The larger of the two parlors has four bay windows.
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Bay windows let in glorious light, and French doors graced the living room.
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Bay windows, built-in bookshelves, and swoon-worthy moldings give it an inimitable charm.
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Its damaged sign now stands over bay windows boarded up by people sheltering inside.
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Ms. Alexander was intrigued by an attractive townhouse with bay windows for $1.249 million.
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Bathtubs are tucked into bay windows and accentuate the feel of indoor-outdoor living.
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But two trios of those beautiful big bay windows facing the park are there.
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What will go are Gwathmey Siegel's ugly tinted bay windows, with their obtrusive, heavy mullions.
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The formal living room to the left has a wood-burning fireplace and tall bay windows.
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The serene white-washed living room features a huge Italian marble fireplace and etched-glass bay windows.
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On the right is a burgundy-colored living and dining room with bay windows and decorative columns.
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At War The bay windows in the Bost Hotel's dining room looked out across the Helmand River.
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Ionic columns support the covered front porch, and three-story bay windows lend character inside and out.
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Mr. Tomic said at trial that he concentrated his efforts on one of the museum's bay windows.
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The home also comes with two trios of those beautiful bay windows the city's homes are known for.
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In Cambridge the route cuts through Victorian terraces housing academics, floor-to-ceiling bookshelves glimpsed through bay windows.
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The 14,850-square-foot building, featuring bay windows and a columned entrance, was built in the early 1900s.
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A sharp left from the entrance takes you to a formal dining room with floor-to-ceiling bay windows.
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The bay windows were perfect for house plants, her room was huge and the rent was $22 a month.
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Heavyset security officials were stationed beside the high bay windows, and businessmen sat at the tables, chatting in Arabic.
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Design enthusiasts will also appreciate the ornate Victorian millwork, bay windows, leaded glass transom accents, and a beautiful wooden staircase.
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Like in Bhatia's room, big bay windows — a staple feature in San Francisco's architecture — line the front of Prinz's room.
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They were attracted to the home's hardwood floors, bay windows and potential to reshape it by knocking down some walls.
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He is 35 now and settled with his partner and daughter in a house that has bay windows and framed art.
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The $16.8 million villa has lush gardens, a pool, a hot tub, and beautiful bay windows on a half-acre of land.
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The gallery spans the ground floor of a early 20th century mansion, with curving bay windows, high ceilings, and a grand fireplace.
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Four floors up, in a loft apartment with bay windows, I see two silhouettes pressed against the glass, looking down at us.
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Ms. Fenech's parents stayed in the neighborhood, eventually buying a three-bedroom house with wide bay windows on a 4,000-square-foot lot.
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Specifically, the public one near my school, with seats in big bay windows and what feels like miles and miles of wooden shelves.
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The large bay windows offer a great view of nearby Squirtles, while the corner store downstairs is a great place to get eggs.
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The space, most recently occupied by the Corcoran Group, features 17-foot-high ceilings, five large bay windows, exposed brick walls and cast-iron columns.
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And how fares the clan's inevitable bow-tied throwback, still thrilling to the potted palms and bay windows of the social clubs along Commonwealth Avenue?
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I had my route nailed down perfectly, up one street and down another to spot the cats in the bay windows of their owners' apartments.
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The five upstairs bedrooms include two that face front with bay windows and one in the back with a walkout balcony above a rear porch.
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To the left of the entry is a front parlor with bay windows and a gas fireplace with tiles thought to be etched to resemble slate.
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The rest of the house is more typically Victorian, with large, self-contained, high-ceilinged rooms and a wealth of bay windows and polished hardwood floors.
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"Austria was not a police state but close enough," Mr. Brus said, sitting at a long wooden table facing snow-covered hills through large bay windows.
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Ms. Gang, an architect and a MacArthur Fellow, said she got the idea for the interior nooks after noticing all the protruding bay windows in brownstone Brooklyn.
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The beating heart of the hotel is the Living Room, a sprawling, lounge-like space wrapped with tall bay windows and bookended by two wood-burning fireplaces.
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The third floor, formerly a billiards room, is a large, open space with dormer and bay windows, as well as a call button to the first floor.
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We find the British composer (Dame) Elisabeth Lutyens, pictured a short time before her death at the age of 76, in a bare dining room under bay windows.
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An extensive renovation was orchestrated on the property around 2009, which included the addition of bay windows to allow more natural light into the home, according to Goodrich.
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A large master suite features bay windows, a fireplace, and dual walk-in closets, as well as a new bathroom with a freestanding tub and marble and glass shower.
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The paintings were hung in a stairwell on the museum's big bay windows overlooking the Hudson River on a Friday night as part of Apostrophe's Base 12 Artists Project.
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But it was typical of what Levittown has become in the decades since: a collection of more than 17,000 snowflakes customized with dormers, bay windows, porticos, shingles and garages.
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Deep bay windows with stone mullions punctuate each end, with a built-in window seat overlooking flower gardens and the Thames at one end; pastoral views at the other.
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Mr. Heatherwick said he was initially inspired by the bay windows found in Victorian houses across the United Kingdom and wondered whether they could be translated to condo towers.
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The 4,000-square-foot building has three market-rate two-bedroom floor-throughs, with bay windows and a balcony on the second floor, and a terrace on the third.
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She touched his arm and asked him to pace in front of the bay windows with the lights on so it was clear there was a man in the house.
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The formal living room and family room have rounded bay windows; an archway in the living room opens to the staircase, which is lit by three panels of stained glass.
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With its gleaming white stone facade and French bay windows, the Gran Hotel Manzana features a rooftop infinity pool overlooking Havana's central park, as well as a spa with steamroom and sauna.
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They had these beautiful bay windows in the pastry kitchen, and I was watching people walk dogs and drink cappuccinos and thinking, I haven't seen sunshine and I'm up to here in pastry cream.
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That may seem redundant, but situational circumstances and conventions (such as the bay windows of the art gallery as seen from the street) form meta awareness frames that enhance this effect for some of Matsubara's works.
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Afterward, Joanne Howard, Demme's wife and my host, pointed out a recessed breakfast nook with bay windows on all sides, the Hudson River visible from where the house stood, close to the edge of the Palisades.
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The second-floor master suite has tall bay windows, a tray ceiling, a marble fireplace, a dressing room and an en-suite marble bath with two porcelain sinks, a shower, a separate tub and a private commode.
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Noble houses, according to the Tibetan Heritage Fund, were arranged hierarchically, with storage rooms on the ground floors, servant quarters and family chapel in the middle floor, and opulent living quarters with large bay windows for the landowner.
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This 5,000-square-foot, six-bedroom house has four full bathrooms and two half-baths, as well as many elements typical of the era in which it was built, including high ceilings, carved stone and large bay windows.
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"There's been a bombing at the Sorbonne," Yann informed us all, in an admittedly shaky voice—but no more shaky than the one he'd used, week after week, to talk about his fear of bay windows and open water.
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From the confusing but palatable mix of Victorian design tacked onto bay windows, to the steel, glass, and cement modern condominiums erupting out of demolished historical landmarks, the flavor of this city taken in all at once is heady and intoxicating.
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They are named after the square meter sizes, starting with entry-level, courtyard-facing "17–19" rooms (183 to 204 square feet) and going up to the "86" suites, boasting 925 square feet of space with curving bay windows that overlook leafy Oranienplatz.
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In Gowanus, a 2,193-square-foot, three-family brick rowhouse, with a deep backyard and three bright and thoughtfully renovated one-bedroom apartments with charming period details like pocket doors with stained glass, original pine floorboards, plasterwork paneling, decorative fireplaces, tin ceilings and bay windows.
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Arched bay windows punctuate paintings by Elaine Lustig Cohen and Julia Wachtel; on marble-topped coffee tables stand sculptures from Nicole Wermers and Francis Upritchard and ceramics from Shio Kusaka; and in dark corners shine projections of the Guerrilla Girls and video art from Monica Bonvicini.
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They are traditionally built of wood, with decorated verandas and bay windows leaning over the water, and they are painted in various colors, often a summery white or cream — a purplish red house denoted the home of a pasha, a high-ranking officer of the Ottoman Empire.
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The space is all high ceilings, exposed concrete walls, and aging bay windows, though these days it's marked by the sparse, quietly ordered chaos of someone who doesn't spend more than a few hours there at a time: A crowded clothes rack peeks out from the bedroom upstairs, though I'm forbidden from going any further because Raia deems it too messy.
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COST $630 a month in maintenance LISTING BROKER Corcoran Group ____ 210 Boonstra Drive, Wayne 213 WEEKS on the market $2595,2000 list price 22% BELOW list price SIZE 23 bedrooms, 623½ baths DETAILS A 262-year-old brick-and-shingle center-hall colonial with bay windows, a pergola-shaded deck, a wood-burning fireplace, an unfinished basement and a central vacuum system.
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COSTS $2202,719 a month in maintenance LISTING BROKER Douglas Elliman Real Estate ____ 5 Winmere Place, Dix Hills 11 WEEKS on the market $629,000 list price 0% ABOVE list price SIZE 513 bedrooms, ½2 baths DETAILS A 46-year-old house with a living room with bay windows; a den with a fireplace; an eat-in kitchen with a white-tile floor; and brick and bluestone patios.
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Two small bay windows protrude from the rectangular floor plan.
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Projecting bay windows were located above, on the second through fourth floors.
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"GLAF convention brings gay athletes to Boston". Bay Windows, March 27, 2003.
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Various room features include balconies, fireplaces, dumbwaiter shafts, secret stairwells, bay windows, embrasures, and turrets.
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Bay Windows is an LGBT-oriented newspaper, published weekly in Boston, Massachusetts and serving the entire New England region of the United States."Standing proud, still". The Boston Globe, December 5, 2010. Bay Windows was created in 1983 by the founding publisher Sasha Alyson.
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Day celebrates bisexuality, dispels myths. The Michigan Daily. Bi Community Celebrates. Bay Windows; 9/25/2003, Vol.
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Bay windows, wooden floors, lead glass windows, pressed steel ceilings and wooden frame windows were also common.
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In 1533, two bay windows were added to the building, the first known examples of bay windows in Amsterdam.Theo Rouwhorst, "Erkers", Binnenstad 223/224, Oct. 2007 (Dutch, archived) The shooting range lay behind the building, stretching north towards the Kalverstraat. A small gate provided access to the shooting range.
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There are three bay windows on the ground floor and two bays at the first floor to each house.
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Its features include arched windows, keystones, bay windows and stairways. It combines a concrete construction with a stone facade design.
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The second-floor balcony and some of the bay windows were enclosed as well, and the house was given vinyl siding.
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Rendered brick chimneystacks flanking centre bay, further central stacks to ridges of return, all with decorative octagonal pots. Lead-roll ridges to bay windows. Artificial stale roof to return with aluminium rainwater goods. Ruled-and-lined rendered walls with string courses to main block forming frieze below cornice and at eaves level of bay windows, bevelled rendered plinth course.
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Entrances are located on the sides, with three modern bay windows between them. The east facade has a similar but shorter balustrade along its balcony.
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The building has elements of Jacobean Revival style including steep triangular gables, rectangular windows divided by stone mullions, bay windows, and towers with curved roofs.
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The house exhibits other Queen Anne features such as bay windows, corbeled chimneys, porch and fascia spindlework, eave brackets, and an asymmetrically massing and roofline.
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The architecture of the railway station consists of moving volumes, bay windows, plant motifs and art castings. Crests and mosaics are displayed on the facade.
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Among other things this will entail putting a spire back on the dome, removing the bay windows and returning the color scheme to the original.
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Soffits to the main roof are supported by long shaped soffit brackets and are lined with spaced pine battens. The low pitched roofs to the bay windows and porches are clad in roll-and-pan profile galvanised iron sheeting. All gutters are quad profile. Soffits to the porches and bay windows are supported on small shaped soffit brackets and are lined with fibre cement sheeting.
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The chamfered corner pillars are similarly octagonal. This theme recalls Boston's historic architectural vernacular of chamfered bay windows on Beacon Hill and in the Back Bay.
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The garden front has a pair of two-storey canted bay windows. Brick extensions were added to the east of the building during the 20th century.
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Review of Clear Static. Bay Windows, May 11, 2006. The album featured the single "Make Up Sex", which was remixed and issued as a dance single.Review , About.
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"Danish politician marries gay lover". Bay Windows, March 24, 1999. After his retirement from politics, he joined the Danish television network Dk4."Torben Lund bliver tv-redaktør".
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The building is two storeyed with a basement beneath the rear wing. The corrugated iron clad roof is complex with a series of hips, half hips and tapering hipped projections above the bay windows. The front wing of the building was constructed as the entrance and to house the public areas of the hospital. This section has a square plan with two double storeyed bay windows articulating the facades.
