrades are also common in similar structures.

The arches and balustrades are visible, as well as four of the windows.The building is designed in the Italianate style, with the specialty leanings demanded by a schoolhouse. The front facade, which faces southwest today, is adorned with three doorways—left, right, and center— which span a front porch beneath the bell tower. When the school was open, the use of the doors was restricted.

The portico has a balcony at the second floor-level, which was supported by octagonal pillars. The balcony was decorated with balustrades, as can be seen easily in the 1870 photo shown here. Full-length French doors allowed access from the portico to each room on the first and second floors. The house has an exterior wall covered with wide, buff-colored sandstone blocks.

The exterior is in stone masonry with four columns; the interior consists of concrete pillars and slabs dating to the 20th century. The ground floor has four doors and three windows with alternating curved frames and wooden jambs. The second floor has seven windows with small, decorative balconies with wooden balustrades. The lateral façades of the upper floor have windows similar to those of the main façade.

Technal markets its products through aluminum glazing companies. It has a network of certified installers – "Technal Aluminier" network - in France, Spain and Portugal to ensure fabrication and installation quality, and compliance with standards and regulations. Technal also works with architects, contractors and building owners directly on projects from design to completion. The main product categories are aluminium doors, sliding windows, casement windows, balustrades, curtain walling.

It has metal circular posts with metal post-and-rail balustrades, and concrete stairs to the east and west. The sub- floor area is accessible from the southwest. It is divided into three sections of the same proportions as the building's interior and verandah, with facebrick piers and walls dividing the spaces. A concrete plinth is located at the eastern end of the southwestern section.

The structure and the diagonal bracing of the walls are exposed externally. Each end of the upper verandah has been sheeted behind the balustrade otherwise it remains intact. The cast iron balustrades are identified as being the design of John Crase & Co. Foundry who operated out of Warren Street, Fortitude Valley, Brisbane from 1885 until at least 1902.Turner, Australia's Iron Lace, 1985, p.

The ceiling is designed in patterns of octagons and squares. Also in the lobby are the elevators, which contain marble-and-bronze doors and are located in the central section of the "H". Banking spaces and storefronts are also located on the ground floor, accessible from the lobby. To the southeast and northwest, marble stairs with balustrades lead to the basements and second floor.

The plan is symmetric and U-shaped, with a basement, ground floor and second floor; the building forms an imposing presence in the city center. The grooved columns are both Ionic and composite. The pediment features symbolic bas-reliefs and acroteria. The cornices are denticulate, there is egg-and-dart moulding, as well as meanders, decorative balustrades, semicircular niches, bossage in strong relief and medallions.

The corner octagonal tower, marking the main entrance, has a bell-shaped roof with small dormers in each roof segment. Adjacent to the tower is a polygonal brick lift tower. The verandah's feature decorative cast iron balustrades and friezes with timber posts and handrails. The semi-circular arched and circular windows to the tower have cream painted cement render dressings to contrast with the red brick.

It is elevated in relation to the rest of the building and is accessible by a monumental staircase. Below is a large crypt, now a winter chapel. The balustrades are the work of Francesco Contini (1630). On the sides, at the top, niches inside, two busts that ideally represent the two Roman patricians Vitaliano (right) and Opilione (left) works of Giovanni Francesco de Surdis of 1561.

Below is the date with the year 1916. The construction is of two floors and irregular masonry. It consists of two large horizontal lateral "masses" and a central rectangular. In the middle section rises the Tower surrounded by balustrades and four campaniformes floreados pinnacles below of the cantilever roof supported by plates; inside lies the "Carillon" service, with external exits to their respective clocks.

The inner ceiling is decorated with wooden houses. The granite sopanam leading to the inner areas connecting the sanctum rise from ground level to the front door in six steps. The balustrades on either side present a lion's head with a long rolled tongue. At the end of it there is a well executed carving of Siva with Parvathi Devi sitting on His lap.

Ammadelle is set on a landscaped parcel on the west side of North Lamar Street south of its junction with Price Street. It is a red brick building, two stories in height, with white Italianate trim and black shutters. It has an irregular plan, with porches flanking a projecting central gabled entry pavilion. The porches, single story in height, have Italianate trim and low balustrades above.

Walls to both the upper and lower levels to the restaurant building are infilled with full-height glazing and blockwork. The verandah to the restaurant building has a timber-framed floor supported by round timber posts and timber lattice balustrades. The two buildings are linked with a low- pitched gabled roof with translucent sheeting. Amenities and some service areas are located in this area.

Above the lintels, there are rough brick relieving arches. Ornamental ironwork balustrades with granite copings is retained from an arched verandah, which is now enclosed with windows. Doors of the building which are cross braced and battened, are also made of wood. Cast-iron rainwater pipes, hopper heads and gutters along the wall of the building also have executional level of significance to the building.

The garden contains a number of mature trees, including a prominent Jacaranda. The southern garden includes plant material that Dobell brought back from New Guinea in 1947. These are now substantial trees and include an Irish Strawberry Tree, Guava, Feijoa and a number of Frangipani. Rendered brick retaining walls surround the property on three sides, with four different types of railings and balustrades used.

Dominique Jarrassé, Grammaire des Jardins Parisiens, Parigramme, Paris, 2007, pg. 65 Francini planned two terraces with balustrades and parterres laid out along the axis of the chateau, aligned around a circular basin. He also built the Medici Fountain to the east of the palace as a nympheum, an artificial grotto and fountain, without its present pond and statuary. The original garden was just eight hectares in size.

The maison Saint- Cyr is Strauven's most important building, built between 1901 and 1903 in a baroque-flamboyant style. It was built to be Georges de Saint-Cyr's private residence. The house is situated at 11, Square Ambiorix. It is four metres wide and has a good deal of wrought iron in the façade, which is adorned with geometric motifs and ornate balustrades at each floor.

The entire bridge is long, with a span length of and a width of . The span consists of two identical seven-panel, camelback Pratt pony trusses. Sidewalks are attached to the outside of each truss; the railings were originally concrete balustrades with urn-shaped spindles, but these have been replaced with angles with bar spindles. Solid concrete parapets line the approaches at each end of the bridge.

The residence is a high set four room bungalow with wrap around verandah on four sides. It has a rear annex showing typical elements of a raised two room workers cottage. A symmetrical staircase with dowel railings leads from the ground to a porch coming off the front verandah. The wrap around verandah has two rail dowel balustrades on the north, south, and west sides.

The chapel was dedicated to the Immaculate Conception. It may have been designed by Andrea Belli, as it is similar in style to other works by this architect. If not for the chapel's dome, surmounted by balustrades, the villa would be easily mistaken for a rustic farmhouse. This first floor contains a typical piano nobile with three-centred arches and large rooms with high ceilings.

The verandahs at the sides and centre front are also supported decorated timber posts and those at the front corners of the building have clusters of bracketed posts. The verandah balustrades are composed of wooden dowels. A modern metal security gate has been installed in the front porch. The courtyard area has been developed as a covered greenhouse linked to the wide verandahs around the courtyard.

Blue Hill, Maine: Shoreacre Press. Parker House was listed on the National Register of Historic Places both for the quality of its original features and for changes made by Clough in the Colonial Revival spirit. The house contains much original woodwork including several fine fireplaces; Clough's contributions included Tuscan-columned porches and the addition of a (now removed) wrap-around veranda and balustrades on the roofs.

The four faces of the pyramid have protruding stairways that rise at an angle of 45°. The talud walls of each terrace slant at an angle of between 72° and 74°. At the base of the balustrades of the northeastern staircase are carved heads of a serpent. Mesoamerican cultures periodically superimposed larger structures over older ones, and the Temple of Kukulcán is one such example.

The U.S. Post Office and Courthouse is an excellent example of Second Renaissance Revival architecture. This style conveyed the dignity of government and was often used for civic buildings during the late nineteenth century. Some of the hallmarks of the Renaissance Revival style found on the building include a prominent cornice, balustrades, and quoins (corner blocks). Belt courses, another common feature, encircle the building at each level.

Asa Walton House is a historic home located in East Fallowfield Township, Chester County, Pennsylvania. It was originally built about 1810 and rebuilt about 1900 in the Queen Anne style. It is a 2 1/2-story, seven bay, stuccoed stone dwelling with a slate covered multi-gabled roof. It features a massive conical three-story turret and full width verandah with ornate balustrades and brackets.

The porches feature square columns set above the enclosed balustrades. There is a projecting rectangular bay on the side, with bands of three sash windows at each level, and a pedimented gable above that has a diamond-light window at the center. The triple decker was built c. 1926 by David Dworman, a major developer of the Vernon Hill area, for the family's use.

Specialised monitoring was required during the process to manage the changing loads on the elements of the bridge. In January 2007 rehabilitation work was carried out by VicRoads, including waterproofing the concrete deck, replacing the tram tracks, and general resurfacing. This required a total road and tramway closure. Further work commenced in April 2007 and involved replacement of balustrades and new traffic barriers at the kerbs.

The porch features turned posts, a decorative valance, and turned balustrades. Second floor windows are topped by shallow gables, and there is a round-arch window in the gable above. The original carriage barn stands behind the house, also exhibiting original Queen Anne styling. Lawrence Street was laid out in 1857, but was not platted for development until 1874, a boom period of development in Wakefield.

Charles William Reddin owned and managed the hotel at this time. After being rebuilt the two storey building contained twenty-two bedrooms and various other common rooms and a large dining room. The downstairs area contained a larger dining room and the bar area, with large arched windows facing onto Stirling Terrace. The Stirling Terrace side of the building had a balcony with intricate timber balustrades.

The building is a double height red brick structure with corrugated iron roof and a decorative parapet of classical influence. There are verandahs at ground and first floor levels with timber posts and balustrades. The ground level also has an additional set back verandah with brick columns and arches. There is a rear verandah to both upper and lower levels and a single storey brick extension.

He would remain there until his retirement in 1931. In recognition of his compositions, his name still adorns one of the balustrades in the Concertgebouw's great hall, between those of Debussy and Richard Strauss. Dopper composed well over a hundred works. Because of his great love for Dutch folk song, culture and landscape, he was sometimes referred to as the 'most Dutch composer of all Dutch composers'.

The Gothic ceiling, door and window embrasures and the rector's stall were painted with ornamental imagery (German: Bandelwerk). The same artist, Hans Stiegler, painted the oils on the gallery balustrades. In 1766 the church received the organ, whose casing is preserved to this day. In 1958 the church underwent comprehensive restoration which revealed murals painted in medieval times and about 1600 which had been whitewashed over.

The eaves are supported by large decoratively cut brackets, giving the building the flavor of an alpine chateau. A side porch has balustrades with a square pattern suggestive of Japanese design influence. The architecturally eclectic house was built in 1915 as the summer residence of Jeffrey Richardson Brackett and Susan K. Brackett. Jeffrey Brackett was a sociologist who taught at Johns Hopkins University and at Simmons College.

The Little Buffalo River Bridge is a historic bridge in central Newton County, Arkansas. The bridge carries Arkansas Highway 327 across the Little Buffalo River between Parthenon and Jasper. It is a seven-span concrete tee beam structure, with a total length of and a longest single span of . It has a curb width of , and an overall width of , including the concrete balustrades on each side.

A second staircase, with original timber panelling and balustrades, links the first and second floors at the south-western end of the Anne Street elevation. Despite the demolition of part of the Ann street wing, the Empire Hotel is a large and impressive building. The street facades are intact above awning level and internally much of the original fabric remains along with evidence of major refurbishments.

Its flat roof is supported by two wooden columns on high pedestals. To the right of the entrance is a narrow, flat roof that is supported on large brackets that overhangs two tall windows. The porches on the side wings are simple structures with square, freestanding and engaged posts. The balustrades are very slender, turned spindles that are similar to those of the entrance porch.

In 1913 the French rambla was opened, with ceramic pavements from Belgium, balustrades and Greco-Roman statues. In the late 1920s wealthy families began to build chalets and mansions near the Hotel Bristol, and spent their days at the beach. They would live in Mar del Plata from November until Easter. The local citizens began to use the beach, calling their section the Playa Popular.

The verandahs have painted brick columns, timber floors and vertical slatted balustrades and are partly enclosed by brick walls and toilet facilities. The lower level verandah has a flat ripple iron ceiling and lattice valence while the upper level has a raked timber boarded ceiling. Half glazed timber doors to classrooms and offices open directly from the verandah. The walls facing onto the verandahs are unpainted brickwork.

Its hip roof is supported by Tuscan columns, and it has shingled skirts topped by low metal balustrades. Its two entrances are in the two center bays, each doorway flanked by sidelight windows; they share a molded lintel. Windows are topped by slightly projecting moulded cornices. The interior is divided into roughly symmetrical side-by-side units, each retaining some original 19th- century woodwork.

Piechotka, Heaven's Gate 2004, p. 64 Of course, since Christians were free to build with brick and stone, few European buildings of the scale of the Wolpa synagogue were ever built in wood. The walls of the main hall were 7.2 meters high. The vaulting, under a three- tiered roof, rose to a height of fourteen meters in three tiers marked by fancy balustrades.

However, restless times were underway: tensions arose within the chapter and the influence of the Reformation increased. The construction of the St Pancras church would end in 1535. At the episcopal reorganization of 1559, the intended bishop's seat eventually fell to the Grote or Sint-Bavokerk in Haarlem. The extension and elevation of the nave, the stone vaults, air bows and balustrades were no longer completed.

The house is completed in the Victorian Filigree style. Boronia is a two storeyed brick house with walls stuccoed and lined externally to simulate ashlar. Its main roof is hipped and slated and the verandah roof is corrugated metal painted in wide stripes. The double storey verandah is an ensemble of cast iron columns, friezes, brackets and balustrades, emphasised at the centre by a gable.

Typically, these buildings are timber framed and are clad with weatherboard; they tend to have corrugated metal gable roofs. Those built on the embankment have un-rendered or painted brick bases, or engaged brick piers. A number of the cottages have fixed awnings and some retain timber framed double-hung sash windows. Ramps to the buildings, often with timber balustrades provide equitable access to the accommodation.

Camden is a two-story Victorian Italianate villa of stuccoed brickwork with gabled corrugated iron roof. Three sided bay front on gabled wing with stucco string courses and label moulds, and large elaborately fretted bargeboards. The verandah on the northern and western facades has cast iron columns and lace balustrades, bullnose corrugated iron roof, and timber floors. Flourishing gardens and trees surround the property.

The design follows the principles of rationalist architecture, known as New Indies Style to oppose with the older Indies Style The edifice was the first to use reinforced concrete in Indonesia. The main facade has three entrance doors between two similarly designed windows. The upper floor of the main facade contains five balconies with balustrades which unify the three doors and two windows below. The building has two towers.

With the exception of the grand staircase, stairwells are top lit by delicate timber framed glass lanterns. All staircases feature timber handrails, ornamental cast iron balustrades and stair landings that are contrasted with the treads by the use of bold geometric patterning. Some of the original staircases have been removed. Rooms open off the hallways on both sides and are lit either from the street or via the courtyard.

The tower has a crested mansard roof. The building retains some of its rich ornamentation. The first floor bays on the northern frontage have single windows framed by pilasters, and are encircled with cornices, with a parapet with pediments above the windows. The two-storeyed parapeted bay to the eastern frontage has a (now enclosed) belvedere, with arched openings with imposts, extrados, keystones, small balustrades, and parapet with stepped cornice.

The building is entered via a flight of steps adjacent to the projecting bay with rendered balustrades supporting large urns. The main entry has paired, panelled cedar doors with sidelights and fanlight, with a bay window to the verandah adjacent. French doors with fanlights and tall sash windows open onto the verandahs. The building has a two-storeyed masonry service wing to the northwest, with a lower two-storeyed addition (1938).

The lodge building is a one-and-a-half-story timber frame house sided with wooden shingles stained dark brown. It is topped by a clipped-gable roof with broad overhanging eaves pierced by two chimneys near the center. The lower story has a full-length porch on the south (front) facade, complemented by a balcony above it. Both the porch and the balcony have full-length saw-cut wooden balustrades.

It features a four-story tower topped by a balustrade and octagonal cupola. There are three porches supported by cast iron Corinthian order columns. There are five Italian marble fireplaces, pocket doors that hold original cut glass depicting many of Pike's 19th-century scientific instruments. The center main hall contains elaborate carved walnut balustrades, a two-story domed rotunda topped with a central stained glass skylight and ceilings throughout.

The J.C. Richardson House is a historic house at 67 Gillison Branch Road in Robertville, South Carolina. It is a two-story wood frame house, built c. 1880. It is an excellent local example of Folk Victorian style, with Chinese Chippendale details on the balustrades of its two-story porch, and Queen Anne elements including cutaway bay windows. The house was listed on the National Register of Historic Places in 2014.

The building form is a long wing of classrooms with a centre stairwell. A long corridor across the front (north) of this wing provides access to the rooms. The corridor has simple rendered balustrades with square balusters; it has square openings on the first floor and arched openings on the second floor. However, these openings have been enclosed with later glazing that is not of cultural heritage significance.

The verandah has full height (continuous) timber posts, timber floors, raked ceilings and enclosed bag rack balustrades, which are clad in profiled metal. Classroom doors are half-glazed and boarded. The first floor contains five classrooms and a staff room, with the three central classrooms divided by original timber-panelled folding partitions. The interiors are lined with flat sheeting, with rounded cover strips above dado height and on the ceilings.

Two other statues of St. Pierre and St. Paul are installed in the side niches. While the facade remains austere, the interior is stunning with its sumptuous Baroque revival architecture. The original chandeliers, the richly ornamented pulpit, the beauty of the cabinet benches, confessionals, balustrades, the rich architectural ornamentation in cast plaster, all contribute to the splendor of this church. Stained glass by Guido Nincheri was installed in 1932.

Originally, the sign graced the front exterior wall of the larger of the two rooms. The tower rises above the roof by about fifteen feet and at its top are four arches, one on each side. Wooden construction is found throughout the tower, its arches, and the rest of the schoolhouse, save the limestone and cement foundation. At the bottom of each of the four arches are balustrades decorated with spindles.

Architectural elements included shingled intersecting gabled roofs with gabled ends and fish-scaled shingles painted in various colors. Assorted other details included a scalloped archway, chamfered posts, decorative wheel and quatrefoil brackets, and an entrance gable with a carved bridgeboard. Diamonds and rectangles were also incorporated into the structure via ornamental lintels and balustrades. A trapezoid cinder block structure approximately by stood next to the building to the east.

The facade of Palazzo Vitturi is of a Venetian-Byzantine style the 14th century and is decorated with Gothic and Moorish motifs. Of special interest are the openings and decorations of the second noble floor: a central quadrifora, flanked by two pairs of monoforas, over which original tiles and paterae are seen. The balustrades were added in later periods (16-17th centuries). There are frescoes inside the main floor.

In the final section, the drain is separated from the river first by nurseries and farms, and then by housing as it passes through the outskirts of Kingston upon Hull. A Grade II Listed bridge carries Lockwood Street over the drain. It dates from the late nineteenth century, and is constructed of wrought iron, with cast iron balustrades. Shortly afterwards, the drain discharges into the River Hull at a sluice.

The entrance facade and porch are of Baroque style, are facing south and overlook the southwestern tip of Campo Santa Margherita, while the west facade is parallel to the left of the nave of Carmini church. and visible from Campo dei Carmini. The whiteness of the two facades is due to their Istrian stone surface and opposes the black thick wrought iron balustrades that close all the windows of the building.

85 The interior of the hotel has been the most changed with new bars and a carpeted floor however the walls and ceilings are unchanged and intact. The large internal stairs, which were once accessed by an entrance hall to Victoria Street, have been closed off by temporary means at the ground floor level. The timber staircase displays simple timber balustrades. The stairs access the accommodation on the upper storey.

The roof is gabled and has an intersecting gable to the south, which forms a raised central feature dividing the verandah roof into three bays. These have shallow arched openings and timber balustrades. The roof is clad in terracotta tiles and the gable ends have decorative timberwork and paired brackets. At the crossing of the roof gables is a low octagonal tower with four clock faces topped by a metal cupola.

Charlottenborg is a four-winged, three-storey building designed in the Dutch Baroque style but also with some Italian influence. The main wing towards the square has a central risalit flanked by two more pronounced, two-bay corner risalit. All three are topped by balustrades. The central risalit is decorated with Corinthian pilasters and a Tuscan/Doric portal with balcony The facade has sandstone decorations and window pediments.

The ground floor ceiling of the printers' shop still displays original ceiling roses and cornices picked out in pink paint. The earlier 1877 shop blends with the later gabled shops but is of simpler design. The upper balcony also displays cast iron balustrades with decorative iron posts and a convex corrugated iron awning, The upper rooms are accessed by French doors to the balcony. This building has a plain horizontal parapet.

The second floor windows are 12-over-12 double-hung sash with limestone balustrades in front on the main block. On the pavilion they are additionally topped with stone pediments; segmental arched with supporting brackets in the center and triangular in the middle. On the main block and the wing they have projecting stone lintels. Above them, the third floor windows are four-over-eight sash with simple stone surrounds.

The upper floors are suspended concrete slabs and steel portal frames support the roof. Walls to the east on the retail building are glazed with fibre-cement infills to the lower half. The verandah has a tiled suspended concrete floor, brick balustrades and timber rafters supported on blockwork piers. On the lower level the piers are round concrete and walls are infilled full-height glazing and painted blockwork.

The property is surrounded by a 4-foot plastered masonry wall with an 18-inch high wrought iron railing above. The small, diagonal front chamfered gate is also built in wrought-iron. The frontal facade consists of a concave shape and incorporates a podium porch, Ionic columns, a recessed loggia, and a cornice with a battlement parapet above. The raised loggia porch incorporates concrete balustrades the full length of the balcony.

The roof is clad in colourbond corrugated steel. The verandah and balcony balustrades are of cast iron. Internally, the major walls are either of rendered masonry or plaster and lath on stud. The interior detail is largely intact in terms of skirting, architraves, doors, windows and their furniture, staircases and skirtings, architraves, doors, windows and their furniture, staircases and fireplaces, and the timber surrounds with fluted pilasters on the first floor.

Cartledge House is a historic home located at Batesburg-Leesville, Lexington County, South Carolina. It was built about 1898, and is a two-story, Victorian-era weatherboard dwelling. It consists of a rectangular central block under a hipped roof with sheet metal shingles and a truncated ridge. Double gallery porches wrap around the front and side elevations on both stories ornamented by Tuscan order colonettes and turned balustrades.

Goodheart, p. 289. Confederates meanwhile hailed Jackson as a martyr to their cause. Soldiers and souvenir hunters carried away pieces of the flag and inn as mementos, especially portions of the inn's stairway, balustrades and oilcloth floor covering.(1) (2) After the war ended, the Marshall House served as a location for a series of small businesses, but still attracted tourists from both the North and the South.

The front parking lot was expanded on a slope to the west; it covered much of the ground level (similar to the station before 1915). The mechanical building and the covered ramp to the trolley station were removed. A strip mall was built just to the east, with balustrades and archways referencing the historic station. The passageway from the subway station, long closed, was likely buried at this time.

It had four access stairways set between corniced balustrades; each stairway had nine steps. Ballcourt A11 encloses the west side of the Group A plaza, separating it from the retaining wall dropping off to the ravine behind the ballcourt. It is a sunken ballcourt with a north- south orientation and is entirely enclosed. A short sunken stairway leads from the plaza to the top of the south wall.

The lower level possesses a single inset stairway, while the upper terrace has two stairways flanked by balustrades, with a third balustrade dividing the two. The platform provides a broad view across the Pancaco River valley to the west. Structure B5 was built on top of an earlier construction phase, which is exposed along the upper portion of the back wall because restoration of the building only rebuilt the lower portion.

The interior is plastered and whitewashed. A choir is located on arched corbels with wooden balustrades accessible from a door to the right. Meanwhile the sub-choir with wooden awnings, is accessible from the right arm of the Santa Casa da Misericórdia alongside a baptismal fountain. On the opposite wall there is a door flanked by soupe, with a rectangular pulpit on a stone corbel, surrounded by a wooden balustrade.

The villa was completely restored by its present owners and serves as a private residence. In 2008, the restoration project of Villa Cagliares was awarded the Prix d'Honneur Conservation and Re-use by Din l-Art Ħelwa. The building is an important landmark in the surrounding farmland and countryside. Its small dome roofing the private chapel and surrounded by balustrades marks the skyline across the valley towards Ħaż-Żabbar.

As the upper level corresponds to the footpath level of William Street, these entry doors are accessed via a concrete walkway with iron balustrades. A modern ramp has been installed to the south of the walkway. The side elevations feature three windows each level. Windows on the lower two storeys have arched heads, while those on the top level to the north-west and south-west have hoods.

Smith Flats is a historic apartment house located at Glens Falls, Warren County, New York. It was built about 1895 and is a square, three story, flat roofed building faced with brick veneer. It features projecting three story bay windows, bracketed three tiered porches with turned posts and balustrades, and a bracketed pressed metal cornice. Smith Flats in 2015 It was added to the National Register of Historic Places in 1984.

The weatherboards and timber are charcoal grey, the veranda balustrades are yellow and the panels of rough cast are orange/ochre in colour. The interior is an open plan design which at the time was a radical departure from contemporary designs. There is no extended hallway but rather a small entrance hall from which the main living areas are accessed. From these rooms there is access to the kitchen and bedrooms.

Several of the bridges on this section of canal are made from cast iron from nearby Brymbo. Glanhafren Bridge, no. 143, carries the date 1889 and has ornate balustrades made from cast iron while bridge 147, which carries Brynderwen New Road over the canal to the north of Abermule, dates from 1853. To the south of Abermule, the A483 cuts across the bed of the canal at an angle.

The building is seven bays wide on the east and west sides and twelve bays long on the north and south sides. The east and west facades are dominated by central projecting pavilions. Each pavilion is articulated by four, three-story Corinthian order columns flanking window openings and linked by balustrades. At the second story, French windows are framed by engaged Doric columns and topped with sculptured swags and car-touches.

Renovations include the addition of an elevator, air conditioning and several other modernizations. Some of the original interior woodwork survives, including doors, balustrades and banisters. Two staircases in the north corners of the building reach to the third floor where a viewing gallery or balcony looked over the second floor courtroom. This gallery and the original courtroom ceiling have been obscured by a new drop ceiling making air conditioning possible.

The Alfred W. Henson House was a historic house at 111 Main Street in Judsonia, Arkansas. It was a 2-1/2 story wood frame structure, with elaborate Classical Revival styling. Its roof line and gable rakes were modillioned, and a gabled full-height entrance pavilion, supported by Ionic columns, projected from the main facade. Porches extended across the facade and around the side on both levels, with low turned balustrades.

The Macon-Harrison House is a historic house at 209 NE Second Street in Bentonville, Arkansas. Built in 1910, it is a large two-story brick structure with limestone trim, including corner quoining, porch columns and balustrades. This high-quality late Victorian house was built by John Macon, who profited from the local apple industry by building an applejack distillery. Macon supposedly built it as a wedding gift for his bride.

These are supported by Tuscan columns on the ground floor and slender Corinthian cast iron columns on the first floor. The balustrades on both levels are of decorative cast ironwork. At the end of each wing is a projecting bay window on the ground and first floor level with open balustrade above. Quoins punctuate the corners of the building and there are banded piers on either side of the entry.

The Ben Lightle House is a historic house at North Locust and East Market Streets in Searcy, Arkansas. It is a two-story wood frame structure, with a variety of porches and projecting sections typical of the Queen Anne period. One of its porches has decorative turned posts and spindled balustrades. Built in 1898, it is one of the best-preserved surviving vernacular Queen Anne Victorians in White County.

He nearly always had a three-aisled design, even in small churches. The exteriors of his churches were usually missing ornaments, except in the Rhineland, where niches, balustrades and pinnacles of decorated gables were applied in a number of churches. Tepe even applied flying buttresses on some rare occasions. His influence of the Dutch Gothic Revival architecture was eventually taken over by others like J.W. Boerbooms and Wolter te Riele.

One of Coquillat's most noted buildings was the Hotel del Histógeno Llopis on the Paseo de Rosales, Madrid, a project for the pharmaceuticals entrepreneur Adolfo Llopis Castelado. The hotel was built 1912-1914 in the Catalan Modernist style, and was highly acclaimed by his contemporaries. The building was heavily ornamented and featured a prominent loggia and balustrades, and was topped with an ornate cupola. The hotel was demolished in the 1970s.

The Ambrose Hopkinson House is a historic house located at 122 W. Elm St. in Olney, Illinois. The house was built in 1874 by owner Ambrose Hopkinson, a contractor and bricklayer who immigrated to Illinois from England. The two- story red brick house is designed in the Italianate style. The wraparound porch on the front of the house is supported by chamfered columns and has balustrades on both stories.

In the Early Classic a new version of the structure was built (Structure 216 sub 1). It was a stepped platform, like its predecessor, although the stairway of the new version projected westwards, possibly flanked by balustrades. The maximum height of this construction phase was .Morales and Valiente 2006, p. 1012. In the 8th century AD a new version of Structure 216 was built, rising to a height of .

Both the walls and roof are clad with corrugated iron, with some sections of weatherboards including those lining a small verandah on the north- west side of the house. This verandah has cross-braced balustrades, effectively the only external "decoration" on the house. Internally, the house has six rooms. Floors throughout are wide boards of rough-sawn timber and walls and ceilings are lined with painted plywood with coverstrips.

During the 257 years from the building of the mansion to the end of Ming dynasty, 14 kings from 12 generations lived here. Sun Yat-sen stayed there while on the Northern Expedition in 1921. In the winter of 1925, it was established as Yat-sen Park and now is one of the schoolyards of Guangxi Normal University. The carved balustrades and marble steps of the mansion still remain to today.

The south wing behind has a two-storey verandah with cast-iron posts in pairs and lace balustrades and valences. The north wing is sparsely detailed by comparison, with no verandahs. Hipped gable roof is clad in corrugated-iron and moulded cornices are bracketed. The early history of the house has not been researched but it was purchased 1916 by St Aloysius' College and has housed the school since then.

The saintly deeds in avadanas are attributed to other legendary persons. Jatakas and avadanas are treated in one and the same series in the reliefs of Borobudur. The first twenty lower panels in the first gallery on the wall depict the Sudhanakumaravadana, or the saintly deeds of Sudhana. The first 135 upper panels in the same gallery on the balustrades are devoted to the 34 legends of the Jatakamala.

Mariano Filho removed or sold the church images, azulejos, floors, linings of the nave, furniture in jacaranda, and lavabo in lioz; elements of the church that were removed to Solar Monjope, his residence in Rio de Janeiro were lost with its demolition in the 1970s. The balustrades in carved jacaranda of the church and convent were transferred to the entrance of the Federal Ministry of Education building in Salvador.

The temple treasure house contains a complete collection of Buddhist scriptures completed in 1678 and comprising approximately 60,000 printing blocks, which are still in use. The production of the printing blocks was funded by donations collected throughout the country for many years. The temple's main statue is a seated Gautama Buddha. Sculptures by the Chinese sculptor known as Han Do-sei and latticed balustrades can also be seen.

The 450-year- old Shri Mangesh temple dedicated to Shiva stands out with its simple and yet exquisitely elegant structure. The temple architecture consists of several domes, pilasters and balustrades. There is a prominent Nandi Bull and a beautiful seven-story deepstambha (lamp tower), which stands inside the temple complex. The temple also has a magnificent water tank, which is believed to be the oldest part of the temple.

These include a narrow staircase in the vestibule with turned timber balustrades and an ornate, carved newel post. The interior is lined throughout with wide tongue and groove boards. To dado height throughout most of the house the boards are diagonally placed, contrasting with the vertical boarding above. Architraves around all windows and doors have a carved quatrefoil detail to the corners, and doors throughout are timber panelled.

This construction was completed in 1748 and resulted in the present brick façade with pilasters and a rounded tympanum, an elegant white stone portal, and preceded by an elaborate two flight, staircase with white balustrades. The interior still retains three naves with six small chapels each with small cupolas. The stucco decoration was completed by Antonio Falconi in 1755.Project TUMA, sponsored by the Fondazione della Cassa di Risparmio di Macerata.

An additional floor was added but only on one part of the house. Pašić continued to develop the house after 1921. Few years later the central heating was installed in the house, as well as the hot water supply. The façade plastics was added subsequently: pilasters, balustrades at the end of the first floor and the beginning of the mansard, ornaments above the openings, French style decorative fence, plaster garlands, etc.

The stone house is situated on at the base of a bluff overlooking the Mississippi River. The two- story structure is a vernacular interpretation of the Greek Revival style. At the same time, it reflects Roman or Jeffersonian Classicism found in the four- columned front porch and carved balustrades, the raised basement, and tall chimney stacks. The exterior walls and foundation are composed of coursed rubble stone that was quarried locally.

The area had been earmarked for redevelopment as a major industrial estate. By 1956, 2,700 people were employed at Strathleven Industrial Estate, but the house remained empty. Strathleven House deteriorated over subsequent decades, and in 1979 the interiors, including panelling and balustrades, were removed to storage to protect them from dry rot. In 1985 the Scottish Historic Buildings Trust was established, partly in response to the need to save Strathleven House.

The estate includes an imposing brick mansion and a large support building set among scenic landscaping. The mansion was originally built in about 1875 in a Victorian Gothic style, and was extensively remodeled in the 1920s in the Tudor Revival style. It is a large, -story, asymmetrical brick building with stone trim, Tudor arches, and plain balustrades. The north elevation retains the original -story, red brick walls with polychrome brick trim.

Meroogal is a late Victorian, two-storey weatherboard cottage with verandahs and balconies on two similar street frontages and includes a servants' wing. The walls are weatherboard on stone foundations and the roof of corrugated iron. Internally the floors are original hardwood and the joinery cedar. The building features elaborate bargeboards, cast-iron balustrades on timber verandahs and balconies, arched window sashes and french doors and dormer windows in two sides.

These ramps have large balustrades and piers, thick brick and rubble walls coated with stucco, and ornate decoration in the form of rustication and mouldings. Nearby is a retaining wall at the south end of the garden; this was also designed by Burton and extends for . Its height diminishes towards the ends as the ramps rise alongside it. Built of brick and coated with cement, it is intricately decorated.

Cairnsfoot is a two-storey rendered brick Victorian Italianate villa with gabled roof covered in slate tiles with verandah and balcony at front, with cast iron balustrades, posts, brackets and valences. A shallow bay window dominates the front with two rendered brick chimneys. An original timber back verandah with a shillion roof sits at the rear. An original gabled roof rendered brick outbuildings also sits on the site.

The treatment of side and rear elevations is more modest, but with fine detailing. The walls are unrendered brickwork with rectangular openings to ground and first floors, and the verandahs have paired timber posts with timber valances and capitals, boarded timber sunscreens, and cast iron balustrades. The side verandahs are partially enclosed. The building has timber double hung sash windows, and timber french doors opening onto the verandah.

14 Georg Dehio, Handbuch der deutschen Kunstdenkmäler: Berlin, 3rd ed. rev. Michael Bollé and Sibylle Badstübner-Gröger, Munich/Berlin: Deutscher Kunstverlag, 2006, , p. 124 between which are limestone decorative elements in the form of similated balustrades, allegorical figures, and cartouches with craft symbols, such as an iron between pairs of scissors.Plans and photographs, M. Rapsilber, Alfred Messel, Berliner Architekturwelt Sonderheft 5, [volume 1] Berlin: Wasmuth, 1905, , pp. 58-62.

The stonemason was John Park, and stone was brought from Cove quarry near Kirkpatrick- Fleming. In 1896, The 9th Marquess of Queensberry sold Kinmount to Edward Brook, a wealthy English industrialist who had bought the adjacent Hoddom Castle estate in the 1870s. Brook commissioned alterations and extensions to the house from Dumfries architects James Barbour and J. M. Bowie. These included the roof balustrades and urns, and the service court to the north- west.

The house has distinctive quoins, pediments, and classical balustrades of pale gray limestone. The west facade of the house is the most ornate, and faces the Hudson River, with a view of the river from its terrace and west- facing windows. The curtain wall between the facade's pavilions contains a semicircular portico, and its entablature is upheld by Ionic columns, and supports a balustrade. A flight of semicircular steps descends to the terrace.

Each column is topped by a various Corinthian or composite styled capital. On each side, above the aisles as well as above the entrance hall, there is the gallery reserved for women with balustrades of stone columns. Above the entrance, on the second floor, the organ in wood is damaged and requires extensive restoration. It is the former organ of the Basilica of Saint-Martin d'Ainay, sold in 1864 to the synagogue during its construction.

Separating the double parlors is a pendant arcade adorned with cast-iron bosses. The facade consists of three regular bays, with the primary entrance located on the western bay, reached by seven sandstone steps with matching cast-iron balustrades and newels. To the right of the entrance on the first floor are two floor-length windows with stone balconies and iron railings. The current exterior wooden window shutters were only added around 1975.

At the time of its construction neighboring houses were in similar Late Victorian modes. Over time they were all demolished, leaving only 426 to exemplify its two styles. In 1984, when the house was listed on the Register, its owner was operating an antique shop on the ground floor, leading to the use of "building" rather than "house" in the listing name. The front steps also had wooden balustrades rather than their current metal rails.

The two stairways, near either end of the building, have steel balustrades, cast newels and timber handrails. Many of the classrooms of the two upper levels are divided by panelled folding timber partitions. The four classrooms at the centre of the first floor level may all be opened to form a small auditorium with a stage at its eastern end. At the far eastern end of that level is the home science room.

The house's western side was expanded . This addition consisted of three stories, two porches, and possibly the carriage house. Renovations were complete by 1863. However, due to development in the surrounding area (partly financed by DeMenil himself), the view of the river was obstructed from the house, and the front entrance was moved to face 13th Street; balustrades and a porch were added to improve the appearance of the new entrance in 1879.

The central pediment has an arched panel inscribed with the words "Breakfast Creek Hotel", which is topped with an arched gable which is embellished with acroteria. The central pediment is flanked by two triangular pediments with scrolls inscribed with the words W.M.G (Galloway's initials) and AD 1889 (the year of construction). The east and western elevations also have triangular pediments. The verandahs around the building have intricately detailed cast iron balustrades, and columns with valances.

The Strand retains this aesthetic quality through the ornamental lacework panels, fluted columns and natural light. The Strand Arcade was considered the finest of the Victorian arcades in Sydney at the time of construction and still retains a reputation for good design. The balustrades, brackets and roof construction showed great skill and workmanship. Much attention was given to detail: light fittings were designed by the architect, even the sanitary appliances were given much attention.

The annex includes some fabric of the original outhouse kitchen, in particular the fireplace, chimney and stove, and windows which were once external. The upstairs accommodation consists of small rooms flanking a central north-south running corridor. The walls are vertically-jointed timber, and all rooms have French doors opening onto a deep verandah. The verandah has unpainted timber floors, iron lace-work balustrades, and is covered by a bull-nosed awning.

The home also contains a veranda, added around 1915. It is considered a "Pacific Northwest interpretation of the Queen Anne Style", since it does not contain stone or brick. The interior features a large carved oak fireplace and mantel, carved stairway balustrades, and oak flooring with a mahogany border. Containing nine bedrooms and 12-foot ceilings, the maid's bedroom is on the first floor, with four bedrooms on each of the second and third floors.

To safeguard the building from flood, each of its two driveways leading to the garages have two metre high side walls. The apartments face north to take advantage of solar benefits, rather than river views. It is unique in that 60% of the land on which it sits is dedicated garden and outdoor living space leading to the river. Modern improvements to the façade include new glazed aluminium, new windows, doors and balustrades.

Celtic crosses adorn the ends of the main gables. The Cunningham Street facade is largely symmetrical, with a central portico formed in timber and verandahs running behind it between the brick walls of the two main gabled wings. The verandahs here have original cast iron balustrades, painted white, set into timber top and bottom rails. The portico is supported on double posts and topped by a pediment with ornamentation forming a gothic pointed arch.

The dome was surmounted by a statue of a woman holding a torch, representing female enlightenment. Painted pale yellow and white, the exterior presented a grand stair and ornamental friezes, cornices; and balustrades encircling the roof. Mounted statues on ornamental pedestals "symbolic of woman and her power" adorned the roof. Visitors to the Women's Building entered through a soaring central hall, flanked by a grand double stair, in a natural wood finish.

The front facade The original building's facade consists of buff and gray brick interspersed with terracotta decoration. The windows are largely rectangular, except for those on the second floor, which contains round-arched window openings with balustrades at their bases. The third story consists of a mansard roof with dormer windows corresponding to the vertical architectural bays below them. The architectural bays are separated by projecting pilasters topped with Corinthian-style pediments.

Both the main roof and porch roof have extended eaves with brackets, and the main roof is capped by a cupola. The main three-story block is extended to either side by smaller blocks ending in bowed segments. The porch has elaborate Italianate details, including arched valances with lacework in the spandrels, and lacework balustrades on the second floor. The interior is also lavishly appointed, retaining original woodwork, features and period furnishings.

At the roofline is a broad overhanging cornice with dentils and voluted brackets. Above the cornice on the south facade bay window is a balcony with wooden balustrade, echoed on the tower. The front porch has a hipped roof supported by two turned wooden columns with balustrades between themselves and the front wall. The main hall features carved ebony columns in the Eastlake style with a floor of alternating majolica and encaustic tiles.

The ground plan is shaped somewhat like a Greek cross; the arms are 38.5 m and 34.2 m long and are each 17 m wide. There are niches on the outside which contain statues of the four Evangelists by Francuß Bingh. The stone balustrades were decorated with 28 figures, also by Bingh, depicting the apostles, prophets and other Biblical people. The interior of the church is decorated with ornamental stucco (cartouches, rocaille).

Lord Selborne and H. C. Hull, a member of the first Union Cabinet, chose Meintjieskop as the site for Baker's design.Standard Encyclopaedia of Southern Africa vol.7 The site was that of a disused quarry and the existing excavations were used to create the amphitheatre, which was set about with ornamental pools, fountains, sculptures, balustrades and trees. The design consisted of two identical wings, joined by a semicircular colonnade forming the backdrop of the amphitheatre.

The main facade is three bays wide, and its first floor is sheltered by a porch with tapered and fluted round columns separated by iron balustrades. Windows are set in rectangular openings that have pink granite lintels and sills. To the rear of the property there is a multi-seat outhouse, built with stylistically similar materials. With The house was built in 1866 for Franklin Johnson, a local man active in real estate.

The transepts of the hall have co-axial entrances, both on the east and the west, ensconced in kakshasana balustrades. The four central pillars supporting the hall are very well ornamented. The images include the river goddesses Ganga and Yamuna as dwarapalas (door-keepers), the trinity images of Brahma-Vishnu-Shiva, and several depictions of Shiva in his different incarnations. Twenty pillars around the perimeter of the hall are simple in design.

A series of wooden hexagon columns painted in a faux marble pattern, support the steel reinforced core while two rows of wooden balustrades decorate the frames and are topped with floral garlands. The center of the ceiling illuminates an intricate pattern of cornices and moldings. Liozzi's signature fresco adorns the wooden ceiling, opening to a blue sky in which stands the goddess Flora. For years the theater was abandoned and almost lost to modernization.

The tower's first stage is paneled, while the second has an open belfry with square posts at the corners and balustrades in between. The belfry is topped by a cornice and four-sided spire. The interior of the main auditorium has been repeatedly altered since its original construction, with gallery spaces converted to storage. The basement level has been adapted to house classrooms, necessitating the addition of a stairwell in the vestibule area.

The platform was accessed via four stairways, each with nine steps; they were flanked by steep ramps or balustrades. The visible version of Platform A5 covers the remains of an earlier structure. The earlier building was a large platform with a north-south orientation as opposed to the east- west orientation of Platform A5. The surviving parts were investigated by archaeologists and consist of the north wall and parts of the west facade.

Pyramid B3 is actually two pyramids built upon a single basal platform. Together they comprise the most important architectural unit in Group B. The northern pyramid of the pair is denominated B3a; the southern is B3b. The two pyramids each have five stepped levels and face west onto the plaza. Each pyramid was accessed by a single stairway flanked by wide balustrades; each had a small altar at the base of its stairway.

This technology is being rediscovered and used, for example, by Canadian architect Chris Holmes in his energy-saving designs. Wire mesh has been put in the gaps between the floors and the glass walls to prevent items from falling through. The balustrades along the projecting floor slabs, which are stiffened on the top side with a small upright projection, consist of a linked series of radiators. Hanging cradles on rollers are used for window cleaning.

The main temple has five rooms, one large garbhagriha in the center and four smaller rooms in each cardinal direction. These four rooms are all connected with outer corner galleries with balustrades bordered by rows of small stupas. From the findings during the reconstruction process, it was suggested that the original design of central sanctuary only consisted of a central roomed temple surrounded by four additional structures with open portals. Doorways were added later.

Characteristic features of the Walter Gropius house are its concave structure, textured facade and distinctive narrow sides. The apartments are accessed via four separate doorways, tower-like stairwells and elevator shafts. The south façade of the building exhibits, besides its characteristic curvature, a richly differentiated structure. It displays a vivid, decorative effect by the graphic arrangement of the protruding balconies, white, sail-like vaulted balustrades as well as colored, glazed balustrade elements.

The eight-story building is steel frame with marble and brick facings. At street level it features a projecting one-story portico with paired Tuscan columns; the level above the portico has recessed Tuscan loggias with individual window balustrades. A wide third-story molded entablature is surmounted by cast iron balconies. The window openings over the entire facade have articulated keystones and the openings on the seventh level also feature cast iron balconies.

The lower two stories house the computer center, including the evaluation center with a staff of 300. The bank room offers access to the safe tower stretching through all the lower floors, with delivery access through the lower parking lot. The windows use tinted glass with laminated double glazing for sunlight protection. No special arrangements need to be made for window cleaning, since the 60-cm balustrades make cleaning the outer pane easy.

A few years later the timber fence running along the store and park lots on William Street was replaced in chain wire. In the 1960s the saddlery store and another timber shed were demolished. The pedestrian bridges leading into the store from William Street and the open ground to the north-east (now Miller Park) were rebuilt in concrete, with the original iron balustrades and gate being reused.Kennedy et al 1998, pp.72-3.

All windows have black shutters, and are topped by lintels with a keystone. The main entrance is sheltered by an elliptical portico supported by four Corinthian columns. The doorway is framed by sidelight windows and an elliptical fanlight, with pilasters rising to the base of the portico top. The house interior features lavishly-carved woodwork in the public spaces on the first floor, including fireplace mantels, cornices, internal window shutters, and the stairway balustrades.

A large wood door with carved medallions and inset metal grilles is centered in the central block. The first story features three round-arch openings that contain cast-iron frames and transoms with decorative circular, oval, and floral patterns. The arched openings are topped with scrolled limestone keystones flanked by circular medallions. Vertically aligned with the arches on the second story of the facade, three central windows feature small balconets with cast-iron balustrades.

The decorations can be floral, Kirtimukha shapes (demon faces), geese, elephants and occasionally human figures. Pillars, beams and rafters inside the palace were made of wood as evidenced by ash discovered in excavations. The roof was made of brick or lime concrete, while copper and ivory were used for finials. Palaces commonly consisted of multiple levels with each flight of stairs decorated by balustrades on either side, with either yali (imaginary beast) or elephant sculptures.

The verandah is simply detailed with slatted timber balustrades, lattice panels and curved timber valances. The 1907 north wing is a low-set building with equally spaced double- hung windows to three sides. Separate window hoods protect the end windows and the roof is extended down and supported with timber brackets to protect the windows to the northern side. The eastern end of the verandah has been enclosed with weatherboards to form a storeroom.

The James W. Edie House is a historic house at Jackson and Washington Streets in Judsonia, Arkansas. It is a two-story wood frame structure, with a side gable roof, weatherboard siding, and a stone pier foundation. A cross gable section projects from the center of the front facade, with a single-story porch spanning its width. It is supported by wooden columns with capitals at the top, and has decorative jigsawn balustrades and brackets.

Nearly all the original decorative elements on the exterior of the building are cast iron including columns, cornices, balustrades, dentils, entablatures, and window architraves. These elements from the specifications and designs of the original architect Ammi B. Young, were made in New York City and shipped to Galveston. The first-story galleries have Ionic columns set on a granite base. An entablature extends completely around the building separating the first and second floors.

The monumental main staircase (Főlépcsőház), with three flights, led up from the lobby to the first floor in an airy, glass-roofed hall. The side walls of the hall were decorated in Italian Renaissance style with colossal Corinthian half-columns, stuccoes and lunette openings. Ornate wrought-iron chandeliers and intricate balustrades decorated the stairs. On the ground floor, colossal Atlas statues stood beside the side pillars, holding the weight of the upper flights.

The temple is adorned with panels of narrative bas-reliefs telling the story of the Hindu epic Ramayana and Bhagavata Purana. The narrative bas- relief panels were carved along the inner balustrades wall on the gallery around the three main temples. The narrative panels on the balustrade read from left to right. The story starts from the east entrance where visitors turn left and move around the temple gallery in a clockwise direction.

The boat was built in 1911 for impresario Fred Karno who wanted to have the best houseboat on the river permanently moored alongside his hotel, the Karsino at Tagg's Island. He designed it so that an entire 90-piece orchestra could play on deck. The boat is framed in mahogany and has mainly Crittall windows with taller, wider windows towards one end. It is topped by very ornate metalwork canopies and balustrades.

In architecture openwork takes many forms, including tracery, balustrades and parapets, as well as screens of many kinds. A variety of screen types especially common in the Islamic world include stone jali and equivalents in wood such as mashrabiya. Belfries and bell towers normally include open or semi-open elements to allow the sound to be heard at distance, and these are often turned to decorative use. In Gothic architecture some entire spires are openwork.

Verandah, 2015 Eden House Restaurant is a single-storeyed timber structure with a corrugated metal hipped roof and bullnosed verandahs to three sides. The building fronts the Gillies Highway to the east, and is surrounded by landscaped grounds. The building presents a symmetrical elevation to the street, with a central entrance flanked by French doors with fanlights opening to the verandahs to three sides. The verandahs have timber posts, dowel balustrades and curved brackets.

The piers stand on spread-footing foundations resting on limestone bedrock. Each span rests on two parallel concrete segmental-arch ribs, each wide and thick, rising to a clearance of above the springline. A series of slender vertical columns rises through the open spandrels to support smaller longitudinal arches and transverse floor beams immediately beneath the deck. The floor beams cantilever roughly beyond the piers and columns to support the sidewalks and balustrades.

City Hall is a -story brick building with a full-height central portico on the front and a semicircular projecting wing on the rear enclosing a rotunda. Its low dormer window-pierced hipped roof is topped with a clock tower and cupola with golden dome. Balustrades mark the roofline; on the front portico a pedimented entablature is supported by four fluted Ionic columns. Marble is used for pilasters, quoins and the rusticated raised basement.

The building was designed in the Rustic style by noted Boise architects Nisbet and Paradice. The building is a three-story, side- gabled wood-framed building with a T-shaped plan and three prominent front- facing gables. The foundation is poured concrete. Decorative features include the jerkinheads at the gable ends, the large decorative wooden gable brackets, window boxes and shutters, porches and verandas with low balustrades, and the numerous gabled dormers.

The building has cedar joinery, including architraves, skirtings, panelled doors with fanlights, and staircases with turned balustrades. The first floor contains the Supreme Court Room with an enclosed arcade either side. Witness rooms are located at the northeast end, and the jury room, court reporter, barrister's and judge's chambers are located at the southwest end. The court room has tall arched windows opening to the enclosed arcades either side, with expressed extrados and imposts.

It later was used by the Northwood Institute and the Northwood Center for Research and Development, and was designated a Michigan State Historic Site in 1980. The Wright House is a massive 2-1/2 story brownish-gray sandstone Richardsonian Romanesque structure with a tiled gable and hip roof. It is rectangular, measuring by , and sits on a stone foundation. Gables, bays, and porches decorated with balustrades, columns, and stone carving project from the exterior.

Barber houses constructed in this period are characterized by features such imposing turrets, projecting windows, verandas flanked by circular pavilions, and Syrian arches. In the latter half of the 1890s, Barber began to offer more plans in the Colonial Revival style. These were often characterized by projecting porticos supported by large columns, symmetrical facades, and flat decks with balustrades. Later Barber catalogs contained Bungalow and Craftsman styles, though few of these were built.

Local material were used as much as possible, including steel provided at a discount by local steel-maker, BHP. Architectural features include a clock tower, porte cochere, balustrades and stairs, all built with Sydney sandstone. The clock tower is an imposing landmark and distinctive feature of the city sky line, indicating the Civic Centre of Newcastle. The tower is a reinforced concrete and steel framed structure clad in Sydney yellowblock sandstone ashlar with rusticated quoins.

The Knollwood estate was a Gold Coast era castle-esque house and estate. Located in Muttontown, New York, U.S., its ruins are now part of the Muttontown Preserve. Designed by architects Hiss and Weekes, the 60-room main house was built on a plot of land which encompassed the Westbrook Farms. Built between 1906 and 1920 for Wall Street mogul and steel tycoon Charles Hudson, the huge stone mansion had classical columns and balustrades.

New York Mutual Life Insurance Company Building, also known as the Victory Building, is a historic office building located in the Market East neighborhood of Philadelphia, Pennsylvania. Henry Fernbach and Phillip W. Roos are credited as the building's architects. It was built in 1873, and is a seven-story, brick building, faced with granite, and measuring 58 feet by 176 feet. Its three lowest stories feature engaged columns, pilasters, balustrades, and arcades.

Above the awning are two levels of projecting verandahs. These highly ornate verandahs are supported by twin cast-iron columns and feature timber handrails, cast-iron balustrades and brackets and a timber and cast-iron frieze at the junction between the first and second levels. French doors open onto the verandah which is roofed with rolled corrugated iron. Painted corrugated iron hip roofs are concealed on the street elevations by an ornate masonry parapet wall.

This room is set on masonry piers with roughcast stucco. In the understorey under the kitchen at the southern end of this side is a laundry. From the front, the house looms over the drive, which passes the house on the western side to reach the garages behind. A concrete path, with impressed and coloured diamond shapes, winds up from near the road to the front concrete stair with heavy, sweeping rendered masonry balustrades.

Its main facade is divided into two sections: the left side has a projecting polygonal window bay, while the right side has a stack of three porches. The porch entrances are near the center, with small square fixed windows to their right. The porch features spindled balustrades and turned posts, with brackets at the tops. The building was built about 1894, when the area was developing rapidly due to an influx of Scandinavian immigrants.

The centre entrance bay projects on both floors, and is surmounted by a pediment. The words AUSTRALIAN BANK OF COMMERCE LTD can be seen in relief along the first floor frieze. The ground floor has double timber central entrance doors, with arched sash windows to either side which have been painted out and covered with steel grilles. The first floor has five sets of French doors with fanlights and both floors have rendered balustrades.

The rear of the Administration building consists of several wings built around a central courtyard. The rear wings were constructed in stages, beginning with a single storey and resulting in two storey wings to three sides of the courtyard. These wings are of brick and timber construction, with narrow verandahs on both sides of a central room core. The verandahs are simply detailed with timber balustrades with a cross pattern and curved timber brackets.

The double verandahs with curved iron roofs to front and back were decorated with cast-iron fringes and balustrades and a decorative timber frieze to the front. Four semi-circular dormer windows with scalloped bargeboards faced the street. In the 1890s three of the four houses were known as Keira, Mascotte and Kiama. Cross retained possession of the houses until 1910, during which time white collar, craft and business persons were predominant occupants.

Greystaines is situated on the south east slope of Toorak or Hamilton Hill, fronting Kingsford Smith Drive. It has views of the Brisbane River and across Bulimba, Newstead and the City centre. It had a multi-hipped roof of terracotta tiles. The central bay in the front elevation had a wide gable, below which, on each level, was arcaded verandas with barley twist columns supporting the arches opening onto exposed balconies with balustrades.

This symmetrical three-storeyed building of the Federation period has deep shady verandahs on the upper two levels. These verandahs, which extend over the footpath, are decorated with cast-iron balustrades and friezes, together with timber fretwork. The ground floor shop front and interior have been modernised while the upper floors remain basically intact. The brick building, which is well designed for the tropics, is surmounted by a parapet and centrally placed pediment.

The bridge is an arch bridge constructed from reinforced concrete with open spandrels. The bridge is crossed by a roadway flanked by sidewalks. The balustrades along the edges of the bridge carry green-painted, cast iron light fixtures at intervals. The decorative fixtures of these lamp posts have the letter C and a palmetto palms on the bases, a vine pattern on the eight-sided post, and an acanthus leaf design on the necking.

The main entrance uses an arched Gibbs-style surround. The building's trim materials show up in the form of solid stone balustrades that curl to form newel posts at the sidewalk, and terra cotta quoins. The rear facade is less detailed, with terra cotta used only for the coping of the stepped cornice; stone and brick are used everywhere else. Much of the interior is in paneled dark wood, with wainscoting in some rooms.

An L-shaped verandah, with pairs of arched openings and timber slat balustrades capped with a bread-loaf profile handrail, runs the length of the building and runs around to the north where it adjoins the 1991 extension. It is accessed via concrete formed steps. The building is raised off the ground and supported on concrete stumps. Like the Main Wing, the external concrete walls extend down to the ground finishing at a concrete plinth.

Hopeleigh Maternity Home, 1915. Shortly after taking possession of the rather small Frankfort Villa, The Salvation Army proceeded to enlarge the house through the construction of the northern wing. This addition consisted of a verandah to the north and south walls and the rooms, seemingly used for residential accommodation for the staff, appear to have been accessed off the verandahs. A 1915 image shows cast iron columns, lace balustrades and friezes in the Victorian manner.

The second floor has a projecting polygonal window bay on the left side and a Palladian arrangement on the right. Below the left bay on the first floor is the main entrance, sheltered by a porch that extends around to the left side. The porch is supported by grouped columns set on shingled posts with simple low balustrades between then. To the right of the entrance is a polygonal section with simple sash windows.

The most important construction of the city of Mayagüez in attention to its general aesthetic values it is a beautiful building of "anfipróstilo" (two portals) style. Doric order (capitel) its influence being grecoroman, Tuscan and numbering "octástila" in smooth column (fuste) and "basas áticas". The building is surrounded by arches and semi-pilasters that puts one in contact with a neoclassical style of Roman influence. It exhibits two pediments very sincréticos decorative and balustrades.

The main stairway had a newel post of hand-carved cherry wood, and the railing and balustrades of the stairway were hand-turned cherry wood. A large stained glass window was on the west side of the hallway and also made up part of the sun porch. Double sliding doors opened off the hall into the parlor and the drawing room. A third set of double sliding doors connected the parlor and the library.

Often, two other subsidiary structures appear on the north and south sides of the plaza, respectively. The main western structure is typically terraced (i.e. has several levels), with inset stairways on each of its four sides, with only the eastern stairway, leading from the plaza, providing access to the summit. The stairways have large balustrades which protrude from the pyramid, which were decorated with large stucco masks and panels of architectural art.

Most classrooms and offices have plaster walls, timber-framed floors covered in modern carpet, and flat sheeted ceilings with dark-stained timber battens. Skirtings are generally wide and plastered, and most rooms retain timber picture rails. Stairs are of painted concrete and have metal and timber balustrades. Corridors, along the western side of the range, and verandahs (now enclosed), along the parade ground sides of the northern and southern wings, provide access to the classrooms and offices.

He sits on > a lion-throne and inside the audience-hall where flowers and perfumes are > scattered. The ministers of state and the courtiers are seated on the ground > to the left and right, and on both sides there are hundreds of soldiers on > guard. In the middle of the palace [Bhadrādhivāsa] there is a seven-story > tower, its roofs covered with copper tiles. The balustrades and railings, > the columns and the beams, all are ornamented with precious stones.

The structure is modeled after the Arc de Triomphe in Paris, but is taller. The arch has dozens of rooms, balustrades, observation platforms and elevators. It also has four vaulted gateways, each high, decorated with azalea carved in their girth. Inscribed in the arch is the revolutionary hymn "Song of General Kim Il-sung", and the year 1925, when North Korean history states that Kim set out on the journey for national liberation of the country from Japanese rule.

A standard concrete slab structure supported on original brick abutments and two steel trestles with new stairs to the platform and bridge with new concrete deck over the tracks spanning between the Great Western Highway and Railway Parade. The footbridge marks the northern end of the station. A concrete level crossing with relatively new fabric is also located on the southern end of the station. 1994 metal balustrades provides safety along the edges of the stairs and the bridge.

Joy Lee Apartment Building and Annex is a historic apartment building located at Carolina Beach, New Hanover County, North Carolina. The original building was built in 1945, and is a two-story, double-pile concrete block building covered with stucco. It features fanciful concrete balustrades and walls, and an Art Deco-inspired centered portico over the front entryway added in 1957. A two-story double-pile Modern Movement style Annex comprising four apartments was built in 1948.

The main structure is a two-storey externally and internally rendered brick structure with a Georgian symmetry. A timber-framed verandah extends around three sides over each of the two levels of the structure although the upper western portion has been removed for safety reasons. The lower verandah is paved in cut sandstone, whilst the upper floor is tongue and grooved timber. The verandahs are of Edwardian style, however the balustrades and valance are Colonial (chinoiserie) in style.

At the top of the grating is a crest composed of semicircles made of bent bars, pointed and crowned with heraldic motifs, configured as an entablature. The pulpit, made of wood, is on the left wall of the chapel. It consists of an access staircase with a sill of balustrades, a rectangular floor affixed to the wall like a balcony, and a semicircular bay embedded in the wall, under a triangular pediment topped with a cross.

In 1702, in the 41st year of the reign of the Kangxi Emperor there was a fire, and the Buddhist hall on top of the platform burnt down. The platform was not restored again, and by the time it was surveyed by a Japanese expedition in 1943 it was in a state of neglect and disrepair. In 1961 the platform was repaired, and the balustrades around the top were restored. The platform is now surrounded by a carpark.

The platform on which the pedestal of the statue rests is enclosed by balustrades, and stairs lead to it from north and south. On the eastern side, the platform is supported by a brick wall that has two marble boards attached to it, with the inscriptions referring to the erection of the statue in 1711 and to its renovation in 1811. In front of the wall are two small stone pyramids. Their history and meaning is unknown.

The building is an advancement on the style of Blenheim, rather than the earlier Castle Howard. The principal block, or corps de logis, containing, as at Blenheim and Castle Howard, the principal state and living room, forms the centre of a three-sided court. Towers crowned by balustrades and pinnacles give the house something of what Vanbrugh called his castle air. Seaton Delaval is one of the few houses Vanbrugh designed alone without the aid of Nicholas Hawksmoor.

The tower has rectangular windows to first floor level, surmounted by arched windows encircled in elaborately detailed Dutch gables. The Dutch gables have festooning and are interspersed with acroteria on pedestals. The tower makes a large footprint on the ground floor which frames the main entrance, and has arched openings with keystones. The verandah which surrounds the building to north, east and partially to the west has timber boarded ceilings, fine lattice spandrels, and cast iron balustrades.

The arches each have eight wrought iron ribs that vary in thickness from at the centre to at the bearings. The deck is carried on buckled plates resting on secondary beams. The road is wide and the pavement wide. The balustrades are cast iron with an open design of interlocking circles, and on the parapets are ornamental cast iron lampposts carrying modern lights while the spandrels are open cast iron work with a design of diminishing interlocking circles.

This structure included a long grand lobby along the south end which opened into the auditorium facing a stage at the north end. The lobby was modeled after the Paris Opera House with white marble columns, balustrades and an opening arms grand staircase. Within the auditorium, the drapes were colored in red velvet and the rugs were designed in a similar red. The interior of it was very high but somewhat shallow as necessitated by its allotted space.

Block B has timber stairs positioned at either end of the verandah, with the understoreys of the stairs clad in chamferboards. The stairs have railed timber balustrades, which are also retained on adjacent sections of the verandah. The verandah walls have double- hung sash windows, with awning fanlights, and modern flush-finish doors. The first floor contains three classrooms and two store rooms to the west of the covered way, and a staff room to the east.

Foekema (1996), p29, p46 At the entrance to the hall are elephant balustrades. Notable among the wall panel sculptures and depicting scenes from the epics and puranic stories are the 16-handed Shiva dancing on the head of a demon called Andhakasura, dancing images of a 22-armed Durga and Saraswati, King Ravana lifting Mount Kailash, the Pandava prince Arjuna shooting the fish target, and Draupadi rushing forth with garland, and the slaying of the demon Gajasura.

When London Bridge was replaced in 1826, Usborne bought pieces of the stone balustrades, which date to 1209, and erected them behind the White House around the Buffalo Lawn. The estate changed ownership more times, but these families did not maintain the property and it fell into disrepair by 1900. Reverend Cranshaw, a local resident, bought the estate in 1911 and was the last owner prior to the Boy Scout Association, as it was then known.

The ceiling of the vestibule is decorated with glazed ceramic moldings that are arranged in the shape of stars. From the vestibule, on the left and right, grand marble staircases ascend from between crowned lamps on columns to bring visitors to the second floor. The balustrades of the staircases, also marble, are supported by unusual transparent yellow glass balusters. The underside of the staircases is covered with tiles that form gleaming canopies on either side of the vestibule.

The 2-1/2 story, wood- framed house was built in about 1887, and is a fine local example of Queen Anne styling. The house has asymmetrical massing, with large gable-roof sections projecting from an otherwise hipped roof. The porch has fine decorative balustrades and valances, as well as delicated turned posts. The gable ends were at one time decorated with almost Tudoresque applied Stick style woodwork, but these have apparently been sided over or removed.

The arcade became run down as time went by. Restoration work was carried out in the 1970s, but a fire broke out on the morning of 25 May 1976. The arcade was partly destroyed. The ensuing sympathetic restoration by Prudential Assurance in 1976-1978 included the restoration of the two hydraulic lifts, laying of a new tiled floor, the copying of the golden cast-iron balustrades, and reproductions matching of the original hand-carved cedar baluster posts.

Donato Bramante followed in both locations. In Santa Maria del Popolo, Bramante extended the apse,The high altar signed by Bregno, commissioned by Rodrigo Borgia (later Pope Alexander VI) in 1473, was removed to the sacristy. but the facade is of the earlier campaign, picked out in architectural guides as one of the finest pieces of Early Renaissance architecture in Rome. Most of the hexagonal side chapels with sexpartite ribbed vaults and balustrades preserved their original layout.

Original post and rail verandah and stair balustrades are retained. The verandah ceiling of the earliest wing is lined with timber vj boards and in the later wing with flat sheets with timber cover battens. Evidence of the original verandah skylights on the western verandah is retained in the ceiling, however, these have been sheeted over and no longer permit high-levels of natural light into the former dressmaking classrooms of this wing. The internal layout is highly intact.

The building has in total five timber entrance porticos with fine timber detailing including battens and, cross-braced balustrades. The roof is crowned with a timber and corrugated iron fleche with four gables with finials, which when erected contained a Boyles patent ventilator. Internally, the hall is encircled by rooms. The western end has a large meeting room, library and office either side of an entrance hall, and a timber mezzanine with balcony access to meeting rooms.

"Return to Powhatan – Growing up in Old Virginia," by Roberta Love Tayloe (1985) p.6-12,19. FHL #975.525 H2t. Invoice dated March 27, 1802 for Sunday painting at Balustrades & Portico of the Octagon is signed by James Hoban. On April 19, 1797 Tayloe paid $1,000 to Gustavus W. Scott for lot 8 in Square 170, at the corner of New York Avenue and 18th St., N.W. as laid out in a plan of the District of Columbia by Maj.

Staircase The 14th-century building which has been a hotel since 1822 now has a pink façade with marble sills, white turrets and balconies with pointed arches. The main architectural feature is the four- storied courtyard which is covered with arches in Byzantine Gothic style and provides for natural sunlight. The foyer leads to the open staircases with balustrades up to the furnished rooms and suites. While an elevator is available, the stairway is painted gold.

We did not replace those balustrades but hope they can be added in the future. The hand written specifications were signed by William Daniel, the owner, in 1848. The plans called for a first floor bedroom with an adjoining bathing room and dressing room, which is an unusual convenience for this era. There was a stairway from the ground floor hall up to the main floor and another stair from the main floor to the second floor.

The building's interior was damaged by fire in 1874 and was remodelled and an attic floor was added behind a high balustraded parapet with four tall chimneys. A central entrance porch with a coffered barrel-vaulted ceiling is accessed by a flight of stone steps and has Doric columns supporting a frieze, moulded cornice and balustraded parapet. The first and second floors have tall two-light casement windows with architraves, balustrades and pediments to the second floor.

Janet's descendants called on Downing's friend Alexander Jackson Davis to expand and renovate the house into a more classically inspired villa over a period of 20 years. He used curved forms in the balustrades and wings to offset the strong vertical lines of the existing building. The arcaded pavilion makes the veranda common on many mid-19th century houses into a wing of its own. Textures were added to the surface in the abundant decorations, many using floral motifs.

The left side has a single story porch, decorated with Stick style balustrades both below and above the roof. Above the porch is a projecting bay window which is topped by a large gable that extends over the splayed corners of the bay, where there are curved brackets. The gable front is sheathed in decoratively cut shingles, with a small square window in the center. The house remained in the Chamberlin family until Horace's wife died in 1918.

It included "a low, 260-foot-long three-story gambrel-roof edifice, highlighted by its expansive shed-roof dormers, paired front gambrel bays, and extended veranda with balustrades." This inn was a summer resort for wealthy Americans, New England Governors Conventions and politicians. The inn was built near the historic Ardmore Inn, formerly the Manomet House, founded in the 18th century and run for generations by members of the Holmes family."A Family History," Muriel Holmes Anderson Weeks, Dec.

Alterations include the addition of wood stoves in the 19th century, and the alteration of one area in the gallery to accommodate a choir and organ. The gallery railings originally had spindled balustrades, but most of the spindles have been lost. The meetinghouse was built in 1773, and is located near the geographic center of the town, opposite the town pound. It served a religious congregation until 1834, and was used for town meetings until 1929.

The Count's House is particularly distinct for its two faces, a very unusual feature for a Greek Revival. The north facade, facing Waukegan Road, consists of a portico with full two-story columns of the Doric order. The south facade, facing Main Street, consists of two-story loggia with an upper balcony and several intricate mouldings. The six-over-six windows, balustrades, columns, door surrounds, and nearly all of the exterior moldings appear to be original.

Entrance to Franklin D. Roosevelt station in classical Greek-Roman style From 1904, the CMP employed the architect Joseph Cassien-Bernard to design a number of new station entrances in austere neo- classical stonework. These can be found near certain important monuments, including the Opéra, the Madeleine and on the Champs-Elysées. After the end of the Belle Époque, new entrances were entrusted to various architects. These typically feature cast-iron balustrades in an elegant but sober style.

Balustrade of Palace Bridge, Berlin, 1824 Bank Bridge, St Petersburg, 1826 In Saint Petersburg, cast iron was used on the many bridges, sometimes as the supporting structure, but especially for the decorative railings and sculptural embellishments, including the chain- suspension 1826 Bank Bridge, with its distinctive cast iron griffin sculptures and elaborate balustrades, the 1840 Pevchesky Bridge, the 1842 Anichkov Bridge (a copy of the Berlin Castle Bridge), and more seahorses on the 1843-1850 Annunciation Bridge.

Timber casement windows are located above the street awning. A verandah space on the upper level has exposed steel posts and balustrades with a small enclosed area clad with fibre-cement sheeting. Recent aluminium windows are located adjacent to the entry on the second level and on the lower level. On the north-west elevation which overlooks the boat ramp and Auckland Inlet is a recently added enclosed balcony space supported on cantilevered tapered steel beams.

All three buildings are built of brick laid in common bond with pressed metal roofs. Metal is also used for many of the decorative touches, such as iron finials, window caps, balustrades, cornices and dormer windows. The mill itself is an L-shaped four story building with two stair towers in the late Second Empire style, with corbeled brickwork and cast iron detailing. The original timber framing has been replaced by reinforced concrete on the lower stories.

A new plywood floor was installed on the ground level, as were new steel tension members to the adzed beams there. A new lift, toilets and services, glass partitions and balustrades, and suspended ceiling on the top level were also installed at this time. This work was completed in late 2000, after which the building also housed the collection and library of the RHSQ. The store was damaged by a burst water main during the flood of January 2011.

Facing the eastern boundary and Burnett Street, the verandah edges are defined by square timber posts with simply carved capitals. Centred on the front facade is a set of double lattice doors held in place by recent, unpainted timber posts without capitals. Between the verandah posts are simple, timber handrails, and cross- braced balustrades and valances. On the western facade, aligned to the house's front brick face, a set of four full-height sash windows have been installed.

The architectural details of both buildings are Renaissance, though much use is made of mullioned bay windows and strapwork decoration in parapets, and elaborate Flemish gables. The interiors at Hatfield are well preserved with much original carpentry work, especially in the Great Hall. Both houses have grand staircases with cantilevered wooden steps, arched balustrades with carved figures on the newel posts. The staircase at Blickling was moved in the 18th century and additional flights added to make it symmetrical.

Brick arches, terracota pieces and exposed brick work in various bonding patterns became popular. With larger number and bigger size of windows, pediments or projections supported by ornamental brackets and column decoration for protecting the window opening from rain and sun also were introduced. Cast iron fences, stair balustrades and iron grills, made in England, were used to complete the bungalow architecture. Excellent examples of this synthesis are seen in the Napier museum at Tiruvananthapuram, and many government bungalows.