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Starkweather School is a two-story I-plan structure, faced with red/brown brick with limestone trim, and topped with a high hipped roof. The front facade is symmetrical, with each end featuring prominent bay windows surrounded with limestone and topped with a parapet containing inset brick squares. Hipped roof sections project forward over the bays. Two entryways with arched limestone surrounds are located inboard of the bay windows.
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These homes contain bay windows, asymmetrical facades, gables, etc. The Kinder House particularly possesses features such as the wrap-around porch and a round three-story corner tower.
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The earlier symmetry or regularity is broken up with recessed porches, projecting gabled pavilions, and bay windows. Openings are typically taller and ornamented with hoodmolds and other trim.
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The building was a U-shaped hotel, seven stories high, with bay windows around the wings. The hotel and annex originally offered 450 rooms, 300 of which had baths.
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Two bay windows have paneled aprons, round-corner windows, and bracketed cornices. The house has a low pitch hip roof with paneled soffit windows and paired-bracket cornice supports.
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Multi-sided bay windows run the height of the building at the corners of the front facade. The windows across the front have large lower panes and subdivided transoms above.
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The house has white painted stucco walls with a hipped graduated green slate roof with two dormer windows. The front of the house is characterised by three substantial two storey bay windows.
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Huge bay windows provide views over the Chiltern Hills. While, multiple gables of varying heights, with roof lines sweeping to different levels resemble those later designed by the more notable Edwin Lutyens.
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Bay Windows, June 10, 2004. In 2005 he appeared as main character in the experimental and controversial film Flirting with Anthony, directed by Christian Calson."Danger usually flirts back". HX Magazine, May 25, 2007.
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22 Pendleton Place, a Gothic Revival style house built in 1855, possesses a distinctive individuality, with its square, spire-topped tower, steeply pitched gables, pendant scrollwork, asymmetrically placed dormers, bay windows and oriel window.
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Bay windows reduce a narrow verandah space to about half a metre. Interior rooms have pressed metal ceilings. Early light fittings, and cedar joinery remain in place. Walls are vertical tongue and groove boarding.
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Either side of the central front bay there were projecting bays with bay windows. Detailing was spare and well executed. Cornices were plain, skirtings simple. There was a wide plate rail in the halls.
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It features several beautiful fireplaces and overmantles of various imported English timbers. The name Dapetto appears above the fanlight. A Coat of Arms with initials F. J. G. is above the side bay windows.
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Gables are clad with vertical boards. Shutters cover the four bay windows. Two front porches haves paired support columns and heavy cornices. On the interior, the house has hardwood woodwook of cherry, walnut, and oak.
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The home has two bay windows, with a storefront on first story. It has a pair of double windows on the 2nd floor along with hipped-roof dormers with triple panes in the upper sashes.
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The whole of the ground floor shop is significant, particularly for its openness and considerable ceiling height, and the spacious qualities of the upper floors, with their bay windows and verandahs, are also of note.
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The skyscraper has thousands of bay windows, meant to improve the rental value and to symbolize the bay windows common in San Francisco residential real estate. The irregular cutout areas near the top of the building were designed to suggest the Sierra mountains. At the north side of the skyscraper is a broad plaza named in honor of Bank of America founder A.P. Giannini. In the plaza the 200-ton black Swedish granite sculpture "Transcendence" by Masayuki Nagare is known as the "Banker's Heart".
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Fessas-Emmanouil 2009, p. 230 Something that also changed significantly the appearance of Athenian buildings was the reduction of the maximum possible protrusion of the bay windows from 1.4 metres to 40 centimetres in 1937. Architect and professor at the NTUA Kostas Kitsikis had lobbied extensively for this change because he thought that builders and owners abused long bay windows in order to build as much surface area as they could, turning Athens into "a bad copy of German and Dutch cities."Frantziskakis 1965, p.
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It features two 2-story bay windows flanking the main entrance. Philip Pell II was a grandson of Thomas Pell (1608–1669). See also: It was added to the National Register of Historic Places in 1982.
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The three-story brick wings resulted in a "U"-shaped plan and feature three-story, three sided bay windows. (includes 8 photographs from 1978) It was added to the National Register of Historic Places in 1978.
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"And then there was one". Bay Windows, July 14, 2005. From 1998 to early 2005, the science fiction bookstore Bakka-Phoenix was located on the main floor of the same building as Glad Day's Toronto store.
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Its notable architectural features include symmetrical front bay windows, a Tudor arch over the front door and a slate roof. A lodge is adjacent. Substantial private gardens host a brick-walled, earthenware coping and mature trees.
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Bay Windows; September 25, 2003, Vol. 21 Issue 41, p3-3, 1/4p is the brainchild of three bisexual rights activists: Wendy Curry of Maine, Michael Page of Florida, and Gigi Raven Wilbur of Texas.Scene Around Town.
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The second and third storeys also have canted bay windows; to the sides and rear (facing an ancient alleyway), original sash windows remain. The left dormer window is a casement, while the right has a sash window.
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Above the display windows are glass transom windows. The hotel entrance faces 6th Street. The entrance is marked by a large round archway with flanking bay windows. The upper stories of the building are faced with brick.
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The four-story structure measures . The dominant feature of the exterior is the bay windows that protrude from the wall surface. The pressed-metal cornice unifies the building's composition. High parapet gables are located above the cornice.
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Johnson's Building is a six-storey Edwardian brick-clad building in the Federation Free Style, notable for its vertical emphasis provided by the narrow pilasters which divide the façade between high narrow windows. The George Street façade is adorned with two storey bay windows under 5th floor semi-circular windows symmetrically placed about a central bay which has a three arch arcade to the fifth floor. On either side of this above the bay windows at roof level is a simple pediment. The splayed corner carries a curved balcony providing access to a flag pole.
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In the second story, there are pairs of six over six lights to the left and right of the porch gable. The east and west elevations each have three four over four lights on the first floor with shorter six over six lights above on the second floor. In the late 19th century bay windows were added, though they were subsequently removed toward the end of the 20th century. The second floor has a six over six light on each side of the porch roof just inside of the bay windows.
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The front facades are asymmetrical, with projecting polygonal bay windows on the left side, and a single-story porch sheltering the entrance on the right. The principal difference between the two is that 148 Eastern has flared siding skirts below its projecting bay windows, while 146 has plain siding there. Both have lost some of their styling due to subsequent exterior alterations, including the application of modern siding. (see photos) The houses were part of a series built on Eastern Avenue about 1894, a period of rapid growth in the area.
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The ground floor consists of two storefronts with recessed entrances and plate glass windows, and a separate recessed entrance giving access to the upper residential floors. The second floor facade has two projecting bay windows, decorated with brackets and panel trim, above the two store fronts, and a sash window above the residential entrance. The mansard roof originally had single window dormers, but c. 1910, all but one of these (the one above the residential entrance) were removed and replaced by extensions of the second story bay windows.
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The publication became a monthly insert in Bay Windows. The paper is a member of the New England Press Association and the National Gay Newspaper Guild."Gay newspaper group meets in SF". Bay Area Reporter, June 4, 2006.
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Features include gabled roofs, large chimneys, bay windows, a green copper dome and a porch with a tiled roof and marble floor. With the newly formed London Borough of Sutton in 1965, the house became the Sutton Register Office.
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The upper floor has cantilevered bay windows with flared chamferboard skirtings. Each one has four six-light casements. The north facade has extensions added to the upper floor. The largest is an early timber extension supported on diagonal brackets.
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The house is a Queen Anne brick residence. It was covered with stucco that was scored to look like stone. The house has the characteristic asymmetric design with a steep roof and bay windows that are characteristic of the style.
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In the 1960s another small renovation took place when the front windows were changed and air conditioning was installed therein. The elegantly curved bay windows had gone forever.Anderson, I. (2013/2014, December - February). Leong fee and the hakka tin miners' club.
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The Reliance Building has been called "proto-Modernist" in its lack of the hierarchy found in Classical facades. Its stacks of projecting bay windows and terra-cotta cladding create an effect of extraordinary lightness.Colquhoun, Alan (2002). Modern Architecture, pp. 38-39.
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Its Neo-Classical and/or Colonial Revival features including a stamped metal cornice with block modillions, classical porticoes at the entrances, bay windows, and horizontal brick banding on the first floor which is asserted to create a quoin-like effect.
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The house was built in the style of the Arts & Crafts movement, with a brick, tile-hung and terracotta facade with large bay windows, balconies, ornate pediments, decorative brickwork, carved brackets, terracotta gabling, feature chimneys and hand-crafted entrance porticos (3).
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Caerwys Rectory is a late Georgian house in Caerwys, Flintshire in northeast Wales. It is a listed building. It is a 3-bay house of 2 storeys with an attic. In the 1920s a verandah and bay windows were added.
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In his early work he expressed this by adding decorative renaissance ornaments to gothic buildings. In his late work he constructed buildings in the renaissance style, which are considered his masterpieces: the Town Hall in Altenburg, the "new buildings" in Weimar, the Green Castle () and the French Building () of the Veste Heldburg. Gromann implemented his design for the bay windows in the living apartments of the elector on the north wing of the Castle Torgau and at the Französischer Bau of the Veste Heldburg. Today, the two bay windows are called the "Men's bay window" and "Women's bay window".
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The main elevation features two copper bay windows at the corners; one three stories tall and the other one story tall. Note: This includes The former office building now houses apartments. It was added to the National Register of Historic Places in 1984.
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The design includes a verandah supported by Doric columns along the front facade, two projecting three-bay windows, brick quoins, and a dentillated cornice with a pediment. The building was added to the National Register of Historic Places on February 1, 2006.
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The overall design includes sand-blasted bay windows, arched windows, stairway windows and painted steel fencing. Her other permanent installations include Newsstands in Manhattan, and plaza and lobby installations in Los Angeles, CA; New Brunswick, NJ; Bridgeport, CT; and Bethesda, MD, among others.
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Above building cornices, bay windows are topped by gables. Inside, some elements are still preserved, such as original furnishings, including an antique stove. The building has been put on the Kuyavian-Pomeranian Voivodeship Heritage List, N°601300 Reg.A/742, on January 15, 1986.
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It is a two-story, frame Italianate style double residence. It was definitely built before 1887, and perhaps even before 1859. It was modified to its present appearance sometime between 1898 and 1908. The front features two 2-story, semi-octagonal bay windows.
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The castle is a 17th-century building on a medieval foundation. It stands on a spur of high land to the west of the village of Sandersdorf. The building has four wings. The east and south wings are decorated with bay windows and gables.
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The main section of the house is articulated with bay windows and porches, and gables on the upper story, most noticeable on the front facade. The entrance has arch-top double doors under a small porch; over that is a window with a gabled pediment.
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It has a number of projecting bay windows, and a gable window set in a curved recess. Its original shingling has been either covered or replaced by modern siding (see photo). The house was listed on the National Register of Historic Places in 1989.
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It was evident that the front had been broken by a central gatehouse, and several bay windows."J. Gage, The History and Antiquities of Suffolk. Thingoe Hundred (Samuel Bentley, London/John Deck, Bury St Edmunds 1838), p. 16 (Google), citing "Ashby's notes, Cole's MSS. vol.
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Each room was furnished with a fully stocked bar, bay windows, 2 bathrooms with TVs and telephones. It earned the first five-star diamond rating in casino history. The 20 story pre-cast concrete sculpted building facade was designed and constructed by Thomas J.Geever.
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He was also a panelist at the 2003 National Gay and Lesbian Athletics Conference in Cambridge, Massachusetts, on a panel of LGBT Olympians that also included swimmer Mark Tewksbury and rower Harriet Metcalf."GLAF convention brings gay athletes to Boston". Bay Windows, March 27, 2003.
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Retrieved December 17, 2019. The building is built with bay windows in a courtyard style. The building was designed by architect David E. Postle and was added to the National Register of Historic Places March 8, 1980. The Pattington annex was designed by Andrew Sandegren.
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It features irregular massing, a variety of surface textures, multiple intersecting roofs, bay windows, porch and balconies, and a turret with spindle. The house was converted to apartments in 1925. Note: This includes It was added to the National Register of Historic Places in 1990.
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The main building is a two storey building with Dutch gables, bay windows and verandas. The bricks were manufactured at the estate's own kiln from 1847. A library extension was in 1884 constructed for Jørgen Peter Bech at the western gable of the main building.
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The ambitious design took on a grand, palatial facade of huge columns and recessed glass bay windows, but the most iconic feature was the central entrance which was decorated above with a dramatic, geometric sunburst pattern, which sat beneath the huge “Hoover Limited” lettering.
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The symmetrical western elevation consists of a recessed, central entrance, with bay windows to either side, flanked by projecting enclosed sleep-outs. The bay windows have leaded diamond paned casement windows (some of which have been replaced with aluminium framed sliding units), concrete brackets, nib and hood surrounds, and are surmounted by gables to the roof. The sleep-outs have leaded diamond paned casement windows above balustrade height (some of which have also been replaced with sliding aluminium framed units), with chamfered upper corners and non-original window hoods. The design and detailing of the sleep-outs indicate that they may have been enclosed after construction.
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The fourteen-story building represents the Chicago school of architecture and is designed as a steel frame covered in brick. The building's Dearborn Street facade features three tiers of bay windows, while the facade on Federal Street features one tier of bay windows flanked by two tiers of flat windows; while the outer two tiers on both facades each span two bays, the middle tier spans only one. The bottoms of these tiers of windows, located at the second floor of the building, feature terra cotta soffits; the building's cornice is also terra cotta. The first two floors of the building feature limestone piers with decorative capitals.
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The original housing is generally one of seven designs. The houses on Chiswick Lane are large semidetached houses, with large gardens. Most of Alkerden, Swansombe and Cranbrook roads are 2 up 2 down with a rear projection making a third room up and downstairs, the houses in Alkerden and Swancombe have bay windows downstairs, the houses in Cranbrook and a few in Alkerden have bay windows upstairs as well. The even numbered houses on Devonshire Road are the same as those they are next to on the Sulhamstead Estate, but are different architecture to the houses opposite. There are 3 styles of houses on the South of Coombe Road.
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Street view, 2015 Constructed in 1928 across two blocks of land, Uanda is a low-set, hip-roofed, single-storey timber cottage set in a leafy street among timber houses of the same era. Rectangular in plan with a central projecting front porch flanked by bay windows, the house is clad with weatherboards and has a simple valance of timber palings to the lower level. The bay windows have bell-curved, shingle- clad skirts and multi-paned sash windows below flat projecting roofs and are supported on exposed timbers with a bird-mouth detail to the ends. The roof is tiled and has short projecting eaves with v-j boarded soffit.
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Its oreil roofs and their bracketed eaves, the asymmetrical arrangement of lines and geometric shapes on bay windows and porches, and the port hole attic window are all indicative of Italianate style. Gothic revival elements originally included both the Joliet stone trimming and the medieval spears attached to each of the three vergeboard peaks. The spears have since been removed. The Queen Anne elements on the house, influenced by the Eastlake principles, include: the ornamental iron fences, geometric squares and scrollwork, the etched and frosted glass on the main entrance, incised flowers on the porch and bay windows and the spindles lining the porch rails.
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On its entrance front is a porch supported by four fluted Ionic columns. Along the top of the porch is a frieze and a cornice. On each side of the porch are two-storey canted bay windows. Between the storeys is a band of Greek keys.
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The entrance front faces southwest and is almost symmetrical, with seven bays. The lateral bays project forward, as does the central three-storey porch. All the windows are mullioned, or mullioned and transomed. The lateral bays have bay windows, the upper floors of which are canted.
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The Ansonia was a residential hotel. The residents lived in "luxurious" apartments with multiple bedrooms, parlors, libraries, and formal dining rooms that were often round or oval. Apartments featured views north and south along Broadway, high ceilings, "elegant" moldings, and bay windows. There were three thousand rooms.
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The foundations were laid out as a formal garden with the bay windows as flower beds. The park is still a popular area for its oak woodland, gardens, sports facilities and playground and in the spring the steep bank beside Grange Road provides a display of daffodils.
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The homestead has an iron roof, a verandah surrounds the building and has two bay windows. A detached building with the jackaroo quarters, laundry and storeroom is found behind the main building. The station occupies an area of of which is composed of reserves and crown land.
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There is a small front porch on the south and a rear stoop. Bay windows are on the south and west. Atop is a hipped roof surfaced in composition shingles. At various locations it is pierced by ten dormer windows, some of them nested within gables.
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A decorative fleche is centred on the roof ridge, aligned with the dormer and bay windows. The eastern, smaller building, is asymmetrical. Seven timber approach steps, with a simple iron balustrade led to a forward projecting gabled porch. Paired aluminium doors provide entrance to the screened verandah.
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Key features of the style present in the sorority house include its asymmetrical massing, steep slate hip roof with multiple dormers, limestone quoins and string course, bay windows, and arched corner entryway. The house was added to the National Register of Historic Places on November 8, 2000.
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The Gregory House is a two-story, cross gable, nearly symmetrical Eastlake house. It is wood framed, and sits on a cut stone block foundation. The walls are covered with wooden weatherboard, with trim outlining the windows. Five- sided bay windows are centered on the side facades.
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In Massachusetts he held that the same section of DOMA violates the Tenth Amendment and falls outside Congress' authority under the Spending Clause of the Constitution.DOMA decisions released Bay Windows. July 8, 2010. Those decisions were stayed after the DOJ filed an appeal on October 12, 2010.
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Animals, some heraldic, decorate the walls. Two square bay windows are on the left hand (eastern) return front. A gabled porch with architrave surround and four-centred arch over the door in the gable end. A pentice extension is across the right hand (western) return front.
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The building has been realized in the style of early, classic modernism. On the one hand, vertical elevations are highlighted as structural elements of the building by using strings loggias, balconies and bay windows. On the other hand, vertical divisions are highlighted using pilaster and friezes between windows.
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Profiled arches were used on the two upper floors of the building. On the third floor a balcony is opened on bay window fixed on second floor. Bay windows contains two main and two additional windows. The narrowest part of the residential property is located in the east.
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On the second floor a hall of similar size with a wood panelled ceiling. Large bay windows in the south wall and double-arched renaissance style windows are also added as decorative elements. At the same time, the inner courtyard and west wings are connected by a stone walkway.
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As a result, the older residents of Bremen still remember it as the Klavierträgerhaus (piano movers' house). The building has been altered on several occasions. The projecting bay windows, a popular feature in Bremen, and the east doorway were added in 1590. The main doorway was completed in 1610.
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Khan-Magomedov 2007, p. 291 Victor Vesnin entered this competition alone. All his rivals attempted to split the 200-meter wall with a rhythmic pattern of columns, arches or bay windows. Vesnin, on the contrary, completely eliminated any vertical patterns, confident that they would be dwarfed by the dam.
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This landshövdingehus at Allmännavägen 11 in Majorna was built in 1894. The original detailing is largely intact, although the windows were exchanged during a renovation in 1982. It is more luxurious than normal because of the corner placement. The building features corner towers with tower spires and bay windows.
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The window locations are symmetrical, with large bay windows on each end of the house. Main floor windows are topped with wooden ornamental hoods. Above is a hipped roof, with four symmetrically placed chimneys, and a distinctive pagoda-roofed tower sitting above the main doorway and entrance stairs.
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In the centre is a porch with corner turrets and an oriel window in the upper storey. The west front contains two two-storey bay windows containing Perpendicular tracery. The south front has a single-storey canted bay window. To the east of the hall is the stable block.
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Bay windows, of chamferboard to sill height, project into the front verandah space to the east and south. Walls between are of vertical boarding. The front wall and window are set back behind a line of timber posts supporting the main roof. A slatted valance spans between these posts.
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Built of brick with an asphalt roof,, Ohio Historical Society, 2007. Accessed 2011-05-28. the house features many clear Italianate elements, such as multiple bay windows, a hip roof, multiple verandahs, and ornate hoodmolds. Two-and-a-half stories tall, the house is divided into fourteen rooms.
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The site contains two period structures which contribute to its historicity: the house itself, built in 1896, and the garage, built sometime in the early 20th century. The Park Hill house is a two-and-a-half story, wood-frame home with wooden clapboard siding. The house is of particular interest because of its Colonial Revival architectural style, embodied in its gable roof; dormers; multi-pane, double- hung sash, and bay windows; and nearly-symmetrical facade. A further element contributing to this style is its prominent south entrance, enhanced by a pair of two-story bay windows, wide front steps, a second-story screened balcony, and a central dormer with a twin-peak roof.
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The other three facades are faced in red brick and fenestrated with nine-over-one double-hung sash trimmed with brownstone lintels. There are two bay windows on the north and south faces, toward the west corners. Around the base of the hipped roof is a cornice of corbeled brickwork.
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The Steinway Mansion is a large Italianate Villa style dwelling. The architect is unknown. It is constructed of granite and bluestone with cast iron ornamentation and has a two-story, T-shaped central section, with a slate covered gable roof. It has a one-story library wing with large bay windows.
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In the service courtyard the ground floor window and door heads have been painted imitation tuck-pointed brickwork. Over the upper bay windows are elaborate twin gabled bracketed timber hoods. The windows below at ground level have louvered panels set into the arched heads. Internally the walls are of plaster.
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They are found on palaces, private residences and sacred houses across Nepal Mandala. Pages 80-86. Desay Maru Jhyā is famed for being the only one of its kind. While most traditional windows are bay windows carved with elaborate details, Desay Maru Jhya is a latticed window with multiple frames.
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The first floor is composed of two storefronts with central entryways each flanked by large bay windows. The unadorned side elevations are covered with painted brick, with a trompe-l’oeil mural painted on the west side. A separate entrance along the building's east side provides access to the second floor.
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The pilot had a sliding canopy while the other two crew members' canopy was hinged. The two rear-crew had alternate locations in the fuselage, the navigator's position having bay windows below the wings for downward visibility.Bridgman, Leonard. Jane's Fighting Aircraft of World War II. New York: Crescent Books, 1988. . .
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Chambers House is a historic home located at Newark in New Castle County, Delaware. It was built in 1890 and is a two-story, frame dwelling in the Queen Anne style. It features cross gables, bay windows, and a wrap-around porch. Also on the property is a contributing carriage house.
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Rembrandt Hall is a historic home located at Keeseville in Essex County, New York. It was built in 1851 and is a -story brick Gothic Revival style cottage. It consists of a central 2-story entrance pavilion flanked by identical bay windows. The interior features a noted rounded central staircase.
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An 1892/3 two storey Victorian mansion with a slate roof, elaborate mouldings, cast iron lacework and bay windows. The street facade is dominated by a three-storey tower with a copper clad dome. Attractive mature planting and stone fence enhance its setting. St. Cloud has 9 main rooms, 3 downstairs.
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Above building cornices, bay windows are topped by gables. The tenement corner is rounded, topped with a tower covered with an onion dome. In the same area, Józef Święcicki also realized many other edifices, among others the Hotel "Pod Orlem" at Gdanska st.14; the Oskar Ewald Tenement at Gdanska st.
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The house has a roughly five-bay facade, although instead of paired windows on either side of the center entry, it has bay windows on the first floor. The house is now owned by the Walpole Historical Society. The house was listed on the National Register of Historic Places in 1975.
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Around 1900, Charles Mayer left the insurance business and became involved in real estate development. One of his projects was the Park Flats, which he built with numerous architectural innovations. Among these features were large bay windows with metal frames, two belt courses per story, and multiple colors of bricks.
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They tried to combine British and Belgian design innovations with French taste. The results could be graceful. Plumet's façades often included polychrome materials, bay windows and galleries open on one side. However, the buildings were not particularly innovative apart from the addition of curvilinear ornamentation, which was unusual at the time.
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The valley gained providence and wealth through gold- mining. From 1377 to 1802, Rauris held an independent country and mountain- court. Mining reached its peak from the 15th to 16th centuries. The houses of the mine-workers still testify to the affluence of this time with bow-gates and bay windows.
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This has an irregular plan, and is in two storeys and five bays. It contains bay windows, the other windows being mullioned and transomed. Inside the cemetery is the one remaining chapel, which originally served the Nonconformists. This is constructed in stone with a slate roof, in Early English style.
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Drover's cabooses used either cupolas or bay windows in the caboose section for the train crew to monitor the train. The use of drover's cars on the Northern Pacific Railway, for example, lasted until the Burlington Northern Railroad merger of 1970. They were often found on stock trains originating in Montana.
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It has a three-bay facade with bay windows flanking a center entry covered by an open porch. Its upper-story windows are headed by projecting lintels. Most of the windows are single sash, but some are paired sash windows set in a shared opening. The house was built c.
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The rear is more simple; the windows are mullioned and most are square, except for three bay windows. It has two wings laid out like half an "H", which each have a gable and embattled parapets.See photograph at "Reference Name LCL24620", Lincs to the Past (Lincolnshire Archives). Retrieved 1 April 2015.
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Tudor Manor is a historic apartment building at 524 Sheridan Square in Evanston, Illinois. The brick three-flat was built in 1916. Architect Louis C. Bouchard designed the building in the Tudor Revival style. The building's design includes multiple large bay windows, an arched entrance, a crenellated roofline, and multiple ornate chimneys.