The Trinité Church of Caen has a greater emphasis on the central portal and the arrangement of the windows above it. The decoration of the towers begins at a lower level to that at Saint-Étienne, giving them weight and distinction. The upper balustrades are additions in the Classical style. The facade of Le Puy-en-Velay in Haute-Loire has a complex arrangement of openings and blind arcades that was to become a feature of French Gothic facades.

The verandahs have timber floors, flat-sheeted raked ceilings, and two-rail balustrades that are battened. Verandah steps connect Block A with Block B to the northwest and Block C to the northeast. The interior layout comprises two large classrooms with a central narrow classroom / amenity area (formerly three equal classrooms), separated by modern concertina doors. Part of the verandah has been enclosed, and the verandah wall removed, to connect the central area with the teachers room.

Verandahs have corrugated iron skillion roofs and the north verandah has an entrance porch with projecting gable. The east and southeast verandahs sit on timber stumps and have latticed valance and cast iron balustrades. The south verandah has timber arches with lattice infill and opens off a hall with a corrugated iron barrel vault roof which is lined with tongue and groove boards. This vault has glazing to the western end and a central square raised skylight.

The side elevations, including the four-bay-wide rear addition, contain casement windows with lion's-head keystones. An entablature and small cornice runs above the first story. Second and third floor facade detail The second and third stories and the attic are clad with buff brick and contain casement windows. On the original building, but not its rear addition, the second-floor windows are set beneath curved architraves, with balustrades at the bottom of each opening.

This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right. The story of Ramayana starts on Shiva temple balustrade and continues to Brahma temple. On the balustrades in Vishnu temple there is series of bas- relief panels depicting the stories of lord Krishna from Bhagavata Purana. The bas-relief of Ramayana illustrate how Sita, the wife of Rama, is abducted by Ravana.

Over its history of more than 600 years the city was burned down several times, however it remains as the best preserved Princes' City in China. Notably, the carved balustrades and marble steps still remain. The Chinese Government gave the site national protection status in 1993. Today the site is occupied by Guangxi Normal University, but remains open to the public as a tourist attraction combining aspects of Guilin's natural environment, history, traditional architecture and local culture.

The verandahs have been enclosed with weatherboard to part of the northern elevation, all of the western elevation, and most of the southern elevation. Closeup of the Burndale sign on the front of the house, 2015 The verandah is supported with chamfered square posts with shaped brackets and battened valances. The unenclosed sections of the verandah have cast iron balustrades and valances. Grape vines grow around the base of the house, on wires strung between the verandah posts.

It is supported by paired posts with fretted timber brackets and dowel balustrades on the first floor and wrought iron valances with arched openings at street level. At the side the verandah has dowel balustrading to both levels. French doors open from the rooms onto the verandahs at the side and there are sash windows at the front. Internally, the building retains substantial amounts of original fabric including pressed metal ceilings, and some of the original furniture and fittings.

A single-story porch extends across the full width of the front; it has square posts rising to arched openings, with low balustrades between. Windows have granite sills and lintels, and there are paired brackets in the corners of the eaves. A period carriage house, also built of brick, stands behind the house. The house was built in 1885 to a design by Jefferson Coburn, a local architect from whom only a few designs are known.

The place demonstrates the principal characteristics of a convent building, including a two storeyed plan featuring a chapel, dining area, reception rooms and cells. Finishes are typical of the period and include pressed metal ceilings, dark stained timber detailing simple decorative features and cast iron balustrades to the exterior verandahs. Its prominent location on the rise of a hill overlooking Moreton Bay is also typical of convent buildings. The place is important because of its aesthetic significance.

The temple has a cross-shaped terrace, 8.5 m by 30 m long, with seven-headed nāga balustrades in good conditions, on the east, guarded by two decapitated dvarapalas and a lion (of an original two). A 33 m-long causeway connects it to the single sandstone gopura.Freeman, Jacques 2006, p.115 Before the laterite enclosure 50 m square there is a shrine with a 3 m tall statue of Buddha, sitting on a lotus, of a later period.

The rear facade is circled by a long, wide varanda between the two corps, while the front facade includes several varandas with ironwork over plinths in granite and surmounted by pinnacles. The interior space includes a rectangular entranceway with slabs and granite staircase with balustrades. Over the staircase is an elliptic candelabra, surrounded by stucco walls decorated in carved flourishes. The ceiling of the entranceway in wood leads to rooms that plastered and decorated with paintings.

A 1-1/2 story addition extends to the southwest, exhibiting similar styling. Porches extend across most of the main block and this addition, with chamfered square posts, jigsawn brackets, and decorative balustrades. Brackets similar to those on the porch are also found at the main roof cornice. The interior of the house features a fairly typical Georgian central hall plan, altered to open the spaces somewhat, and to provide access to the more modern wings of the building.

In 1913 Steele embarked on a four-month tour of Europe to study European designs. Upon his return to America, he opened his own practice. His early garden plans are generally in the English Arts and crafts style of Gertrude Jekyll, Reginald Blomfield, and T. H. Mawson, but ornamented with Italianate detailing such as balustrades, hedges, urns, statuary, stone pineapples, and flights of water steps. During World War I, Steele served in the American Red Cross in Europe.

The theater has been described as too modern and not modern enough, too ambitious and too restrained. The theater was built on a surface of 567,700 square foot, has 2000 seats and facilities for 2,500 staff members.E-architect about the theater The last architect Diamond Schmitt Architects finished the design by creating an onyx wall which is visible from outside and illuminated. The lobby has a modern style with several straight and spiral staircases with glass balustrades.

The School Street duplexes stand north of downtown Bennington, on the east side of School Street at its junction with County Street. The two buildings are nearly identical two-story wood frame structures, with side gable roofs, clapboard siding, and fieldstone foundations. Their front facades are four bays wide, with entrances in the center two bays. Each has a hipped-roof single-story porch extending across the front facade, with Queen Anne style turned balustrades and posts.

The interior features are lath and plaster ceilings with elaborate cornices and ceiling rose, plastered brick walls, large moulded timber skirting, marble fireplaces with cast iron inserts and four panelled doors. The stairs have turned timber balustrades and the floors are covered in carpet tiles. A two-storey brick addition is attached to the west rear side of the building, but is in poor structural condition. It was built mid-20th century and was renovated in 1974.

The shops were elegant single story buildings with large display windows and awnings across the footpath supported by decorative posts. The use of classical revival pediments, urns, and balustrades on all the shops created a pleasing rhythm along the street while allowing individuality to each premises. Tenancies were also marked by the visual separation of the facades by the use of separate pediments. Jeffery's Building shares these features with the hotel and slightly later shop which flank it.

Striped ogee awnings across the footpath were supported by decorative posts with cast iron infill. Each shop had a separate roof, some lit by lanterns and the individual tenancies were also marked by the visual separation of the facades by the use of classic revival pediments, urns, and balustrades. Gorrie occupied one of his shops himself as a baker and confectioner. This shop was occupied by hairdresser and barber William Lloyd, whose premises had been destroyed in the fire.

The church's main entrance is located on its west side; the three sets of double doors are each topped by a stained glass transom. A pair of four-story towers are located on either side of the entrance. The third and fourth floors of each tower are open with pilasters framing the arched openings; balustrades run along the third-floor apertures, while the fourth-floor openings feature keystones and classical cornices. Triangular pediments are situated atop both towers.

Blue Temple Building 3 or the Blue Temple has some features that set it apart from other pyramids at the site. Except for six benches on the staircase and at the top of the balustrades, probably later additions, there are no niches. The seven stories of the pyramid are composed of gently sloping walling divided into panels of varying widths. The unreconstructed north side has a large indentation made by looters before the site was protected by guards.

Separated by a brick party wall which does not rise above the roofline, from the street, the two houses appear as a single entity. A double staircase with a cross-braced timber balustrade leads to the first level, which is high set at the front. Decorative timber detailing to the front verandahs includes cross-braced balustrades with central rosettes, deep valances on the first level, and double posts with capitals and brackets. The rear verandahs have been enclosed.

The left house is roughly L-shaped, with a hip roof across its main body and a projecting gable section on the right side. A porch extends across the front and around the left side, set on a foundation of rough-cut limestone blocks, with turned posts on stone piers and spindled balustrades in between. Both houses were built in 1885 by Frederick Chaffee & Son. The duplex was occupied by a succession of middle- class families until 1925.

VII, pp. 20–21. Nevertheless, the classical references were sufficient to satisfy the Venetians’ desire to emulate the great civilizations of Antiquity and to present their own city as the successor of the Roman Republic. At the same time, the design respects many local building traditions and harmonizes with the gothic Doge's Palace through the common use of Istrian limestone, the two- storey arcades, the balustrades, and the elaborate rooflines.Howard, The Architectural History of Venice, pp.

In 1893 and 1896 the Royal Botanic Gardens sent trees and shrubs for planting at the hospital site. In 1905 a new stair block was added to the central block to coincide with the removal of the internal staircases to allow for more space for wards. The connecting passageways to the wings were altered to become two storey, topped by stone balustrades. A second storey was added in two stages to the former school block at this time.

The roof designed by Copeman was still in use and the second ground floor operating room had an extensive lantern. This plan shows the lift on the north-eastern corner of the male ward. Another late-1920sGAO, 2005, 35 states 1929 change was conversion of the first floor male ward to a Children's ward. Authorised by Government Architect Wells on 31 August 1928, the plan entailed removing the posts, wooden arches and existing balustrades that gave the hospital its distinctive appearance.

An un-rendered version of this parapet also ornaments the northeast side of the central wing. Early iron balustrades survive on the balcony; along the entrance walkway; and to the secondary entrance stairs. The hipped roof is clad in terracotta tiles, and the raked eaves are lined with timber V-jointed (VJ) tongue and groove (T&G;) boards. First and second floor windows along the northeast elevation are protected by hipped window hoods clad in terracotta tiles and featuring decorative timber brackets.

The west end section has lavatories to ground floor, and open meeting spaces (former cloak rooms) and toilets to the first and second floors. The east end section has a glazed entrance lobby to ground floor, and a combination of offices, storage and toilets to the first and second floors. The stairs in both end sections have metal balustrades with timber handrails. A ramp at the eastern end of the first floor connects with the understorey of Block B to the east.

Verandahs along the northern side of the range provide access to the first and second floor classrooms and offices. They have painted concrete floors and their ceilings are flat, with those on the second floor featuring timber battens. The brick balustrades have rendered copings, with concrete drains channelled along their base; the central sections are plastered and enclosed with early windows. Recent lightweight partitions enclose most ends of the verandahs to enlarge the lateral wings' classrooms, and are not of cultural heritage significance.

The first setback is at the 14th story, but a four-bay- wide dormer projects from the southern elevation at the 15th story. On the western elevation, the center four bays are recessed and rise uninterrupted until the setback on the 26th story. There is little decoration, except for vertical bands and recessed panels that provide accenting, as well as other symbols such as wreaths and roundels. Some of the balustrades above each setback are also decorated with urns and anthemia.

There are recessed porches below the front and rear- facing gables, each supported by rustic log posts, with log rail balustrades and stair handrails. The main doorway consists of vertically arranged log sections on the outside, and rough board-and-batten on the inside. Window bays on the sides are articulated by vertically place logs, and a fieldstone chimney rises on the outside of the left wall. The interior public spaces include similar Adirondack style log decorate, including builtin benches.

During the night, each bust gets its own lighting: a focus located across the bust, the other side. The walk begins tangent at Avenue Miguel Grau with the statue of a soldier holding the Flag of Peru, and in turn, rests on a pedestal largest, known as The Unknown Soldier (El Soldado Desconocido). The edges of the walk are protected by balustrades chain to prevent pedestrians walked over the gardens. The current two-lane road East and West, measuring 5 meters, improving traffic.

The original entrance and exit ramps from Wickham Terrace remain but appear to be infrequently used. An open structure, the car park consists primarily of a grid of rectangular concrete columns with flared tops supporting waffle slabs which form the floors. Precast concrete panels with an exposed aggregate finish form the balustrades on the Turbot Street and Wickham Terrace elevations. Balustrading elsewhere consists of painted square sectioned steel posts attached to the outside face of the building which support steel pipe handrails.

The ornaments featured in the tunnels leading to the platforms and in the platforms themselves were prepared by the Kraków-based company of Józef Górecki. Made of bent steel, the balustrades and railings bore direct resemblance to the style of the Paris Métro ornaments designed by Hector Guimard. A design for the registers was constructed in Zieleniewski Maschinen und Wagonbau-Gesellschaft Werk Sanok, (Autosan). Construction started in 1899 and lasted until 1904, when the railway station was opened to the public.

Hanworth Park House has an impressive 11 French casement windows on both floors, opening on to balcony, a central open pediment (classical triangular top of facade) and a hipped slate roof, sloping down on all sides. Both floors have cast iron columns or trellis. The ground one has a central Portland stone, Doric, tetrastyle, fluted columned front porch, (a portico) with a frieze end cornice. In front, 17 wide Portland stone steps lead to the house with plain balustrades and cast iron lanterns.

A verandah extends across the full extent of the front of the building, with an enclosed bricked lower section replacing the original wooden balustrades in about 1960. There are three sections to the house, each with its own verandah access and front door. This house is the third building erected by Daniel Connor on this particular landholding (originally known as lot 9) which spans the corner of Stirling Terrace and Piesse Street. The other two buildings are Connor's Mill and Connor's Cottage.

A glimpse of the Imperial throne in the main hall The is the Imperial throne. It has been used on the occasion of the enthronement ceremonies commencing in 707 in the reign of Empress Genmei. The present throne was modeled on the original design, constructed in 1913, two years before the enthronement of Emperor Taishō. The actual throne is a chair in black lacquer, placed under an octagonal canopy resting on a three-tiered dais painted with black lacquer with balustrades of vermilion.

The columns were painted in shades of white and dark green, replacing the previous watery-blue and maroon. Balustrades were re- fitted with stainless steel and painted black, replacing the brass and maroon. The Lower Ground Floor replaced all the brass and maroon chairs and tables, with plastic black and white ones. The Centre Court fountain was removed and replaced with a 360 TV. The centre clock, which ran up 3 levels, was removed due to being maroon and brass.

The front porch features balustrades on the lower level and on the roof, which can be accessed from the second floor. The exterior is clad in tongue-and-groove pine siding that simulates ashlar masonry. The window sills and hoods are boxed wood construction and made to look like solid stone. The house is capped with a concave mansard roof with dormers on the lower portion that rises to a flat portion with a widow's walk, which originally had a metal balustrade.

Cambodian seven-headed naga at the Royal Palace in Phnom Penh The seven-headed nagas often depicted as guardian statues, carved as balustrades on causeways leading to main Cambodian temples, such as those found in Angkor Wat. Apparently they represent the seven races within naga society, which has a mythological, or symbolic, association with "the seven colors of the rainbow". Furthermore, Cambodian naga possess numerological symbolism in the number of their heads. Odd-headed naga symbolise the Male Energy, Infinity, Timelessness, and Immortality.

The front portico continues the contoured motif: not just on the doorway, but also on the overhead window, decorated with a contoured sill. The left lateral facade is marked by a doorway and several windows, including two oculi, two gothic- style and two-squared windows. The interior walls are plastered and painted, with triumphal archway dividing the two chancel and nave. At the front entrance is the second-floor high-choir guarded by balustrades, with a lateral baptistery and chapel.

Exterior ledge facing Calle Perú Constructed in the Neoclassical style, the building has a basement, three storeys and a penthouse. It incorporates an older residence that faced the Plaza de Mayo but now fronts the Avenida Julio A. Roca. The main door, located at the corner of Avenida Julio A. Roca and the Calle Peru, is of carved wood with a central brass knocker shaped as a lion's head. The front of the building has Corinthian style colonnades and balconies with balustrades.

Built by Jules Hardouin-Mansart, 1675–1683 for the duc de Chevreuse, Colbert's son-in-law, is a French Baroque château of manageable size. Protected behind fine wrought iron double gates, the main block and its outbuildings (corps de logis), linked by balustrades, are ranged symmetrically around a dry paved and gravelled cour d'honneur. Behind, the central axis is extended between the former parterres, now mown hay. The park with formally shaped water was laid out by André Le Notre.

Following the 1976 and 1980 fires, large portions of the interior were reconstructed to match the original in appearance, with an upgrade of materials for fireproofing concealed under traditional materials. Some of the original fabric remains as fragments. The two suspended type hydraulic lifts were repaired, the golden cast iron balustrades were copied and the cedar baluster posts were made to match the handcrafted originals. Tessellated tiles, stained glass and cedar stairs and shopfronts were adapted from the original designs.

Elevated covered ways connecting the first floor verandahs of Blocks B and E, and Blocks E and F, comprise an exposed open-web floor truss system, timber framing and flooring, and tubular steel rail balustrades. The ceilings are flat-sheeted, with cover strips. The ground floor covered ways have round metal posts with brackets at the flat-sheeted ceilings, corrugated metal-clad flat roofs, and paved concrete paths flanked by pairs of metal-framed timber bench seats. The square-profile guttering is modern.

With only the ring itself measuring 52 m in diameter, it is much larger as a whole, with 4 levels of colonnades and balustrades. Access to the interior is via the Bullfighting Museum only. When there are no bull-fights the bullring hosts an occasional fair, concert or circus, and closes the rest of the time. The North Station () is the main railway station, 200m from the town hall and has connections with Metrovalencia lines 3 and 5, and the city bus network.

Brunyarra is representative of the substantial homes built in Strathfield during the later half of the 19th century. It was built in the Victorian Italianate style with a solid and sedate façade. The street front has wide verandahs and balconies to the south-eastern corner decorated with moulded balustrades, columns and bases and ornate capitals. Arched windows in recessed surrounds and a six-panel entrance door flanked by sidelights and topped by a fanlight add to the detailing of the verandahs and balconies.

The balconies themselves have transparent glazed balustrades, and the podium's main facade facing Charles Street also makes use of glass curtain wall extensively, framed with black brick. On January 13, 2006, The Globe and Mail reported that in November, 2005, the Casa was one of the three condos with the greatest units sold—81 units. Residents took occupancy in October 2008. On February 15, 2013, Sydnia Yu, The Globe and Mails real estate correspondent, profiled one of the building's recently sold penthouse suites.

The entrance vestibule is a double storey height volume with timber stairs climbing around its perimeter. The stairs have finely turned and carved balustrades, striped timbers to the soffits, and meet an arched window with coloured glass at the half landing. The vestibule also contains a brass and timber honour roll. The adjacent library has extensive timber shelving, and the meeting room opposite has external entrance doors with coloured glass and timber boarded ceilings with a star- shaped ceiling rose.

This property comprises three, two storey stuccoed brick terraced houses erected in the first decades of the 20th century. They are located in Essex Street, on the western side of Gloucester Street intersection. The three buildings are located hard on both the Essex and Gloucester Street frontages resulting in relatively plain and unadorned facades. They are designed in a restrained Federation Arts and Crafts style characterised by the cornice, string course and castellated skyline formed by the roof level balustrades and chimneys.

The upper level offices (facing street) have access to separate balconies which project across the double height portico space. The balconies are of timber construction with wrought iron balustrades. The single storey rear of the building is defined by two side boundary parapet walls, from which the two main roof planes pitch down to the middle. A timber framed clerestory window (curved roof over) runs the length of the building, and is located in the centre valley of two pitched rooves.

The end walls of the kitchen have timber doors set within a glass and timber screen that contains a different type of yellow patterned glass to that used for the original studio. The decks at either end of the extension are constructed from timber with timber balustrades. The extension and decks are not considered to be of cultural heritage significance. Along the western side of the studio is a covered pergola that is a replacement of an earlier open timber pergola.

The pavilion consists of a five-bay arcade, with arches flanked by Ionic pilasters. Each side of the pavilion was originally flanked by terraces and balustrades, which were replaced when the ballroom was expanded in the 1960s. The second story is higher than the building's other stories to accommodate a mezzanine, which overlooks the lobby. Most of the windows for floors four through fifteen are simple, rectangular windows, with the exception of the fourteenth-floor windows, which are topped by small arched pediments.

A kitchen is located on the western side of the nightclub, in an addition fronting Ann Street. Steps to the side of the first floor central lobby access the enclosed verandah to the southern wing. A narrow timber stair, with timber balustrade and handrail, is located within the verandah and accesses the second floor, and evidence remains of it originally accessing the ground floor. The verandah detailing includes dowel balustrades, narrow louvred timber panels, and an arched timber boarded valance with rounded ends.

The Augustus Garland House is a historic house at 1404 Scott Street in Little Rock, Arkansas. It is a two-story wood frame structure, with a truncated hip roof, weatherboard siding, and brick foundation. It has an elaborately decorated two-story front porch, featuring bracketed square columns, low jigsawn balustrades, and a modillioned and dentillated cornice. It was built in 1873 for Augustus Garland, a prominent local lawyer who served as Governor of Arkansas, United States Attorney General, and United States Senator.

Clonturk House was built in 1830, on Ormond Road, by the City Architect. Renovated in 1880, the stone balustrades from James Gandons Carlisle Bridge (O'Connell Bridge) were moved to Clonturk by its owner. It was run by the Presbyterian Church as accommodation for girls attending school until 1960, when it became part of St. Josephs School for the Blind, when it was used as a home for blind men. Thomas Dudley ("Bang Bang") was cared for by the Rosminians in Clonturk House.

During the Konbaung Dynasty, various kings, including Bodawpaya suppressed the proliferation of pwe kyaung, which were seen as potential venues for rebellions. Sumptuary law dictated the construction and ornamentation of Burmese kyaungs, which were among the few building structures in pre-colonial Burma to possess elaborate multi-tiered roofs called pyatthat. Mason balustrades characterized royal monasteries. Following the abolishment of the Burmese monarchy at the end of the Third Anglo-Burmese War, monastic schools were largely superseded by secular, government-run schools.

The Lake Compounce Carousel is located on the southern portion of the amusement park grounds, separated from the northern shore of Lake Compounce by a water slide and the Starlight Theater. The carousel is housed in a 12-sided wooden structure topped by a scallop-shingled roof with a monitor center and a central cupola. The roof is supported by wooden posts set on piers, with balustrades between the piers. The carousel has a platform in diameter, with 18 rows of riding positions.

Front verandah This single-storeyed chamferboard building with a corrugated iron gabled roof is located fronting Gympie Road and is part of a group of Pine Shire Council buildings. The building sits on timber stumps with batten infill panels to the perimeter. The roof over the hall features four metal ridge ventilators and a single lancet shaped vent to the front and rear gables. The street elevation has a verandah with a corrugated iron roof and cross braced timber balustrades.

Fox 1987, 2008, pp.183-184. This temple-palace is Kʼicheʼ in style and has been identified with the Nijaʼibʼ lineage of the Kʼicheʼ, being very similar to the Temple of Awilix at Qʼumarkaj.Fox 1987, 2008, pp.183-184. The structure consists of a central pyramidal base flanked by two attached range structures. The pyramidal base is topped by a shrine containing three rooms, the final room of the three is circular. The temple has three steep stairways flanked by balustrades.

The building trim is a vernacular Italianate style, with corner pilasters rising to a broad entablature, and deep eaves. Early photos of the building show that it once had roof balustrades and a porch. The Union Hotel was built in 1862 by Daniel Weeks Simpson, a native of nearby Brunswick who married into a local family. It is believed to be the oldest resort hotel building in the state; an earlier instance in Harpswell, built in 1835, was destroyed by fire in 1868.

The central nave of the basilica The basilica's large size is due to the additions and modifications made by the various Roman and Byzantine leaders in the 4th and 5th century. The mosaic floors are accented by a pathway of balustrades marking the entrance into the great forecourt of the basilica. Through the nave and aisles there is a large staircase containing 20 steps and measuring about wide. A massive piscina is carved into the wall leading to a large open-air atrium.

Both the entry porch and window bay are topped by turned balustrades, and have bracketed and dentillated cornices, details that are repeated on the main roof line. The porch is supported by panelled posts mounted in wooden piers. Windows on the front and sides are capped by decorated bracketed hoods with mini-gables. Clark Perry, a Machias native who owned a local general store, had this house built in 1868 by Haskell Preble, who may have also played a role in its design.

There are square headed windows on the ground floor, and arched windows above. The house is topped by a low pitched slate roof to give a castle-like feel on approach, behind parapets with balustrades and urn finials. There is also a tall belvedere tower rising at the rear. Remodelling the gardens, behind the house sat a kitchen garden with pergola and associated small orchard, with access to glasshouses, stables and coachhouse beyond (now converted to council offices and storage).

The building in 2018 The building displays many characteristics of the Beaux Arts Classicism style of architecture. Architect James Knox Taylor was responsible for the construction of many classically inspired buildings during his Federal career. Taylor believed that classical architecture espoused the symbolic value of Federal buildings as lasting monuments to the ideals of democracy. The building contains many character-defining features such as the central pavilion with a pediment (triangular gable), monumental paired columns, balustrades, and decorative swags and garlands.

The rooms surrounding the central hall to the north, west and east have timber-lined ceilings, and french doors with arched upper panels opening onto the verandah and fanlights. Brick fireplaces with timber mantelpieces serve six of these rooms. The verandah has chamfered timber posts with cross-braced timber balustrades, and a timber- lined ceiling with exposed rafters. Wylarah Bathhouse and windmill, 1992 The grounds include lawns and gardens to the east and north, and remnants of the original orchard to the west.

Most windows are sash, with a multilight top sash and a single-pane lower sash, a distinctive Prairie School touch. The interior retains high quality woodwork and carved plasterwork, including staircase balustrades and builtin cabinetry. and The house was built in 1913 by Peck McWilliams, a master builder who may also have been responsible for its design. The American Foursquare, particularly with clear Prairie School features, is not commonly found in Connecticut, and this is a particularly high quality example of the form.

The Federal Building and U.S. Post Office in Spokane, Washington, skillfully blends elements of two styles of architecture. Beaux Arts Classicism and Second Renaissance Revival were popular styles in the early years of the twentieth century. Both styles were often executed on monumental public buildings and feature rusticated ground floors and balustrades. The building's architect, James Knox Taylor, was a strong proponent of architecture inspired by Classical forms and ornamentation, which he believed appropriately conveyed the dignity of the federal government.

There are carved bargeboards, finials and a lancet ventillator to the gable ends, three-light square-headed windows and iron lace, columns and balustrades to the verandahs." And as being "Built 1876 for Henry Hocken Bligh (1826-1904), former Mayor of Willoughby (1869-70) and husband of Elizabeth Shairp, granddaughter of James Milson. The Blighs lived at No. 16 and owned other properties in the area. It was sold in 1911, through various ownerships until acquired by the Council in 1974.

The entry portico to the south has rusticated brick pilasters flanking a sandstone arch with toothed voussoirs, set in a brick gable end surmounted by a sandstone cornice with dentils. The timber double entrance doors are surmounted by a similar sandstone arch around a glazed fanlight. The interior features two timber staircases, which have timber balustrades with turned newels with rounded terminals. The windows are sliding sash with grided panes to the upper leaves, excluding those to the verandahs and toilet bay.

The outside consists of red brick and Portland stone in an eclectic Franco-Flemish style. The hall, entered from Knightsbridge through swinging doors of carved walnut, was lined with coloured marble and had a frescoed ceiling, as well as a marble chimney-piece complete with a marble clock. Stairs of white marble flanked with balustrades led to the upper ground floor. This style of decoration continued in the principal communal rooms, including the breakfast and dining room overlooking Hyde Park.

The Samuel B. Conant House is an historic house in Central Falls, Rhode Island. This 2-1/2 story structure was built in 1895 for Samuel Conant, president of a Pawtucket printing firm, and is one of the city's finest Colonial Revival houses. Its exterior is brick on the first floor and clapboard above, beneath a gambrel roof punctured by several gable dormers. The main facade has two symmetrical round bays, which rise to the roof and are topped by low balustrades.

Le Fer Hall, named in honor of Sisters Saint Francis Xavier and Mary Joseph Le Fer, two of Saint Mother Théodore Guérin's companions, serves as a residence hall for students. The Indianapolis architectural firm of D. A. Bohlen and Son designed the four-story, French Renaissance Revival-style building. Construction began in 1921. The yellow brick residence hall contains classical balustrades on its stone and decorative metal balconies; its twin towers and tile roof reflects the Spanish Revival architectural style.

Barton Academy is three floors in height and is primarily constructed of brick which has been stuccoed and scored to look like ashlar. A heavy ground floor supports the main floor and the slightly smaller third floor. The building can be visually divided into a central block with a two- story, pedimented, hexastyle Ionic portico, five bays wide, with wrought-iron balustrades. A low-pitched hipped roof over this block is topped by a domed cupola that is ringed by 28 Ionic columns.

The Loggia of Palazzo Sacchetti towards the Tiber, once overlooking the river The main façades of the palace overlook Via Giulia and Vicolo del Cefalo, where there are 9 windows.Pietrangeli (1981), p. 44 Both façades are made of brick with travertine windows, while the portal on Via Giulia is made of marble, and is surmounted by a balcony surrounded by fine bronze balustrades. On the ground floor, which is attributed to Sangallo, there are 6 windows of the inginocchiato () type.

There is no Kala carving on top of the main gate. By ascending the stairs, the visitors can reach the rectangular wide gallery, which has balustrades surrounding the main temple. On this gallery there are 12 umpak (stone base), 8 bases took round shape and 4 others are square ones. This stone bases probably used to support wooden pillars, suggesting that the main temple used to be covered by a roof structure made from organic materials that now are already decayed and gone.

Each floor's elevator/stair lobby is handsomely appointed with bronze trim, terra cotta flooring, marble steps, and decorative cast-metal balustrades and posts. Light fixtures throughout the building are original and express various stylistic interpretations of the era. Restrooms have largely retained original integrity, with marble wainscotings and stall panels, and most of the original hardware. The topmost floor along the west wall contains mechanical equipment and a string of small rooms or "apartments" (that are currently vacant) overlooking the parking lot.

At present Srah Srang measures 700 by 350 m and is still partially flooded. As other barays, maybe there was a temple standing on an artificial island in the middle of it, as suggested by finding of a basement. The landing-stage, opposite the entrance to Banteay Kdei, is a popular site for viewing the sunrise. It is cruciform, flanked by nāga balustrades which end with the upright head of a serpent, mounted by a garuda with its wings unfurled.

Protesters marched into the Festival Walk shopping centre in Kowloon Tong after the mall closed early and set a giant Christmas tree on fire; some glass balustrades and doors were also smashed. A China Mobile shop was set on fire in Causeway Bay. In Sheung Shui, a train was firebombed and objects were thrown onto the train track. In Mong Kok, police fired multiple tear gas rounds as protesters blocked roads and vandalised public infrastructure, such as traffic lights and switchboxes.

Striped ogee awnings across the footpath were supported by decorative posts with cast iron infill. Each shop had a separate roof, some lit by lanterns and the individual tenancies were also marked by the visual separation of the facades by the use of classic revival pediments, urns, and balustrades. Gorrie rented out one of his shops to hairdresser and barber William Lloyd, whose premises had been destroyed in the fire. This shop he occupied himself as A.E. Gorrie, baker and confectioner.

The bridge is a handsome structure of its period and a very sophisticated piece of urban design. The main structural elements of the bridge are of steel, and it is supported by a series of semi-circular arches with rendered decorative treatment. Many of the arches on the Wellington Street elevation have been enclosed with glass, which in the past created shop fronts to retail spaces behind. The balustrades are rendered concrete and sculptures of swans decorate the end piers.

A continuous corrugated iron sunhood supported by curved timber brackets shades the first floor windows and doors. The northern elevation has a large L-shaped timber stair, which bridges a driveway, accessing a central first floor porch. The porch has paired timber posts with cross-bracing, cross-braced balustrades, and non-original French doors with obscured glass panes. The porch is flanked by sash windows, and a continuous corrugated iron sunhood supported by curved timber brackets shades the windows and porch.

The Thornton House is a historic house at 1420 West 15th Street in Little Rock, Arkansas. It is a two-story wood frame American Foursquare house, with a dormered hip roof, weatherboard siding, and single-story porch across the front. Its roof and dormer have exposed rafter ends in the Craftsman style, and the porch is supported by fluted square columns, with spindled balustrades between. The oldest portion of the house is a small cottage, built about 1896 and subsequently enlarged several times.

His heraldic practice became the largest and most successful of the last century. His achievements and service to his sovereign led to Her Majesty appointing him both KCVO in 1988 and KCB in 1992: the two knighthoods being in her personal gift. Many believe that Cole's chief achievement as Garter King of Arms was the part he played in the restoration of the College building. The structure of the building was overhauled and the brickwork and stone balustrades repaired under the direction of the estate agents Cluttons.

The northeast elevation to Moray Street has an offset narrow projecting gable, surmounted by a shaped parapet, with a hipped section to the first floor, and a lower hipped section to the ground floor. The ground floor hipped section has paired arched casement windows, and the second floor hipped section has a narrow casement window to both floors. The southwest and northwest elevations have corrugated fibrous cement sunhoods to bedroom windows. The rear verandahs are enclosed with casement windows above fibrous cement sheeted balustrades.

It is covered by a flat roof with a shallow gable at the center above the stairs. The interior is divided into mirror-image residential units, with L-shaped staircases that retain original balustrades. with The house was built about 1911, and is kit home manufactured by the North American Construction Company (known better by its later name, The Aladdin Company) of Bay City, Michigan. The company was a pioneer in the idea of mail-order homes, and this is an example of its common "Devon" duplex.

It is accessed by two sets of L-shaped stairs leading from the Waldheim Street to an entrance loggia, which has three brick archways and a concrete balustrade of large square piers and decorative balusters. Additional entrances of concrete stairs diagonally project from the northern elevation at the junction of the range and lateral wings. These stairs have metal balustrades and enclosed, one-storey, face brick landings. Rear of brick school building as seen from the school grounds, 2015 The building is elegantly composed with classical detailing.

The hotel displays characteristics of Inter-War Mediterranean/Spanish Mission style of architecture, with arched openings, supported on pre-cast concrete twisted columns, first floor balconies, a central Dutch influenced gable, steel framed windows and arched entry supported on masonry columns. A balcony in the gable has a round arched opening with concrete moulding, and a juliet balcony with wrought iron tracery between the concrete balustrades. The bottle shop has rendered and painted masonry walls, with a distinctive asbestos clad butterfly roof and steel framed windows.

Windows of a different type are often found on each floor and are commonly highlighted by strongly marked voussoirs, pilasters, spandrel panels or pediments. Most Italian Renaissance Revival Style buildings have low pitched or flat roofs which are hidden by cornices, short parapet walls or balustrades. Small scale examples such as depots and dwellings, utilize hip roofs with wide overhanging eaves covered in clay tile, which harkens to the Mediterranean roots of the style. The Auburn Temple is a good example of the style.

According to architectural writers Sarah Landau and Carl Condit, contemporary observers said that the building's style had been inspired by the works of Henry Hobson Richardson. The facade, with granite on the lower stories and limestone above, was one such detail likely inspired by Richardson's designs. The rusticated stone facade, large arcades, mansard roof, small relief balustrades, and roll moldings were also similar to Richardson's work. Architecture critic Montgomery Schuyler lauded the arches as "impressive features" that were detailed, yet not "exaggerated in the Richardsonian manner".

The Fleming Museum building was designed by William Mitchell Kendall of McKim, Mead & White, a prominent New York City architectural firm in the early 20th century. Several other University of Vermont campus buildings were designed by McKim, Mead & White, the earliest being the Ira Allen Chapel (1926) with the last being the Waterman Building (1940–41). The Fleming Museum building is in the Colonial Revival style with red bricks and boarding wood trim bordered white. Architectural elements in the museum building include pediments, pilasters, entablatures, and balustrades.

Adamski's creative work went beyond painting and sculpture. The artist possessed versatile talent. His creative work included: a monumental sculpture and a small form, including statuettes and plaques, medals, portraits ("The Scout, Black Thirteen"). In the applied art and metalwork the artist created: lamps and chandeliers, showcases and signboards (Szczecinek Cultural Center), forged flags (Pomeranian Dukes' Castle in Szczecin), bas-reliefs (eagles for the District Court in Koszalin), information boards, balustrades, doors, forged gates and iron fittings for gates (Industrial Historic Granary in Szczecinek).

The Cedar Glen Apartments are in the Georgian Revival style, with rooftop balustrades, corner window bays, and extensive brick and stone detailing. By the 1980s, the Cedar Glen Apartments had lost much of their social cachet. The building was in disrepair due to wear and tear and years of deferred maintenance. In 1991, the Judson Park retirement community (located across Ambleside Drive) purchased the Cedar Glen Apartments with the intent of razing the structure so that it could build a parking garage on the site.

Fooks' middle period exhibited an International Modern style, characterised by low-pitched, flat and butterfly roofs, and bold massings of box-like forms that projected and receded to create striking spaces of solids and voids in finishes of brick and feature stonework. His Appel House in Caulfield North (1955) was a two-storey flat-roofed house with generous windows, and cream brick walls relieved by a broad stone-clad chimney and simple but elegant metal balustrades to the first floor balcony and roof terrace above.