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These lounges have bay windows overlooking the front verandah, and fireplaces located on the extreme east and west walls. The hall leads to another lounge area and through to the dining room. The dining room extends east behind the Green House. Pressed metal ceilings are located in the lounges and the dining room.
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It was added to the Queensland Heritage Register on 31 July 2008. Monkton is located at the northern end of Ardoyne Road at Corinda. It has a symmetrical front that comprises double-sided gables that face the road on both sides of a projecting porch. Bay windows flank either sides of the porch.
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Vera and the Olga are two historic rowhouse blocks located at Indianapolis, Indiana. They were built in 1901, and are two-story, ten unit, red brick rows on a courtyard. Each building has a hipped roof and each unit is three bays wide. The buildings feature projecting bay windows and front porches.
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The architectural features include two-storey canted bay windows with a castellated parapet and dormers, differently shaped gables, and a projecting porch with a finial in the form of a griffin. Most of the windows have mullions and transoms. Inside the house is much wood panelling and some stained glass in the windows.
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Bay Windows. pp. 1–17. Let’s Get Real is an exploration of bullying in middle schools released in 2003. It’s STILL Elementary considers the effects and political history of It’s Elementary. Straightlaced—How Gender’s Got us All Tied Up explores the ways that teenagers are affected by pressures to conform to gender norms.
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Some are on the three-sided bay windows that project from both the north and south profiles. The roofline is supported by decorative wooden brackets. The tower is square, joined to the rear at a 45-degree angle. It has several double segmental-arched windows and a flat roof supported by brackets.
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Curves were abundant, with rounded fireplaces topped with indirect lighting and a round dining room with floor-to-ceiling windows. Rounded balcony edges were set off by rounded bay windows. The bedrooms included circular dressing rooms with ample closet space. In some of the units, glass brick was used as partition material.
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The Sarah Lowe Stedman House is a two-story L-shaped brick Italianate house on a masonry foundation. It has a low-pitched hipped roof and tall windows with segmental- arch window caps. It has a pair of entry porches and bay windows on two sides. The ell portion was added in 1898.
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The John S. Whitman House is constructed as three long and narrow rectangular blocks, stacked atop of the other. The overall look is strongly horizontal, balanced with vertical lines from the embossed chimney, a patio window and bay windows on one side. The entrance is within a small, recessed door near the garage.
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The front rooms have triple bay windows. Above the front door are ornamental leadlight panels, the centre one of which includes the word "ANZAC". The building has pressed metal ceilings. "Restoration" displays in the front room of the cottage, 2015-11-07 The two front rooms and the kitchen/dining room have fireplaces.
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There are canted bay windows rising through all four storeys and oriel windows at the corners, and the "busy" façade also features domed turrets, crow-stepped gables and other elaborate gables. The barber shop was refitted in 1936 with vitrolite fixtures, but a glazed screen designed by Clayton & Black survives near the entrance.
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Either William Chester-Master or his son, Thomas William Chester-Master, who inherited in 1868, was probably responsible for a major enlargement or rebuilding of the service wing at the rear of the house. Photographs show this to have been built of coursed rubble stone, and the stucco on the house was probably removed when this addition was made. Rather later in the century, bay windows were added to the dining room and library and part of the service wing was reconstructed as a single-storey block with a low balustrade, matching those placed over the Victorian bay windows. By 1897 the house was let, and it remained in the occupation of tenants until shortly after the Second World War.
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The 2300 block appeared as an eastward extension of Factory Street in 1862, with no houses. It was gone by 1874, but reappeared in 1875 as West Delancey Place with all houses constructed, and by 1884 all houses were occupied. Each block has two styles of houses built at the same time and arranged in a symmetrical pattern down the block: one with a red brick facade lacking street-side bay windows and the other with a brownstone facade having stone-framed bay windows (engraved with ornamentation above). The 2400 and 2500 ‘Schuylkill’ blocks, also short, are near the Schuylkill River and have a shared history in being ‘Factory Street’ in the nineteenth century, with mostly warehouses and stables, as early as 1840.
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Ridge Boulevard Apartments is a historic apartment building at the southeast corner of Ridge Avenue and Main Street in Evanston, Illinois. The three-story brick building was built in 1913. Owner Thomas McCall, who was also an architect, designed the building. McCall's design included miter arched entrances, bay windows, stone banding, and a rear courtyard.
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The original interior doors are of panelled timber with pressed metal push plates. Evidence of the original dark stained finish is evident under layers of paint. The bay windows are substantially intact despite having been relocated from the corner of both front rooms. A decorative internal timber fretwork grille is fitted to both of them.
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5 2010 Bay Windows. The Dottie's Magic Pockets DVD and CD were produced by production company Pink Pea LLC. The DVD appeared in OUTFEST 2008 and a dozen festivals around the world, including the 2009 London Lesbian and Gay Film Festival, Toronto International Gay and Lesbian Film Festial and the Melbourne Queer Film Festival.
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Then, in 1876, the architect Ewan Christian was engaged to install bay windows and add decorative brickwork to give the house the Jacobethan appearance which can still be seen from the gardens today. Some of the exterior of the older parts of the house can be seen from the driveway next to the theatre.
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Frank built the two-story structure at its present site in 1901. The lower floor was used as the trading post, and the upper floor as a community hall. In 1906 Frank renovated the house and made it into their home. Bay windows were added, and gas lighting fixtures were likely installed at this time.
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Many of the original moldings and other wood trim remain, especially the Gothic fluted surrounds on the bay windows, which emerge from nearby pilasters. The fireplaces have their original marble mantels. A mansard roofed privy of brick and brownstone is located behind the house. It is included in the listing as a contributing resource.
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Williams, p.163 Similar to the above houses in style and decoration, it also exhibited fine gabled porch entrances. The interior had panelling and ribbed ceilings, with delightful bay windows in the reception rooms. Rowden Mill was a late Elizabethan/early Jacobean converted stone and timber house along the banks of the River Frome.
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Bronze sconces and large rounded mirrors were installed throughout. A 49-light opaque glass and ormolu Electrolier with crystal embellishment occupied the central recess of the ceiling, which was itself elaborately molded with instrumental motifs. Adjoining the open seating area were cosy alcoves with inset mirrors and tall bay windows of leaded and stained glass.
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It features exuberant wood trim, decorative shingles and half-timbering; a wraparound porch with a circular section topped by a bell-shaped roof; and projecting bay windows. Also on the property is a contributing carriage house. Note: This includes and Accompanying photographs It was listed on the National Register of Historic Places in 2011.
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With large windows, balconies, bay windows, high dwarf houses, chimneys and paintings, sometimes also staircase towers, the pompous builders let decorate the roofs and facades. With the construction of magnificent castles and representative town houses in the cities, as well as municipal buildings, the wealth and understanding of art could be presented to the public.
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The first floor features rough rustic blocks. Upper floor details include arched bay windows, Viollet-le-Duc inspired iron balconets and flat column pilasters. Each roof gable is topped with a finial crown. There is a glazed tile clock is located in a 5-story tower at the corner of Bedford and Summer streets.
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The house was built in Balkan manner by “the Greek builders”. It was constructed in “bondruk” manner, with asymmetrically built interior and two bay windows on the main façade. It has a basement, ground floor and upper storey. It is situated toward the street and the lot depth occupies a garden and a yard.
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Daniel S. Major House is a historic home located at Lawrenceburg, Dearborn County, Indiana. It was built between 1857 and 1860, and is a two-story, rectangular, Italianate style brick dwelling. It has an ashlar stone foundation, low hipped roof, polygonal bay windows, and a two-story service wing. Note: This includes and Accompanying photographs.
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Dawpool was a large house, built in sandstone, and in Tudor style. It was asymmetrical, and its features included gables, bay windows, and large mullioned windows. Inside the house was a large gallery with a barrel vaulted ceiling. The house reputedly cost over £50,000 to build, and the materials used were of the highest quality.
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Dr. Joseph Bennett Riddle House is a historic home located at Morganton, Burke County, North Carolina. It was built about 1892, and is a 2-l/2-story, five bay, Queen Anne style frame house. It features a number of balconies, bay windows, and dormers. A three-story tower was added in about 1910.
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It was built in the 17th century and has porches and bay windows on the ground floor. The name is from the symbol of the Bluetts of Holcombe Rogus who were local landowners. It is a Grade II listed building. The building is also home to the town council and the Local History Society.
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National Park Service The first floor was an additional kitchen and the second story was used for additional guest rooms. It is wide and deep. It has a full finish attic, but no cellar. The south side has four bay windows on the second floor with two board and batten doors at the center flanked sash windows.
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The first floor has three bay windows with two board and batten doors with one sash window at the west end. There are steps to the second porch at the east end of the first floor. The gable end elevations have centered projecting chimneys with no openings. There are two rooms on each of the first two stories.
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It is constructed of steel reinforced concrete and faced with limestone, marble, and slate. The house features complex slate roofs with many gables, large numbers of rectangular, oriel, and bay windows, interesting chimney treatments, and carved stone detailing reflecting the Tudor Revival style. Note: This includes It was listed on the National Register of Historic Places in 1979.
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The sitting room and the dining room both feature bay windows. At the back of the house is the living room and the kitchen. Towards the house's rear are stairs to the basement, which are replaced by a closet in some episodes. Though rarely seen, there is also a hallway off the kitchen leading to a recreation room.
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The first and second floors are faced in brick, while the third is covered with stucco. A wrap-around porch runs across the entire front facade and onto both sides. The lower floors contain round-corner windows with Eastlake rood moldings, as well as bay windows. The roof has projecting eaves, and is covered with red terra cotta tiles.
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In 1906 Braley built a bike manufacturing building, which eventually became an Oldsmobile dealership. In 1887 a three-story Victorian red brick building with bay windows and a turret on the southeast corner was constructed at 107 South Fair Oaks on the northwest corner at Dayton Street. It was named the "Doty Block" and housed a stagecoach showroom.
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The Greenwood is a historic apartment building at 425 Greenwood Street in Evanston, Illinois. Built in 1912, the three-story building is set in a neighborhood of single-family houses. Architect Thomas McCall designed the building in the Prairie School style. The building features an overall horizontal emphasis, casement and bay windows, stained glass, and overhanging eaves.
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The front steps, now of sandstone, are believed to have originally been timber. The walls facing the verandahs are of rusticated sandstone, with smooth quoins and window dressings. Full length, three sided bay windows project onto the verandah either side of the main entry. The rear of the house, not visible from the street, is constructed from timber.
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It has a central hallway. The front entrance hall and reception rooms on either side have been newly painted and have linoleum floors. Each of these rooms has a fireplace with timber mantel, and bay windows to the verandah. All internal walls are lined with tongue-in-groove beaded boards with timber joinery including ceiling vent panels and fanlights.
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A pair of smaller wings is set back from the primary plane of the façade, and a pair of large bay windows flanks the single-leaf entry door, which is surrounded by a pedimented frontispiece. A long, two-story warehouse and furniture factory constructed of concrete masonry units projects from the rear of the main building.
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The 1897 Queen Anne style house is typical of the style, but is relatively unusual in the local area where gabled-ell and upright-and-wing farmhouses were more popular through the turn of the century. The house has a cross plan, and the exterior contains typical Queen Anne details such as fishscale shingles and bay windows.
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Harrow Garden Village was a housing development in the 1930s around Rayners Lane Underground station in London, England, which until then had been a "country halt" on the Metropolitan line. This was Metro-land's flagship development, begun in by E S Reid, with streets full of semi-detached houses fronted with bay windows and tiled roofs.
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An auto repair shop located along the highway sustained significant damage with all of the bay windows being blown out and 17 nearby storage sheds were destroyed. Several trees were knocked down onto railroad tracks before the tornado damaged another mobile home and dissipated. No injuries were reported as a result of the tornado and damages amounted to $50,000.
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Different bonds of brick (including American bond and English bond) were used throughout to add textural interest. Fanlike terra cotta motifs were inserted above second floor windows. Cartouches of terra cotta were placed between the top-floor windows, and decorative terra cotta eave brackets were beneath the roof. Three-sided multi-paned bay windows projected into the courtyard.
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Houses on East Ferry are built close together on small lots, set back from the street. Many of the matching carriage houses still exist. In general, the neighborhood consists primarily of Queen Anne homes, built of brick and sandstone, with bay windows or turrets and wide front porches. There are some Romanesque Revival, and Colonial Revival designs.
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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.
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Alderman Daley serves on the City Council Committee on Historical Landmark Preservation. During her tenure there have been 16 areas in the 43rd Ward that have been designated Historic Landmarks including the Armitage-Halsted District. The Armitage-Halsted District was designated a Chicago Landmark on February 5, 2003 and features bay windows and corner turrets with conical roofs.
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Doric columns complement the entry and the front door is multi-paned and has sidelights. There are symmetrically placed hipped roof bay windows on the northern and southern sides of the portico. The roof is covered in slate and ridged in terracotta. The garage has Federation Anglo-Dutch style influences and its walls are shingled with a weatherboard spandrel.
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Solomon and Henry Weil Houses are two historic homes located at Goldsboro, Wayne County, North Carolina. They were built in 1875 for two brothers, and are nearly identical two-story, rectangular, Late Victorian frame dwellings. They feature projecting bays, bay windows, porches, and verandahs. They were listed on the National Register of Historic Places in 1976.
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A small loggia connects to the eastern entrance. To the ground and first floors, rooms are accessed from cruciform corridors with stairs to the west and the south. The intersection of the corridors are decorated with rendered masonry arches, and many of the ceilings are timber- boarded. The first floor bay windows are framed internally by a flat arch.
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An asphalt-shingled hipped roof is pierced in the front by a triangular dormer with a semicircular window. On the front is a poured- concrete porch with wooden posts and railings, leading to the main entrance, a recessed, panelled and glazed double door with a three-part transom. It is flanked by two wood-framed glass bay windows.
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The rest of the facade is approximately a century newer. The front of the building is built of ashlar blocks of locally sourced oolite. The "Chambre de' Roi", Richard III's room for his stay at the inn, covers the whole of the first floor with the two mullioned bay windows for both ground and first floors at either end.
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The original 1865 house was probably based on a pattern book. It was an L-shaped building with vertical board and batten siding. The 1878 addition was consistent with the architectural form of the house but greatly expanded it. Proceeds from the sale of Willard's autobiography were used to add large bay windows on the main facade around 1890.
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Sheffield Apartments is a historic apartment building located at Harrisburg, Dauphin County, Pennsylvania. It was built in 1925, and is a three-story, rectangular brick building in the Mission Revival style. The facade is three bays wide, and it features three story bay windows on each side of the center entrance bay. It has 14 apartments.
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Some properties had bay windows. The terraces at Highams Park had fanciful ornamentation picked out in white plaster. Many properties had front gardens. The quality of the housing was high: It was "notable for the quality of their workmanship and are in distinctive styles, often in bold red brick, with gables, recessed porches, and tiled roofs".
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The facade, which had little decoration, was broken with a portico in length, supported upon four columns, four rows of bay windows, and other windows set in embrasures and arches. Two features of the interior were the large dining-room and a long promenade in the second story. The house was ten stories high, and had 350 rooms.
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It is a mid-19th-century brick building with gabled dormers, ornamental barge-boards, and stone bay windows. It also has a large walled garden to the north.L Margaret Midgley, A History of the County of Stafford: Volume 5, Coppenhall, pp.138-143 The house has for some years now been a residential care home for the elderly.
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The west front has a tall gable between large buttresses that end in Gothic turrets. The western face has a large ornate crucifix sculpture. The northern face has mock-Georgian elements to it, including leaded bay windows. The church has a small tower to the north west corner, from which the flag of the Vatican City is flown.
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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.
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The edifice has an asymmetrical façade, with vertical loggias, bay windows and tall, triangular gables with wattle and daub structure. The architectural style of the building refers to the early modernism, where the stucco decoration is reduced to a minimum, while the most important measure is the artistic arrangement of architectural elements that make up the facade.
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If a bay window is curved it may alternatively be called bow window.John Fleming, Hugh Honour, Nikolaus Pevsner, The Penguin Dictionary of Architecture, Fourth edition, Harmondsworth 1991, p. 36. Bay windows in a triangular shape with just one corner exist but are relatively rare. A bay window supported by a corbel, bracket or similar is called an oriel window.
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On the first floor, the central section is flanked by projecting bay windows with decorative surrounds and modillioned cornices. The front facade is in a flush-boarded wood finished designed to simulate stone. The roof line below the mansard roof has an extended eave with single and paired brackets on the sides. The house was constructed c.
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"Wright's old neighborhood," The New York Times, March 3, 1996. Retrieved June 25, 2007. The design of the house is reminiscent of Wright's first teacher Joseph Silsbee and typical of Wright's early, low-cost residential designs. Its high-pitched, hip roof, polygonal and rectangular dormers, polygonal bay windows and wall foundations of rough stones are all reflections of Silsbee's picturesque manner of design.
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Bow or bay windows were the "chief architectural feature" of Brighton's early houses. Vertical sliding timber-framed sash windows with glazing bars were usually inserted into these, although casements were sometimes used—typically on the oldest or most modest buildings. Casements would sometimes be given glazing bars as well. Such bars were usually slim and had mouldings in various patterns.
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The VanderHeyden House is a two-story, symmetrical Italianate house constructed of ivory brick on a brick foundation sheathed in sandstone. It measures approximately 53 feet wide by 57 feet deep. The roof is a very low hipped design, with paired brackets supporting the eaves. It has an arched central entrance with two-story slant-sided bay windows to each side.
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The house was built in 1883 in the Victorian-Italianate style. It features a wrap-around porch, stacked bay windows and a second story balcony. The Wallace's altered the third floor around 1895 adding two bedrooms and a hybrid mansard/hip roof and dormer windows. The restoration of the house in the late 20th century was guided by photographs taken by Josephine Wallace.
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The house presents forms of prussian Historicism, at a transition time from the Eclecticism to Secession movement. The facade has gables with different forms, bay windows, loggias and various shaped windows. The main frontage is flanked with triangular topped gables. The middle section play on symmetry, through the network of arcades and open loggias, while the upper part is purposefully designed asymmetrically.
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A timber-framed dwelling, Monkton is located at the northern end of Ardoyne Road at Corinda. It has a symmetrical front comprising double street-facing gables either side of a projecting porch. Bay windows are located in the walls on each side of the porch. The main roof of the house is hipped and the external walls are clad with weatherboards.
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The bay windows to the street and to the south have casement windows with a central fixed bay with curved glazing bars. The bay window to the north-west has casement windows only. All other windows in the house are multi-paned timber casement windows. Porthole windows are located on the front porch, north elevation and south elevations of the house.
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They are either painted or wallpapered except in the bathrooms where they are partially tiled and in the service wing where they are all painted. Corners of all walls are finished with timber staff moulds. Roof: This is sheeted in corrugated iron and is hipped in form with gables above the bay windows. These gables have vertical battens below the barge decoration.
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The restored ground floor facade of the Essighaus The Essighaus was an impressive gabled town house in the old town of Bremen in northern Germany. One of the city's finest examples of Renaissance architecture, it was almost completely destroyed by bombing in 1943. The entrance flanked by projecting bay windows is the only part of the building which has been restored.
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The Corporation of Croydon bought the Park for the public in 1900. The Council built a bowling green, tennis courts and a bandstand. Concerts were held during the summer but their popularity declined and the stand was subsequently demolished. The mansion was a two-storey Victorian building with bay windows, a veranda and a conservatory on the south-east corner.
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The entry is offset to the left side, with a portico that is also heavily bracketed. A wing, also mansard- roofed, extends to the southwest at the rear of the main block. Bay windows project from the front and side, topped with roofs whose cornices are also bracketed. The house was listed on the National Register of Historic Places in 1987.
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The Gramse, also known as The Nicholson, historic apartment building located at Indianapolis, Indiana. It was built in 1915, and is a two-story, Bungalow / American Craftsman style, yellow brick and limestone building on a raised brick basement. It has a cross-hipped roof with dormers. It features stuccoed section and decorative half-timbering, three-sided bay windows, and corner porches.
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At the front there is a porch with two Tuscan columns with sculpted cyma, it also has a particularly interesting stucco border with a relief showing motifs of plants. The façade is decorated by the main balcony and windows with decorative forged iron barring. The tower is three storeys tall with twin bay windows. The roofs are edged with beams or corbels.
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Sistersville City Hall, also known as the City Building, is a historic city hall located at Sistersville, Tyler County, West Virginia. It was built in 1897, and is a two-story red brick and stone building. The 16 sided unique building features centrally located, three-sided bay windows on each section. The building at one time housed the city jail.
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Canary Riverside Plaza Hotel is a luxury 5-star hotel in London, England. It is located at 46 Westferry Circus in Canary Wharf. The hotel has 142 rooms and suites containing large bay windows overlooking the River Thames. Its Ancient Egyptian inspired design by Renton, Howard, Wood & Levin, based on earlier work by Philippe Starck, features a curved patinated copper roof.
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Pollock is located right between Buhl Hall, one of the classroom buildings, and Thayer Hall. Of all the halls only South, West, East, Pollock, and Willison have air conditioning. They are all the same floor layout with two sleeping areas, a bathroom with a shower, and a living area with a provided futon. South, West, and East also have bay windows.
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Directly above the doorway the central windows are flanked by two feminine termini; on the third floor is a balustraded window balconet. The building features unusual packeted bay windows. On the interior, the small entry vestibule has marble walls and shell patterned iron grates. A groin vaulted hallway with wall-mounted medieval iron lighting fixtures leads to the main lobby.
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Pendants support the brackets at the roofline cornice above the tripartite window; all the other brackets on that cornice are identical to those on the bay windows. Above the tripartite window an engaged turret rises. The lower of its two stages has round-arched one-over-one double-hung sash. Another bracketed cornice above it supports the flared, conical roof.
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On the street side the facade is dominated by three pointed gables, the middle gable is omitted from the design of the facade on the track side. A "princely pavilion" (Fürstenpavillon) was built to the west of the main building with three bay windows; there is also a detached toilet block built in the Romanesque Revival style east of the main building.
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A large entrance door with side lights and a transom, is emphasised by a gable featuring a decorative timber fretwork panel. The doorway is flanked by two full length bay windows, of concrete construction, with full length sash walk through windows. A cavity above the window conceals the opened lower sash. The building features many timber framed vertical sash windows, with concrete sills.
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G. W. Bromley & Company, Philadelphia.Smith, Elvino V. (1923). Atlas of the City of Philadelphia. Elvino V. Smith C. E., Philadelphia. after the stables were removed, although one of the original carriage houses remains, at no. 1718. The short 2200 and 2300 ‘Victorian’ blocks were built in the 1870s, with houses characterized by bay windows, stone trim, and bracketed window hoods.
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The Marquette Hotel was a historic hotel located at the southeast corner of 18th Street and Washington Avenue at 1734 Washington Avenue in St. Louis, Missouri. The building was designed by architects Barnett, Haynes & Barnett. Construction began in 1906, and it was completed in 1907. The hotel was ten stories high and featured extensive terra-cotta and limestone ornamentation and bay windows.
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Showing influence of the Italianate architectural style. With an original T-shaped layout the home was remodeled in 1891. Some of the construction consisted of enclosing the sleeping decks along the south side of the home and adding an additional wing. Some of the architectural features of the home include: corbels, arched windows, bay windows, front balcony and oriole window.
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The palace was erected as a conventional brick construction and later encased in various types of rock. The white limestone used for the fronts came from a nearby quarry. The sandstone bricks for the portals and bay windows came from Schlaitdorf in Württemberg. Marble from Untersberg near Salzburg was used for the windows, the arch ribs, the columns and the capitals.
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The walls are oak-panelled, and there are a number of Davenport family portraits. There is a fireplace on the left, and two large bay windows on the right. There is a chair in the closest window, and there are a few people in the room. The largest room on the first floor is the Withdrawing Room, situated above the Great Hall.
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House at No. 8 State Street is a historic home located at Mount Morris in Livingston County, New York. It is believed to have been built in the 1850s. The Italianate style building features cubic massing, a prominent cupola, tripartite projecting bay windows, and a profusion of decorative woodwork. See also: It was listed on the National Register of Historic Places in 1999.
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It is two stories high, with a square three-by-three-bay central block and seven- bay T-shaped rear wing. The siding is clapboard over wood frame with diagonal brick braces. A wide entablature goes down to the middle of the second story windows; fretwork flanks the three on the east (front) facade. The main entrance is flanked by projecting bay windows.
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Internally a central hall extends from the entry to the rear verandah. This hall is divided centrally by a doorway, creating a formal entry portion and informal rear. Flanking the entry hall is a main bedroom to the north and a formal dining room to the south. These rooms include central bay windows with floor to ceiling double hung windows.
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Drumman Lodge is an unused two story farmhouse, dating back to the 1740s. The home features bay windows, a natural slate roof, and a complex of outhouses. The building shows signs of being rebuilt c1815, making use of the buildings original materials. Bernard Charles Molloy, an irish lawyer and politician resided at the lodge until his death on June 26, 1916.