Hubbard concocted her own plans and layout for an additional section to be added to the house. Her plan, according to the writings of her daughter Mary, was for a two-story addition at the front elevation of the building, much as the building appears today. She envisioned a central front hall with a stairway flanked by walnut balustrades and an open parlor with folding doors opening into the living room. Mrs. Hubbard's vision for the second floor included two new children's bedrooms and a spare bedroom.

The Cornwall Apartments is a building on the National Register of Historic Places in the Capitol Hill section of Denver, Colorado. The apartments were designed by Denver architect Walter Rice in a Mexican colonial style that capturing a cosmopolitan spirit and gaiety in the unusual architectural elements for 1900, such as its balustrades, mouldings, and varied balconies. Reed made most of the terra cotta trim himself. Cornwall Apartments, Denver, Colorado in 1903 It may have been the first building of a Spanish-derived architectural style.

The imposing two-story church, as seen from the staircase leading from the roadway in Brejo A single longitudinal nave church with presbytery, with a rectangular bell-tower situated on its right lateral wall, along with baptistery, lateral chapel and sacristy. The nave is divided into various volumes, and covered in tiled-roof. The faces of the building are plastered and painted in white, with pilaster corners, crowned by pinnacles and circled by balustrades. The principal facade is terminated by a contoured frontispiece and crowned by cross.

A view toward entrance from top. At the foot of the mountain are the ruins of a hospital, medical bath (or stone canoe in which patients were immersed in medicinal oil) a stone inscription and urns belonging to the ancient period have been unearthed. Between the hospital and the steps leading to the rock are the ruins of a large monastery. On the floors of the square building which is on one side, are beautiful carvings and also are stone balustrades and guard stones.

The curvilinear frontispiece of the church, includes sculpted stone, crowned by a Latin cross surmounting an acroterion and small urns, over parallel plinths above the corners. This facade is broken by main portico, surmounted by friezes and flanked by rounded elements with three windows. The bell-tower has two registers, the first with portico surmounted by frieze and cornice, over a square window with decorative elements. The second register has two belfries with rounded openings and pillars, terminated by cornice, balustrades and acroterions on the corners.

The grand central room thus enclosed is frescoed with trompe-l'oeil niches, columns, balustrades, and flanked by symmetrically arranged smaller and lower barrel-vaulted rooms that are linked by generous arched openings. Thus, there is an articulated central reception space in the form of a Greek cross. The vestibules give onto more intimate spaces, in a series of cubes, double cubes and "golden mean" rectangles characteristic of cinquecento villa floor plans.See Rudolf Wittkower, Architectural Principles in the Age of Humanism, The Warburg Institute, London, 1949.

Charoen Krung road at the end of the bridge (Samphanthawong side) In the reign of King Vajiravudh (Rama VI), it has been restored again and still the condition as today. The bridge is reinforced cement built with beautiful Venetian Gothic architecture. The lower beam is curved, this bridge is decorated with exquisite decoration especially balustrades, all eight lampposts, as well as the lion head sculptures at the end. And is now a recognised ancient monument since 1975 by the Fine Arts Department along with Damrong Sathit Bridge.

The Goodall House is located on the east side of Main Street (Maine State Route 109) just south of Sanford center, and just north of the Louis B. Goodall Memorial Library. The main block is roughly square in shape, two stories in height, with a mansard roof topped by a square cupola. A single-story porch wraps around three sides of the house, extending to the right to include a porte-cochere. The porch is supported by grouped round columns, with elaborate balustrades below and above.

The Building at 51 Hunt Street in Quincy, Massachusetts, is one of a relatively small number of triple decker apartment buildings in the city. Built in 1907 by Charles Stratton as part of his development of North Quincy as a rail-commuter suburb, it is a three-story wood-frame structure, with a flat roof and wooden clapboard siding. The building is notable for its high parapet and its unusual porch balustrades. The roof line has a cornice with dentil moulding and simple brackets.

The bridge bisects the Bickford Park neighbourhood with Bickford Park to the north side and Harbord Park to the south. Infilling of the area around the bridge began in 1917 Human River - Garrison Creek and both sides were filled by the 1930, likely due to sewage being dumped into the creek following residential development,Garrison Creek but the balustrades on either side were still exposed. Today, only the northern balustrade remains visible. Like the Crawford Street Bridge, it was not torn down but buried.

Two bronze Spanish mortars, cast in the 1700s and captured by Admiral Dewey during the Spanish–American War at Cavite Arsenal in the Philippines, flank the anchor. Originally, these mortars were placed atop brick piers with concrete caps. But when the anchor and mortars were incorporated into the new memorial, two granite balustrades were added along the roadway near the mortars. A bronze shield was affixed to the mast by the Havana chapter of the Daughters of the American Revolution while it was still in Havana.

The house itself is a one-and-a-half-story five-by-two-bay structure of rough-cut rectangular sandstone units on a rubblestone foundation. A small one-story frame kitchen wing projects from the north end of the west (rear) elevation. The centrally located main entrance on the east has a small stone porch with wooden benches backed by simple square balustrades on either side. Two bulkhead doors on the north and south corners of that elevation provide exterior access to the basement.

He described ramparts, balustrades and pavilions surrounding a deep lake full of fish and with swans and other aquatic birds; whose central feature was a manmade hill one hundred steps high and a thousand steps around, covered with evergreen trees and decorated with green azurite stones.Michel Baridon, Les Jardins, p. 387. The first Jesuit priest, Francis Xavier, arrived in China in 1552, and the priest Matteo Ricci received permission to settle in Beijing in 1601. Jesuit priests began sending accounts of Chinese culture and gardens to Europe.

The concrete floor of the entrance lobby is finished in vinyl tiles, as are the treads of the concrete staircase that runs the height of the building. The balustrades throughout are white-painted metal, with the handrail coated in black plastic. The ground floor is higher than levels 1-3, possibly to accommodate the air conditioning plant, or for the height of the cabin to achieve the required sightlines over the apron. The layout of the first, second and third floors are almost identical.

They also called for the construction of a smokehouse and kitchen building. The plans reference design elements taken from William Ranlett's architectural pattern book called The American Architect: A series of Original Designs for Domestic and Ornamental Cottages and Villas. Here are several slides of the actual pattern that was used to design the Rivermont House. We know that the on the roof of Rivermont there used to be two balustrades, one near the eaves and one at the apex, just like the pattern shows.

The 1915 boarding house addition is a 2-3 storey timber-framed structure with a corrugated iron hip roof. The plan form is a simple series of single rooms accessed by a central corridor and opening out on to a narrow perimeter verandah. The eastern and southern external walls are clad with chamferboards while the northern external wall is of single-skin VJ construction. The verandahs are simply detailed with timber dowel balustrades and timber French doors with fanlights opening out from the rooms.

The two noble floors have openings decorated by stone frames with masks and balustrades; both floors have large serlianas located at the center part of the façade with a pair of arched windows on each side. The second floor also has two large coats of arms. The attic, floor is planned symmetrically with the other floors, consisting of smaller squared windows. A recent restoration of the main façade underlined the stone and masonry details of the palazzo, revealing the modus operandi of construction workers of the part.

This level retains cast-iron balustrades and valance and is accessed from the footpath by a short ramp which bridges the excavated drop down to the ground level. The house has several chimneys, two roof ventilators and paired supports beneath the main roof's eaves. Units have been added to the site on the northern and southern sides of the original house. They are set well back from the footpath, such that they have little impact on the streetscape qualities of this section of Chermside Road.

1996, pp. 468–469. Platform A5, with Platform A6 behind Platform A6 encloses the western extreme of the Group A plaza. The platform has two levels, the upper of which has a vertical cornice. The platform faces east onto the plaza; access was via two stairways flanked by balustrades terminating in vertical cornices. Platform A6 was built over an older version of the same building; this earlier construction phase was smaller and its stairways were destroyed in order to build the stairways of the final version.

Three octagonal timber posts supporting the first floor divide the space, and staircases with decorative timber balustrades are located in each corner at the rear of the building. The stair at the eastern end of the building is a reproduction based on the existing stair at the opposite end. Most joinery remains intact, apart from the skirtings which have been replaced. The first floor comprises a corridor which runs between the staircases at the rear of the building and offices divided by new partitioning at the front.

It is distinguished from the second story by a stringcourse and by the second story's smooth masonry. Differentiation also occurs in the fenestration. While the first floor has recessed, rectangular windows with simple moldings, the second-story windows are larger and elaborately detailed with classical moldings, balcony balustrades, and crowning triangular and segmented pediments, some of which are set within large arched niches with keystones. A continuous frieze, dentil molding, and cornice finish the top of the wall, where a parapet caps the composition.

Over $2 million was spent on the transformation of Piedmont Park. The government allocated $250,000 for the construction of a government building and many states and countries such as Argentina also had their own buildings. Also constructed for the fair were the Tropical gardens, now known as the Atlanta Botanical Garden, and Lake Clara Meer which was originally a pond but was expanded to for the event. Today, the stone balustrades scattered around the park are the only part of the enormous main building.

The entry stairs and front and side verandahs contain timber balustrades of diagonal crossed pieces and circular brackets below the eaves. The verandah roof drops in a shallow curve from below the eaves brackets of the main roof to its gutter line. The double height lecture hall and three classrooms (1884) have face brick with timber floors, roof trusses, and corrugated galvanised iron roof. The library extension (1908) is constructed in a similar manner and consists of a double height room with a lantern roof light.

This single-storeyed timber building is set amongst mature trees, including some large palms, and the grounds form the southern part of the St Andrew's Church precinct and the northwestern boundary to McConnel Park. The building has verandahs on the north and west elevations and sits on concrete stumps with a semi-enclosed space beneath. The exterior is clad in weatherboard with timber battens between the exterior stumps. The wide verandahs have decorative timber valance and balustrades, with a deep and low railing which forms a seat.

The Shiva temple is encircled with galleries adorned with bas-reliefs telling the story of Ramayana carved on the inner walls of the balustrades. To follow the story accurately, visitors must enter from the east side and began to perform pradakshina or circumambulating clockwise. The bas-reliefs of Ramayana continue to the Brahma temple galleries. The Shiva shrine is located at the center and contains five chambers, four small chambers in every cardinal direction and one bigger main chamber in the central part of the temple.

Lord Selborne and H.C. Hull, a member of the first Union Cabinet, chose Meintjieskop as the site for Baker's design. The site was that of a disused quarry and the existing excavations were used to create the amphitheatre, which was set about with ornamental pools, fountains, sculptures, balustrades and trees. View of the Union Buildings from the front with statue of Louis Botha in the foreground. The design consisted of two identical wings, joined by a semicircular colonnade forming the backdrop of the amphitheatre.

Skylights on the courtyard provide natural light for the stairwell and the exhibition space located below the courtyard created by digging 15m into the ground. The Sainsbury Gallery's column-less space at 1,100 square metres is one of the largest in the country, providing space for temporary exhibitions. The gallery can be assessed through the existing Western Range building where a new entrance to the Blavatnik Hall and the Museum has been created, and visitors can descend into gallery via stairs with lacquered tulipwood balustrades.

The western elevation has a central projecting gable, to which the verandah is terminated, with the kitchen wing projecting to the north. The rear of the building has enclosed verandahs, and a large single-storeyed addition on the northeast. The roof has timber eave brackets and a central ventilator, and the projecting gables have timber finials and diagonal boarding over pressed sheeting. The verandahs have timber posts with timber capitals, timber handrails and cast iron balustrades to the projecting bay sections and entry, and cast iron brackets.

Cunningham & Waterhouse, p. 165 When using the material he used either Andrew Handyside and Company or J.S. Bergheim, both of whom supplied the iron for Manchester Town Hall.Cunningham & Waterhouse, p. 166 He was more at home using decorative wrought iron, especially for balustrades, iron screens and gates, finials and other decorative uses of the material.Cunningham & Waterhouse, p. 167 Waterhouse was a great enthusiast for the use of brick, especially as the abolition of the Brick tax in 1850 had lowered the price of the material.

It is decorated with a gold cast-plaster ceiling, hand-oiled wood paneling, and nine mirrored windows along three sides. The South Galleria is painted with floral friezes inspired by the decor of ancient Roman Pompeii, and features a vaulted ceiling, marble balustrades and heavy Roman piers. Gold-painted wrought iron gates open to a staircase leading down to the Biltmore Bowl. Also of interest is the hotel's health club and indoor pool, which was modeled after the decks of 1920s luxury ocean liners.

The third floor was her studio space, shelves and drawers housing hundreds of pieces of vintage fabric and other oddments, raw material for the quilts she pieced with a vintage Singer sewing machine. On the steps leading up from the sidewalk, painted wooden crutches served as balustrades, and brightly-hued bowling balls defined the periphery of the front porch. Lavishly-illustrated articles about the house appeared in regional newspapers, including the Oregonian, the Portland Tribune, and at least one national magazine, including Budget Living.

The temple, and its associated ballcourt, probably date to the reign of Nuun Ujol Chaak or that of his son Jasaw Chan K'awiil I, in the later part of the 7th century.Schele & Mathews 1999, pp.70-1. Structure 5C-49 possesses a clear Teotihuacan-linked architectural style; it has balustrades, an architectural feature that is very rare in the Maya region, and a talud-tablero façade; it dates to the 4th century AD. It is located near to the Lost World pyramid.Miller 1999, p.30.

The verandah balustrades which are replacements of a cast iron balustrade are of vertical timber battening with decorative cutouts in regularly spaced battens. Many early lattice screens and timber louvres survive in the verandah openings. The principal entrance of Oonooraba is from the south east, where the steps provide access to the verandah, from which a large central doorway provides access to the house. The doorway comprises a substantial five panelled and moulded timber door, flanked by sidelights with leadlight glazing above moulded base panels.

The outside of the mansion features a massive portico, balustrades, pilasters, and floral festoons. The central part of the mansion is layered into a basement, three floors, and an attic. In the north and south wings, there is a subbasement, a basement, and two floors. Ceilings in the older part of the building dating prior to the enlargement (the first floor of the central part) are about high, whereas the ceilings of the later construction (first floor of the north and south wings) can be about high.

270 apartments are within the existing building, 127 in the Cor-Ten structure, 143 below the podium and 16 in the east wing of the existing building and 136 in the new. There are also 360 car parking spaces. 36 apartments were built for Housing Association, Aster Homes are located in the Cor-Ten phase of the existing building. The original walkways have been kept but glass balustrades have been added to form balconies so the building looks almost exactly the same from the outside.

Plaque on the viaduct From the south, traffic from Park Avenue, 40th Street, or the Park Avenue Tunnel enters the steel viaduct. The viaduct rises to a T-intersection just north of 42nd Street, over the street-level entrance to Grand Central Terminal below. This segment of the viaduct is long and consists of a granite approach ramp with stone balustrades, as well as three steel arches, which are separated by granite piers with foliate friezes. The central arch has been infilled to create a restaurant space.

Benjamin Franklin visited the factory, leaving works and is said to have left a design for a stove called 'Dr Franklin's stove or the Philadelphia stove'. The company produced pig iron throughout the 19th century, together with cast-iron products such as balustrades, fire grates, and the Carron bathtub. It ran its own shipping line, and produced munitions in both World Wars.It later became one of several foundries producing pillar boxes and was one of five foundries casting Sir Giles Gilbert Scott's classic Red telephone boxes.

The service core contains service risers and shared facilities, including lifts, a fire stair, dumb waiter for office files, tearooms, and large toilet and shower rooms. The fire stair in the service core retains original finishes, including black and white terrazzo stair treads and risers, black- painted metal balustrades with black plastic handrails, textured stair undersides, and vinyl tile clad walls with contrasting inset floor numerals. The rear podium levels (B3 - G) each comprise large, open floor plans with later lightweight partitions. Window sills are black terrazzo.

There are smoke louvre trusses in the roof and original fireplaces in several rooms. In the 16th century, the Dean and Chapter of Salisbury Cathedral let the house to a number of secular tenants. Around that period the north end of the house was extended with a large brick cross-wing, out of proportion to the original house. This extension has two large mullioned and transomed windows and a staircase from the ground floor to the attic, with oak balustrades around two newel posts.

The apartments consist of two identical red brick buildings separated by a narrow courtyard to allow light into the interior apartments. The twin blocks are rectangular in plan with two above-ground floors and a basement, and overhanging hipped roofs. The facade of each building is symmetrical with three bays on either side of a projecting two-story porch with a gable roof and classically detailed columns and balustrades. Inside, the buildings are organized around a double-loaded central hallway with an oak staircase at either end.

Surmounting the pilasters are panels which project from the face of an entablature but have similar mouldings. Above this is a large broken triangular pediment which acts as a parapet, and runs the entire width of the building but comprises a central signage panel, broken arched pediment at the apex, mouldings and urns. Between the pilasters on the face of the building are a number of round arched window openings. The openings on the upper storey, glazed with timber framed sashes, are above blind Italianate balustrades.

The whole façade is surmounted by a running balustrade that emphasizes its linearity. The balustrades, herms and stone vases of the Gardens must be from designs of Marchionni (Gatta). Marchionni was appointed papal architect and overseer of works at St Peter's Basilica by Pope Benedict XIV. In 1766, the pope commissioned Marchionni to rebuild the entrance façade of the Museo Profano, the papal collection of antiquities originally displayed by Bramante in the Braccia Nuova of the Vatican, along one side of the Cortile del Belvedere.

Palazzo Brandolin Rota is a three-storey building, with a mezzanine level between the ground floor and the first noble floor. The façade on the Grand Canal is quite simple, with a rounded water portal in the center. Each of the two noble floors—erected in different epochs but looking substantially the same—has nine round-headed openings, with the five central units joined to form pentaforas. The balustrades cover all the openings of the first noble floor and only the pentafora of the second one.

Musgrave House is a low set timber building with a hipped, painted corrugated iron roof located on a corner block overlooking Cabbage Tree Creek and the foreshore reserve. The building faces south-east and the large block backs on to the Sandgate Golf Course. The building has a strong symmetry with a centrally located front verandah, central steps and extensions at each end. Wide eaves overhang the verandah which has a delicately detailed timber valance, dowel balustrades and chamfered timber posts with moulded timber capitals.

Built on a narrow city lot, the house is wide and long, with a minimal front yard and no side yards. A wraparound front porch spans the width of the ground floor, with stone balustrades marking the corners over the two entrances. The Traphagen House was originally designed as a duplex with two separate entrances and very similar floor plans on either side, with the exception of the front windows. The west side has curved windows while the east side has straight windows with wood wainscoting underneath.

Lviv Theatre of Opera and Ballet Gorgolewski's plan for the Lviv Opera. The Lviv Theatre of Opera and Ballet is built in the classical tradition using forms and details of Renaissance and Baroque architecture, also known as the Viennese neo- Renaissance style. The stucco mouldings and oil paintings on the walls and ceilings of the multi-tiered auditorium and foyer give it a richly festive appearance. The Opera's imposing facade is opulently decorated with numerous niches, Corinthian columns, pilasters, balustrades, cornices, statues, reliefs and stucco garlands.

Street lampposts, fences, balustrades, door facades, security gates and sidewalk clocks were all available by catalog. Many older buildings in New York still have iron stairways and elevators created by Hecla that are still in use. Until the advent of terracotta as a prime ornamental building material, the industry was competitive with other ironwork factories supplying the trade from Brooklyn, manufacturing all manner of iron works for the building trades. Hecla merged its foundry with a rival firm in 1913; the new firm was named Hecla-Winslow.

The outer two are identical, with flanking pilasters and entablature above, while the central one is a taller double-leaf door with a similar surround. A tower rises astride the main facade and gable, beginning with a square section housing large clock faces. Above this is an open octagonal belfry housing a Revere bell, with Doric columns supporting the next octagonal stage, which supports the cupola and finial. The lower two stages have low balustrades framing their tops, with urn-topped posts at the corners.

Its principal elevation faces the south and is symmetrical in layout with two sets of concrete formed steps accessing the front verandah which runs the length of the building. Each set of steps has walls of reinforced concrete with an oversized scroll detail. The building has a hipped roof concealed behind the parapet walls with gablets at each end and is clad in corrugated metal sheeting. The verandah roof is supported on square reinforced concrete posts and has balustrades also formed in reinforced concrete.

Some kavadi may weigh as much as a hundred kilograms. After bathing in the nearby Sungai Batu (Rocky River), the devotees make their way to the Temple Cave and climb the flights of stairs to the temple in the cave. Devotees use the wider centre staircase while worshippers and onlookers throng up and down those balustrades on either side. When the kavadi bearer arrives at the foot of the 272-step stairway leading up to the Temple Cave, the devotee has to make the arduous climb.

They have polished concrete floors and their plaster ceilings are flat, with those on the first floor featuring dark-stained timber battens. Verandahs have face brick balustrades, and early sinks are retained at their eastern ends. The undercroft level is accessed via the central stair and is largely open play-space. Toilets are located at the eastern ends of the northern and southern wings, a tuckshop (former woodwork-classroom) encloses the western end of the northern wing, and a storage room encloses the western end of the southern wing.

Early stairs and stair configurations include external timber staircases at each end of the inward- facing verandah of the central wing (by 1938), and an internal concrete staircase at the eastern corner of the southwest wing (1938). Most inward- facing verandahs have square timber posts with timber post and rail balustrades, and timber and concrete floors. The first floor verandahs have flat, corrugated metal-lined ceilings, except for the northeast wing which has exposed decorative rafters and timber beaded board ceilings. The second floor verandahs have raked ceilings lined with timber beaded boards.

The broad concrete stairs have simple iron balustrades. Framing the northeast and southwest sides of Block A are concrete retaining walls and broad stairs up to the higher land behind. Projecting from the centre of the rear of Block A is a two-storey covered walkway to Block B. The walkway is a facebrick structure with a hipped roof clad with corrugated metal sheets. It has open arches on the ground floor and is enclosed on its first floor with timber-framed casement windows with fanlights, which are an early or possibly original feature.

In 1958 the gable-roofed northern teachers' room was extended to include an additional staff room and hallway.DPW plan 8-646, "Yeronga State School Additions", July 1958. In 1960 each of the four sectional school buildings were reconfigured from five classrooms to four, and the verandah walls were demolished and rebuilt as louvres over shelves; existing studs were retained where possible. The stairs to Block D and E were also repositioned and bag rack balustrades were added to the verandahs, which were subsequently enclosed with awning windows sometime after 1971.

The main entrance is a high archway topped by a pedimental hood. The central bay of the upper floors' facade is recessed, with balustrades spanning the recess between the first and second floors and the third and fourth floors, and a stylized cornice with a central arm-and-hammer symbol (the Mechanics' Bank symbol) above the top floor. The interior of the building has been extensively remodeled, although some original features remain. The building's entry foyer contains pink marble walls, and two marble columns flank the lobby's central entrance.

A staircase or stairway is one or more flights of stairs leading from one floor to another, and includes landings, newel posts, handrails, balustrades and additional parts. A stairwell is a compartment extending vertically through a building in which stairs are placed. A stair hall is the stairs, landings, hallways, or other portions of the public hall through which it is necessary to pass when going from the entrance floor to the other floors of a building. Box stairs are stairs built between walls, usually with no support except the wall strings.

The flat roof was edged with a parapet embellished with balustrades, and a matching decoration was incorporated round the first floor, both made from Portland stone. Gibbs surrounds were used on the windows on the ground floor whereas triangular pediments featured on the windows included on the three central canted bays of the first floor. Segmented pediments adorned all the remaining windows. The water supply was provided by the well installed by Tyers, which was close to the southeast corner of the new mansion, via a corridor that spanned the entire outside of the mansion.

The footbridge is a standard Warren truss trestle and stairway with Hardie board long plank timber deck and channel iron stair stringers. The railing is supported on curved mild steel brackets. The footbridge connects both platforms and as the station is situated in a cutting, it extends on one side to the top of the embankment to connect to Patrick Street in the east and Station Street to the west. The balustrades to the stairs are timber post and handrail with wire mesh infill while the sides of the bridge enclosed with corrugated metal sheeting.

It is simply decorated, with a roughcast rendered and half-timbered pair of projecting gable ends, brick verandah balustrades and verandah posts and triple casement timber-framed windows with toplights to the front facade. The centre building is also a double-fronted brick cottage with a terracotta tiled roof. Dating from s, its roof has hipped gable ends and the projecting bay of the front facade features a curved corner of moulded bricks. The entrance is framed behind a timber screen of open square lattice above a short brick balustrade.

Featured at the head of the board is a photograph of a soldier, surrounded by the words, "1915; HONOUR BOARD; OUR BOYS SERVING AT THE FRONT; JUNCTION PARK STATE SCHOOL," and leaf patterns painted in gold. Below this are the names of 86 former students who served in World War I, also painted in gold. Stairs are of polished and painted concrete, and their balustrades have timber handrails and metal balusters with timber posts. At the landing level between the undercroft and first floor, there are decorative metal screens in the openings to the stairwell.

Wanting to balance the feeling of symmetry with a sense of power Reeves and Baile created an identical hierarchy in each facade through the use of an entrance arch, enhanced vertically by columns and topped off with a pediment. The exterior also makes use of many balustrades in the roof and other levels on the exterior. Also included are detailed egg-and-dart molding, and hood molding. The Old Courthouse interior is composed of quadrants which are set apart by broad hallways which meet at the building's center.

The Indo-Greeks are known for the additions and niches, stairs and balustrades in Hellenistic architectural style. These efforts would then continue during the Indo-Scythian and Kushan periods."De l'Indus a l'Oxus: archaeologie de l'Asie Centrale", Pierfrancesco Callieri, p. 212: "The diffusion, from the second century BCE, of Hellenistic influences in the architecture of Swat is also attested by the archaeological searches at the sanctuary of Butkara I, which saw its stupa "monumentalized" at that exact time by basal elements and decorative alcoves derived from Hellenistic architecture".

Hillside Italian garden, c. 1906 Original to the house, and occupying its northwest terrace against its service wing, was an Italian garden with vine-clad pergolas on each side, symmetrical gravel paths, marble benches, and long stone balustrades, giving it characteristics of a hanging garden. The garden was below the house's first floor, and was built against the hillside, occupying a portion of the slope that falls far below it. The lower walls of the house were screened with a row of large cedars planted on the highest part of the garden.

It was then remodeled as offices by architect William Devereux Dennis (1847–1913) and in 1907 connected to the adjacent Plummer Hall (former home to the Salem Athenaeum). The house was among the last detached brick houses to be built in Salem. Features of interest include rusticated corner quoins and foundation, fine cornices, both arched and flat-entablatured windows, and an imposing front porch supported by Corinthian columns and topped with a Palladian window. At one time the house also featured roof and porch balustrades, as well as panelled brick chimneys.

Among the ruins a stupa, an image house with a Buddha statue, Guard stones, stone pillars, Balustrades (Korawak gal), and flat clay tiles those used for roofing purposes, can be seen in this site. The stupa of here has been built on an unusual octagonal platform instead of a normal circular or square shaped platform. Which is one of unique features of this temple. In 2008 the Chemical conservation division of the archaeology department commenced restoration of the 11.5 feet height handless granite Buddha statue in the image house.

The Rossetti factory was active in Lodi between 1729 and 1736.. Rossetti ceramics were fired with the Gran fuoco technique . and most are in monochromatic turquoise. Rossetti excelled in the decoration known as the 'Bérain' style, which takes its name from the French decorator Jean Bérain the Elder, with pillars, balustrades, capitals, urns, shells, stylized leaves garlands, divinities and satyrs;.. Some ceramics feature landscapes in the center, with views of cities and castles, hills, lakes, clouds and birds. There are also two examples of polycrome Rossetti ceramics, representing scenes of a lake and a town.

On the exterior, there is a glass and metal canopy over the front door, as well as dormers and balustrades eaves. The design for Stoiber Mansion is based upon drawings by Edward G. Stoiber, a German mining engineer and owner of the Silver Lake Mine in Silverton, Colorado. After he died in Paris, his wife Lena commissioned Albert J. Norton and Willis A. Marean to use the sketches to design the mansion. They were the architects for the Cheesman-Boettcher Mansion, now the Colorado Governor's Mansion, and other notable buildings in Denver.

The Caledonia No. 9 Grange Hall is located in the village of East Hardwick, on the east side of Church Street opposite its junction with Stevens Lane. It is a clapboarded wood-frame structure with a gable roof, presenting 1-1/2 stories to the street. It is set on a steep hillside above the Lamoille River, however, and has a full understory. The street-facing facade has a single-story hip-roofed porch across the front, supported by turned posts with jigsawn brackets and turned balustrades on either side of the entry stair.

The other windows on the upper storey are decorated with architraves and cornices, while those three that are above the central portico have balustrades and consoled cornices. Beneath the upper and lower storeys, the building is of rusticated ashlar to the ground level. The entrance, in the centre of the front, is approached by an imperial staircase and framed by a tetrastyle portico of the Corinthian order. Decorative panels in Liardet's stucco with festoon motifs decorate the wall above the portico, while the royal coat of arms of the United Kingdom decorates the pediment.

From the opening of London Road, the GNR operated an omnibus service to the Midland station, and operated its own cartage in the town.Nottingham gained city status in 1897. Anderson describes the London Road Low Level station: > [London Road] High Level station paled architecturally in comparison with > the grand old Low Level terminus which faced it across a forecourt and > service road. Though similarly constructed in red brick, the earlier > building had an immensely complex frontage incorporating ample and vigorous > stone embellishments such as balustrades, cornices and dripstones.

These were bricked up long ago and replaced in the eighteenth century by larger rectangular bays. However, an example of one of the original bays can still be seen in the library, but only from the inside! The main house, flanked on both sides by two massive square towers surmounted by balustrades, is embellished by two turrets and a large square tower, all three roofed with slate. The terrace at the front of the house is decorated with a stone balustrade offered by Château Lacaussade in settlement for a lawsuit.

The most obvious difference between the two houses would be the materials that was used to build them. The bahay na bato was constructed out of brick and stone rather than the traditional bamboo, timbre and other wooden materials that elevates the house. It is a mixture of native Filipino, Spanish and Chinese influences. During the 19th century, wealthy Filipinos built some fine houses, usually with solid stone foundations or brick lower walls, and overhanging, wooden upper story with balustrades and capiz shell sliding windows, and a tiled roof.

High-level window openings on the southern side of the eastern understorey are lined with lattice. The two-storey end wall and piers supporting the 1958 extension's verandah are face brick. The gable roof of the 1958 extension continues over its verandah, while the earlier verandah has a lower, flatter roof, supported on continuous metal posts and set below clerestory lights on the verandah wall. The verandah is accessed via metal-framed stairs, and has timber floors and bag rack balustrades that are clad externally with profiled metal.

SFU at Downtown Segal campus A 1916 building located at the corner of Granville and Pender Streets in downtown Vancouver, the Segal Graduate School is home to SFU's graduate business programs. It honors the university's former chancellor and SFU Beedie School of Business supporter Joseph Segal. Opened in 2005 and previously the Western Canada headquarters for the Bank of Montreal, the building underwent a $20 million renovation under architect Paul Merrick. The designers were able to retain many of the building's original features and materials, including marble columns, decorative plaster mouldings and stair balustrades.

Built by the firm of Warner and Swasey, Cleveland, Ohio, the scope is stabilized on a brick pier which extends down into the bedrock and is not attached to the building in any way. The telescope cost $4,500 and still has the original observer's chair mentioned in the contract with Bevis and Company at a cost of $25. The entrance hall, below the equatorial room, octagonal in shape, is centered on a brick pier. The entrance hall retains original stairs, newel posts, balustrades, and wood floors; it is still used for its original purpose, storage.

Retrieved 5 March 2011. The North Queen Anne Drive Bridge, built in 1936 across Wolf Creek, is a parabolic steel arch bridge, declared a historic landmark for its unique engineering style.Wilma, Dave. Seattle Landmarks: Queen Anne Drive Bridge (1936). HistoryLink. Retrieved 5 March 2011. One of the oldest wooden-hulled tugboats still afloat, the Arthur Foss, is moored near the base of Queen Anne. Queen Anne Boulevard, which circles the crown of the hill, and some of the original retaining walls complete with decorative brickwork, balustrades, and street lights, are also designated landmarks.Wilma, Dave.

Its architecture reflects the Neoclassical style which is characterised by a square-shaped frame and a row of decorative balustrades in front. The deep verandahs help prevent rain from flooding the house, block sunlight and keep the indoor area cool. This together with the stone plaque marked with the name of the medicine shop installed at the top of the building are all typical architectural features of pre-war Chinese tenements. The main facade of the building was lavishly decorated with classical Italianate designs, one of which is the "broken pediment" at the shop.

Constructed of stuccoed brick with cast iron roof structure, cantilevered galleries, cast iron and carved balustrades, and timber framed shopfronts, the arcade looks like a row of Victorian terraces with cast -iron balconies. Neo-classical fluted cast iron columns, and elaborate traceries of ornamental lacework cast delicate shadows in the sunlight from the vast glass panelled roof. The concourse lighting consisted of chandeliers suspended from the crown of the roof trusses and lit by fifty gas and fifty electric lamps in each. Some of the light fittings, which still exist, were designed by the architect.

The present buildings were constructed in German Baroque style from 1739–47 under the direction of Johann Michael Fischer (1692–1766) of Munich, who began overseeing the work in 1741. The interior, considered a model of Baroque design, is filled with ornate chapels and gilded balustrades, dominated by the high altar, which combines a Gothic statue of the Virgin Mary dating from 1430 with Baroque additions (dating from about 1750) by Johann Joseph Christian (1706–77). The elaborate frescoes are by Franz Joseph Spiegler (1691–1757).Germany: A Phaidon Cultural Guide, pp. 775-6.

Designed by Henry Hornbostel, who also designed Emory University, Callanwolde's plan is one of openness. Most rooms adjoin the great halls located on each floor, and the entire 27,000 square foot mansion is centered on a large, courtyard that has recently been enclosed. The attention to fine detail is evident in the excellent craftsmanship of the walnut panelling, stained glass, bronze balustrades, the artistry of the delicate ceiling and fireplace reliefs, and the pierced tracery concealing the Aeolian organ chambers. Callanwolde remained the Candlers’ home for 39 years.

This space was accessible to the public and was referred to as the "plateau" in Waters' design proposal, and as the "roof garden" by staff members. During World War I musicians used it as a stage for patriotic performances. Along the Spence and Lake Street sides the roof was protected by an ornamented parapet incorporating finials, arches, and balustrades of interlocked concrete circles. The building was installed with an electric passenger elevator, the first to be included in any building in Cairns, and among the earliest examples of this technology in North Queensland.

Beaumont Hotham, 3rd Baron Hotham was a general in the British Army who fought at Salamanca, Vitoria and Waterloo. He was MP for Leominster from 1820 to 1841 and for the East Riding of Yorkshire from 1841 to 1868. The building was then remodelled in 1872–77 by Payne & Talbot of Birmingham for the 5th Baron Hotham, involving the addition of balustrades and the replacement of Atkinson’s east entrance porch with a colonnade. In 1954–45 further extensive remodelling of the hall took place during the tenure of the 8th Baron.

The bridge, which had not been renovated since its construction, now carried 75,000 vehicles a day – far more than it was designed for. Improvements included widening the bridge, adding balustrades to separate the sidewalks from the vehicular traffic lanes, and building an underpass through the Columbia Island side landing to allow pedestrians and cyclists to pass through the bridge rather than crossing the parkway. The reconstruction also removed the notorious "hump" in the middle of the bridge. However, the masonry facing of the bridge was retained to protect the historic character of the bridge.

The upper levels have not been refurbished, but the partitioning of the lower levels is not original. The original lift with its sliding doors, timber panelling and surrounding stairwell remains beside the entry foyer. Its very distinctive appearance derives from the extensive use of decorative cast iron work for the balustrades of its verandahs and from the contrast of the cream-coloured render against the red brick on the upper part of the tower. Being situated on a hill on a busy intersection, it is one of Brisbane's most recognisable buildings.

Wrought iron and ceramic roof tiles were imported from France; mechanically sawn timber from Romania, cast iron balustrades came from Great Britain, and Italy provided marble balcony slabs. In the 1930s, the use of reinforced concrete, cast in moulds, allowed builders to emulate complex stonework detail. Architectural expression moved towards a more regional identity featuring arched forms and eclectic regional detailing in the stonework. Examples of this in the business district include the two Municipality offices and several buildings in Allenby, Moutrane, Abdul Malak and Saad Zaghloul streets.

Virupaksha Temple at Hampi, Karnataka The whole of South India was ruled by Vijayanagara Empire from (1343–1565 CE), who built a number of temples and monuments in their hybrid style in their capital Vijayanagara in Karnataka. Their style was a combination of the styles developed in South India in the previous centuries. In addition, the Yali columns (pillar with charging horse), balustrades (parapets) and ornate pillared manatapa are their unique contribution. King Krishna Deva Raya and others built many famous temples all over South India in Vijayanagara Architecture style.