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The second floor also contains several bay windows. The front entrance is reached by a flight of stairs and sits within a two-story gabled projection. Doric pilasters are carved into the sides of the door frame and support carved rosettes located above and around the door. As the projection reaches towards the sky, machicolation adds interest to the vertical plane.
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Projecting bay windows and corner fireplaces were recurrent elements. Dods designed gardens as a setting for the house, a practice more common in Britain than in Queensland. They featured formal parterre gardens, terraces and walls, flower beds, tennis courts, hedges, topiaries, flowering ornamental trees, and geometric path and lawn layouts. Garden furniture and structures were designed including seats, pergolas, trellises, fences and gates.
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Howard-Royal House is a historic home located at Salemburg, Sampson County, North Carolina. It was built in 1892, and is a two-story, three bay by one bay, single pile, frame dwelling with a rear ell. It has a gable roof and a central two-tier porch flanked by two-story, octagonal bay windows. Also on the property is a contributing shed.
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The Lodge is a historic apartment building located at Indianapolis, Indiana. It was built in 1905, and is a three-story, three bay, rectangular, Georgian Revival style red brick building. It features a limestone entrance portico with Ionic order columns and three-story bay windows. Note: This includes , , , and Accompanying photographs It was listed on the National Register of Historic Places in 1983.
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The Grover is a historic apartment building located at Indianapolis, Indiana. It was built in 1914, and is a three-story, "I"-shaped, red brick building. It features a recessed entrance with limestone voussoir arch, bay windows on the upper stories, and a limestone frieze. Note: This includes , , , and Accompanying photographs It was listed on the National Register of Historic Places in 1983.
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It was complemented by bay windows elsewhere on the facade; the sash windows had wooden architraves and shutters. On the rear was a two-story glazed veranda with four center-arched windows and a balustraded terrace. The many gables on the roof were themselves pierced by gabled dormers with vergeboards. In the rear was a carriage house, the only one in the district.
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The building is in Neoclassical style but drawing inspiration from Baroque revival and Art Nouveau. The building is constructed of red brick on a base of rough cut granite. The windows are also framed by horizontal bands of granite. The building appear relatively complex with a large 7-story castle- like tower, shifted floors and different dormer windows, balconies and bay windows.
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An impressive large scale house displaying all the exuberance of a high Victorian residence befitting that of a successful country gentleman. The house is a two-storey verandahed structure of local timber with weatherboard sheeting. The plan is basically a square with projecting bays to the main rooms. These bay windows contain rather distinctive shaped fenestration recalling the English Gothic-Revival.
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The roofline is defined by a brick parapet which sports a medallion of pattened bricks in the very center. Projecting stone bay windows define the façade's ground floor corners. The 1954 additions use brick and stone similar to the original section. An entry door in the middle of the west and south façades indicates the corners of the original construction.
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On the ground floor, corridors of width each connect the three entrance halls to the circular hall. The architecture of the building combines old and modernist elements, and is distinct from that of surrounding structures. The whole exterior is made of bay windows, and square patterns are found on both the exterior and interior. The base columns are slender and rectangular.
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Along the center line of the structure are two oriel type bay windows, one each on the first and second floors. To the right is a second entrance, inset from the facade, designed to mimic the main entryway but with smaller proportions. The inset entrance was used as the door for Roberts' doctor's office. Essentially, the house is cast in the Italianate style.
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Numerous chimneys The house is an intact example of the Federation style of architecture. Built of timber and galvanised iron roof. It displays fine quality timber craftesmanship, joinery and detail. Coloured glass panels to the windows and oddrs, timber detailing on the decorative gables, verandah window hoods at the sides and back of house and bay windows to the northern side.
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Entries were often off-centre or perpendicular, emphasised by wide and expressive entry stairs. Projecting bay windows and corner fireplaces were recurrent elements. Dods designed gardens as a setting for the house, a practice more common in Britain than in Queensland. They featured formal parterre gardens, terraces and walls, flower beds, tennis courts, hedges, topiaries, flowering ornamental trees, and geometric path and lawn layouts.
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Curtain rods can be made of many materials including- wood, metal and plastic. Curtain rods come in almost endless styles and designs. Not all curtain rods are simple straight poles; curved and hinged poles are available from numerous companies, allowing installation in bay windows and around curved walls and corners. Curtain rods can also be shaped like a crane or exhibit a swing arm design.
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At the northern end is a one story extension containing storage rooms. Brown corrugated fibre cement sheeting covers the two roofs and the wooden cladding is ochre with blue window surrounds and frames. To the east the house has a smaller extension with large windows and exit to the garden as well as two other characteristic bay windows. Kirsten Sand lived in the house until 1994.
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It has a fanlight with a round arch, above which is a pediment. The lateral two wings have semicircular two-storey bay windows, which are in a different style from the rest of the house. The central pane of each window is octagonal. The other windows in the lower two storeys are 12-pane sashes, and those in the top storey are 12-pane casements.
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Poth and Schmidt Development Houses is a set of six historic double houses in the Powelton Village neighborhood of Philadelphia, Pennsylvania. They were built in 1890, and are three-story brick buildings in the Queen Anne-style. They feature mansard roofs with terra cotta shingles, front porches, and projecting three-story bay windows. The house at 3314-3316 Arch Street has a corner tower.
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John B. Lindale House is a historic home located at Magnolia, Kent County, Delaware. It was built in 1886, and is a two-story, frame dwelling, in the Queen Anne style. It is almost square in plan, and features two-story bay windows, a large semi-circular projection, and polygonal turret towers. and It was listed on the National Register of Historic Places in 1973.
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The Lost houses of Wales, (Thomas Lloyd, 1987, Save Britains Heritage, London) His Hon. Judge John Johnes, JP, DL Captain John Johnes' son, also named John (1800–1876), became a judge, who commissioned various refurbishments, including having the wings raised adding bay windows in 1871. In its heyday Dolaucothi retained a domestic staff of nine with eighteen more working on the estate.A House That Borrow Admired (H.
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James Mitchell Rogers House is a historic home located at Winston-Salem, Forsyth County, North Carolina. It was built between 1883 and 1885, and is a large two-story, eclectic Late Victorian frame dwelling. The house design reflects Late Gothic Revival, Italianate, and Queen Anne style design influences. It features steeply pitched gables sheathed in board and batten siding, bay windows, and irregular massing.
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Tibbits House, also known as Tibbits Hall, is a historic home located at Hoosick in Rensselaer County, New York. The house was built about 1860 and -story, rectangular Gothic Revival–style building. It is constructed of cut ashlar sandstone blocks and has steeply pitched gable roofs covered with fishscale slate. It features projecting porches, bay windows, changes of rooflines, dormers, chimneys, and two towers.
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He incorporated bay windows on the second floor and dormer windows at the top floor for an unusual look. On the third floor, Shaw alternated flat narrow windows with caged oriel windows. In 1892, The British Architect hailed Swan House and the six other homes Shaw designed in the Chelsea Embankment as "masterpieces." Wickham Flower hired the firm of designer William Morris to decorate Swan House.
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One the first floor was bed chambers and one attic room. The north wing is now rebuilt but it was thought that a substantial kitchen with a large fireplace would have been originally located here. The house has large bay windows on the south front which were a fashionable feature of some houses of the time. It features a studded, thick timber front door.
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Alden Park Towers consists of four eight-story buildings built from red brick with stone trim.Alden Park Towers/Alden Park Manor from Detroit1701.org The buildings are interconnected at the first story; this level formerly housed commercial services such as grocery store and laundry.Alden Park Towers from the state of Michigan The exterior is highly ornamented, with projecting bay windows extending from the ground to the roof.
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The new building was a masterpiece. Built out of red brick and sandstone in a castle-like structure, in typical 1890s architectural fashion, it featured multiple turrets, twelve- foot ceilings, stained-glass bay windows and a six-story bell tower. After the last part of the building, the bell tower, was erected, it was decided by the School Board not to purchase a bell for it.
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The William Hogg House is located west of downtown Worcester, at the southwest corner of Elm and Ashland Streets. It is a 2-1/2 story wood frame structure, with a truncated hip roof and clapboarded exterior. Gabled dormers pierce the roof face, and the roof eae is decorated with modillion blocks. Its front facade has a Corinthian porch sheltering a center entry flanked by bay windows.
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A heavy cornice moldings similar to those over the bay windows is above, and two square columns with molded caps support the porch roof. The second story level has a narrow central one-over-one hung sash window flanked by two larger windows, each created by two one-over-one hung sash units. The windows are decorated with carved ornaments. A hipped roof tops the house.
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Bay windows of three and four units respectively mark the two stories on the south. Above them a projecting pedimented gable has a small Palladian window at its center. The south profile is less decorated, with two groups of windows and a lancet on the first floor comprising its fenestration. On the east (rear) is a small single-story extension covered by a hipped roof.
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After being sold in 1467, the hall was gradually divided into smaller and smaller houses, and the original bay windows were replaced with doors and sash windows. The internal structure was redesigned, with the insertion of new floors and cellars. The building became known as the Old Barge Building, named after the nearby pub. Poor quality housing built up around the spaces adjoining the building.
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The new building constructed in 1960 maintains the original gable. It is now used as a cultural centre. Stadtwaage The Deutsche Factoring Bank building (earlier Bankhaus Martens & Weyhausen) which covers the section from No. 15 to No. 21 was reconstructed in 1955 after serious war damage. It contains the Renaissance Essighaus portal with bay windows from 1618 and the gable of the former Sonnenapotheke (1770).
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The stud walls are clad with chamferboard externally and lath and plaster internally. Most doorways have operable fanlights above. The ground floor contains a number of large public rooms with bay windows and French doors, arranged around a central stair hall. An entrance vestibule with a tessellated tiled floor leads to the stair hall through an arched opening filled with a carved timber screen.
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The Pasadena Apartment Building is an eleven-story building constructed of yellow brick with limestone facing on the two lower floors. A column of bay windows rises from the basement to the tenth floor; a classic style entrance is in the center of the front façade. The building originally had classical details on the upper floors, including a cornice and false balconies, that have been removed.
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McMullin meant for his Queen Anne style home to be a showplace. It was designed by an unknown architect to be built of brick, but because of price gouging by local brick dealers he chose to have his home built of wood instead. Structurally, the house has a balloon frame covered with clapboards. It features an asymmetrical plan, a wrap-around porch, and bay windows.
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Charles E. Nichols House is a historic home located at Lowell, Lake County, Indiana. It was built in 1902, and is a 2 1/2-story, Queen Anne style brick dwelling with a cross hipped roof. It features a stately corner tower with conical roof, side bay windows, and a bracketed balcony over the front entrance. Also on the property is a contributing carriage house.
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In 1930, it was converted into a guesthouse. In the early 2000s it became a backpackers' hostel. Despite the property being used as a guest house and then used for backpackers, much of the grand interior of the building has survived, including sandstone, marble and timber mantelpieces, ceiling roses, bay windows and large basement quarters for servants and a cellar. John Currie died on March 11, 1898.
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They have one central bay and lateral four-storey turrets. The central bays contain two-storey canted bay windows, above which are pierced stone parapets, three-light mullioned windows, and shaped gables with pierced ogee finials. The turrets have bands between the stages, single-light windows and ogee caps with finials. Projecting forward on each side of the central block are two-storey service blocks.
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John Garth House, also known as Woodside Place, is a historic home located near Hannibal, Ralls County, Missouri. It was built about 1871, and is a 2 1/2-story, Second Empire style frame dwelling. It measures approximately 99 feet by 54 feet and sits on a limestone block foundation. It features mansard roofs, projecting tower, four porches, and two semi-octagonal bay windows.
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Following its realignment the inn's name and licence was moved to its present building opposite the Station Road junction. The second location, with quoined angles, gable stacks and integral canted bay windows, was probably built as a farmhouse in the mid-18th century. A rare two-storey Second World War pillbox in the village was listed by English Heritage for protection status in 2010.
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Street front view of Austral Building. The building consists of five storeys and a basement, using plain red brick as the main wall material, with detailing provided in cement render. The front part of the building is capped with a steeply pitched slate roof. The arches of the ground floor support the bay windows on both sides, and strongly modelled bracketed window feature in the center.
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The Sid-Mar is a historic apartment building located at Indianapolis, Indiana. It was built in 1887, and is a three-story, triangular, Italianate style red brick building. It has commercial storefronts on the first floor and segmental arched and projecting bay windows on the upper floors. Note: This includes , , , and Accompanying photographs It was listed on the National Register of Historic Places in 1983.
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Little Horringer Hall is a Grade II-listed house in Horringer, Bury St Edmunds, Suffolk, England. There has been a hall in this location since the 17th century, and an earlier property was once the residence of Sir Richard Gipps. The present house was built around 1750 from red brick. A pair of bay windows and a replacement front door were added in the 20th century.
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Later in 1929 came into effect the first General Building Regulation. Most importantly, not only did it regulate the height and surface area of the buildings, but it also introduced innovations that their use came to characterize the modern style of the buildings of the era, such as the bay windows, or erkers (έρκερ), as they are known in Greek after the German term.ΦΕΚ Α 155/22.04.1929.
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Flemming, p. 2. The house also features tall brick chimneys with corbelled chimney caps, dormers, bay windows and a large veranda. The architect, if there was one, is unknown, though it is probable that Lake himself was the builder. One possibility is that John Lake obtained the architectural plans in England, his native land, where he had returned from as construction on the house began in 1873.
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However, his fortune was destroyed by the Great Depression, and he died in 1936. Built of limestone with a limestone foundation, the Tudor Revival house is covered with a slate roof. Two and a half stories tall, the house features an irregular plan, with battlement- topped bay windows in assorted gables, tall chimneys, and a porte-cochère sheltering the main entrance., Ohio Historical Society, 2015.
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Internally the house is substantially intact, although friezes and a dado decoration in the hallway have been painted over. Cedar has been used for the hallway flooring, and much of the joinery, including the fixed seating in the bay windows and some of the mantelpieces. The remainder of the internal flooring is of pine. There are pressed metal ceilings and some cast iron mantelpieces - part of the 1880s renovations.
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Middlewich Manor (also called the Manor House, Middlewich) is a former manor house in Middlewich, Cheshire, England. It was originally constructed in brick in about 1800, and it was encased in ashlar in about 1840, when the porch was also built The bay windows were added in the 1870s. As of 2011, it is a residential care home. The house is constructed in yellow ashlar and is in two storeys.
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Place House was designated as a Grade I listed building on 13 March 1951. It is a large house built of stone, dating from the fifteenth and sixteenth centuries. The south front has two storeys, each with five windows, and a pair of ornamented early sixteenth century bay windows. There are external turrets and a large square tower at the west end with a corbelled and battlemented parapet.
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In 1894 a new landmark Norcross Building went up which stood until destroyed by fire in December 1902. The Atlanta Constitution called the building "one of the handsomest office buildings in the city", "an honor to Atlanta" and " a splendid ornament to the site". The construction was of pressed brick, five stories high, fronting on Marietta Street and on Peachtree Street, with large ornamental bay windows. The architect was G.L. Norman.
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It is constructed in red brick, some of which has been roughcast, and has red tiled roofs. The house has an L-shaped plan. The garden front is in two storeys and has five bays; there is a single-storey five-bay wing to the east, and a three-storey three-bay service wing to the north. In the garden front are three bay windows, a Venetian window and a door.
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The inn has a timber frame and slate roof. The building, occupied by a public house and shop, has a four-window range each end of which is gabled. The two-storey public house occupies the central range and the right-hand gable, which has canted bay windows on each floor. There is a round-arched doorway into the public house and a three-light window to its left.
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The windows on this face are sashes topped with stuccoed architraves. On the other walls, the windows are irregularly spaced; some original sashes survive, and there are also two canted bay windows. The interior has several large fireplaces and an ornate chimney-breast decorated with carved egg-and-dart motifs and flanked by pilasters. A plastered archway leads from the hall to the staircase, which has an elaborate stair-rail.
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The porch also features a foundation stone out of sandstone with the inscription "Memorial stone laid by Joseph and Charles Janssen, January 1917".Original Dutch text: "Gedenksteen is gelegd door Joseph en Charles Janssen, Januari 1917" On both sides, there are canted bay windows, that go from the ground to the roof. Most windows in the front facade are cross-windows and some have shutters. The roof features three dormers.
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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.
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The attic rooms have been subdivided, and a small chapel was installed in a former bedroom on the second floor. In 1926, the wooden parapet of the rear north tower was destroyed by lightning. During the middle part of the 20th century, the wooden gables, turrets, and crenellations over the bay windows were replaced by galvanized iron copies. In 1974, an interior staircase was installed in the square tower.
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Delmar Apartments, also known as Chelten Station, is a historic apartment building located in the Germantown neighborhood of Philadelphia, Pennsylvania. It was built in 1902, and is a five-story, "U"-shaped brick building in the Colonial Revival-style. The first floor is faced in Wissahickon schist and has a wood porch. It features four-story bay windows, a terra cotta cornice, and pediment above the main entrance.
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Made of granite rubble, each of the transepts has three round-arched windows at their gable ends, and there are lean-to side aisles with rectangular windows. The western end of the building serves as a presbytery, with two storeys and bay windows. The church sits on a relatively restricted plot of land; there is no graveyard, and only a small garden, in which there is a wooden gazebo.
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The English Heritage listing of Barrow Town Hall describes the external architecture as: Snecked red sandstone with ashlar dressings, graduated slate roofs. 3 storeys and attic with 6-stage tower; 1:1:5:2:4:1:1 bays in near symmetrical composition. Bays 2 & 14 have oriel bay windows corbelled over ground floor; the 2-bay section is occupied by the tower. Gothic Revival style with Geometrical tracery.
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A small balustrade that was once located above the east porch between the two bay windows of the second floor was removed, as well. Several onion shaped ornaments no longer cap the dormer on the third story and the round windows in the roof of the cupola. Also, a small unornamented service porch on the south side of the southwest corner, has been removed, although the door still remains.
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The Jacob Hoffstetter House is a large two-story, red brick, gabled Late Victorian structure sitting on a coursed ashlar foundation. The windows are narrow, single-light-sash, double-hung units with stone sills and segmental-arch heads. At the lintel level in each story, a two-brick high belt course of yellow brick encircles the building. Bay windows and the two side porches are topped with cornices.
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The building is characterized by a historicist Gothic Renaissance style with richly decorated facades. The facade facing the coast is divided in 3 sections each with a row of 3 windows. The outermost sections protrude slightly and have large Gothic crow-stepped gables, bay windows, avant-corps and balconies. The middle section share many features but lack the gables and instead have dormer windows in the ridged roof.
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The entrance dates to the Tudor period, as do portions of the courtyard buildings. Other rarities to have survived in the Inn include the stone twin-panel vaulting in the interior ceilings of the bay windows. The front of the building is built in ashlar, of local oolithic stone. The Angel thus lays claim to being the oldest surviving Inn in England, sitting on what was once the Great North Road.
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The elaborate detailing includes Gothic pointed arch door and window enframements, and single- and two-story bay windows. The interior includes a center stair surrounded by a living room, foyer and parlor, and a library/sunroom. The dining room, kitchen, and bath are in the rear addition. On the second floor, the floor plan echoes the lower story, with three bedrooms and a sewing room aligned with the major rooms downstairs.
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The cellar comprised larders, while housekeeping facilities, stables and gardens were situated outside the main building. Four towers marked the corners of a facade richly decorated with stone masonry and adorned with bay windows and column-supported loggias in Italian style. The interior was equally splendid, with stucco decorations, picturesque plafonds, tapestries, decorative masonry, and galleries of paintings. This engraving from Suecia Antiqua et Hodierna shows Kungsträdgården facing south towards Norrström.
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The Colonial is a historic apartment building located at Indianapolis, Indiana, United States. It was built in 1900, and is a three-story, eight bay by ten bay, Classical Revival style yellow brick building. It features a variety of terracotta decorative elements and two-story bay windows on the upper floors. Note: This includes , , , and Accompanying photographs It was listed on the National Register of Historic Places in 1983.
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The house is built in brown brick with stone dressings and slate roofs. The east front has 2½ storeys and two wide bays with bay windows, two crow-stepped gables and three pinnacled octagonal buttresses. The entrance (north) front has a projecting porch. The clock tower to the west has four stages, the top stage containing the clock, and surmounted by a lead-roofed cupola and large weather vane.
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Roslyn Flats follows the basic design of apartment buildings built in the late 19th and early 20th centuries in Davenport. with The building is a three-story structure built over a raised basement and constructed in brick. Bay windows frame the façade on the north and south sides and a two-story porch was constructed between them. Flanking the window bays are rusticated brick pilasters that end in Ionic caps.
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Ethan Jacobs, "Mitt Romney's secret gay history!", Bay Windows, March 3, 2005. In 1997 the Youth Pride Alliance was founded as a non-profit to put on an annual youth pride event in Washington, D.C."Dyer Appointed as District LGBT Director", District Chronicles, September 9, 2007. In 1998 Candace Gingrich was one of the speakers at Washington D.C.'s Youth Pride Alliance, a coalition of 25 youth support and advocacy groups.
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The brick house has an asymmetrical front facade with two bay windows to the left of the front entrance; the window bays are topped by a large half-hipped dormer. The house's cornice and the tops of the window bays are decorated with brackets. As of 1985, the Wright family still lived in the house. The house was listed on the National Register of Historic Places in 1986.
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Three sides of the house are surrounded by a stone-flagged verandah. The northern elevation is characterised by matching bay windows which may or may not be original elements. The central hallway is entered via an arched main entry providing access to four flanking rooms, and subsequently to the rear wings. The dwelling contains a house museum, together with collections of items associated with the social and economic history of Lithgow.
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On the roof there are grouped chimneys with decorative shafting. The Jacobean façade features a 3-storey 3-bay centre block and 2-storey single bay wings with cornices, parapets and shaped gables. The outer bays of main block have 2-storey angled bay windows with open parapets. Access to the main house is via a semi-circular headed doorway with rusticated arch and an Ionic motif above a keystone.
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The cottages are situated in a row on the western shore of the peninsula. They all share architectural characteristics with each other, and with the main hotel building. Predominantly Shingle style in design, these buildings included corner towers typical of the Queen Anne style, hanging bay windows over concave shingled bases, and leaded glass windows. All have expansive verandas, and have a main entrance facing south, toward where the hotel stood.
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It dates from 1899 and is domestic in character, with bay windows containing original sashes, red-brick walls and a steeply pitched roof. It is within the conservation area and is considered to make a "positive contribution" to its character. Another building formerly associated with the church is the Edward Riley Memorial Hall, now named the Carlton Hill Centre. It has a steep clay-tiled roof and brown brickwork.
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The two-story structure was completed in 1902 and followed the Gothic and Tudor styles of the church and rectory, although in a more simplified form. It was capped by a low hipped roof with gable pavilions. The convent featured pointed-arch windows in the pavilions and polygonal bay windows on the south side of the structure. The convent's location was centered behind the cathedral and the rectory.
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The rear façade features two full-height bay windows, a balustrade at roof level, a cast-iron verandah with a glass roof and a balustraded terrace. The south-east corner has a wall sundial. The hall is set in of parkland by the River Weaver, including gardens, woodland, a fountain and a small lake. The gardens are included in the Register of Parks and Gardens of Special Historic Interest in England.
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It was designed by Der Scutt, design architect, and John Schimenti., pp.219-220 Its fluted towers with bay windows are unusual compared to the traditional boxy shape of buildings in the city, and it bears a resemblance to Marina City and Lake Point Tower in Chicago. The building incorporates a portion of the former East Side Airline Terminal designed by John B. Peterkin and opened in 1953.
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Norfolk Terrace is an 1850s development. On the west side, the first (northernmost) 13 houses are a tall terrace by Thomas Lainson, arranged as four pairs of flat-fronted houses with a wider central elevation whose windows are large and round-arched. The building is in the Italianate style. South of that, the next six houses (with segmental bay windows and cast iron balconies) have become the Abbey Hotel.
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They also have three storeys, and their façades have canted bay windows and cast iron balconies. St Michael and All Angels Church stands at the southern end. Powis Grove leads through to the east side of Powis Square and has various buildings of the mid 19th-century, and Powis Villas has some listed detached and semi- detached houses of the 1850s and a short terrace with a long canopied veranda.
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The house, built around a quadrangle, open at the south west corner is built of rendered brick with stone details and a slate roof. The three-storey frontage has five unequal bays with stone mullioned windows and crosswing gables. There are canted three-storey bay windows in two of the crosswings. The central three-storey porch bay has a studded oak door with Doric columns, pediment and a fanlight.
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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.
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The reconstruction gave it the neogothic look, especially marked by a tower (steeple) on the southeastern side, bay windows, garlands and door and window jambs. Although having been devastated and ablazed for several times during the wars in the past centuries, this building structure, considered by many as the most beautiful and most romantic castle in Međimurje County, was always renewed. It now functions as a local primary school.
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The former Medical Superintendent's Residence and Assistant Medical Superintendent's Residence are located at the eastern edge of the site. The former Medical Superintendent's Residence (1898) is now situated within the strongly fenced, high security area of the complex and is used as office accommodation. It is a substantial low-set brick residence with a corrugated steel roof. It has an asymmetrical plan with projecting bay windows and complex verandah forms.