The station has an entrance titled Place Pigalle, divided into three metro outlets established on the central reservation of Boulevard de Clichy, the main one, located east of the place, is adorned with a Guimard édicule. This one, designed in 1900 by Hector Guimard, is the subject of a decrees as a historic monuments on 12 February 2016. The two other metro outlets, located more in the center of the square at no. 20 and 22 of the boulevard, are decorated with balustrades in the style characteristic of the Nord-Sud company.

Because of its location and its unique presence, the Palace of the Former Intendance presides over the Plaza Sotomayor (Sotomayor Square). Its façade presents a varied ornamentation of plaster and artificial stone characteristic of the Art Nouveau, highlighting a set of incoming and outgoing volumes and numerous bays that generate movement in the plane. In the upper part there is a clock and a dome, and the windows of the third floor have balconies facing the Sotomayor square. The central access to this palace consists of a large marble staircase with two small balustrades.

The courtroom at the rear was detached from the front portion of the building by a passage. The building also housed offices for various government departments as well as shops. In the design of Colonial and State Government buildings in Queensland, there is considerable continuity, particularly in the use of timber as the predominant material, and in details of composition. Some of the design details in common use in government buildings, particularly from mid 1880s onwards, are window hoods, eaves details, gable decorations, verandah balustrades and roof vents.

The second Innisfail court house sits on a terraced hillside block on Yorkeys Knob north of Cairns. It is an elevated timber building in two parts (the front section and rear right section orse former court house) with encircling verandahs. It has a corrugated iron pyramid roof over the front section and a corrugated iron hipped roof, terminating in a gable and skillion verandah roof over the right rear section. A set of symmetrical steps with double dowel balustrades leads from a gabled entrance porch at the centre of the front verandah.

The structures are topped by steeply-pitched and flared standing seam copper roofs that have weathervanes that are located nearly two stories above the street land grading and that depict flying birds. The Smallwood Drive gatehouse sides have tall and slightly tapered have quarry- faced random ashlar stone posts with chamfered corners on stone bases. These posts support flat cast capitals beneath wrought iron balustrades with filigreed corners. The structures still host original hexagonal metal and glass light fixtures that hang from metal brackets on the Smallwood Drive post faces.

The tower has narrow windows (arched in the Gothic style on the second level), with an open belfry topped by a pyramidal roof with flared eave. The belfry openings have arched woodwork and low balustrades. A shed-roof shelter extends across the front of the main facade between the tower and a projecting gabled secondary entrance; the main entrance is in the base of the tower under a bracketed hood. Berlin's Congregationalist congregation first organized in 1836, when a Sunday School was established, and the first settled minister was hired the following year.

They are also often hung over balustrades or out of windows for festive occasions, such as the processions through Venice shown by Vittore Carpaccio or Gentile Bellini (see gallery);King & Sylvester, p. 14 when Carpaccio's St Ursula embarks they are hung over the sides of boats and footbridges.Carpaccio image Oriental carpets were often depicted as a decorative element in religious scenes, and were a symbol of luxury, status and taste,Mack, p.73-93 although they were becoming more widely available throughout the period, which is reflected in the paintings.

The White-Baucum House is a historic house at 201 South Izard Street in Little Rock, Arkansas. It is an L-shaped two story wood frame house, with a hip roof extending over two stories of balconies in the crook of the L, giving the building an overall rectangular footprint. It has Italianate styling, with a bracketed and dentillated eave, spindled porch balustrades, and an elaborate front entry in a round-arch surround. Built in 1869–70, it is one of Arkansas's earliest and finest examples of high style Italianate architecture.

In 1998, in celebration of the Philippine Centennial Independence, the bridge was partially restored by architect Conrad Onglao, who was commissioned by then-First Lady Amelita Ramos. Stone balustrades replaced the post-modern steel design. During the time of Manila Mayor Lito Atienza, the steel girders were lighted and thematic lamp post were added onto the bridge, which drew mixed reactions. Two fu dogs were also added at the base of the bridge's south side, which gave it a Chinese character as opposed to its original neoclassical design.

Platform A4 divides the Group A plaza in two. It was a later addition to Group A during the reorganisation of the group that involved the destruction of the earlier building under Platform A5. When excavated it was very poorly reserved but was able to be reliably restored. There was no earlier version of the structure; it consists of a platform with two levels that faces east towards the principal architecture of Group A. The upper level is topped with a cornice and access was via two stairways flanked by balustrades.

In later years, the cloister would serve as a gymnasium, school, museum, child care center and INBA (National Fine Arts Institute) tapestry workshop. One reason this building has managed to survive to the present day is that it was the home and studio of artist Dr. Atl in the 1920s. When he moved in, it was in very poor condition, forcing him to live on the building's roof. Later, he restored the patio area, reconstructed the back part of the building and replaced the balustrades of the upper floor.

1850 core consist of the relative sections of exterior walls, chamfered corner, door/window openings, and some internal structural walls. The ground floor has an awning to both Ann and Brunswick Streets. The awning is supported by metal tie rods fixed to the face of the building at the first floor window head height. The first and second floors have predominantly regularly spaced aluminium-framed hopper windows to the Ann Street elevation, and aluminium framed French doors with metal balustrades to the Brunswick Street elevation, with continuous cantilevered metal awnings.

The façade of the palace was decorated with statues of John Hunyadi, László Hunyadi and King Matthias. In the middle of the court there was a fountain with a statue of Pallas Athene. Only fragments remain of this Renaissance palace: some red marble balustrades, lintels and decorative glazed tiles from stoves and floors. The reconstructed medieval fortifications and the Great Rondella In the last years of his reign Matthias Corvinus started construction of a new Renaissance palace on the eastern side of the Sigismund Courtyard, next to the Fresh Palace.

James McIlquham was appointed contractor. The aqueduct is long with three arches built of Bath Stone, with Doric pilasters, and balustrades at each end. The central semicircular arch spans ; the two oval side arches span . It is a grade I listed building, and was the first canal structure to be designated as a Scheduled Ancient Monument in 1951. The stretch of river below and above the aqueduct, where it is joined by Midford Brook, has been used by rowing crews from Monkton Combe School since at least the beginning of the 1900s.

Other developers also built similar houses along the same block. The historic district extends for most of a city block, extending along the south side of Elm Street between Hudson and Russell Streets. The nine buildings in the district are of wood frame construction, and follow the typical forms of three-deckers elsewhere in the city, albeit on a more generously sized scale. Front porches on several of the buildings extend across the entire front, and some wrap around to one side; several of these retain original elaborate balustrades.

Church interior Built in the Baroque style, Quiapo Church's façade is distinctive with twisted columns on both levels. The Corinthian columns of the second level has a third of its shaft twisted near the base, while the upper portion has a smooth surface. The topmost portion of the four-storey belfries are rimmed with balustrades and decorated with huge scrolls. The tympanum of the pediment has a pair of chalice-shaped finials, and towards the end of the raking cornice, urn-like vases mark the end of the pediment.

The northern frontage has timber verandahs giving access to first level classrooms, with squared sheeted spandrel panels, and supported on paired columns with foliate capitals. The verandahs have battened balustrades, raked timber ceilings to the upper level and ripple iron ceilings to ground level. Part of the verandah to the east has been closed in with fibre cement sheeting. The projecting bays to the south, east and west have pairs of pointed arch tracery windows with single rosettes above, with a single larger tracery window to the northern and southern end of the Great Hall.

Portions of the arcade extend beyond the second floor block, creating single-story sections that are topped by balustrades. The Market House was built in 1838, on the site of the building that had housed the state legislature 1788–1793; it was one of many buildings destroyed by a devastating 1831 fire. The ground floor was used as a market space until 1907, and the upper level as town hall until 1906. Faced with the prospect of demolition, a private organization was formed to take over maintenance of the property.

Often there is a hierarchy of design, in his Refuge Assurance Building in Manchester, for instance, polished stone and timber in the boardroom, faience in the public offices and simpler designs for the managers and clerks offices.Cunningham & Waterhouse, p. 176 The Manchester Town Hall fireplaces contain tiling in the fireplace, some with medieval designs, others classical designs, Turkish designs and Japanese in the Mayor's Suite. Staircase balustrades in his domestic work were usually either timber or iron often with elaborate designs, he preferred iron, faience or stone in his public buildings.

Parterre gardens off of the main north portico and south porch are surrounded by low masonry and wood balustrades and feature period-appropriate plantings and marble statuary. A rooftop observation ring with a vasiform balustrade surmounts the house and was used for observing the estate. The estate has three surviving outbuildings: a cook's house, a garden pavilion with eight fluted Corinthian columns, and a monumental gatehouse that date to the antebellum period. The tripartite entrance gate features massive pillars crowned by large metal finials and elaborate cast iron gates.

In 1998 it was designated as a 'Conserved Building' by the UNESCO as part of the listing of Kandy as a World Heritage City. On 8 July 2005 it was formally included as an 'Archaeological Protected Monument' by the government. The Victorian-style building, features three white stone arches on the ground floor, with an open verandah and cast iron balustrades on the first floor, supported by four stone doric columns, and a half round tile roof. The entire upstairs floor has polished wooden floorboards on timber beams.

The former Pfeiffer house stands on Day Dawn Ridge on gently sloping land and is a single storey timber building, L-shaped in plan, with an exposed stud frame. It is encircled by verandahs and is on low stumps, being raised slightly on the northern side. The roof is of an unusual form, having 3 parallel gables with a barrel vaulted hall placed between them, all roofed in corrugated iron. The verandahs have a convex corrugated iron awning supported by timber posts with fretwork brackets and square section timber balustrades.

The building was fitted with steel frame windows, with metal railings and grills, which were considered fashionable in the 1930s. The loggia on the uppermost floor was a little lighter in colour with the use of cast iron balustrades and brackets, and there was extensive use of green glass. The building was one of the first in Singapore to be built as an integral structure of reinforced concrete slab and beam with infill brick wall. At six storeys, the Great Southern Hotel was the first Chinese hotel to have a lift.

Tan-y-Bwlch in 2008 Tan-y-Bwlch railway station is the principal intermediate passenger station on the narrow gauge Ffestiniog Railway, which was built in 1836 to carry dressed slate from Blaenau Ffestiniog to Porthmadog for export by sea. The station lies off the B4410 former turnpike road from Maentwrog to Llanfrothen and Beddgelert, which the railway crosses on a fine cast-iron skew bridge (made at Boston Lodge foundry in 1854 and surmounted by 'gothic' balustrades). Tan-y-Bwlch is at a height of . and at a distance of just under from Porthmadog.

The interior is also embellished with carved wood and bronze balustrades, mosaic floors, marble and plaster detailing and decorative works, and stained glass windows. The interior spaces is centred around a formal hall from which all the museum's other spaces are accessible. The building initially included a central tower at its entrance. However the original tower caused the building to "sink" as the original design did not account for the Leda clay the structure was built on; resulting in the original tower's removal several years after the building opened.

This Churrigueresque revival style is seen in the pillars to the right of the stage, the proscenium details, and in Eberson's use of balustrades, stucco shells and garlands. The outside is designed to resemble a palace exterior. Inside, Eberson transitions the patrons from a lobby through wooden doors to an arcade (at the rear of the orchestra) and into a courtyard on a hill. From the balcony, patrons are surrounded by a Spanish town wall and have the same view a resident would have from a high building looking down on the courtyard.

Surviving timber stairs at the Elizabeth Street end have strongly carved balustrades. Walls are painted with gold leaf highlights, and the furniture is mostly of polished timber and brass. Some original colour schemes survive, notably on the ceiling of the Elizabeth Street porch, while the midnight blue ceiling with gold leaf stars has been repainted to the original design several times. Timber floors are raked at both ground and gallery levels, and the centre section of the ground floor and Ark steps, like the porch, are ornately tiled in tessellated and mosaic work.

The Lewis Miller Cottage stands in the village of Chautauqua, at the northwest corner of Vincent and Whitfield Avenues. It is a two-story wood frame structure, with a broad gabled roof showing Stick style woodwork and large supporting brackets. It has a symmetrical front facade, with sash windows flanking the center entrance on the ground floor, and paired sash windows on the second floor, flanking a center doorway that provides access to the second-story balcony. The first-floor porch and second-floor balcony both have gingerbread balustrades.

The building has two sets of concrete stairs with timber balustrades; the main entrance stair and another in the north-western corner of the building. The ground floor classrooms in the main wing have timber lined ceilings, and are separated by timber folding partitions. The upper floor classrooms have timber floors, timber-lined ceilings with raked sides, and partially exposed trusses. The south-western verandah has a timber-lined ceiling with exposed rafters, which butts against fixed-on-the-diagonal, timber-lined gable end where the rear wing intersects the main wing.

The arch features an architrave painted in a contrasting green and crowned with a keystone. Above the spandrels, the bridge's solid concrete balustrade features a rendered stringcourse at pavement level and a simple concrete capping. The balustrades are terminated at each end by a pair of Brisbane Tuff piers, except at the eastern end of the southern balustrade which ends in a single stone pier. The balustrade and abutment walls of the bridge are frequent targets for graffiti attacks and bear evidence of many attempts to paint over them.

Part of the changes included large murals on mortar within the structure, and attributable to this period. The coat-of-arms of the Tavora decorated many parts of the building, but were later destroyed by the Marquis of Pombal, following the attempted Regicide of King D. Joseph. The gardens, a Nasonian inspiration, were divided by architectonic alleys of with balustrades and small villages of allegorical sculptures, while along the river there ran a balcony. In the 20th century, an industrial purchased the building, installing in the gardens a milling factory, and later a silo.

Porcelain vases filled with flowers were arranged on the balustrades crowning the entablature. The basins of the fountains were carved from marble, supported by gilt tritons; and higher up in the basins were even more basins, adorned with large gold statues. The avenue came to an end at the back of the theatre where tents linked up to those covering the orchestra. And beyond that was the avenue of the Orangerie itself, bordered on both sides by orange and pomegranate trees, intermixed with several porcelain vases filled with different flowers.

Formerly surrounded by a moat, the buildings of the cross-shaped four-story mansion, with rectangular towers in the front corners, are crowned by a central lantern roof dating back to the mid-17th century. The front entrance has an 18th-century imperial staircase, edged with balustrades made of trachyte, flanking the original round-arched doorway within a rectangular aperture designed to receive a raised drawbridge. On either side of this lower entrance are sandstone escutcheons bearing the Merode family coat of arms. Two octagonal towers flank the great hall.

The other two elephants are exhibited at the National Museum of Phnom Penh and Guimet Museum in Paris. Inside the exterior enclosure, in the middle of the western side of baray, there is Prasat Preah Stung (), with a peculiar four-faced central tower in Bayon style, which is preceded by a landing-stage with nāga balustrades. A laterite causeway leads from here to a centric enclosure, 701 m by 1097 m, surrounded by a moat and endowed with four gopuras similar to Angkor Thom. Near the eastern gopura there is a dharmasala.

A large entablature separates the ground level from the upper two levels which have double pilasters rising through both levels on either side of windows. The pilasters have Ionic order capitals with the faces of devils between the volutes and the two sets of windows are double hung and have balustrades in front of them. The pilasters support a broken-bed pediment with relief carving to the tympanum featuring the Queensland Coat of Arms. Above the pediment is a parapet with pedestals at either end supporting sculpted stone devils holding shields bearing the printer's emblem.

Paired brick pilasters, followed by paired, rendered Corinthian ones continue the vertical emphasis to the arch below parapet level. On each side of the central bay the openings are all arched with keystones, and although they house windows at the ground floor level, form arcaded verandahs on the upper three levels. The arcaded upper levels have wrought iron balustrades with the initials CTA located centrally, apart from the second floor central balcony which has balustrading similar to that on the parapet. The pediment at parapet level has an ornate central moulding of the CTA crest.

The arches have a shutter in support and transition to the entablature, which opens a frieze corresponding to a mezzanine of three openings and bas-reliefs alluding to the human passions ("Pain", "Hate", "Kindness" and "Love"), subtitled on the architrave. Above, the denticulated cord ends at the frieze and the beginning of a strong cornice based on rebound corbels, which are dense, in a repetitive rhythm that runs throughout the building. Crowning the facade is the gable, rising over a high platform, with rhythmic fenestration and formal, ornamented balustrades. The lateral facades are symmetrical.

Decorative metalwork is also employed, as finals, as a cresting and as balustrades. A leaf motif was used for the balustrade to the porte-cochère and repeated in the panels of the elaborate timber gates that lead to the platform. A palisade fence that stepped down to follow the slope and matching gates separated the station from the street and a picket fence lined the ramps. The spire of Mortuary Station (the Bellcote) was a distinctive townscape element that could be seen from the Exhibition Grounds (Prince Alfred Park) and from Sydney University.

Many Victorian features were changed or removed, including painting of woodwork; removal of stained glass, balustrades, overmantel mirrors and whatnot shelving; and replacement of columns and pilasters. During her tenure as first lady, Jeanelle C. Moore (wife of Dan K. Moore) began a campaign for public awareness of the mansion's historic and cultural significance. Her dedication resulted in the formation of the Executive Mansion Fine Arts Committee, a statutory committee which advises and supports the acquisition of gifts, purchases, maintenance and preservation. In 1970, the mansion was listed in the National Register of Historic Places.

It is roughly square in shape, with a slightly-projecting central pavilion in the front (south-facing) facade that is topped by a mansarded observatory. The entrance is sheltered by a flat-roof portico supported by clusters of columns, with low balustrades to the sides. The building's corners are decorated with paneled pilasters, and there is a projecting single-story bay to the east. All of the roof lines have modillioned eaves, and windows have decorative shallow hoods, except the first floor front windows, which have a gabled pediment above.

The canopy covers the entrance to the pedestrian subway, where white-glazed tile façades with a green frieze at the top of the walls are preserved. There are also basalt blocks, handrails and iron balustrades with oval decorative elements between the vertical struts and horizontal bands. The western side of the staircase and the southern side of the stairway have been replaced by a wooden covering instead of the metal railings. The historic roofing of the underpass directly in front of the station building was also preserved until December 2003, but it was later dismantled.

Gertrude's Church is almost a rotunda. In front of the altar, there are five balconies which balustrades are decorated with paintings funded by the shoemakers of Darłowo in the 17th and 18th centuries. There is a starry vault inside the church, neo-baroque organ prospect from 1912, the organs from 1860, which to this day not only serve the worshipers but also the Polish and international virtuosos during the annual summer organ festivals organised by Koszalin Philharmonic. The patroness of the church is Saint Gertrude of Nivelles, the guardian of sailors and travellers.

The Cook Pines are exceptionally tall and narrow, and together with the fig trees, create a substantial local landmark. The residence, located at the eastern corner of the site, is a two- storeyed weatherboard structure with tall concrete stumps and a hipped corrugated iron roof with projecting front gable above a bay window. The building has verandahs, which have been enclosed with insect screens, to the northeast and southeast with timber batten balustrades and angled timber brackets. The southwest elevation has casement windows and timber batten window hoods.

There is no documentary record that identifies the architect. Several of the additional details—the cast iron balcony balustrades, brownstone trim and verticality created by the emphasis on the central bay—are typical of Henry Austin. Sketches found among Austin's papers after he died, now kept at the Yale University Library, show a very similar house with the same chimney and belvedere placement, but without the brackets and central pediment. They date to the 1840s, prior to the known date of construction, and Austin was known to have been active in Waterbury in the 1860s.

Oswell used steel in his commercial design for the Walk Arcade to express movement. The upper balcony balustrades extended over the lower floor paths and steel was stretched in a zig zag pattern on the upper and lower balconies to imitate movement. He promoted colour choices featured by international designers. With the success of Torbreck, Brisbane’s first high rise apartment block, other projects were developed in Brisbane and the Gold Coast. Oswell’s firm designed the Glencrag Apartments in Spring Hill, the first large scale mixed use development incorporating apartment living with commercial levels underneath.

He was also to have a major effect on the appearance and character of Childers. The new shops were masonry rather than timber, a choice no doubt influenced by the fire, and were elegant single-story buildings with large glass shop fronts. Striped curved awnings across the footpath were supported by decorative posts with cast iron infill. Each shop had a separate roof, some lit by lanterns and the individual tenancies were also marked by the visual separation of the facades by the use of classic revival pediments, urns, and balustrades.

Building A is constructed over older buildings that were buried when this area was filled in, some aspects of the building, like the buttresses been damage due to settling where there are no buildings below. The facade depicts a false stairway and balustrades of stepped frets capped by niches. It is unknown if the similarity between this building and the Pyramid of the Niches indicates a relationship between the two. The false stairs were originally adorned with scroll motifs done in blue and yellow paint, but very little remains.

It features a roughcast rendered upper floor and square tower with battlemented parapet, bracketed, oriel windows, timber shingled gable ends, and sills and lintels and windows, dramatic arched brick verandah entries and timber slat balustrades to upper verandahs. A fine example of Federation Arts and Crafts style, with asymmetrical composition and a steep roof with deep gables. The brick render and shingle facade treatment of the different levels provide textures and colour to the elevations. The bay windows and intricate joinery provide further interest and also relief to the formal facades.

The Bristol was followed by La Perla Hotel in 1892, to the north, then the Hotel Royal in 1907 and the Saint James and Centenario hotels in 1910 on the Playa de Ingleses. When Mar del Plata was declared a city in 1907 the resort was called the "Biarritz of Argentina". In 1913 the French rambla was opened, with ceramic pavements from Belgium, balustrades and Greco-Roman statues. In the late 1920s wealthy families began to build chalets and mansions near the Hotel Bristol, and spent their days at the beach, named the Playa Bristol.

Over the main door is a cartouche with the sculpted 1888. The main door opens to a small narthex, that corresponds to the perimeter of the tower, that extends to the windbreak. On either side of the narthex is a compartment accessible from the nave: opposite the epistole side is the baptistery and opposite it is winding staircase that leads to the high- choir and belfry. The choir, in wood, occupies the area at the front of the nave (over the windbreak) and is counter curved, protected by a guardrail of balustrades.

Exterior balustrades are in the Chinese Chippendale pattern. Entry is through the portico, with the front door leading into a shallow round vestibule projecting into the half-octagonal parlor to the left side with a curved door, an adaptation of Pavilion IX at the University of Virginia. A corresponding alcove leads to the cross corridor, while another door leads to the dining room which occupies the right side of the front octagonal volume. A wing to the rear contains kitchens and bedrooms, none of which are of unusual design.

The elements of the row considered to be of high significance are the entire façade including the central tower and the verandahs with cast iron balustrades and corrugated iron roofs. The interiors (hallways, front rooms, stairs and fireplaces) of some of the houses are of high significance. The row of terraces demonstrates the process of subdivision and development in Randwick in the late 19th century and the wealth and expectations of the period. Avonmore Terrace was listed on the New South Wales State Heritage Register on 2 April 1999.

The garden front to the south west is similar in design and decoration with a central entrance approached by a double flight of steps with wrought iron balustrades. The house is particularly noted for its Baroque interiors, plasterwork by Francesco Vassalli and the Adam style dining room.Shropshire John Newman and Nikolaus Pevsner (2006) p398 Lady Elizabeth Blount had married the 9th baronet and she brought up their family here. Afterwards she attracted much attention as an exponent of the flat earth theory, conducting convincing, but flaws experiments to prove the claim.

It is supported by groups of squat Tuscan columns set on shingled piers, with low balustrades in between. The house was built in 1893, and was one of a series of fashionable homes built along Highland Avenue around the time the adjacent Middlesex Fells Reservation was established. Arthur Wyman, the developer who built the house, lived next door, and was responsible for development of much of the surrounding area. The house was owned by Edward I. Braddock, an inventor with a portfolio of patents related to metals production.

It has large arched openings to provide ventilation to the sub-floor area. The Maternity Wing has similar detailing and decorative features to the Main Wing including decorative brackets between the arched openings and the top of the parapet wall, scalloped edging and a circular motif above the projecting gable. The northern elevation has similar details to the front elevation including concrete-formed parapet walls, arched verandah openings, timber slat balustrades and decorative brackets. A recent timber deck joins the Maternity Wing in this area to the 1991 extension.

An inscription near to the rock curved steps Located in Neluwagala Grama Niladari Division, the temple has been built on a small rock plateau close to the Handapanagala reservoir. The top of the rock plain is occupied by an ancient Stupa which is accessed by few steps, curved on the rock surface. The Stupa is now in almost dilapidated state, resembling only a mound of earth bounded with few rock boulders. Adjoining to the Stupa, a ruined image house is identified with number of other stone works including altars, monoliths, Balustrades (Korawak Gal), stone bases, Yantra stones and rock inscriptions.

The appointment of the Board of Commissioners on 29 July 1889 prompted Francis Curnow to retire from the railways with a pension of . He was soon after appointed Chairman of the Metropolitan Transit Commission, a position he held until shortly before his death from typhoid fever induced heart failure at Hellesvere, on 24 April 1901. He was buried at Toowong Cemetery. Early photographs of Hellesvere show that the house has been changed very little externally, simple timber balustrades have been removed from the sides of the northern (front) verandah and a similar balustrade has been removed from the rear.

The former South Hero Inn building occupies a prominent location at the central intersection of South Hero, set at the southwest corner of its major crossroads, the junction of South Street and US 2. It is a 2-1/2 story stone structure, with a gabled roof and a two-story wood-frame ell projecting to the west. It presents formal facades to both roads, with its main roof gable set parallel to South Street. The more elaborate facade faces US 2, with a two-story porch across the three- bay facade, supported by square posts, with a decorative valance and low balustrades.

The former hat and cloak rooms have been merged with part of the adjacent corridor to form storage and staff rooms. The corridors have concrete floors with coved edges, plastered walls with an inscribed moulding line at shoulder height, and flat ceilings - plastered on the first floor; lined with flat sheeting and batten cover strips on the second floor. The stairwells have concrete stairs and iron balustrades with timber top rails and square, Art Deco-style posts. A timber Roll of Honour board is fixed to the southeast wall of the first floor, central wing corridor.

Early in his career, Repton defended Brown's reputation during the 'picturesque controversy'. However, as his career progressed Repton came to apply picturesque theory to the practice of landscape design. He believed that the foreground should be the realm of art (with formal geometry and ornamental planting), that the middle ground should have a parkland character of the type created by Brown and that the background should have a wild and 'natural' character. Repton re-introduced formal terraces, balustrades, trellis work and flower gardens around the house in a way that became common practice in the nineteenth century.

The Hayley Street Footbridge is a modern concrete deck footbridge suspended over steel beam and trestles over the station platform and the railway tracks to both side streets leading to the bus interchange on Railway Parade. It has a simple arrangement with the Station Master's office and the booking office on the northern half featuring a gabled corrugated metal roof with a small series of skylights. The remainder of the footbridge is covered with the same roof with no skylights and features steel pipe-rail balustrades with glazed enclosures. It is linked to the platform by the tube-like ramp and the stairs.

This former railway siding, which was originally used to deliver coal to the steam-driven pumping station, now exists only as a remnant perway embankment across the site. East of this is a simple, single lane vehicular bridge which also runs diagonally across the Main and features short, square decorative concrete corner posts with pyramidal caps and steel tube balustrades running between them. It is otherwise almost identical to the railway bridge but the side panels to the bridge are offset from each other. The third bridge is continuous with the western side of this structure.

Some ceilings are lined with fibro and others with calico. A timber ladder provides access between ground and first floors. On the north west and south east of the upstairs there are covered timber balconies featuring unusual French influenced hipped rooves with handmade decorative finials, timber balustrades and other highly artistic and decorative features. The French influence in the design was suggested by the late Professor Max Freeland who cited the gables and also the colours used in the four panelled doors featured through the house as specifically influenced by the French Renaissance style of architecture.

The building consists of three storeys over a high cellar and is eight bays wide. The six central bays are flanked by pilasters on the two upper floors. Decorative elements include triangular pediments over the 2nd and 7th window of the first floor and balustrades under the four central windows of the second floor. The two slightly recessed, outer bays are wider than the other and the one at the western end of the building has an arched gateway while the first floor window at the eastern end of the building is placed in am arched niche to promote an impression of symmetry.

Balustrades surmounted by urns run around the parapet, framing the whole house to give a very pleasing prospect within the landscape. Of the interior, Nikolaus Pevsner wrote that it was an "unforgettable experience" to behold the hall with its coffered tunnel-vaults to the full height of the house and the beautiful ballroom. There is a starfish vault derived from the tombs of the ancients. The main rooms are arranged around a central hall and staircase, and there is a good deal of fine plaster decoration in the William Kent style, especially in the drawing room on the south front.

Teaching block A (infants school), located fronting Kent Street to the southwest, consists mostly of a series rooms opening off an articulated northeastern verandah. The central section contains the altered original building, and additions have occurred to the northern end with a later school building being added to the eastern corner. The building, a single-storeyed weatherboard and chamferboard structure, has masonry and concrete stumps and corrugated iron gable roofs with large dormer windows and a spire to the central section. Gables have decorative timber eave brackets and fretwork panels, and verandahs have timber brackets and posts with rail balustrades.

The east verandah is enclosed by a cast iron balustrade and gates, all of which have timber cap The ceilings of the verandahs are elaborately panelled in timber around the main floor frames of the balcony. The first floor balconies have cast iron valances, brackets, posts and balustrades with timber cap rails. At the ends of each balcony one and a half bays have been enclosed with obscure glass and timber panelling to form sleep-outs and the iron decoration removed. The verandah and balcony to the service courtyard is all of timber with lattice valance to the ground floor.

The house, built of ironstone, remains broadly as it was originally designed, with nine bedrooms and four major reception rooms across two main floors. The top floor, with servants quarters, is hidden from view by balustrades around the side of the roof, and there is a large basement. The house has a number of unusual features - perhaps the most interesting being that the large portico traditional on such houses is placed at the rear, not the front. Each of the four facades are designed differently, with the west facade having a large semi-circular bow in it to contain an oval drawing room.

The vaulting, under a three-tiered roof, rose to a height of fourteen meters in three tiers marked by fancy balustrades. Each tier was made up of several curving sections faced in wooden paneling to form a graceful, tiered and vaulted dome. The vaulted ceiling was supported by the four wooden corner columns that rose from the bimah, and by trusses in the roof. The Torah Ark was an elaborate, multi-tiered confection in painted, carved wood, with columns, bas-relief menorahs, vases, floral swags, roofed towers, the tablets of the Ten Commandments and an eagle.

It became a training prison for straight-sentence prisoners after 1951 until its closure in 2004. Despite numerous minor alterations since 1864 the largely intact features include the cell blocks, observation hall, turnkey's quarters, gaoler's quarters, kitchen wing exterior, warder's quarters, watchtowers, perimeter and division walls, the iron entrance gates, entrance court, and yards with the exception of the 1861 female yards which were built over in 1925. Original stairs, balustrades, architraves, skirtings, doors and windows also survive. Slate roofing has been replaced with corrugated iron and louvred ventilators have been removed from cell block roofs.

The AMBC also began work on linking Columbia Island to the Virginia mainland by advertising bids for the construction of an underpass to carry the Pennsylvania Railroad beneath Memorial Drive. Contracts were awarded on March 4 for the granite for the $900,000 Arlington National Cemetery gateway (the Hemicycle). The North Carolina Granite Co. won a $185,000 contract for the Hemicycle wall, the New England Granite Works won a $72,000 contract for the balustrades, the John Swenson Granite Co. won a $244,500 contract for the gates and pylons, and the New England Granite Co. won a $45,000 contract for the curb stones and stairs.

The interior also featured the style, as stairways with Classical balustrades led to each apartment. The apartments were part of a wave of new apartment buildings constructed in Springfield's Aristocracy Hill neighborhood in the 1910s and 1920s. The new apartments were advertised as "luxury apartments" and featured privacy and amenities designed to attract middle-class professionals, successfully countering the stigma that apartments were low-class housing. The Bell Miller Apartments stood apart even from these other buildings due to its commitment to Classical decoration both inside and out; while other buildings had formally styled exteriors, few featured as lavish of interiors.

Bethesda Fountain with restored plants Bethesda Fountain is the central feature on the lower level of the terrace, constructed between 1859 and 1864,The concealed wrought-iron box-girder structure of the bridge, which forms part of the park drives' essential circulation pattern, was finished early, by 1860 (Murphy and Ottavino 1986:35). which is enclosed within two elliptical balustrades.: "materials science, chemical testing, historical research, and attentive site supervision contributed to the successful rehabilitation of Bethesda Terrace". The pool is centered by a fountain sculpture designed by Emma Stebbins in 1868 and unveiled in 1873.

Before the paint - the north side brickwork in 2009 The hotel is a two storey Federation Free Style building and has landmark qualities. The first floor verandahs and balustrades still overhang the footpath and have not been removed as has been the fate of most of the hotels throughout the state. The verandahs wrap around the street frontage from Nichol Street to Jacoby Street, terminating at a projecting "residents" entry featuring narrow, arched windows and door. The corrugated iron roof is painted red and has a simple hipped form punctuated by two, relatively tall brick chimneys with decorative rendered mouldings.

The arch and colonnade were initially bordered by granite retaining walls that contained decorative balustrades surrounding parkland on either side of the arch and colonnade. Only a small segment of parkland remains at Canal and Forsyth Streets, while the south side of the park became Confucius Plaza. The arch and colonnade were described as a "complete, dignified and monumental ensemble, worthy of one of the principal gateways of a great modern city" in a New York Times article. Part of the colonnade's eastern arm was removed and replaced in the 1970s for the construction of the incomplete Second Avenue Subway.

The old paint was removed and a special clear coat was applied to prevent rusting of the wrought iron and to allow the details to be visible. Plaster works were carried out on the plaster motifs, cornices, balustrades, capitals and carving of the old building were either deteriorated or destroyed during the earlier renovations. Skilled artisans from India were brought in to recreate the plaster works which include restoring many of the windows, doors and cornices. Its largest work done was the coat of arms of Queen Victoria and the entire northern facade which had been destroyed.

The main facade (which is oriented to the west) is decorated with a gable, cut and ornamented in spiral decoration, surmounted by cornices and Latin cross over double plinths. The main portal in a polylobial arch, includes several frames, flanked by two orders of pilasters and two columns built into the wall, surmounted by friezes over rectangular plinths. These plinths include inferior plinths supporting fragments of the portico and superior plinths with angular cornices, that extend until the corners, and pinnacles similar to balustrades. Between the portal and corners, are small backrests with the Portuguese shield.

Slip and trip- falling accidents at home are very common and can cause serious and life-threatening injuries, so prevention of slip and trip accidents is essential in the good design of living quarters. The objective is especially important for the elderly and disabled, who may be of restricted movement and more susceptible to hazards. It includes adequate supports such as handrails and balustrades as well as ensuring walking surfaces are of high friction and thus slip resistant. Lighting is also vital for being bright enough to enable the user to see obstacles when walking into a room, for example.

1910 The Cheesman Memorial was constructed in 1908 from Colorado Yule marble, in the Neoclassical style, on a raised platform with retaining walls clad in ashlar masonry and topped by decorative balustrades. The walls were installed with fountains and inset with grand staircases approaching the pavilion, in the style of an Italian Renaissance garden. At the base of the supporting platform to the west are three large reflecting pools, used as wading pools in the summertime until the 1970s. Between 1934 and 1972 the Denver Post sponsored open air performances of Broadway musicals and operas staged at the pavilion.

The facade of the building is formed from Indiana limestone, and is detailed with balustrades, balconettes, brackets, cornice, hood moulding, and overhangs. The building main portico features five arches and four pillars, and two pilasters that are detailed with gargoyles, and the provincial crest of the four provinces of Western Canada. The building's limestone facade, copper roofing, and the interiors of five rooms, including Confederation Lounge, the Empire Ballroom, and the Wedgewood room, were recognized as a "municipal historic resource" since 27 November 1984, under the provincial Historic Resources Act. The resulting designation protects these features from demolition or from major alterations.

The Darden School was the first graduate school of business of the Southern United States when it was originally founded in 1955. The original business school was nestled in the central grounds of the University of Virginia, before being moved its current location at the North Grounds. Designed by the Driehaus Prize winner Robert A. M. Stern, the Darden school's buildings feature sand-struck Virginia brick, Chippendale balustrades and red- metal standing seam roofs. In 2018, the Sands Family Grounds was inaugurated by the Darden School, in Arlington County, Virginia, in proximity to Washington D.C.'s central business district.

The first has seven columned areas, as well as niches with the images of Saint John, Saint Thomas, Saint Peter and Saint James. The second part rises above the main doors with three columned areas containing balconies, stained-glass windows and balustrades, terminating in a rectilinear pendiment with an image of the Ascension of the Lord. In this, the cathedral shares design elements with the Cathedral of Mexico City. Above this, there is a clock with sculptures depicting the Fathers of the Greek Orthodox Church, Saint John Chrisotomus, Saint Basil the Great, Saint Athanasius and Saint Gregory of Nyssa.

Typical Plateresque facades, like those of altarpieces, were made as carefully as if they were the works of goldsmiths, and decorated as profusely. The decoration, although of various inspirations, was mainly of plant motifs, but also had a profusion of medallions, heraldic devices and animal figures, among others. Plateresque utilized a wealth of materials: gold plates on crests and roofs, vases, etc. There is evidence of more polychrome works at the conclusion of the first third of the 16th century, when there appeared heraldic crests of historical provenance and long balustrades, to mention one kind of less busy decoration.

Aerial view of the Jones Bridge in 2015 (with Intramuros and Manila Bay in the background). Following the passage of the Philippine Rehabilitation Act of 1945, the Philippine Bureau of Public Works and the U.S. Bureau of Public Roads reconstructed the Jones and Quezon bridges using large and deep steel girders. Upon its completion, none of its original ornamentation on either piers and balustrades were restored, and its neoclassical aesthetic were replaced with an unadorned architecture in an urgent haste to finish its reconstruction. The three remaining La Madre Filipina statues were also removed and its plinths were demolished.

The Grout House stands at the northwest corner of Bonnyvale Road and Western Avenue (Vermont Route 9), on a generous lot in the village of West Brattleboro. It is a 1-3/4 story wood frame structure, with a steeply pitched cross-gable roof that shelters a full second floor and a smaller attic. The front facade, facing Western Avenue, is five bays wide on the ground floor, three on the second, and one on the third. A single-story porch extends across the center three bays, supported by cruciform posts, and sporting stickwork balustrades at the ground floor and around the roof.

In 1992 the steel footbridge was replaced by the present pre-cast concrete bridge having part replica steel lattice balustrades imitating the original wrought iron lattice girder design. On 9 October 1994, a large fire destroyed the original heritage-listed buildings on platforms 3 and 4, they were later rebuilt as s a similar awning structure. During the Sydney 2000 Olympics, the station was closed to avoid confusion with the nearby Olympic Park station. Under the Rail Clearways Program, an additional platform (Platform 7) was built to the south, with tracks rearranged to create a turnback at platform 6.

The first and second floors have aluminium framed sliding glass door and window units, with continuous metal balustrades and cantilevered awnings. The southwest end elevation has timber-framed sash windows to the second floor, and a number of non-original openings have been introduced to the first floor. The rear of the building has a series of metal fire escape stairs, and most of the windows have been replaced with metal-framed units. The rear of the site consists mainly of a service area with access via a driveway from Ann Street on the southwest side.

The Endicott Estate is now used to host a multitude of events, both formal and informal. This ranges from “weddings, receptions, and cocktail parties, to business meetings, art shows and more”, such as the Annual BSAAC Antique Car Show, Car Corral & Trading Bee Family Fun Day. The mansion's main floor houses a Grand Ballroom, which is “framed by Ionic columns and duel balustrades, adds a classical touch to holiday parties, art shows, concerts and seminars.” The lower level of the structure is complete with a library, dining room, mirrored parlor, music room, as well as a fully functional kitchen.

The main pool has ceramic tiled rounded edging, a scupper channel to absorb waves, and hexagonal ceramic tiled patterns at the ends of the lanes on the floor of the pool. The wading pool is tiled in fluid abstract patterns. The diving boards are supported on splayed concrete columns, from which spring splayed cantilevered platforms, and steel balustrades and stairs with central steel stringers; the diving tower has curved stairs clinging to its northern face. The podium is paved with hexagonal concrete pavers flecked with exposed aggregate, and has raised seating and planting areas with hexagonal concrete edging.

The exterior containing statues gives a rich allure that was architecturally somewhat conservative for its date, looking back towards the Villa Medici or the Casina Pio IV, and rather more Mannerist than Baroque. It offered a foretaste of the richly stuccoed and frescoed interiors, where the iconographic program set out to establish the antiquity of the Pamphili, a family then somewhat parvenu in Rome, with origins in Gubbio. Inside, Algardi provided further bas-reliefs and stucco framing for the heroic frescoes drawn from Roman history painted by Grimaldi. casino and the upper terraces; orange trees in pots punctuate its balustrades.

Rustication, carving and a balcony emphasize the central segmental- arch entrance. The first floor has square-headed windows with splayed keystones; cornice between first and second floors; stone balcony on monumental brackets in front of central window of second floor; round-arched second floor windows set within concave round-arched recesses with unusual foliate keystones; square-headed windows of third floor have keystones with smooth enframement and stylized sill corbels; stone band at impost level; modillioned roof cornice with handsome balustrades; two-story slate mansard roof pierced by segmental dormers above which are bulls-eye dormers.

The Des Moines City Hall is a prime example of the architecture and design associated with the Civic Center Historic District The Civic Center Historic District flanks both sides of the Des Moines and Raccoon Rivers and is listed on the National Register of Historic Places. The district is characterized by several public works buildings reflecting the Beaux-Arts style as well as ornate City Beautiful era balustrades, walkways, bridges, and lighting along the Des Moines River. Many of the buildings within the district were built between 1900 and 1928. The district still maintains much of the early 1900s era riverfront development.

The imposing building, echoing the Italian palazzos designed by Bramante and Raphael during the Renaissance, is ornamented with enclosed pediments, balustrades, and rows of arched windows. The beautiful bronze entry lanterns are replicas of the torch-holders designed in 1489 by Niccolo Grosso for the home of Filippo Strozzi, the richest banker in Florence. The building features six lunette mosaics on allegorical themes, designed by artist Earl Stetson Crawford: a group of three representing "Columbia's progress in the arts and sciences during the present century" and another group of three representing "Law and her attributes". Crawford won the commission through an open competition.

Beyond this is a single-storey timber extension of backstage areas. The central bay to the street facade emphasises the entry with columns and pilasters of Tuscan order, and a segmental pediment with a shield motif at its centre. The upper level of this bay has similar columns and pilasters and a bracketed triangular pediment, with "1888" carved to its centre and "TOWN HALL" to its entablature. To either side at the lower level is a colonnade of segmental arches, and to the upper level is a recessed verandah of semicircular arches with cast iron balustrades and timber handrails.

The ornate riverfront balustrades that line the Des Moines and Raccoon Rivers were built by the federal Civilian Conservation Corps in the mid-1930s, during the Great Depression under Democratic President Franklin D. Roosevelt, as a project to provide local employment and improve infrastructure. The ornamental fountains that stood along the riverbank were buried in the 1950s when the city began a postindustrial decline that lasted until the late 1980s.Dahl, Orin L. (1978) Des Moines: Capital City: A Pictorial and Entertaining Commentary on the Growth and Development of Des Moines, Iowa. Continental Heritage, Tulsa.Gardiner, Allen (2004) Des Moines: A History in Pictures.

Many lodges built at the time were designed as freestanding structures that acted as monuments, and Elks Lodge 878 was one such example, being highly visible from Queens Boulevard. The main building's facade contained many Italian Renaissance details, including a rusticated limestone facade on its first floor; balustrades; entablatures; and decorative elements such as cornices. Lodge 878 had amenities such as a swimming pool, banquet hall, gym, bowling alley, lodge room, and residential suites for members; it once had a barber shop and restaurant as well. Decorations related to the Elks are prevalent inside, including elk reliefs on the building's doorknobs.

The last owner was a lawyer, William Eaton Mousely, twice Mayor of Derby, who, after making some alterations in the 1830s, had the house demolished in 1854, believing Exeter House to be too large to maintain, and also to allow improvements to Exeter Bridge. On visiting Exeter House in 1839 Lord Stanhope noted the drawing room on the first floor, the room in which the final Council of War was held, as being "…unaltered, it is all over wainscotted with ancient oak, very dark and handsome…". It was reached by a dark oak staircase, with carved balustrades. Another visitor, a Mrs.

Windows on the first and the second floor have classic bands with keystones and are located between vertical rusticated lisens. The facade is decorated by a central three-axes projection with an entrance gate with an axe and a bunch of fasces in the key (a symbol of justice) and intermittent bridgehead with sitting putti holding a scale and a sword (other attributes of justice). The building is covered by a tin gable roof with dormer windows, and the central projection is emphasised by a high mansard roof. The lobby and a triple staircase are decorated by classicistic arcades, marble columns and balustrades.

A polygonal bay projects from the first two floors on the left, and a shallower rectangular one projects to the right of the entrance; both are topped by lower balustrades. The interior has been adapted for the GFWC's use, but retains some original finishes. The house was built in 1875 by Rear Admiral William Radford, at a time when the Dupont Circle area was being developed as a fashionable residential neighborhood. In 1895 he sold the house to the state of Massachusetts, which gave it to General Nelson A. Miles in recognition for his military service.

The bison, a symbol of the Province of Manitoba, are meant to represent the sacred bulls which guard temple entrances. Above the south entrance to the legislature lobby is the Medusa's head, and over the north entrance facing Medusa is the bust of Athena, Greek goddess of war, embodiment of democracy and also the protector of cities. Around the perimeter of the room are 14 lion heads and 8 cattle skulls at the edge of the ceiling. Around the second floor balcony, lamps rise from the balustrades, each containing 13 bulbs, 12 around 1 (Twelve Apostles and Jesus).

This included the extension of the high top for a science classroom, extension of the former girls' school building by two classrooms, extension of the infants' wing with three classrooms, extension of the vocational training building, enclosing verandahs for further accommodation, and building new toilets within the grounds. By 1954 a new building was on the school site, the Hall. The history of this building is unclear and it appears older than the 1950s. Bag racks as verandah balustrades became a characteristic design element of Queensland schools after World War II and this occurred generally at Bowen State School.

The main staircase leading from the entrance hall is graceful in form with cast metal balustrades supporting a sinuously curved timber handrail which is constructed of cedar, as is the majority of joinery in the house. French doors lead from almost all rooms onto the wide verandahs and most rooms have fireplaces. There is a second, simple staircase towards the rear of the house which originally linked the former children's school room to bedrooms at the rear of the upper floor. The house also has a basement, which originally housed a children's play room, skating rink and store room.

These wooden fittings, including the pulpit and Bishop's throne, were designed in Wren's office and built by joiners. The carvings are the work of Grinling Gibbons whom Summerson describes as having "astonishing facility", suggesting that Gibbons aim was to reproduce popular Dutch flower painting in wood. Jean Tijou, a French metalworker, provided various wrought iron and gilt grilles, gates and balustrades of elaborate design, of which many pieces have now been combined into the gates near the sanctuary. The cathedral is some in length (including the portico of the Great West Door), of which is the nave and is the choir.

The temple is situated on a small hillock near the sea coast about to the north of Trincomalee. The summit is occupied by a Vatadage containing the Stupa in the center. The Stupa was originally small in size and had been enlarged in the 8th century A.D. The Vatadageya covers the Stupa with concentric circles of stone pillars similar to Thuparama and Lankarama Stupas at Anuradhapura. The stone made circular platform of the Vatadageya is opened to the four directions and accessed by flight of steps with guardstones (Muragala) and balustrades (Korawak Gala) showing the usual Sinhalese architecture.

Epworth Freemasons, East Melbourne The Freemasons Hospital was established in 1937, as an initiative of Victoria's Freemasons in the 1930s to accommodate middle-class fee paying patients. The original five-level reinforced concrete building was designed by architects, Stephenson and Meldrum (later Stephenson and Turner), in a Functionalist Modern style with its bold horizontal balconies, contrasting vertical service tower and minimal decoration. The white rendered exterior was trimmed with blue tiles and horizontal tubular steel balustrades. Between 1956-58 the hospital was substantially extended by architects, Meldrum and Noad, to a design sympathetic to the original by continuing the sweeping balconies.

The famous restaurant of "La Maison Dorée", the building built in 1839 by Victor Lemaire, architect-entrepreneur, opened in 1841 was based by Louis Verdier, then managed by his sons Ernest and Charles. Initially, the restaurant was called "Restaurant of the Cité," but because of its luxurious design, with paintings and mirrors, and gilding on the balconies and balustrades, the public named it "Maison Dorée, the "Gilded House"." A la Maison Dorée - by Pierre Vidal (c. 1893) The restaurant was divided into two sections: one section accessible from the boulevard, for ordinary people, and another section, accessible via rue Laffitte, for wealthy customers.

Many of the books in the library were donated to the Piarist seminary in Opole; after the Order was suppressed after the January Uprising, some of the collection ended up in the Hieronim Łopaciński public library in Lublin. Field Marshal Ivan Paskevich After 1854 the Lubomirski palace was converted into a Russian military barracks, undergoing a severe redesign which included the loss of the mansard roof and the removal of the balustrades and tympanums; the third storey was heightened. The outbuildings were turned into a hospital, the last being demolished c2001. The former interior décor no longer survives.

Repton re-introduced formal terraces, balustrades, trellis work and flower gardens around the house in a way that became common practice in the nineteenth century. He also designed one of the most famous 'picturesque' landscapes in Britain at Blaise Castle, near Bristol. At Woburn Abbey, Repton foreshadowed another nineteenth-century development, creating themed garden areas including a Chinese garden, American garden, arboretum and forcing garden. At Stoneleigh Abbey in 1808, Repton foreshadowed another nineteenth-century development, creating a perfect cricket pitch called 'home lawn' in front of the west wing, and a bowling green lawn between the gatehouse and the house.

In addition, the number of crews planned was increased from about 860 – 880 on the Olympic and Titanic to 950 on the Britannic.. The quality of the First Class was also improved. Children began to appear as part of the clientele needed to be satisfied, and thus a playroom for them was built on the boat deck.. Similar to her two sister ships, the first class amenities included the Grand Staircase, but the Britannics amenities were more sumptuous, with worked balustrades, decorative panels and a pipe organ.RMS Britannic: A deck, Hospital Ship Britannic on The Internet Archive. Accessed 7 April 2011.

Sometimes the rustication would be used for pillars rather than walls, a reversal of expectations and almost an architectural joke.(illustration 2) # The local volcanic lava stone that was used in the construction of many Sicilian Baroque buildings, because this was the most readily available. Many sculptors and stone-cutters of the period lived at the foot of Mount Etna, making a diversity of objects, including balustrades, pillars, fountains and seats for buildings. Shades of black or grey were used to create contrasting decorative effects, accentuating the Baroque love of light and shade (chiaroscuro) as demonstrated in (illustration 2).

Although the Council itself said little about church architecture, its suggestion of simplification prompted Charles Borromeo to reform ecclesiastical building practise. Evidence of attention to his writings can be found at the Gesù. There is no narthex in which to linger: the visitor is projected immediately into the body of the church, a single nave without aisles, so that the congregation is assembled and attention is focused on the high altar. In place of aisles there are a series of identical interconnecting chapels behind arched openings, to which entrance is controlled by decorative balustrades with gates.

At the time the building was destroyed it was described as: > The axis of the building is north-south, with the main entry at the northern > end facing Cleveland Terrace. The north facade has a two- storeyed verandah > with crossed timber balustrades and curved boarded valances to both levels, > and a central projecting portico with paired timber posts topped with a > pediment and a flagpole as finial. The double entry doors have an arched > fanlight, and large single pane double-hung windows with arched heads to > either side. Behind are two levels of offices and chambers each side of a > central corridor.

The north elevation is a symmetrical composition consisting of bow-fronted pavilions on the eastern and western corners connected by colonnades to a central entry pavilion surmounted by a tower. This front facade is embellished with arches, pediments, quoins, cornices, parapets, balustrades and pilasters with Ionic capitals that are rendered to contrast with the brickwork. The central entrance pavilion includes two bow-fronted rooms, a meeting room to the east and study to the west, and a central entrance hall and porch. These rooms have rendered masonry walls, plaster ceilings and feature high quality timber joinery.

Loder House is an 1834 two storey brick Georgian townhouse with attic and later Victorian two storey timber verandah with cast iron lacework balustrades and verandah brackets. The upper floor has five symmetrically placed French Doors with stone voussiors, opening onto the verandah, whilst the ground floor has paired windows with stone voussoirs and sills, flanking a central entrance with an arched fanlight. The main facade is of face sandstock whilst the side walls have been rendered. The 1975 National Trust (NSW) listing said that at that time the street facade was stuccoed, the remainder of the external walls face brick.

The Hoblitzelle Foundation turned the Majestic Theater over to the City of Dallas in January 1976 and the theatre was restored for use as a performing arts center. After restoring the exterior, the original Corinthian columns, balustrades, urns, and trellises of the auditorium were repaired and repainted. 23K gold leaf was reapplied to the extensive interior decorative accents. New seats were installed, and the number of seats was reduced from 2,400 to 1,570, to allow for an enlarged orchestra pit, the conversion of the second balcony to house advanced sound and lighting systems, and the division of the first balcony into box seating.

The Merritt Beach & Son Building stands just outside New Milford's main downtown business district, on the west side of railroad tracks and the south side of Bridge Street (United States Routes 7 and 202). It is a three- story brick building with Italianate styling. Its front facade is five bays wide, with a gap between the right two bays and those to the left. Windows on the upper floors are topped by bracketed segmented-arch hoods, and a single- story porch flat-roof porch extends across the first floor, supported by square posts with simple balustrades between.

At the center of the north elevation, a tall stone platform reaches from the ground to the first story and supports a large covered porch framed with wooden handrails and balustrades on its north and west sides. The porch's roof is supported by five square wooden columns: three along the north edge and two engaged columns against the house's stone exterior. The porch is topped with a metal roof with standing seam profiles. The front door, located between the first story's two large windows, features vertical boards on its exterior side and horizontal boards on its interior side.

The Morency Paint Shop and Apartment Building stands on the south side of Portland Street (United States Route 2), a mixed residential- commercial area east of downtown St. Johnsbury. It is a rambling 2-1/2 story wood frame structure, with a cross-gable roof on the main section, and a series of extensions to the rear that bend around form an L shape. The exterior is finished in wooden clapboards, and it rests on a foundation of brick faced in concrete. A two-story porch extends across the front facade, with Victorian bracketed turned posts and turned balustrades.

'Lankapatuna Samudragiri Viharaya (') is a Buddhist temple situated in the Trincomalee District, Eastern province of Sri Lanka. This temple which is situated near the ocean near the historic Port of Lankapatuna where Prince Dantha and Princess Hemamala set foot in Sri Lanka bringing the Sacred Tooth Relic of the Buddha. The ruins of the ancient Temple has been heavily damaged by the civil war and tsunami but ruins of an ancient Dageba, Korawak Gal (a type of ancient balustrades), a pond and other ruins of the ancient temple scattered around an area of 50 acres are still visible but a new Temple complex has been built near the ancient Temple's ruins.

He carved among other things, a figure of Saint Mary (sandstone, St. Anne Church); figure of Saint John (oakwood); and figures of Saint Francis, Saint Anthony and Saint Michael defeating the devil. Other works included organ balustrades, confessionals and Stations of the Cross. Grateful for the support from Hans Georg von Oppersdorff (born 1866), who financed Ondrusch's studies, Ondrusch became the creator of several notable works, including a lifesize statue of Jesus for the Oppersdorffs family tombstone; busts of the members of that family; and a statue of Saint Dorothea which was subsequently cast in bronze. All of the mentioned works have been reported missing after the war.

The house is coped with stone on top of a brick parapet, and the roof is mainly of clay tile. The balustrades up the main flight of stone steps are in the style of Robert Bakewell, or by Robert Bakewell, himself. The rusticated stone gate piers with acorn finials are specifically mentioned in its entry on the English Heritage register. Stone gate piers with acorn finials Split wooden staircase leading to roof Internal features include a three-flight oak staircase with carved tread ends, a fully panelled dining room, a secret passage to the cellar, and an unusual split staircase leading to the roof.

The pale colour of this encrusted plasterwork and the extensiveness of its use within the foyer (in combination with other elements such as mirrors), are the key reasons for the design style being described as Rococo. The long side walls are each punctuated by four blind balconies, set into the alcoves formed by the elongated ceiling groins. These balcony alcoves have low plasterwork balustrades at their base, tall mirrored panels on the flat wall behind and are capped by elaborate plasterwork canopies, from which red velvet curtains with a gold tasselled fringe are suspended. Below each blind balcony are mirrored panels with a darkly painted plaster border.

Prince Eugene of Savoy managed to persuade him to move to Vienna, along with his workshop. From 1700 to 1721, in collaboration with architect Lukas von Hildebrandt, he created a series of sculptures for the balustrades and other decorative sculpture for the Lower Belvedere in Vienna. Other works include the 1700 relief for the tombstone of Count Siegfried Sarau in the Deutschordenskirche, (Singerstrasse, Vienna), the relief on the gable of the Karlskirche, entitled the Apotheosis of St. Charles Borromeo in memory of the plague (1725), and a further plague monument in Baden bei Wien, featuring Mary Magdalene. In 1712, following the death of Emperor Joseph I, he became court sculptor.

The verandah has paired timber posts with curved timber brackets, timber louvres enclosing the southern end, and cast iron balustrades. Opening onto this verandah are french doors with fanlights from bedrooms, and a central arched timber door, sidelights and fanlight assembly from a main hall. Either side of the semi-recessed verandah are projecting brick bays housing paired casement windows with timber and iron hoods, and surmounted by arched parapets with rendered cornice details and circle motif. The corrugated iron skillion awning to the ground floor has paired timber posts to the central section, with triple timber posts either side, curved timber brackets and a solid valance for signage.

The high school building had a gable roof, and was sheeted externally on the upper level with ribbed aluminium panels. The northern side had a verandah on both levels that had tubular steel balustrades, handrails, and supports, and enclosed hat and store rooms at the ends. The building contained four wide classrooms, a commercial room (west) and principal's office (east) on the upper level; with a science laboratory, store and lecture room (west), and lavatories (east) flanking an enclosed area for students' recreation space (temporary library and reading room) below.Southport High School, Proposed New Buildings, DPW drawing no. A87/14/2A dated 1954Project Services, Summary report - School Site No 21454, p.

A further exacerbating factor that resulted in more significant damage from the leaks, was the change to the New Zealand Standard for Timber Treatment in 1995, allowing the use of untreated Pinus radiata timber for wall framing. As this timber has little natural resistance to rot when wet, damage occurs more quickly. In many cases claddings were not used within their specifications or not installed correctly. Many buildings built in the "Mediterranean" style used these types of cladding and had features such as recessed windows, flat roofs, minimal eaves, multiple storeys, complex roofs, solid balustrades, balconies and penetrations of the exterior cladding that increased the likelihood of water infiltrating the structure.

With more than 200 seats, the Small Hall, beautifully decorated with floral motifs, is used for cultural and scientific conferences, and for various recitals and concerts.An information website on the Târgu Mureș Palace of CultureAbout the State Philharmonic of Târgu Mureș On the window glasses there are illustrated sequences from Hungarian legends and on the balustrades of the windows the portraits of Kazinczy Ferenc, Tompa Mihály, Kemény Zsigmond and more. Above the 'quartet' gate the bronze embossments of Szent Erzsébet, Bolyai János and Bolyai Farkas, Aranka György and Bánk bán of Erkel Ferenc can be seen. On the main façade the statues and the embossments are in bronze.

The beauty of the park is due largely to the efforts of Friends of Rittenhouse Square, a public- private partnership with Philadelphia Parks & Recreation. Landscaping, lighting, restoration of fountains and fencing—even the installation and stocking of doggie-bag dispensers—are all projects of the Friends of Rittenhouse Square. During 2013, the 100th anniversary of architect Paul Cret's redesign of the Square, the Friends of Rittenhouse Square are working to raise record funds for a lighting and preservation initiative. New security cameras have cut down on vandalism, park rangers have helped calm behavior in the Square, and damaged balustrades and stonework are undergoing extensive restoration.

Doggartland House at Drakemyre may derive its name from 'Dogger' which is Scots for a course ironstone, much mined in the area as witnessed by waste bings below Ryefield and at Flashwood. An impressive, but now largely redundant cast iron bridge crosses the Rye Water within the grounds of Doggartland House. This bridge has very elaborate cast-iron balustrades and the nearby house has been described as 'Italianate' and the driveway is guarded by two pairs of quirky gatepiers, one tall and the other small, octagonal with panels at the top (See photograph). Doggartland Farm was the property of the Blair Estate in the 1870s.

Built in the mid-1880s by Hispanic merchants who had prospered with the coming of the railroad, these represent an adoption of Anglo-American tastes and house design on the most refined and grand scale affordable. This house, like the others, has an overriding symmetry of massing, full front porch, centered entrance and center hall plan with four matching square rooms on each floor. The doors, windows and balustrades are stock elements shipped in over the railroad. The segmental molding window pediments, the stick and cut-out friezes, the boxed chamfered posts and the concentration of those posts to mark the centered entrance show the hand of a local builder.

It belonged to Castle Dhronecken's comital administrator, Friedrich Christian Heusner, who was at the same time an Amtmann and judge. Since 1981 this house has been under monumental protection, thereby allowing it to be so well restored that from outside, it has regained its original appearance, and inside, in the Säulenhalle (“Hall of Columns”), the turned, four- to five-metre-tall oaken columns have been preserved. What brings this house to the cultural-historical fore is its balcony made of turned oak logs and with oaken balustrades. The builder F. Ch. Heusner's family came from Franconia, where, having taken Italy as a model, balconies standing on columns were quite widespread.

The building was enlarged and extended in 1924 by Lawrence G. White, son of Stanford White, including an addition on 156th Street. Previously, the entrance to the church, which sat on a hill, was by way of an outdoor brick stairway with terra cotta balustrades, but White's addition allowed for an entrance at the street level, with the climb to the church occurring via an indoor staircase.New York City Landmarks Preservation Commission "Audubon Terrace Historic District Designation Report" (January 9, 1979) The first pastor, in 1912, was the Rev. Adrian Buisson, formerly pastor of the Church of Our Lady of Guadalupe at 229 West 14th Street.

Two painted brick chimneys rise through the main roof. Addressing Percy Street, the front elevation is symmetrical about a projecting gable-roofed porch to the upper storey below which a small hipped roof shelters the ground floor main entrance steps. The projecting porch is crowned by a metal cross to the apex of the gable and is distinguished by decorative fretwork (incorporating a cross motif) to the arches and infill to the paired chamfered timber posts. The upper verandah is punctuated by pairs of chamfered timber posts carrying plain square timber capitals and the solid balustrades are clad with weatherboards and lined with vertical tongue and groove boards.

The center section, framed by Corinthian columns includes the main door along with a multi-paned transom; above the door is inscribed "Established 1866". The parapet above the sections is inscribed with "The Bakersfield Californian"; a later renovation placed a new inscription, using a new font, in front of the original inscription. The entire entrance facade is inset between two brick-faced towers with parapets; the towers have a set of twelve paned windows in the first floor and the same on the third. The southeast tower has wrought iron balustrades that round the corner, covering large French doors with white lintel and has a flag pole at the top.

With regard to subsequent (post 1898) works and changes, the early 1900s included changes/additions to the rear and internal works. The next phase of additions and alterations may have been for larger telephone exchange accommodation in the 1920s or 1930s, and the sheds to the rear, documented in 1937, were primarily for servicing the telephone network. A double-height lean-to verandah has been added to the sing-bay pavilion at the west end of the Gill Street elevation. This appears to have a mixed frame of timber posts and steel tubing, and the balustrades appear to have been filled in with cement sheeting.

The First National Bank of Houlton building is set in a row of otherwise brick buildings on the north side of Market Square, the heart of Houlton's central business district. Sharing party walls with the neighboring buildings, it has a granite facade, prominently distinguished by a pair of pilasters at the corners, and a pair of Doric columns in the center. These support a lintel with an overhanging bracketed cornice, which is topped by four equidistant blocks separated by balustrades with metal balusters. The facade behind the columns is organized into three bays, the left two having windows with decorative metal elements between the first and second levels.

Carvings of hippogryphs clearly show the adroitness of the artists who created them.A Concise History of Karnataka, pp 183, Dr. S.U. Kamath The Mandapas are built on square or polygonal plinths with carved friezes that are four to five feet high and have ornate stepped entrances on all four sides with miniature elephants or with Yali balustrades (parapets).An imaginary beast acting as parapet. These beautifully sculptured supports were used in entrances to temples and as flanks to steps and stairs in royal palace structures, New Light on Hampi, Recent research in Vijayanagara, edited by John M. Fritz and George Michell, pp 53 The Mantapas are supported by ornate pillars.

His grandson was Sir William Chaloner, Bt. The manor house was demolished in the early 19th century when the family moved to Long Hull. In 1842 Admiral Thomas Chaloner inherited the estate and in 1856 created the present mansion house. The design of the hall is attributed to William Milford Teulon by Historic England, though his elder brother, Samuel Sanders Teulon is listed as the architect by the 1966 North Yorkshire edition of the Pevsner Architectural Guides. The house, in Jacobean style, presents a main south front of two stories and attics behind balustrades, with seven bays, the central and two end bays being canted and gabled.

The two-story stuccoed building features Corinthian pilasters, a pedimented pavilion, recessed balustrades and a Palladian window. The Hall demonstrates the influence of Andrea Palladio as it bears close resemblance to the Villa Capra "La Rotonda" and the Villa Porto (Vivaro di Dueville). Palladio's geometrically formulaic design is echoed in the Philomathean Hall's 50x40 footprint, symmetrically placed windows and interior floor plan that conforms to the windows exterior placement. The open second floor meeting hall celebrates this geometry with its painted high ceiling, flanking fireplaces, and 14 symmetrically placed windows, while the downstairs rooms are dimensioned to match the window placement, a schematic that still challenges contemporary architects.

The 1887 Ferguson-designed school building is highset and aligned north-south, with a verandah on its western side; the former eastern verandah has been enclosed. It is clad in chamferboards and the gabled roof features high-level gable-end vents, board-lined eaves, and east and west-facing dormer windows. The northern and southern walls have banks of timber-framed casement and pivot windows, with modern louvred fanlights, sheltered by skillion hoods with decorative timber brackets. The western verandah wall has double-hung sash windows and panelled double-doors, all with fanlights; the balustrades are three-railed and some verandah posts are stop- chamfered.

A close-up image of the Father Thames statue in Coade stone at the front of the house Wilbraham was aged 60 when he inherited the title. One of his first acts was to buy the rights of the Manor of Kingston/Canbury from George Hardinge, extending the Dysarts' property south into Kingston. He had the wall that separated Ham House from the river demolished and replaced by a ha-ha, leaving the gates free-standing. Coade stone pineapples were added to decorate the balustrades and John Bacon's iconic statue of the river god, pictured here, also in Coade stone, dates from this period.

He designed to the north west of the garden the five-storey School for Naval Architects (also known as the science schools), now the Henry Cole Wing, in 1867–1872. Scott's assistant J. W. Wild designed the impressive staircase that rises the full height of the building. Made from Cadeby stone, the steps are in length, while the balustrades and columns are Portland stone. It is now used to jointly house the prints and architectural drawings of the V&A; (prints, drawings, paintings and photographs) and Royal Institute of British Architects (RIBA Drawings and Archives Collections), and the Sackler Centre for arts education, which opened in 2008.

The inside face of the columns had timber panelling which, to the ground floor verandah, aligned with expressed false beams in the timber panelled ceiling. The ground floor columns support a timber web truss, which in turn supports the first floor verandah above. The first floor verandah had cast iron balustrades, also produced by the Russell Foundry, which have been removed. The ground floor verandahs originally had a fixed timber louvred panelled frieze, which was the remnants of a louvred system intended to have panels which ran in tracks located at the side of the columns allowing the verandah to be enclosed, but where venetian blinds were installed instead.

It was destroyed by fire in 1945 and demolished, with only the stable block remaining today. The landscaped park survives, open on the south side to the public by permissive access, and crossed in parts by public rights of way, with ancient large trees and two sets of ornate entrance gates with a long decorative stone multiple- arched bridge over a large ornamental lake. The large pleasure garden survives, usually closed to the public, with walled kitchen garden and stone walls and balustrades of terraces.www.shobrookepark.com, official website The park and gardens are Grade II listed in the National Register of Historic Parks and Gardens.

A monumental staircase extends up from the Robertson Street entrance after passing a hall which is currently used as a cafeteria. A rear stair and stairs with wrought iron balustrades lead into the horseshoe shaped gallery which repeats the curved pews with under-pew heating. In total there was seating for 1100 people. It was planned that the basement (which was subdivided into a deacon's vestry, the minister's vestry, the choir vestry, a general vestry, a large hall and lavatoriesHastings and St Leonards Observer - Saturday 10 October 1885 p 5) could be utilised by the Young Mens Christian Association in addition to providing classrooms and meeting rooms.

A single-story porch extends around parts of the building, with Union Jack balustrades; a porte-cochere provides access to the main entrance via a semicircular drive. The original carriage house, located at the southwest corner of the property, was torn down in the 1930s when that corner of the lot was sold off and a house was built on the site (on Lombard Street). The original lot extended east to Centre Street, three houses were built in the 1920s on those perimeter lots along Centre St, an additional two houses were built on perimeter lots on Lombard St. in the 1930s. The current owners added a freestanding garage in 2018.

On the ground floor, the vestibule occupies the whole width of the building, with access through the 3 doors of the main facade and lateral entranceways. From this space you can access the corridors leading to the audience seating or, to the side, the stairs to the upper floors. The avant- foyer and foyer are located on the first floor and occupy the entire width of the building, with two rooms for a restaurant and smoking room. With its double height, corresponding to the main hall and facade, the interior is profusely decorated along the windows and balustrades, with a wide oculus on the transition doors to the "avant-foyer".

The surfaces are decorated through a mix of marquetry and inlaid sculpted pieces. The large triangular faces of the minbar on either side are covered in an elaborate and creative motif centered around eight-pointed stars, from which decorative bands with ivory inlay then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with panels of deeply-carved arabesques, made from different coloured woods (boxwood, jujube, and blackwood). There is a wide band of Quranic inscriptions in Kufic script on blackwood and bone running along the top edge of the balustrades.

It appears that only a few major additions have occurred to the Post Office since first constructed in 1878. These are largely single-storey, towards the rear along the eastern boundary, including the hipped-roof section over the mail room and skillion roof over the current staff amenities. Verandahs on the first-floor northern facade and north-western corner comprise asphalt lined floors, raked board and batten, and boarded soffits, respectively, green painted vertical slat timber balustrades with timber posts and wall mounted globe lights. There is a small concrete porch on the north-western corner of the ground floor below the upper verandah, without a balustrade.

Elements of the Spanish Mission style include: a complex main hipped roof and small ancillary skillion roofs at various heights, all clad in Cordova style terracotta tiles; the use of colonnaded verandahs with semi-circular arches, barley twist columns and wrought iron balustrades; and the white roughcast exterior. The entrance is from the western side of the building; the southern elevation, overlooking the river, is considered the "front". The originally open verandahs on the southern elevation have been enclosed with glazing, but the colonnade effect has been preserved. Internally, the house remains substantially intact, with original timber wall panelling in the public rooms, and decorative leadlight windows throughout.

It rises to four storeys (the uppermost is an attic storey); the centre five bays are topped by a "very elegant" pediment and a garlanded frieze. The recessed three-bay sections flanking it have parapets topped by balustrades and with a dentil cornice below, and the balustrade theme is repeated on a small balcony in front of each first-floor window. Three of these (the centre window of each section) have small triangular pediments above them; all others are straight-headed except at ground-floor level, where they are round-arched and linked by an entablature. Entrances with panelled doors are located in the third, sixth and ninth bays.

The façades are all similar, a continuous cast-iron balcony runs all the way along the crescent, the houses lack balustrades and have indistinct cornices, and each house has a prominent porch. The houses rise to five storeys and each has a three-window range, arched at ground-floor level and straight-headed elsewhere. Many windows are sashes. Instead of building the south end of the crescent at sea level, Burton raised it above Kingsway by levelling some of the ground, elevating the endmost houses above the road and connecting the crescent and road by building two symmetrical ramps and staircases parallel to Kingsway.

From there, a person could enter the main building through ornate, brass doors, and be treated to balustrades, brocade sofas, indoor fountains, and white marble. Ottoman requests made to the French ambassador in the capital around 1722 for luxury goods include nécessaires, commodes, Gobelin carpets, and even thousands of wine bottles, which were likely intended for the newly completed Sa’dabad. After its completion, Ahmed III used Sa’dabad frequently: feasts, parties, and other festivities that the Tulip period was famous for took place there. The pavilion factored into the Ottoman-Safavid rivalry as well. A royal court poem composed under Ahmed III described Sa’dabad as being superior to Isfahan's chahar bagh.

During the interwar years Hill and Taylor developed an extensive practice in northern Queensland. Their work included the Cairns City Council Chambers (1929-1930, Cairns City Council Chambers); the Johnstone Shire Hall at Innisfail (1935-1938, Johnstone Shire Hall); the Barron Valley Hotel (1940) at Atherton, and buildings at several district hospitals besides Mossman, including Boulia (emergency operating theatre, 1936), Cairns (nurses' quarters, 1937), Mareeba (new hospital building, 1937), and Proserpine (new hospital building 1939-1940, Proserpine Hospital). For the Mossman Hospital, Hill and Taylor proposed replacing the planned timber balustrades to the verandahs with decorative, arcaded concrete verandah facades in the Spanish Mission style popular at the time.

Croydon College buildings Croydon College underwent refurbishment and in the summer of 2011 the £33m rotunda was completed and officially opened in April 2012 by the Mayor of London, Boris Johnson. The refurbishment included recording studios, a performance hall, a library, social and study spaces, and meeting and conference facilities. As part of the refurbishment IQ Projects designed and installed a curved structural glass wall in the space between the library and the multi-leveled atrium as well as frameless glass balustrades with stainless steel handrails to access stairs between floors. The exterior of the college is made from a structural glass facade with top hung windows incorporated to provide ventilation.

The jagati which is in unity with the rest of the templeFoekema (1996), p. 25 follows a star-shaped design and the walls of the temple follow a zig-zag pattern, a Hoysala innovation. Devotees can first complete a ritual circumambulation on the jagati starting from the main entrance by walking in a clockwise direction (towards the left) before entering the mantapa, following the sculptural clockwise-sequenced reliefs on the outer temple walls depicting a sequence of epic scenes from the Hindu epics. Temples that are not built on a jagati can have steps flanked by elephant balustrades (parapets) that lead to the mantapa from ground level.

The classrooms on both levels retain their ceilings lined with sheets and battens, with those of the first floor having lattice ventilation panels. The stairwells at either end are intact, retaining iron balustrades and turned, clear-finished timber handrails and bare concrete stairs. Old Cleveland Rd boundary walls and fences Old Cleveland Rd boundary walls and fences from W.jpgIn front of Block A is a modest garden, terraced via a cement rendered boundary retaining wall with pillars and metal palisade. A concrete path leads from the street through the garden on axis between flanking Poinciana trees (Delonix regia) in flat lawns before dividing to either side to reach a branching stair up to the front door.

Mountain View homestead and General Store is likely to have aesthetical and technical heritage significance at a State level as the only known two storey wattle and daub dwelling in NSW. Its unusual attention to the details of decorative features demonstrates the creative and innovative achievement of David Todd who built the dwelling in the French Renaissance style. It is unusual in its marriage of crude construction techniques and locally obtained materials with highly decorative architectural features. The architectural features include the timber upstairs balconies, with their hipped rooves and finials and timber balustrades, the carved timber veranda valances and posts, the decorative features and colours in architraves and render mountings and fanlights above all internal doors.

Typically at first-floor level, made of Portland stone or lead-coated timber and surrounded by cast iron railings with elaborate patterns, they sometimes span entire terraces of houses. They were provided to extend the living space of the drawing room, considered the most important room in the house for socialising during that era; accordingly they extended some way beyond the ground floor. Many terraces and squares faced central gardens or the sea, so balconies would give uninterrupted views of these. Queen Anne Revival and Arts and Crafts-style villas of the late 19th and early 20th centuries, especially in Hove and around Preston Park, featured wooden balconies with simple balustrades formed of upright timbers.

The building includes several recurring elements from Morgan's Mediterranean style buildings, including full-length arched windows, balconies with iron balustrades, and decorative brackets. A writer in California Graphic said "this beautiful and spacious new building is but one more jewel in the crown of Achieved Results which this progressive and cultural little city is wearing so proudly and shows its ever increasing desire to give unstinted moral and financial support to every progressive endeavor." The rooms at the Studio Club had nameplates on the doors identifying individuals who made subscriptions of at least $1000 to the building fund. There were rooms named for Douglas Fairbanks, Howard Hughes, Gloria Swanson, Jackie Coogan, and Harold Lloyd.

Located in Kaiser Mahal which is across the street from the former Royal Palace at the entrance to the Thamel tourist area, the Garden was made famous as the Garden of Six Seasons created for Field Marshal Kaiser Sumsher Rana (1892–1964), in early 1920. The Garden, which featured a design inspired by the Edwardian style, was considered one of the most sophisticated private gardens of that time. Landscape architect Kishore Narshingh, designer of Singha Durbar and architect to Shumsher's father, the Maharaja, designed and supervised the construction of the Garden of Dreams. Within the Garden walls are pavilions, fountains, decorative garden furniture, and European-inspired features such as verandas, pergolas, balustrades, urns, and birdhouses.

Projecting forward of the centre of the corridor is an entrance block of primarily teachers' rooms, and at either end of the long wing is a short perpendicular wing comprising a classroom, a former cloak room, and a stairwell. The central entrance block and the end wings are emphasised by front-facing gable roofs with timber battening, banks of multi- paned timber-framed casement windows with fanlights, and window hoods supported by large timber brackets. At the centre of the entrance block is a branching cement rendered stair with simple metal balustrades. It leads up to the front arched doorway, which is flanked by narrow window openings and shaded by a window hood that features a battened triangular pediment.

The stairs are enclosed in large, timber-framed screens of fixed and wired glazing - the eastern stair has been relocated from its original position, and has a brick flower box to its north. The verandah has a low-pitched roof that is set below clerestory windows and is supported by continuous (ground to ceiling) timber posts. The ground floor verandah has a concrete slab floor and a flat, profiled metal ceiling; while the first floor verandah has a timber floor and a ceiling lined in flat sheeting with rounded cover strips and raked at a low angle. Bag racks form the northern balustrade, with timber three-rail balustrades located adjacent to the stairs.

Large banks of timber- framed, top-hung awning windows with recent, fixed fanlights above run along the first floor southern facade. The ground floor slab is elevated above "Town Square" and is accessed along the southern side by concrete steps leading to a central landing with tubular metal balustrades. Concrete pavements and pathways run around a large brick garden bed at the west end of the building to connect with the northern side of the ground floor. Due to the sloping site, the first floor verandah is at ground level at the eastern end, accessed from the adjacent stairway via a concrete-paved, face brick entrance bay with a vertical timber louvre screen in the northern wall.

A handsome cedar staircase with finely turned balustrades and carved newel posts rises from the corridor extending from the northern entrance off Mary Street. The upper level is organised around a central corridor incorporating a hall at the top of the stairs with two rooms to the Mary Street side and two to Reef Street. French windows to the rooms on the Reef Street side open onto a verandah, now enclosed with weatherboard cladding and casement windows, running along the Reef Street side. All interior walls are plastered and this level is notable for decorative pressed metal ceilings to rooms, hall, corridor and staircase soffits and the retention of much original cedar joinery including skirtings, architraves, doors and windows.

The project was divided among several contractors. North Carolina Granite Co. provided the below-water granite, Hallowell Granite Works provided the granite for the voussoirs and the facing on the piers above mean low water level. The Woodbury Granite Co. provided the coping granite and balustrades. Hallowell delivered its granite in May 1929, North Carolina Granite delivered its by June, and Woodbury Granite delivered roughly half its granite by June 30, 1929.Office of Public Buildings and Public Parks of the National Capital, 1929, p. 66. The construction contract itself was awarded to the N.P. Severin Company in October 1928. Nearly a year passed before the CFA approved pylon designs for Columbia Island in March 1929.

The name "Stone Town" comes from the ubiquitous use of coral stone as the main construction material; this stone gives the town a characteristic, reddish warm colour.Independent Travel Guide to Zanzibar Traditional buildings have a baraza, a long stone bench along the outside walls; this is used as an elevated sidewalk if heavy rains make the streets impracticable, or otherwise as benches to sit down, rest, socialize.Stone Town at Overland Africa Another key feature of most buildings is large verandas protected by carved wooden balustrades. The best-known feature of Zanzibari houses are the finely decorated wooden doors, with rich carvings and bas-reliefs, sometimes with big brass studs of Indian tradition.

The T.R. Foster Building at 902 Nuuanu Avenue was built by Thomas R. Foster, one of the founders (in 1882) of the Inter-Island Steam Navigation Company. In 1880, Foster had purchased the estate of the renowned botanist William Hillebrand (1821-1886), which was bequeathed to the city as Foster Botanical Garden at the death of his wife, Mary E. Foster (née Robinson), in 1930. The architectural style of the two- story T.R. Foster Building resembles that of the one-story Royal Saloon Building across the street, which was built in 1890 on the site of a former corner bar. Both are modestly Italianate brick buildings, with pilasters, cornices, and balustrades along the streetside rooflines.

The building was heavily damaged on 15 February 1865 when a 2.2ML earthquake shook the area, topling three of its famed chimneys, cracking walls and displacing some of them by eight inches. There is evidence of a house on the Rampside Hall site since 1634, however the precise date of construction for the present building is thought to be in the late 17th Century. Rampside Hall is three storeys in height excluding the attic and is of a 5 bay, double-depth plan. Some important original features noted by Historic England include a well in the building's cellar as well as a large staircase rising all three floors with oak balustrades and handrails.

The original spires were destroyed in the Hundred Years' War and replaced by less striking balustrades in the early 18th century. The community of nuns were dispersed and suppressed by the French Revolution. In 1823 the local city council decided to transfer the ancient Hôtel-Dieu (possibly also founded by William the Conqueror, but more likely King Henry II of England), to the former cloister for use as a hospital, and the canonesses regular, who had assumed responsibility for the hospital from the two abbeys during the 14th century, established themselves there. The canonesses continued to operate there until 1908 when the facility was given to the Hospice Saint- Louis for use as a nursing home.

Repton's ornamental lake The National Register of Historic Parks and Gardens lists of the gardens and surrounding parkland at grade II. An early engraving shows a walled forecourt to the south of the original hall, with a large stone gateway carved with Sir Randolph Crewe's arms and motto. The forecourt had terraces, balustrades and a path decorated with diamond patterns. As depicted in a painting of around 1710, the grounds were laid out in extensive formal walled pleasure gardens with parterres. During the 18th century, the park was landscaped in a more naturalistic style for John Crewe (later the first Baron Crewe) by Lancelot Brown (before 1768), William Emes (1768–71), and Humphry Repton and John Webb (1791).

The temple has an apsidal shape with its interior chambers and sanctum set on the square principle while the spire and outer walls use an almost circular plan. The temple is set on a high plinth like the Hoysala temples, with the basement adorned with sculpted animals and balustrades with yalis flanking the steps. The outer walls of the Shiva temple have large sculptured panels at right angles to each other and these show the major gods and goddess of Vedic tradition and post-Vedic Shaivism, Vaishnavism, Shaktism, Saurism (Surya) and Ganapatya (Ganesha) traditions of Hinduism. The base of the temple have relief friezes depicting a large variety of stories from Hindu epics and puranas.

The pilgrim journey begins at the base of the monument and follows a path around the monument, ascending to the top through three levels symbolic of Buddhist cosmology: Kāmadhātu (the world of desire), Rūpadhātu (the world of forms) and Arūpadhātu (the world of formlessness). The monument guides pilgrims through an extensive system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades. Borobudur has one of the largest and most complete ensembles of Buddhist reliefs in the world. Evidence suggests that Borobudur was constructed in the 9th century and subsequently abandoned following the 14th-century decline of Hindu kingdoms in Java and the Javanese conversion to Islam.

Grinling Gibbons was the chief sculptor, working in both stone on the building itself, including the pediment of the north portal, and wood on the internal fittings. The sculptor Caius Gabriel Cibber created the pediment of the south transept while Francis Bird was responsible for the relief in the west pediment depicting the Conversion of St Paul, as well as the seven large statues on the west front. The floor was paved by William Dickinson in black and white marble in 1709–10St Paul's website, Miscellaneous Drawings Jean Tijou was responsible for the decorative wrought ironwork of gates and balustrades. The ball and cross on the dome were provided by an armorer, Andrew Niblett.

During the 19th century, wealthy Filipinos built some fine houses, usually with solid stone foundations or brick lower walls, and overhanging, wooden upper story/stories with balustrades Ventanillas and capiz shell sliding windows, and a Chinese tiled roof or sometimes Nipa roof which are today being replaced by galvanized roof. Bahay na bato had a rectangular plan that reflected Spanish style integrated with Traditional Philippine style. During the American period of the Philippines, they still incorporated bahay na bato style, though the American Antillean houses are more liberated in design but still keeps the Spanish Colonial designs. Today these houses are more commonly called Ancestral houses, due to most ancestral houses in the Philippines are bahay na bato.

The Chatsworth Apartments is a nine-story, L-shaped apartment building, built of reinforced concrete with tan-colored brick and tile.Chatsworth Apartments from the state of Michigan It included an underground parking garage with a sixty-five car capacity - an uncommon feature at the time. The facade of the Chatsworth is divided into three horizontal sections: a heavier base consisting of the first two floors, a center section of floors 3-8, and the capping of the ninth floor. The first two floors are designed with decorative elements, including white stone at the ground level, orangish tiles, balustrades on the second-story windows, and a clearly defined bracketed cornice above the second floor.

A two-story Surgeon's House (Building R1), designed in the French Second Empire style, was built in 1863 by builder True W. Rollins and civil engineer Charles Hastings. The entrance to the house is symmetrical and contains a small pair of steps to a large doorway, with segmental arches and balustrades on either side of the entryway. The facade of the house contains a variety of window designs, including a large bay window on the north side of the first floor, and segmental arch windows on the second floor and at the front side of the first floor. There are sixteen rooms in the house itself, as well as a servant's quarters.

The façade consists of three levels, featuring a large a round-headed portal on the ground floor, with direct access to the canal. The two noble floors have a symmetrical structure and are decorated by pentaforas in the central parts flanked by pairs of single-lancet windows on each side; all these openings have stone balustrades. To the right of the main structure there is a smaller building belonging to the Palazzo Gritti complex. It is also of three floors, with a portico supported by small columns on the ground floor; on the façade there are two bas-reliefs, depicting the coats of arms of the Gritti and the Dandolo families, who were the respective owners.

Striped ogee awnings across the footpath were supported by decorative posts with cast iron infill. Each shop had a separate roof, some lit by lanterns and the individual tenancies were also marked by the visual separation of the facades by the use of classic revival pediments, urns, and balustrades. Although this row of shops was designed as five tenancies, two were owned by Albert Gorrie, who conducted a bakery in one and leased the other, and three by Thomas Gaydon, which were occupied as a single tenancy by Wyper Brothers, ironmongers, who also sold furniture and hardware. Pettigrew's Hardware who succeeded them in the 1920s, also used all of the Gaydon owned space, which practice seems to have continued.

The Kennedy–Warren was the first building in Washington to use aluminum extensively; applications include the entrance porch, spandrels between the windows on the façade, balustrades in the lobby, and even an aluminum-leaf arched ceiling in the ground-floor corridors, unique in Washington. The stone carvings are in the Aztec Deco style, influenced by the carved stonework of ancient Mexico, and include griffins, eagles, and a frieze of elephants and starbursts and they rise three floors above street level. An unusual feature of the Kennedy–Warren when it opened in 1931 was its air-cooling system. Three enormous fans drew cool air from Klingle Park at the back of the building and forced it through the public corridors.

To the north of the city, encircled by great walls and containing elaborate bathing ponds, carved balustrades and moonstones, stood "Abhayagiri", one of seventeen such religious units in Anuradhapura and the largest of its five major viharas. One of the focal points of the complex is an ancient stupa, the Abhayagiri Dagaba. Surrounding the humped dagaba, Abhayagiri Vihara was a seat of the Northern Monastery, or Uttara Vihara and the original custodian of the Tooth relic in the island. The term "Abhayagiri Vihara" refers not only to the complex of monastic buildings, but also a fraternity of Buddhist monks, or Sangha, which maintained its own historical records, traditions and way of life.

Duntryleague Guesthouse and Golf Club in winter 2019 Built in 1876, designed by Benjamin Backhouse, a good example of mid Victorian era Filigree style, with very high standards of construction and high quality craftsmanship in joinery and ironwork. A three-storey house of hand-made sandstock bricks in multi-bond and at the rear are two storeyed wings with splayed corners. The predominant feature of the front facade is a portico and a double storey verandah which returns down the sides. The square cast iron posts of the portico and verandas were made by Fletcher Brothers of Park Street, Sydney, and the verandah have ornate cast iron lace to the balustrades and brackets.

Both have prominent gables facing the street, corbelled chimneys, single level verandahs with decorative timber-work and rendered quoins, string courses and dressings to the windows. Whilst the verandah extended across the whole facade of the semi-detached houses, St George's House has two separate verandahs on each of the two larger gable fronts and a small awning covering a secondary entry of the western side of the building. A photograph dated 1894, shows St George's House in more detail, including turned balustrades to the verandahs above the main entry porch and a further entry to the building on the eastern side similar to that on the west. The building was basically symmetrical.

The Zwinger was built in 1709 as an orangery and garden as well as a representative festival area. Its richly decorated pavilions and the galleries lined with balustrades, figures and vases testify to the splendor during the reign of Augustus the Strong, King of Poland and Elector of Saxony. In the original conception of the elector, the Zwinger was the forecourt of a new castle provided that the place should take up to the Elbe; therefore, the Zwinger remained undeveloped on the Elbe side (provisionally closed with a wall). The plans for a new castle were abandoned after the death of Augustus the Strong, and with the departure from the Baroque period, the Zwinger initially lost importance.

The workmanship and detailing of the external cement render work is of national significance technically. Babworth's garden is an integral part of the design for the whole estate and, although the estate is reduced in size, the gardens and grounds provide a substantially intact and highly appropriate setting to the grand mansion. The built garden elements such as stairs, balustrades, grottoes and faux-rockwork amplify the scale of the mansion and demonstrate high technical accomplishment by using the same high standard of construction as the house. The Babworth estate, including house, garden and outbuildings, is representative of the large villa estate established by the wealthy elite of Darling Point during the nineteenth and early twentieth centuries.

Reid Hall, a dormitory on campus Benedict Hall, an academic building on campus Mary Helen Cochran Library The college's architecture is dominated by the work of Ralph Adams Cram, who also lent his architectural expertise to the campuses of Princeton University and West Point, among others. Although Cram's forte was Gothic Revival, he designed Sweet Briar in the Colonial Revival style, using red brick buildings with white balustrades and arcades.archive.org, "The Ralph Adams Cram Architecture of Sweet Briar College," Chambers, S. Allen Jr., 1995 (Retrieved 3-17-15) Twenty-one of the thirty campus buildings were designated as the "Sweet Briar College Historic District" by the National Register of Historic Places. Sweet Briar House, which traditionally houses the college president, is among these buildings.

Designed by Charles Valency (a military engineer) a replacement bridge on the same site was built between 1764 and 1768 as a three elliptical arch stone bridge with a total span of 42 m, and named Queens Bridge after Charlotte of Mecklenburg, queen consort of George III. The bridge was renamed for the legendary Queen Maeve at a meeting of the Municipal Council on 2 January 1922. However, it was renamed again in 1942 to its current name, after Lieutenant General Liam Mellows Irish Republican army who was executed during the Irish Civil War. Being 250 years old, Mellow's Bridge remains the oldest of all Dublin city bridges still in use, although the parapets were replaced with cast iron balustrades and stone copings between 1816 and 1818.

There were many miscellaneous carved furnishings, picture frames and stands for tables, balustrades and paving-stones, and busts of Marcus Aurelius and Faustina. For the gardens he provided figures of Venus and Cupid, Jupiter, Flora, and, to guard the garden front door, a large figure of Cerberus on a pedestal, all long gone, but Stone's Hercules— and perhaps others— are preserved in the gardens at Blickling. In the garden Stone erected a large iron pergola painted green, surmounted by eight gilded balls. In 1638, he sent his son, Nicholas Stone the younger, to Italy, whence there returned an elevation of a new garden house just built in the Villa Ludovisi, Rome, "for Mr Paston",The younger Stone's Italian notebook is conserved in Sir John Soane's Museum.

The majority of designers of Victorian terraces in Melbourne made a deliberate effort to hide roof elements with the use of a decorative parapet, often combined with the use balustrades above a subtle but clearly defined eave cornice and a frieze, which was either plain or decorated with a row of brackets (and sometimes additional patterned bas-relief). Chimneys were often tall, visible above the parapet and elaborately Italianate in style. Individual terraces were designed to be appreciated on their own as much as part of a row. Symmetry was achieved through a central classical inspired pediment or similar architectural feature, balanced by a pair of architectural finial or urns on either side (though these details were subsequently removed on many terraces).

As a result, the magnificent main buildings upper floors have been subject to flooding from rain, and the building decays further every year. The AIA Architectural Guide to Nassau and Suffolk Counties describes the building as having "poly-chromatic voussoir arched windows, elaborate cast- iron balustrades, and Dorchester stone trim." The building was selected in 2003 by the Preservation League of New York State as one of its "Seven to Save" endangered properties (view newsletter). Saint Paul's featured prominently in the book published by then President's Donald Trump's niece, Mary L. Trump, Too Much and Never Enough, in which she explains that both of President Trump's brothers, her own father Fred Trump Jr. and her uncle Robert Trump were alumni of Saint Paul's.

The Cosmatesque pulpit, the balustrades, the altar frontal and episcopal chair behind the altar (in pale blue, unusual in Cosmatesque work) may have been brought here at this time from San Giovanni in Laterano, when work was undertaken at this period in the transepts there, although possibly they came from other churches. The paintings between the windows are also 17th century, by Cavalier D'Arpino and Cesare Rosetti, and depict the martyrdoms of St Caesarius and of several saints named Hippolytus, a compliment to Pope Clement VIII, whose baptismal name was Ippolito. It was Cavalier D'Arpino who also produced the design for the rare motif in the mosaic, God the Father.A Handbook of Rome; by John Murray, 11th edition (1872), page 137.

However, by now the reopened bridge had lost much of its pre-war splendor, as limited funds meant no resources to restore the various decorative neo-Polish renaissance features, such as the hand-made balustrades or stone benches. Some of the old pre-war benches, as well as one of the old spans, can be seen in the water near the bridge at low tide. Renovated small towers as of 2013. Between 1963 and 1966 the bridge was widened, a trolley track was separated from the carriageway and the bridge was connected to the Wisłostrada expressway on the left bank of the Vistula by means of a long looping sloped roadway section which reminded some commentators of a snail's shell.

Upper floors, 2016 The three adjacent two-storey brick shops fronting Brisbane Street present a cohesive group which contribute significantly to the nineteenth century streetscape of this part of Brisbane Street. The two westerly shops are a matching pair of two-storey, gabled roofed brick shops, the details above the cantilevered awning being relatively intact, with cantilevered wooden balconies decorated with cast ion posts and balustrades and curved corrugated iron roofs. The walls are decorated with polychrome and projecting brickwork and classical mouldings in cement render and have small central triangular pediments. The shop front at ground level has been substantially altered with a large glass display window dominating the entrance at Action Realty and the printers shop next door.

The main stair features treads, risers and landings of white marble, a handrail of Verte Des Alpes marble with solid balustrades of cream scaglioda and walls of cream scagiola. The most significant aspect of the structural system utilised for the APA Building was the speed at which the steel and concrete composite system allowed the work to proceed. The use of bolted structural steel not only reduced the noise level of the process, considered a major problem at the time when riveting was still common, but allowed for the steel frame to be erected in a period of fifteen weeks. Equally impressive was the curing of the concrete which was poured at the rate of two floors in five working days.

The concerns of the Housing Board, in addition to a general concern about increased durability of materials and ease of construction, may have influenced the design and construction of these buildings. Bricks at this time were generally dry pressed and fired at higher temperatures and therefore harder and more durable, which made sense for this type of public housing. Of greater importance, however, was the adoption of double skin brickwork, which was an innovation of this time. The general concern and requirement for improved and low maintenance materials is emphasised here with the incorporation of more durable elements such as the steel framed stair, wrought iron balustrades and concrete slab to the upper landing in preference to timber detailing typical of this period.

This was followed by Jane Eyre (1993), adapted by Fay Weldon and starring Tim Pigott-Smith; Frederick Lonsdale's On Approval, (1994), starring Simon Ward, Martin Jarvis and Anna Carteret; and Ray Cooney's Funny Money in 1995. In 1996, Cooney sold the Playhouse to American investment banker Patrick Sulaiman Cole, whose first production was a critically acclaimed revival of Henrik Ibsen's A Doll's House in 1996, directed by Anthony Page and starring Janet McTeer. Later that year, the theatre was closed for complete refurbishment under the direction of English Heritage, with the auditorium luxuriously decorated, with grandiose murals, caryatids, golden pillars, carved balustrades, and shining gold decoration. It reopened in 1997 with Sulaiman Cole's production and the West End première of Anton Chekhov's The Wood Demon.

The window openings of the second floor are arched, accented by аrchivolts. The center of the roof railing with balustrades is the аttic in the form of reduced model of the temple, symbolically pointing to the building as a "temple of music", whose inner box is marked "Home and school of the singing band Stanković", and the year of construction is above the tympanon – 1913. Above the entrance to the building is a relief, "An old man with a fiddle and a boy" with the qualities of Art Nouveau. On the parapets, atypical fields between the windows of the first and second floors, there are relief portraits of the composer Кornelije Stanković, Davorin Jenko and the president of the singing band Stanković, Živojin Simić.

The vestibule inside the east end of the conservatory had standing boxes of orange trees, camellias, proteas and magnolias which were brought out onto the terraces for the summer (picture). Around this time terrace gardens with fountains and balustrades were finished. In January 1827 Jones & Clark wrote to Baring “We think we may safely venture to affirm that the conservatory at The grange is not surpassed by anything of the kind in the United Kingdom.”'“The whole of the conservatory, with the exception of the brick and stone work, was executed, and its different parts put together at our Birmingham and aftwards [re-]erected in its present situation by our own workmen.” This use of prefabrication was revolutionary and a precursor to Paxton's Crystal Palace.

Constructed mainly of wood and stone, Gyeonghoeru has a form where the wooden structure of the building sits on top of 48 massive stone pillars, with wooden stairs connecting the second floor to the first floor. The outer perimeters of Gyeonghoeru are supported by square pillars while the inner columns are cylindrical; they were placed thus to represent the idea of Yin & Yang. When Gyeonghoeru was originally built in 1412, these stone pillars were decorated with sculptures depicting dragons rising to the sky, but these details were not reproduced when the building was rebuilt in the 19th century. Three stone bridges connect the building to the palace grounds, and corners of the balustrades around the island are decorated with sculptures depicting twelve Zodiac animals.

Residence in 2015 Ozanam House, a single-storeyed timber building with timber stumps and a hipped corrugated iron roof with cast iron ridge cresting and paired timber eave brackets, is located on a northerly sloping site fronting Roderick Street to the north and bordered by Waghorn and Omar Streets. The building is situated opposite Baines park and has views over Ipswich to the northeast. The chamferboard building has verandahs all round, with the southeast corner enclosed and a kitchen wing at the rear southwest corner. Verandahs have single-skin exposed framed timber walls, curved corrugated iron awnings, curved timber valance and tapered timber brackets, timber dowel balustrades, battened timber skirt between stumps on the north, and timber lattice panels either side of the central entrance stair.

Baroque churches were designed with a large central space, where the worshippers could be close to the altar, with a dome or cupola high overhead, allowing light to illuminate the church below. The dome was one of the central symbolic features of Baroque architecture illustrating the union between the heavens and the earth, The inside of the cupola was lavishly decorated with paintings of angels and saints, and with stucco statuettes of angels, giving the impression to those below of looking up at heaven.Ducher, pg. 102 Another feature of Baroque churches are the quadratura; trompe-l'œil paintings on the ceiling in stucco frames, either real or painted, crowded with paintings of saints and angels and connected by architectural details with the balustrades and consoles.

In 1778 Sedley commissioned James Wyatt to undertake a number of alterations. Externally these included the installation of Venetian windows on the garden front and the lowering of balustrades below some others. Internally the redesign of the music room in a neo-Classical style illustrated how much taste had changed within a short period of time The final residential owner of Nuthall Temple was the Reverend Robert Holden, Rector of the Parish, whose family had owned the estate since Robert Holden purchased it in 1819 at auction for his second son. The Holdens were an established Derbyshire family who had both invested heavily in the purchase of land and through marriage ties had connections with many of the neighbouring landowning families.

In such situations corrosion- proof reinforcing can extend a structure's life substantially, for example in the intertidal zone. FRP rods may also be useful in situations where it is likely that the concrete structure may be compromised in future years, for example the edges of balconies when balustrades are replaced, and bathroom floors in multi-story construction where the service life of the floor structure is likely to be many times the service life of the waterproofing building membrane. Plastic reinforcement often is stronger, or at least has a better strength to weight ratio than reinforcing steels. Also, because it resists corrosion, it does not need a protective concrete cover as thick as steel reinforcement does (typically 30 to 50 mm or more).

The Wharf House stands facing the Fox Islands Thorofare on the south side of North Haven Island, at the tip of a point just east of the island community's main dock and harbor area. It is a long rectangular wood frame structure, built partly on land and partly on a series of granite piers projecting roughly south from the point. It is surrounded by a wooden deck, which is extended as a dock further to the south. The water-facing end of the building sports a curved porch with decorative turned posts and balustrades on the upper level, and large curved brackets below, making it resemble the poop deck of sailing galleons of the 16th and 17th centuries; this porch extends partway along the long sides.

Internally, the former functions of the building are clearly defined, with public entry and reception in the front portico; offices in the tower; vertical circulation, toilets, and other shared facilities in the core; offices and a semi-enclosed carpark in the rear podium; and car parks and store rooms in the rear car park. The public entry and double-height reception area are intact and feature black and white terrazzo floors, and marble-clad walls, columns, reception desk, planterbox and window sills. An original wall- mounted bronze artwork depicting the historical evolution of the wheel is retained in the entrance foyer. Within the front portico, L1 is a mezzanine level retaining original balustrades: iron near the southern glazing and battened timber above the reception area.

Modern baluster design is also in use for example in designs influenced by the Arts and Crafts movement in a 1905 row of houses in Etchingham Park Road Finchley London England. Outside Europe, the baluster column appeared as a new motif in Mughal architecture, introduced in Shah Jahan's interventions in two of the three great fortress-palaces, the Red Fort of Agra and Delhi,"There are no free- standing baluster columns of Shah Jahan's reign in the Fort at Lahore", according to Ebba Koch ("The Baluster Column: A European Motif in Mughal Architecture and Its Meaning", Journal of the Warburg and Courtauld Institutes, 45 (1982:251–262) p. 252) but balustrades are a feature of all three. in the early seventeenth century.

Although there were plans for the building's demolition due to its dilapidated condition, Alistair McAlpine (property developer, treasurer of Britain's Conservative Party, and Chairman of St Georges Investments (ACP)) decided to retain and refurbish the building and rename it St George's House. St George's House therefore became ACP's corporate headquarters. In 1986, ACP commissioned the architectural firm, Oldham Boas Ednie-Brown, to carry out the restoration of St George's House, which involved partial conservation and partial adaptation with some new material being introduced. Much of the external timberwork (such as the picket fencing, verandah balustrades, and gable finials) had disappeared, the tuckpointed brickwork had been painted, original roof sheeting had been replaced, the original roof vents had gone and the single-storey front porches had been removed.

This central core is sited at the top of the complex which steps to suit the topography and is interconnected with the accommodation by pathways. The overall impression is of a hillside village with a high degree of unity resulting from the repetitive use of pitched metal deck roofs, walls of white painted bagged cavity brick masonry and timber elements – pergolas, balustrades and lattice screens all stained dark brown. The broken profile of roofs scattered and staggered over the steep slope and the consequent changing perspective together with the remnant regrowth eucalypt vegetation reinforced by landscaping based on Australian native species providing shade and shadow to white washed walls all serve to visually enliven the courtyard spaces and pathways on the site.

Babworth's garden is an integral part of the design for the whole estate and, although the estate is reduced in size, the gardens and grounds provide a substantially intact and highly appropriate setting to the grand mansion. The built garden elements such as stairs, balustrades, grottoes and faux-rockwork amplify the scale of the mansion and demonstrate high technical accomplishment by using the same high standard of construction as the house. 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 Babworth estate, including house, garden and outbuildings, is representative of the large villa estate established by the wealthy elite of Darling Point during the nineteenth and early twentieth centuries.

Block B from the north-east Block B stands on higher land behind (to the southeast of) Block A and matches it in materials, style, detail, height, and floor levels by omitting an undercroft. The building has a tall hipped roof clad with corrugated metal sheets, topped by a metal ventilation fleche, matching Block A. Its form and layout is similar to Block A with a front block of classrooms and cloak rooms projecting in front of a long wing of classrooms with a stairwell toward either end. As in Block A, Block B has secondary entrances into the ground floor via concrete stairs with iron balustrades up to porches with round concrete hoods. The verandah on both levels is enclosed with later windows and sheet material, which is not of cultural heritage significance.

Sectional school buildings, from left to right: Block D, Block C, Block E, 2016 The four sectional school buildings are set back from Park Road and are aligned approximately east-west. The buildings are timber-framed and weatherboard-clad structures, highset on concrete piers, with corrugated metal-clad hipped (Blocks D and E) and Dutch-gable (Blocks C and B) roofs. The buildings were constructed in three phases between 1927 and 1933 (Block C, centre; Block B, southeast and Block E, southwest; and Block D, northwest) and are connected via enclosed verandah walkways. The north-facing (Block B, C and E) and south-facing (Block D) verandahs are enclosed by bag rack balustrades (Block B, C and E) and modern awning windows, and are accessed by external timber stairs.

Each classroom featured a bank of windows, which allowed natural light to enter from the left side of the students, and had battened ceilings with a central ceiling vent. A photograph from 1920 shows casement windows, with fanlights, sheltered below window hoods and a tiled, gable roof with a central ventilation roof fleche. Verandah corners were enclosed with dark-coloured weatherboards, centred four-pane windows, and light-coloured, vertically-battened timber balustrades and trim. Costing £3,556, the school building was designed to accommodate 120 pupils.Department of Public Works (DPW) drawing, 16192660, July 1919Guy and Sutcliffe, Ascot, p. 8Project Services, Ascot State School' in Queensland Schools Heritage Study Part II Report, for Education Queensland, 2008, pp. 1, 5, end pages. An important component of Queensland state schools was their grounds.

The first floor verandahs have raked ceilings lined in timber v-jointed (VJ) boards, timber floors, square timber posts, timber post-and-rail balustrades, and brick verandah walls (some have been painted). Some sections of single- skin, weatherboard-clad timber walls (former hat racks) are retained; and teachers annexes are connected to the verandahs of Block A and Block C. Block B's verandah features a scalloped valance, eaves with exposed rafters, and timber-framed, wired-glass partitions at the eastern and western ends. Verandahs to the understorey level have flat ceilings lined with profiled and corrugated metal sheets, concrete slab floors, face brick columns and face brick verandah walls. Bag racks and modern louvre windows that enclose the verandahs are recent additions and are not of cultural heritage significance.

The wrought iron balustrades on the staircases were by Maurice Tobin (fl. 1762) Wrought iron gates and railings fronting Castlegate were removed when the street was widened, but were recorded by York architect and artist Ridsdale Tait. upright=0.9 Viscount Fairfax died in 1772 and his title became extinct. Subsequent occupants included Sir Walter Vavasour, 6th Baronet of Haslewood (1780), William Danby (1787), Peregrine Wentworth (1792), Sir John Lister Kaye, 1st Baronet Lister-Kaye of Grange (1820) and Mrs Ann Mary Pemberton (1840–65).Fairfax House, Castlegate, description by York Conservation Trust At some point after this, Fairfax House, renamed St. George’s Hall, became neglected and fell into disrepair, and in the late 19th and early 20th century, part of the property was used as a dance hall.

The stairwells have simple iron balustrades with moulded clear-finished timber handrails and concrete stairs. At the stair landing between first and second floors of the centre stairwell, a set of timber-framed, glazed French doors lead out onto a narrow balcony that overlooks a parade ground immediately to the rear of the building. Capable of only accommodating one or two people, the balcony is the centre and focus of the southern facade composition, emphasised by a small projecting bay with a triangular pediment at the roofline bearing "1936" in raised, rendered numerals, and including a moulded rendered architrave that stretches up to the second-floor window above, topped by a stylised "keystone". The balcony is supported by scrolled rendered brackets and has a simple metal balustrade with an attached metal flagpole.

The Javanese Kakawin Ramayana is not based on Valmiki's epic, which was then the most famous version of Ram's story, but based on Ravanavadha or the "Ravana massacre", which is the sixth or seventh century poem by Indian poet Bhattikavya. Kakawin Ramayana was further developed on the neighboring island of Bali becoming the Balinese Ramakavaca. The bas-reliefs of Ramayana and Krishnayana scenes are carved on balustrades of the 9th century Prambanan temple in Yogyakarta, as well as in the 14th century Penataran temple in East Java. In Indonesia, the Ramayana is a deeply ingrained aspect of the culture, especially among Javanese, Balinese and Sundanese people, and has become the source of moral and spiritual guidance as well as aesthetic expression and entertainment, for example in wayang and traditional dances.

The houses stand on land containing , elevated about above Front Street in Churchill, with a field of south of the main buildings and reserved in perpetuity as an open space. They are arranged on three sides of a quadrangle about square, its open side facing south with a view to woods on the Mendip Hills. The south side is enclosed by a low brick terrace wall coped with stone and ornamented with carved stone vases, and in the centre is a gateway with wrought iron gates giving access to working gardens. Wide stonepaved paths run round the four sides of the quadrangle, the south path is terminated at each end with a large arbour arranged under the main roof, which is supported by oak posts and balustrades, each arbour contained oak seats and tables.

The west wing of the house is actually a replica of Sulgrave Manor, a small manor house in Northamptonshire, England, which once belonged to Lawrence Washington, an ancestor of America's first president, George Washington. However, the center of the house is a reproduction of the original Warwickshire priory and uses the curvilinear gables, strapwork design, and balustrades that the English commonly adapted from the Low Countries in the early seventeenth century. The east wing of the house, however, is based on Wormleighton Manor, a Spencer-Churchill family estate in England. The arcade. The original boundary of Virginia House property, recorded in the Clerk's Office of the Circuit Court of the County of Henrico, Virginia, is described as Lot 9, Block 41, Windsor Farms, in the plan of Windsor Farms made by Allen J. Saville, Inc.

The Chapel of the Palace The entrance presents a spacious and majestic façade terraced and equipped with balustrades; the center of the palace is a large quadrangle of which there are two gateways which allowed traffic to pass through; this thoroughfare was once called the Strada delle Calabrie or Road of Calabria. It is today called the via Università. The palace has two large parks: on the West overlooking the Gulf of Naples, and on the East looking towards Mount Vesuvius. On the left side of the courtyard of the palace is the barracks of the Royal Guards (Caserma delle Guardie Reali) and the Palatine Chapel (Cappella Palatina of 1749), while a majestic salon (1741) leads from the vestibule to the first floor, where the apartment of Caroline Bonaparte is.

The Tavern is a brick, two storey building, sitting close to the road overlooking the Jane Brook and Railway Reserve Heritage Trail. It has large verandas and balustrades on both floors across most of the south and west facing frontages which contributes to the building's impact on its surroundings. The timber veranda detailing has arched underside veranda beams together with unflamboyant ladder friezes; the dominant projecting roof gables over the front veranda; the remnant of rough cast render combined with brickwork on the chimney are of a later 'Bungalow' style, whilst the rendered bands of brickwork, rendered sills and lintels, the double hung timber windows, Georgian mullioned in the top sash and the odd surviving elements of stained glass all express the building's character from the federation period.

The large triangular faces of the minbar on either side are covered in an elaborate and creative motif centered around eight-pointed stars, from which decorative bands inlaid with bone and coloured woods then interweave and repeat the same pattern across the rest of the surface. The spaces between these bands form other geometric shapes which are filled with panels of deeply carved arabesques. These panels are made from different coloured woods including boxwood (for lighter shades), jujube (originally of reddish colour), and, for the central star-shaped panels, dark acacia wood (previously assumed to be ebony but identified by recent closer studies as African blackwood). There is a wide band of Qur'anic inscriptions in Kufic Arabic script on blackwood and bone running along the top edge of the balustrades.

Although Dobson was very versatile, and was able to build houses in Gothic or Tudor style if his clients so desired, his preferred style was Georgian. His country houses are too little known, mainly because they are not so large that they are open to the public, and are often still in private hands hidden away behind parkland and trees. The outstanding characteristics of his houses are his use of beautiful golden sandstone, Corinthian or Ionic pillared entrance porticos, elegant staircases with beautiful ironwork balustrades leading to an upper gallery with an iron balustrade of the same design, and the hall's having a domed ceiling and glass centrepiece. Often, as at Nunnykirk Hall and Longhirst Hall, the ground-floor design includes a curved or bow end at one side of the house.

There is a special result of the architectural form of the Circular Mound Altar which can be explained through the religious ceremonies performed there. The boulders on the top terrace amplify the voice as one whispers through it. When the emperor stands in the center of the top terrace, on top of the central stone and performs the ceremony to pray for rain, his voice would become loud, like the heaven oracle. When coupled with the solemn ritual performed by a group of Chinese monks, the atmosphere is given a more mysterious effect as the sounds generated gradually increase in volume. The cause of this effect is the extreme smoothness of the altar’s walls and floor, causing sound waves in all directions to spread quickly to the stone balustrades and get reflected back.

The hip-roofed, semi-detached kitchen wing, located at the southern end of the south-east verandah of the main house, is clad with horizontal timber boards, with the timber studs exposed inside the rooms, except for the walls along the wing's verandah, which extends south-east from the south-east (rear) verandah of the main house. These walls have the studs exposed to the verandah. The same construction occurs in the former bedroom built at the corner of the north-east and south-east verandahs of the main house. There are decorative iron balustrades with timber railing on the north- west verandah, with a mix of timber latticework and timber-slat blinds above, while the north-east verandah has the same balustrading with timber-slat blinds above.

Born in Antwerp, he lived for at least four decades in Naples, probably starting from 1626 and definitely from the 1630s.Biographical details at The Netherlands Institute for Art History He became very wealthy from his trading activities, mainly with the Flemish and Dutch provinces and from banking, including as a financier to Philip IV, King of Spain. Feast of Herod, painted by Peter Paul Rubens for Gaspar Roomer He owned a sumptuous villa called 'Villa Bisignano' (also referred to now as 'Villa Roomer') in the Barra neighborhood of Naples. The balustrades in the villa, perhaps at his suggestion, are decorated with carvings of warriors and hunchbacks, based on northern European prints. The contemporary historian Giulio Cesare Capaccio also recorded ‘marvellous ornaments that came all the way from China’.

The Priestley family held Unitarian church services in the drawing room and Joseph educated a group of young men until the local Northumberland Academy that he helped found was completed.Hirsch, 40–41; Richardson, "Joseph Priestley's American Home", 61. The house proper was completed in 1798, with a Mr. Jones of Northumberland employed acting as master carpenter.This chronology follows Hirsch, Kieft, and Richardson, "Joseph Priestley's American Home", however McMinn gives the completion date for the whole house as 1797; Richardson, "Joseph Priestley's American Home", 63. Built in an 18th-century Georgian style, the "balance and symmetry" of the architecture signaled "subdued elegance".Hirsch, 28. The house was accented with Federalist highlights, such as "the fanlights over the doors and the balustrades on the rooftop belvedere and main staircase", marking it as distinctly American.Hirsch, 29.

The former bank at 39 Welsh Row, Nantwich is another In architecture the style's main characteristics are flattened, cusped "Tudor" arches, lighter stone trims around windows and doors, carved brick detailing, steep roof gables, often terra-cotta brickwork, balustrades and parapets, pillars supporting porches and high chimneys as in the Elizabethan style. Examples of this style are Harlaxton Manor in Lincolnshire (illustration), Mentmore Towers in Buckinghamshire and Sandringham House in Norfolk, England. In June 1835, when the competition was announced for designs for new Houses of Parliament, the terms asked for designs either in the Gothic or the Elizabethan style. The seal was set on the Gothic Revival as a national style, even for the grandest projects on the largest scale; at the same time, the competition introduced the possibility of an Elizabethan revival.

Beverley Hills Apartments - Apartment 21/63, Plan Beverley Hills Apartments - Apartment 8/61, Plan The development consisted of two separate blocks, with the larger Block 2 set behind and uphill from Block 1, on a steep sloping site up from Darling Street. Each block is nominally 5 storeys, but with the slope allowing for flats below the main entrance, the front building, Block 1 is six floors and the rear Block 2 is seven. They are set within a landscape of steep stairs and paths, balustrades and platforms, amongst heavy planting of trees and shrubs, with the famous pool part way up the site. Each block includes a tall narrow light well/courtyard which includes the access stairs, allowing some light and air to penetrate into the building.

The entrance has surul-vyalis (balustrades sculptured with the mythical form of vyalis with twisted trunks). The sanctum sanctorum has a square plan of wide and height of , and at the back wall there are three bas-reliefs, two are of Jain Tirthankaras (as evidenced by the triple umbrellas (chatris) over them) and the third relief is of an acharya (teacher). The ceiling of the garbha-griha which is painted shows a carved wheel with hub and axle that denotes the Dharma-chakra ("Wheel-of-the-Law"). Above the three images in Lotus position (seated posture), paintings are also seen which are surmised to represent a canopy which is carved with carpet designs with striped borders and squares and circles of different sizes with louts flower designs inscribed within the squares.

Non- original timber framed French doors with obscured glass panes and sidelights are located at the top of the stair, the verandah has been enclosed with glass louvres and compressed sheeting, and latticed timber panels are located between the brick piers supporting the verandah. The eastern gable end of the roof has decorative timber bargeboards, and a deck opening from the first floor of the rear wing is located adjacent to the gable end and is supported by timber posts above the enclosed eastern verandah. The deck has cross-braced timber balustrades and a decorative porch/aedicule forming the entrance to the first floor. The porch/aedicule has paired timber posts with cross-bracing, latticed timber valance, louvred timber shutters above balustrade height, and decorative timber gable with battens and curved timber elements.

Townsville Technical College after the 1939 additions to the Stanley Street wing Block A is a prominent building being situated on the corner of Stanley and Walker Streets, against the dramatic backdrop of Castle Hill. The two-storeyed masonry building with a metal roof forms part of a group of buildings on the southern side of Stanley Street, including the former Townsville School of Arts and the Sacred Heart Cathedral, that contribute to the aesthetic qualities of views to Castle Hill. Built to the street alignment, the building is composed of three main parts, a truncated corner structure and two flanking wings arranged in an L-shaped plan. The classical design of the facade is evident in the regular arrangement of windows, varied roofline of pediments and domes and classical detailing in balustrades and mouldings.

Together, Moore and Foster created Brisbane's most beautiful and popular parks and gardens of the early twentieth century. HRH Edward, Prince of Wales at the bandstand, 3 August 1920 Foster's design was for a timber- framed bandstand resting on brick piers set on a concrete base. The structure had a pyramid roof clad with fibrous-cement tiles (a very new product in Australia at that time) and was simply but effectively decorative with gablets to each side of the roof (these had shaped timber in-fills); a finial at the roof peak and at the end of each gablet; timber balustrades and valances with fretwork panels around the pavilion sides; and honeycomb brick infill between the piers. The contract was let in September 1919 to Mr TJ Dale of Gympie, who tendered with a price of .

Aside from the straight landward approach avenue, less commonly used then than now, the gardens at Villa Vizcaya are centered on two of the façades. One is the boat basin facing Biscayne Bay; its central island is in the form of a boat, railed by balustrades that are punctuated by obelisks, with central landing stairs shoreside and bayside, and bosquets of trees at bow and stern. The main extent of the gardens faces south, with a central axis that rises to a casino, and radiating side axes that offer glimpses of the lake beyond their ends. The main garden element, which had been purchased on one of Deering and Chalfin's trips before the villa was laid out, was the fountain from the main piazza of Bassano di Sutri, near Viterbo, which Deering and Chalfin were convinced was by Vignola.

Borromini had to work with the Rainaldi ground plan but made adjustments; on the interior for instance, he positioned columns towards the edges of the dome piers which had the effect of creating a broad base to the dome pendentives instead of the pointed base which was the usual Roman solution.Blunt, A. Borromini, Harvard University Press, 157 His drawings show that on the façade to Piazza Navona, he designed curved steps descending to the piazza, the convex curvature of which play against the concave curvature of the façade to form an oval landing in front of the main entrance. His façade was to have eight columns and a broken pediment over the entrance. He designed the flanking towers as single storey, above which there was to be a complex arrangement of columns and convex bays with balustrades.

An admirer of Dr. Franceschi, Freeman undertook creating a park to memorialize him, buying back the property's original acreage that had been sold, and acquiring additional acreage south of Mission Ridge Road that had not been part of the original parcel. This area was intended to serve as additional open space on the hillside, which featured trails that would continue southward to Milpas Street. The mansion was also remodeled into a 5,800 square foot, four-story stucco Mediterranean-style building in homage to Dr Franceschi’s cultural origins. Hardscape improvements included: the addition of terraces, axial staircases, and concrete balustrades; the enlargement and conversion of the original vehicle turnaround of the driveway into a terrace featuring a fountain within the center; and the addition of a concrete walkway leading to a semi-circular stone bench on the western side of the house.

Mount Coot-tha Lookout, 1930 Looking at the view has been the most popular and continuing form of recreation on Mount Coot-tha, and in 1882 the Duke of Clarence and Prince George (later King George V) commemorated their visit to Mount Coot-tha by planting two Moreton Bay Fig trees on the summit. By 1902 the viewing spot had been formalised by the erection of a stone pillar topped with a metal plate engraved with directional lines pointing to distant landmarks and views. There were also protective railings and a pay-as-you-look telescope. Their Royal Highnesses the Duke and Duchess of York enjoy a morning at Mt. Coot-tha April 1927 A small viewing gazebo with an ogee shaped roof, stone base, open balustrades, pergola entrance, and housing a telescope was constructed c.1918.

Models for the bronze lions were completed in 1700 by the French sculptor Bernard Foucquet the Younger (1640-after 1711). Foucquet used stone lions at the Villa Medici in Rome as prototypes for the commission, while the Crown had to melt sculptures taken from Kronborg Castle in Denmark to assemble the required amount of bronze. A wide range of rocks from various regional sources were used for the palace which is discernible in the northern front where hard to cut but more resilient rock is used for the bases and railings (e.g. so called Stockholmsgranit, younger granite found readily around the capital, grey or red in colour), and less compact rock, which is easier to carve but less resilient for more elaborated details – sandstone from Gotland for ornaments and mouldings, and marble from Kolmården for balustrades and bollards.

Davioud was born in Paris and studied at the École des Beaux-Arts under Léon Vaudoyer. After winning a Second Grand Prix de Rome, he was named inspector general for architectural works in Paris, and chief architect for its parks and public spaces. As a colleague of the urban planner Baron Haussmann, he designed much of the characteristic Parisian street furniture: benches, pavilions, bandstands, fountains, lampposts, signposts, fences and balustrades, jetties, monuments, as well as a number of landmark buildings. Among his most notable works are the popular Saint-Michel Fountain in Place Saint-Michel, the old Palais du Trocadéro (demolished 1937), and the two theatres at the Place du Châtelet (the Théâtre du Châtelet and the Théâtre de la Ville.) In 1868, Davioud succeeded Jacques Landry as mayor of Houlgate, where he stayed until 1871.

The former 16th- and 17th-century gardens of Raglan Castle are still visible in the form of several long terraces to the north of the castle, overlooking the lower ground beyond. First created in the second half of the 16th century, these terraces would originally have included a number of knot gardens, probably with Italianate sculpture and carved stone balustrades. The gardens at their peak would have probably resembled those at Nonsuch Palace, where the Somersets also had an interest as the royal keepers. The valley below retains some signs of the drainage ditches that once formed part of the water gardens that flooded the bottom of the site, although the original "water-parterre" to the north-west of the castle, another water garden in the south, and the extensive gardens around the south-west of the castle are now no longer visible.

The earliest examples of balusters are those shown in the bas-reliefs representing the Assyrian palaces, where they were employed as functional window balustrades and apparently had Ionic capitals. As an architectural element alone the balustrade did not seem to have been known to either the Greeks or the Romans,Wittkower 1974 but baluster forms are familiar in the legs of chairs and tables represented in Roman bas-reliefs,Davies and Hemsoll 1983:2. where the original legs or the models for cast bronze ones were shaped on the lathe, or in Antique marble candelabra, formed as a series of stacked bulbous and disc-shaped elements, both kinds of sources familiar to Quattrocento designers. The application to architecture was a feature of the early Renaissance architecture: late fifteenth-century examples are found in the balconies of palaces at Venice and Verona.

The federal government also purchased the land for the park in 1910, and began planning for its construction in 1912, with the Interior Department hiring landscape architect George Burnap to design a grand urban park modeled on parks found in European capitals. His plans were approved in early 1914, and later were modified by Horace Peaslee, who took over as project architect; the design included an Italian Renaissance-style terraced fountain cascade with pools in the lower half, and gardens in a French Baroque style in the upper half. The upper portion later was simplified somewhat to focus on an open mall, suitable for gatherings and performances. The well- designed and carefully made walls, fountains, balustrades and benches were built with concrete aggregate, a then-new type of building material consisting of a specially washed and exposed-pebble surface set into the concrete substrate.

Style: Pre Federation Anglo Dutch; Storeys: Four; Facade: Stone and polychrome brick facade including copper roofed bay and ornate stone capped gable ends.; Internal Walls: Original set plaster and rendered brick walls with Victorian colour (Bay 1); Lathe and plaster walls (Bay 1); Roof Cladding: Slate; Internal Structure: Original timber post and beam construction with cast iron capitals to the columns (Bays 2-5); Floor Frame: Timber floor; Ceilings: Barrel vaulted brick ceiling (Bay 1); Stairs: Timber staircases and balustrades; Fire Stairs: Bay 2-5- (1949–50); Bay 1- Fire stair to exterior of building (1961) & Steel fire doors and original hardware.; Sprinkler System: Some sprinkler heads date back to 1929, some of the original cast iron pipework is still intact. The ASN building was one of the earliest in Sydney to be fitted with a water sprinkler system to combat fire, , and is possibly the earliest surviving in Sydney.

Investigations by the Times and the City Controller also revealed that some filming fees had been paid in cash to James Croak, an American artist who leased the building from the City of Los Angeles from 1978–85, but no illegality was found as Mr. Croak had the right to sub-lease the property for short periods as long as he notified the landlord that he was doing so. Notably Mr. Croak used most of the money to replace missing brass fire poles, balustrades and other period fixtures that were missing. Other fees were not accounted for, and Olde 23 the museum Non-Profit had even collected fees for use of other city fire stations as shooting locations. Also, even after the city chose a new location for a fire department museum, the chief did not use the funds collected by "Olde 23" for the museum.

The reverse of the front facade entry arch, on the courtyard, is similar to it but without the keystone and is flanked by a pair of blind oval bulls-eyes with top and bottom keystones. The building is entered from the courtyard through four porticoes with columns of composite order, Guastavino tile ceilings, and balustrades (part of the one at the northeast corner is missing) which are set against the angled corner. Wood double doors with glass central panels and transoms are surrounded by egg-and-dart moldings and are flanked by small round-arched windows (most of which have been filled with polished granite). The courtyard walls maintain the building's overall horizontal division and materials, except that the base is one story high and is composed only of wide limestone bands and the brick is set in horizontal bands with plain and denticulated stringcourses.

It is an early and at the time unique integrated civic improvement design with low lying balustrades, parking bays, lighting and landscape elements (including the avenue of weeping figs) designed in such a way as to allow the pleasure of viewing Rose Bay by both pedestrian and motoring visitors. The scheme defined the sweeping interface between the waters of Rose Bay and the foreshore zone which is reflected in the inclusion of 20 meters of the bay waters, following the contours of the bay, as an indicative setting in the State Heritage listing curtilage. The experience of this interface to both pedestrians and motorists was integral to the original scheme. The Sea Wall Promenade and its setting are a relatively intact and good representative example of a 1920s civic improvement scheme designed in the Inter War Free Classical style and using trees representative of street and park plantings of the 1920s.

The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The sea wall, promenade and it settings has potential state heritage significance for its aesthetic values as an early and at the time unique integrated civic improvement design with low lying balustrades, parking bays and other features in the Inter War Free Classical style designed in such a way as to allow the pleasure of viewing the expanse of Rose Bay by both pedestrian and motoring visitors. The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales. The item has potential state heritage values as an intact and good representative example of a 1920s civic improvement scheme designed in the Inter War Free Classical style and using trees representative of street and park plantings of the 1920s.

Starting with the early Middle Ages, the original name was forgotten: after the ruin of Nero's Bridge, pilgrims were forced to use this bridge to reach St Peter's Basilica, hence it was known also with the name of "bridge of Saint Peter" (pons Sancti Petri). In the sixth century, under Pope Gregory I, both the castle and the bridge took on the name Sant'Angelo, explained by a legend that an angel appeared on the roof of the castle to announce the end of the plague. Dante writes in his Divine Comedy that during the jubilee of 1300, due to the large number of pilgrims going and coming from Saint Peter, two separate lanes were arranged on the bridge.Dante, Comedy, Inferno, XVIII, 25-33 During the 1450 jubilee, balustrades of the bridge yielded, due to the great crowds of the pilgrims, and many drowned in the river.

Kreyenhorst Castle was demolished in the 1920s. His ship interiors have been described as "overblown, over-decorated, and dark",Douglas R. Burgess Jr., Seize the Trident: The Race for Superliner Supremacy and How It Altered the Great War, Camden, Maine: International Marine/McGraw Hill, 2003, , p. 110. as "a seagoing baroque collage of high ceilings, massive pillars, gilded balustrades, trumpeting cherubs, and gigantic statuary," as "temples of high baroque, grand galleries of an aspiration so Valkeyrian that only megalomaniacs might dally there in comfort or good conscience",John Malcolm Brinnin, The Sway of the Grand Saloon: A Social History of the North Atlantic, New York: Seymour Lawrence/Delacorte, 1971, , p. 311. by Cunard executives who visited the and in 1903 as "bizarre, extravagant and crude, loud in colour and restless in form, obviously costly, and showy to the most extreme degree"Wealleans, p. 43.

Rick’s Café Casablanca is a restaurant, bar and café located in the city of Casablanca, Morocco. Opened March 1, 2004, the place was designed to recreate the bar made famous by Humphrey Bogart and Ingrid Bergman in the movie classic Casablanca. Set in an old courtyard-style mansion built against the walls of the Old Medina of Casablanca, the restaurant – piano bar is filled with architectural and decorative details reminiscent of the film: curved arches, a sculpted bar, balconies, balustrades as well as beaded and stencilled brass lighting and plants that cast luminous shadows on white walls. There is an authentic 1930s Pleyel piano and As Time Goes By is a common request to the in-house pianist. Owned by The Usual Suspects company, this Casablanca landmark is usually described as the real Rick’s Café, finally bringing the legendary “Gin Joint” of cinema fame to life in today's Casablanca.

The stairs to the 1954 DWP section are clad with weatherboards and feature a glazed timber screen that is similar to the original B&P; timber screen with square glass panes that survives on the western side of the covered walkway to Block E. The verandah has timber floors and large sections of bag rack balustrades that are clad with weatherboard (B&P; section) and crimped metal sheeting (DPW extensions). The verandah of the B&P; section and part of the 1954 DWP extension is enclosed with modern awning windows above the bag racks, and external metal-louvred screens. Double-hung sash windows, with fanlights, are retained in the verandah walls of non-enclosed sections, with the exception of the 1958 western classroom, where they have been replaced with modern louvres. Large openings have been formed in the former verandah walls of the 1954 sections, creating an open-plan arrangement between the verandah and classrooms.

Around Block A are a series of concrete retaining walls and stairs (1935–37) constructed to level the ground and create assembly and play spaces. A high retaining wall along Bayswater Street is topped by a concrete fence with three gateways, including a decorative wrought iron set of gates at the main entrance in front of Block A. Sections of the metal balustrades between the concrete posts have been replaced. At the northern end, this wall and fence continues perpendicular to Bayswater Street in line with the end of Block A, and incorporates a set of steps leading down towards Block B. At the southern end, the wall turns at an angle and slopes down adjacent to a concrete ramp, leading to the swimming pool level. Between the northwest and southeast wings on the eastern side of Block A is a large rectangular concrete platform, edged by a low retaining wall and set of concrete steps on the eastern side.

Footballers' poor behaviour and swearing were cause for concern for the Parks Superintendent, but the cricketers and the model-boaters appear to have escaped his disapprobation. Bowls, like tennis, required careful handling when assessing the competing claims of the general public and organised teams, all of whom wanted access to the facilities during the few short hours "when the labours of the day are ended". Before 1930 the park gradually expanded eastwards to occupy a triangular area of land more or less equivalent with its present-day boundaries. The new land, bounded on the north by the Summergangs Dyke and Holderness Road on the south, took in the George V Playing Fields and a series of old clay pits. Surviving park features from the era include the Ferens boating lake which was established on land donated by T.R. Ferens in 1913 and extended in 1923, a double arched bridge with decorative balustrades built around 1925 and a rare 1929 Wicksteed water chute which is Grade II listed.

On May 4, a $1.615 million contract was awarded to the North Carolina Granite Co. for the provision of granite for the sidewalks, balustrades, and masonry facing of the piers, and a $207,000 contract given to the Stone Mountain Granite Corp. of Stone Mountain, Georgia, for granite for the bridge's substructure."Contracts Awarded For Bridge Granite." Washington Post. May 5, 1926. The substructure granite was delivered by June 30, 1927, and 125 railroad cars of granite for the superstructure arrived shortly thereafter.Office of Public Buildings and Public Parks of the National Capital, 1927, p. 20. Work on the bridge began on the D.C. side, moving toward Virginia. By June 30, steel sheets were driven into the riverbottom to allow construction of the cofferdams for Abutment No. 1, Pier No. 1, and Pier No. 2, and excavation was under way on Abutment No. 1 and Pier No. 1. The first load of granite (from Stone Mountain) arrived on July 31.

The northern side had a verandah on both levels that had tubular steel balustrade, handrails and supports, and enclosed hat (western ends) rooms. The upper level contained three classrooms and a physics laboratory (east); with an enclosed student recreation area and toilets (east) below. The classrooms were wide. A pathway with concrete paving and retaining walls was constructed along the southern side of Block E, connecting with those that existed along the southern side of Block B; and a ground floor covered way, connecting Block E with existing covered ways to the south, was built at the same time.Plans and elevations of Block E. DPW Drawing A87/134/2 dated 28 Oct 1957DPW Plan 1957, Block E, A.87/134/1, dated 28 Oct 1957Department of Public Works Departmental Works Order, dated 5 September 1957, QSA Item 13541, School Files, Southport State High School, 1951-7 Alterations to Block B were also made - with balustrades at the upper verandah ends replaced by bag racks.

His work expanded on a similar structure originally constructed by the Wilson Brothers & Company a mere decade before. Furness's windows were often rounded and did not use pointed chancels. The lower levels of the structure were heavy and rusticated, recalling the work of H. H. Richardson from the previous decade, while the spandrels of the upper stories emphasized the building's verticality. The frame for the stone structure was largely made of iron and steel, and on the interior the structural techniques were often displayed by balustrades and columns that in places revealed the rivets that held them together. The formal style of the building was altogether not unlike that of Furness's building for the Pennsylvania Academy of the Fine Arts, which he completed in 1876, or his University of Pennsylvania Library, designed in 1888. As the station expanded after 1881, additional train sheds were added to cover additional tracks, twelve in all by 1891.

The Villa de Leon, also known as the Kauffman Estate, is a historic 35-room, 10,277 sq. ft. Italian Revival mansion in the Castellemmare neighborhood of Malibu, California that has been used in many high-profile music videos, commercials, and printed ads such as Beyonce's "Haunted," Lady Gaga's "Paparazzi," Britney Spears's My Prerogative body fragrance commercial, Camila Cabello's "Liar", Ariana Grande, Miley Cyrus and Lana Del Rey's "Don't Call Me Angel", Taemin's "Press Your Number", Rod Stewart's Christmas special Rod Stewart: Merry Christmas, Baby, and shoots featuring Heidi Klum, Victoria Beckham, Robert Pattinson, and Reese Witherspoon. Its highly recognizable grand staircase has been a major focal point in several of these videos and photographs, as has its balconies and their balustrades, including their appearance on the cover of English rock band Procol Harum's 1973 album, Grand Hotel. The mansion overlooks Pacific Coast Highway and the Pacific Ocean and is situated in close proximity to the Getty Villa.

The company extended its work into iron foundry of all kinds: fences, gates, stairs, balustrades, boilers, valves, steam engines, roofs, gasometers. The firm made mileposts for the Salisbury to Shaftesbury road. As a growing company it supported the Gas Institute's contribution to the Great Exhibition of 1851. The gas works at Welshmill were serviced after 1854 by a railway siding for coal delivery, installed on the North Somerset Railway. They took out patents for some of their products: a cheese press (1853) and fluid regulators for gas production (1857), which were still in use well into the 20th century.Frome Museum, reprint from The Somerset Standard, January 23 1953, L464 After his death in 1860, two of his sons, Henry and Christopher Francis continued the management of the family business. In 1861 it was exhibiting agricultural equipment at the Royal Agricultural Exhibition in Leeds. In 1865, the firm was empowered to manufacture coke for sale.

Schwerin Palace in Mecklenburg (Germany) – Renaissance Revival architecture for representation purposes. Completed in 1857 Waddesdon Manor, seat of the Rothschild family, 1874 Designs of balustrades, circa 1866-1900, in the Rijksmuseum (Amsterdam, the Netherlands) Renaissance Revival architecture (sometimes referred to as "Neo-Renaissance") is a group of 19th century architectural revival styles which were neither Greek Revival nor Gothic Revival but which instead drew inspiration from a wide range of classicizing Italian modes. Under the broad designation Renaissance architecture nineteenth-century architects and critics went beyond the architectural style which began in Florence and central Italy in the early 15th century as an expression of Renaissance humanism; they also included styles we would identify as Mannerist or Baroque. Self-applied style designations were rife in the mid- and later nineteenth century: "Neo-Renaissance" might be applied by contemporaries to structures that others called "Italianate", or when many French Baroque features are present (Second Empire).

Illustration 2: University of Catania, designed by Vaccarini and completed by 1752, exemplifies typical Sicilian Baroque, with putti supporting the balcony, wrought iron balustrades, decorated rustication and two-tone lava masonry – a reversal of the more conventional rusticated walls and smooth pilasters belfry crowns Rosario Gagliardi's Church of San Giuseppe in Ragusa Ibla mouldings, scrolls and masks was widely copied all over Catania immediately following the quake. Baroque architecture is a European phenomenon originating in 17th-century Italy; it is flamboyant and theatrical, and richly ornamented by architectural sculpture and an effect known as chiaroscuro, the strategic use of light and shade on a building created by mass and shadow. The Baroque style in Sicily was largely confined to buildings erected by the church, and palazzi, the private residences for the Sicilian aristocracy. The earliest examples of this style in Sicily lacked individuality and were typically heavy-handed pastiches of buildings seen by Sicilian visitors to Rome, Florence, and Naples.

Aiton and Co is now closed but the building in Derby is Grade II listed Aiton's father gave the architects free rein'Sunlight Offices of Messrs J.A. Aiton', Derby Daily Telegraph, 16 July 1934 to come up with a cutting- edge innovative design which would reflect and promote the advanced technology behind the factory's products which included pipework for warships and power stations. This was especially apparent in the use of metal tubing echoing Aiton & Co.'s high spec pipes: used in the internal balustrades and elsewhere.British Listed Buildings:Former Aitons Works, Derby The dominant steel and glass were used with colour in a "De Stijl" scheme combining red floors and jade green interior walls with blue brick, grey window frames and stucco, and white cement. Historic England call this "a very fine and also extremely early example of the Modern or International style of architecture" and "one of the earliest industrial buildings to be designed by a partnership of women architects".

By the time of Tudor City, the Neo-Tudor style had already been used on a limited number of urban apartment buildings, including Hudson View Gardens in Washington Heights (New York City) and several erected by the Fred F. French Company. (Downloadable; page numbers in this citation are as given by a pdf reader.) The architects and designers of Tudor City, led by chief architect H. Douglas Ives, used a broad range of Tudor Revival details, including towers, gables, parapets, balustrades, chimney stacks, oriels, bay windows, four-centred arches, pinnacles, quatrefoils, fish bladder moldings, Tudor roses, portcullises (a symbol of the Tudor sovereigns), and rampant lions carrying standards. Much of the Tudor effect in Tudor City is gained through the use of carved or cast stone and terracotta detail. The Tudor skyline of the complex is complemented at ground level by a series of stained glass windows ranging from those with lightly tinted non-figural designs to scenes depicting the history of New York.

The firm's success with acoustics at Temple Israel led to the emergence of L&K;'s theater specialization. In 1927 theater owners Rubenstein and Kaplan hired L&K; to design a place to show "Talkies," the Granada Theater (1927; later renamed the Suburban World). The architectural style chosen by L&K;, with its Spanish-inspired Moorish atmosphere, reflected the trend toward "atmospheric theaters" and featured ornate balustrades, mock arched windows, and stars and moving clouds on the ceiling. Vacant since 2012, the Granada/Suburban World remains the only surviving example of an atmospheric theater in Minneapolis and one of few remaining in the state. Another atmospheric theater designed by the firm, the 915-seat Paradise in Faribault, Minnesota (1929) also had a Moorish theme; after closing in the late 1980s it was recently renovated and reopened as Paradise Center for the Arts, a 300-seat performance space that has been restored to its original splendor.

Rick’s Café Casablanca was developed by Kathy Kriger (1946–2018), a former American diplomat in Morocco. The restaurant is housed in a traditional Moroccan grand mansion with a central courtyard or a Riad, built in 1930. The land placement allows for three facades: a distinctive streetfront entrance with heavy wooden doors that depict that of the film; a port-oriented façade that looks to the Atlantic; and a narrow dead-end access which was the former main entrance but is now the service entrance. Because of the age of the structure and proximity to the sea, the mansion was totally restored and renovated. American architect/designer Bill Willis conceived the decorative and architectural details which enhanced the existing arches and balustrades to evoke the film “Casablanca.” Intricate antique brass floor and table lamps with metal shades strung with beads give off dramatic lighting effects, and on each table rests a specially designed brass lamp with beaded shade designed by Bill Willis.

Historically it was a great monastic centre as well as a royal capital, with magnificent monasteries rising to many stories, roofed with gilt bronze or tiles of burnt clay glazed in brilliant colours. To the north of the city, encircled by great walls and containing elaborate bathing ponds, carved balustrades and moonstones, stood "Abhayagiri", one of seventeen such religious units in Anuradhapura and the largest of its five major viharas. Surrounding the humped dagaba, Abhayagiri Vihara was a seat of the Northern Monastery, or Uttara Vihara. The 1st or 2nd century BC built Abhayagiri dageba (confused by some books and maps with the Jetavanarama), was the centrepiece of a monastery of 5000 monks. The name means ‘Hill of Protection’ or ‘Fearless Hill’, another claim ‘Giri’ was the name of a local Jain monk. The monastery was part of the ‘School of the Secret Forest’, a heretical sect that studied both Mahayana and Theravada Buddhism, also Chinese traveller Faxian (also spelt Fa Hsien) visited in AD 412.

In utilising this idiom for the Mossman Hospital, Hill and Taylor created the illusion that the buildings were of a more substantial construction than was the reality - being principally timber-framed, clad and lined structures - and the white-walled buildings in the garden setting against a mountain backdrop proved to be extremely picturesque. It is the only Queensland public hospital constructed with a Spanish Mission exterior. Decorative embellishments were kept to a minimum (to reduce costs and lessen maintenance) and included: curved concrete arches to the verandahs; moulded Maltese crosses in the front balustrades; a curved parapet defining the central entrance, with the raised lettering 'Mossman District hospital'; and concrete arches defining the entrances off Hospital Street and Johnston Road. When opened in 1930, the hospital comprised: a main building with male and female wards, operating room, dispensary wing, outpatients wing, and kitchen wing; maternity ward; nurses' quarters; and medical superintendent's residence.

The vestibule has another artwork by Iosif Rabinovich, which is a mosaic on the dome of the vestibule on the theme of the permanent end to drought in the Volga. As the station was made to be a transfer point to Paveletskaya station of the Zamoskvoretskaya line, the vestibule was built as an entrance to both stations, however as the radial station of the Zamoskvoretskaya line was undergoing reconstruction the vestibule doubled as a transfer point. A direct corridor was opened only on 30 July 1955, which saw the addition of large staircases surrounded by marble balustrades in the centre of the platform. The other major change was that initially in the end of the station was a large medallion with image of Vladimir Lenin and Joseph Stalin, but during the 1961 de-Stalinization drive this was removed and instead replaced by the present artwork by Pavel Korin showing the Coat of Arms of the Soviet Union being held by a worker man and peasant woman amid floral backgrounds.

The balconies and boxes, which feature seats covered in various shades of red, also boast balustrades that glimmer with gold lighting and dim when the performance begins. The undulating walls of the theatre are painted with a brightly colored mural, designed and carried out by students at the Kansas City Art Institute, under the guidance of Moshe Safdie. With a 5,000-square-foot stage, an orchestra pit that can house up to 90 musicians, and a 74-foot tall fly tower, Muriel's Theatre is the performance home of the Kansas City Ballet and the Lyric Opera of Kansas City, as well as the site of many other theatrical, musical, and dance productions. Another feature of the Muriel Kauffman Theatre is the installation of the Figaro Simultext Seatback System, which displays subtitles in various languages on the backs of chairs, as opposed to most other opera houses that require the audience to look above the stage for opera translations. The Kansas City Symphony prepares to begin a performance in Helzberg Hall Helzberg Hall is a 1,600-seat, oval-shaped concert hall, and it is the performance home to the Kansas City Symphony.