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All the main windows of this face are double transomed. East wing: south face, showing centrepiece The east face of the eastern wing has four bays with canted bay windows, shaped end gables and a central cartouche. In the centre of the northern (garden) face is a large bow window, originally Jacobean, which illuminates the chapel; it has stone panels decorated with cartouches below arched stained glass lights.Pevsner & Hubbard, p.
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The -story, wood- framed house was built in about 1858 and remodeled in a Second Empire style to a design by Clifton A. Hall in 1867. It has a mansard roof with flared eaves studded with brackets, and bracketed bay windows on two sides. The interior was gutted when the house caught fire in the 1960s. The house was listed on the National Register of Historic Places on April 6, 1979.
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Remains of the early 16th century hours were retained in the centre of the new building, including the brickwork and bay windows on the west side. The plan of the new house was a conservative E-shape. The Long Gallery and entrance hall in the south wing followed Elizabethan and early Jacobean styles. The entrance porch has Classical columns but they are of Flemish design, rather than following correct Italian design.
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Entrance, 2014 Beth-Eden is a two-storeyed rendered brick house with a weatherboard stables/coach-house overlooking the Chelmer Reach of the Brisbane River. It is surrounded by single-storeyed brick buildings associated with the nursing home. The corrugated iron hipped roof has projecting gables, two of which surmount bay windows on the northern and western elevations. The bays intercept the double height verandahs which feature on all four elevations.
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In 1842, John Remington, vicar of Cartmel, built a fine dining room to entertain the Duke of Devonshire. Distinguishing features of the dining room include the panelling, bay windows and ornate moulded ceiling. It has 12 bedrooms, two of which are situated in a cottage, which was converted from a 16th-century stone stable. The hotel was awarded the Cesar Award by The Good Hotel Guide in 1998.
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The Ansorge Hotel is a turn of the 20th century two-story hotel located in Curlew, Washington. It was built in 1903 next to the Great Northern Railway. The hotel still has the bay windows and stamped sheet metal siding which looks like brick. Included in the many patrons of the hotel over the course of its operation is Henry Ford who stayed while visiting relatives in the region.
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The former police building is a reinforced concrete building blend with wooden frame. In the front of the building are stucco washing finish and face bricks. On both sides of the entrance are the circular window while the sides of the gable roof are ornamented with clay decorations. Bay windows are installed at offices and the dormitory on both sides of the traverse to allow more daylight inside.
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Moore-Mann House is a historic home located at Columbia, South Carolina. It built about 1903, and is a 2 1/2-story, irregular plan, Queen Anne style frame dwelling. It features a one-story verandah, bay windows, decorative shingles and an arched entrance. It was designed by W. B. Smith Whaley, Co., a prominent Columbia architectural and engineering firm, whose owner also built the W. B. Smith Whaley House.
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Pier Terrace The Pier Terrace in West Bay, Dorset, was designed by the English Arts and Crafts architect Edward Schroeder Prior in 1884–85. It is a Grade II listed building. Pier Terrace is one of Prior's most important early buildings. The influence of Norman Shaw, particularly his Sisters of Bethany Convent, is still apparent in the double pitched tiled roof, stepped rhythm, tile hanging and bay windows of the terrace.
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1897, 18 Ridge Road designed by Aburrow and Treeby. The View is ostensibly the oldest house left standing in Johannesburg. It was built by Charles Aburrow as the residence of Sir Thomas Cullinan, with a west wing added in 1903 by the Aburrow and Treeby partnership. The house is typically Victorian in Style, built from burnt red bricks with a corrugated iron roof, wooden balconies and large bay windows.
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The rear section of the store faces Brighton Place and was redesigned in the mid-20th century by local architect John Leopold Denman. His are the series of arched windows and corner tower topped with a hexagonal turret. The units at 6–9 North Street, built for the Brighton Union Bank in 1896 to the design of architect Arthur Keen, have prominent bay windows with large mullions and transoms.
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Walker's Court is crossed at first floor level by an architecturally distinctive bridge with leaded bay windows which joins the entrance to the theatre to the main auditorium. In recent years a carousel horse and toy car have appeared in the window on the south side and an eclectic selection of objects on the north side which has led to speculation about their meaning.Leftover London. Retrieved 4 October 2015.
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Brick nogging above the front entrance Benton End is thought to have been built in the 1520s. The first documented inhabitant was Robert Rolfe, a cloth merchant and "chief inhabitant" of Hadleigh. Although later alterations have seen the house partly plastered and bay windows added, the original late- medieval timber structure with brick nogging remains intact and visible in parts of the house, including the current main entrance.
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The central entry is sheltered by an elaborately decorated porch, and the flanking bay windows are topped by roof sections with decorative brackets. The main cornice is studded with paired brackets, and the gable ends have decorative shingle work around round-arch windows, with some Stick style decorative woodwork at the point of the gable. The house was listed on the National Register of Historic Places in 1984.
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A single-story porch extends across the front. The first two levels of the tower have bay windows in front, while the third level has smaller sash windows on all four faces. The building's roof line is decorated with Italianate brackets, and windows are capped by carved lintels with entablature. The property also includes a period carriage house, which is joined to the house by a single-story ell.
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Knickerbocker Historic District is a national historic district located at Altoona, Blair County, Pennsylvania. The district includes 153 contributing rowhouse buildings in a residential area of Altoona. The buildings were primarily built between 1903 and 1930, as affordable worker's housing and reflect a number of popular architectural styles including Colonial Revival and Classical Revival. The buildings feature decorative parapets, bay windows, porch posts, pediments, and a variety of ornamentation.
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The two bay windows on either side of the balcony feature the same torches, swag, putti, panels, and molding similar to the rest of the third floor. Above the French doors is a large oval estucheon with fruit-and-drapery swag which mimics the estucheon over the doors to the loggia. A standing putto over each slit window supports the swag. All exterior walls are faced with white marble over stone.
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The crew cabin was severely crushed and fragmented from the extreme impact forces; one member of the search team described it as "largely a pile of rubble with wires protruding from it". The largest intact section was the rear wall containing the two payload bay windows and the airlock. All windows in the cabin had been destroyed, with only small bits of glass still attached to the frames.
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The Plaza is a historic apartment building located at Indianapolis, Indiana. It was built in 1907, and is a three-story, "U"-shaped, glazed orange brick and grey limestone building. It features a full facade Renaissance Revival style entrance with Ionic order columns and polygonal bay windows on the upper stories. Note: This includes , , , and Accompanying photographs It was listed on the National Register of Historic Places in 1983.
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The Alexandra, also known as Lockerbie Court, is a historic apartment building located at Indianapolis, Indiana. It was built in 1902, and is a three-story, red brick and grey limestone building on a raised basement with Georgian Revival style detailing. It features six three-story polygonal bay windows on the front facade. Note: This includes , , , and Accompanying photographs It was listed on the National Register of Historic Places in 1983.
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Houses at 1907-1951 N. 32nd St., also known as Mansion Court, are a set of 12 historic double houses located in the Strawberry Mansion neighborhood of Philadelphia, Pennsylvania. They were built about 1894, and are three-story, Pompeiian brick dwellings in the Late Victorian style. They are characterized by pressed metal cornices, roof crests, and two-story bay windows. The first floors have recessed porches with ornamental ceilings.
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He changed the name to 'Victoria' upon the visit by Her Majesty in 1850. In 1861, Mrs H Cooper inherited the property incorporating the bay windows, but it was the author Nicholas Size, who in 1920 extended and improved the building. Upon his death the new owner changed the name to 'The Bridge'. Peter and Janet McGuire who bought the hotel 1978, have owned the premises to the present day.
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Davis–Beard House, also known as Glee Hall and Davis House, is a historic home located at Bristow, Prince William County, Virginia. It was built after the American Civil War, and is a two-story, five bay, frame I-house dwelling with later additions. The rambling dwelling has a number of Late Victorian style decorative elements. It features a one-story wraparound porch, decorated gables, bay windows, and storefront.
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Decorative elements include egg-and-dart, Greek fret, a row of small lions' heads, bay windows, scroll pediments, imperial German eagles, and a bracketed cornice with dentils. The second and third floors are dominated by four fluted, banded columns with Corinthian capitals. The bank remained in operation here until 1932 when it closed in the Great Depression. Since 1946 the first floor has housed a restaurant and bar.
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The Longyear Hall of Pedagogy was a rectangular two-and-one-half-story structure built with a steel frame sheathed with local Marquette brownstone, with a hipped roof and gabled dormers. The front entrance was topped by a bank of three rectangular windows and flanked by two-story bay windows. A stone beltcourse ran between the first and second stories, and a dentil cornice edged the top of the structure.
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The furniture in the church was custom-made from solid polished jarrah timber.Heritage Council of Western Australia: Register of Heritage Places: St Brigid's Group, Perth, accessed 14 January 2011 The convent has an oratory and features a hammer- beamed trussed roof. The windows are painted dado and leadlight panel bay windows with gold-painted arches. The school is a two-storey building in the Federation Arts and Craft style.
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Kidder was involved in the construction of this house, which was completed in 1868. It's a 2½-story structure built of locally produced brick. The house features a symmetrical plan, side gable roof, bracketed eaves, and two interior brick chimneys. The main facade is three bays wide, with protruding bay windows on the first floor, and the main entrance has sidelights and transom that is covered by a flat-roofed porch.
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T. M. Kurtz House, also known as the Pennsylvania Memorial Home, is a historic home located at Punxsutawney, Jefferson County, Pennsylvania. It was built in 1904, and is a three-story, "L"-shaped brick dwelling in the Colonial Revival- style. It features a broad verandah and bow-front bay windows. It was the home of Theodore M. Kurtz (1868-1945), prominent local businessman and member of the Pennsylvania State Senate.
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Sheri Olson, an architecture critic of the Seattle Post-Intelligencer, said that "While the taut expanses of brick and metal detailing are modern, the architects use classic elements of composition," such as the building's inverted metal roof, which creates a "crisp cornice line," a "rusticated brick base," a group of triangular, narrow bay windows that are three stories tall, and a midsection that uses a series of windows and alternating projections of brick used to express a pattern and texture. Olson said that the building's series of narrow, three-story tall, triangular bay windows "are a nod to the verticality of the campus' Collegiate Gothic style established by the early Bebb & Gould buildings." Olson argued that Kohn Pederson Fox "were neither blindly modern nor overly historicist in the design of the building's main facades on the west and north." The building has white-colored walls that have some birch accents, instead of using the more classic dark wood panels.
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Chan has been featured as an up-and-coming actor and director in numerous print and on- line articles including a story by The Advocate,Want to Help Gay Asian Film Become First To Win Social Work Award?, a March 9, 2013 article from The Advocate an Asian American Risings A-Profiler feature, four Sampan articles,Sampan Newspaper interviewLocal Asian-American Director’s Gay Adoption Film Nominated for National Media Award, a March 1, 2013 article from SampanGolden Globe, Emmy, and Drama Desk Nominee Joins Cast of Asian Family Drama, an August 15, 2013 article from Sampan two Bay Windows interviews,Big Score, an April 30, 2009 article from Bay WindowsThe Commitment at Boston's Asian American Film Festival, an October 10, 2012 article from Bay Windows an MIT Alumni Association profile, and a Slice of MIT article.Slice of MIT article He has also appeared as a panelist at a sneak preview of the PBS TV show American Masters: Hollywood Chinese.
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The Perry's Mount Pleasant House was considered the finest and most expensive residence to arrive in mid-1870s Los Angeles. The outward sweep of the entrance stairway, the sculpted brackets under the eaves, the slanted bay windows, and the narrow Corinthian columns are characteristic of its Victorian Italianate style. In 1975, the house was moved from 1315 Mount Pleasant Street to the museum grounds, and restoration was begun by the Colonial Dames Society of America.
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South facade and cast iron veranda The main facade house consists of three bays, over two stories. There is a central, ground floor portico flanked by two canted, crenelated bay windows. The south facade conists of four bays, covered by a two-storey, cast-iron veranda, installed in the early 19th century. Pollard and Pevsner, believe the ironwork was likely produced at the Coalbrookdale foundary, which at the time was owned by Hannah Rathbone's father.
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Jakob Wolff the Elder built the house in 1590/91 as a tower-like sandstone block with a pinnacle. It was a very striking and rather unusual building of the Nuremberg Renaissance style. The facade had rhythmic Gothic patterns overlaid with repeated Gothic 'Chorleins' (oriel or bay windows in Nuremberg) and a multi columned gable. During the air raid on January 2, 1945, the house burned down and collapsed; the remains were removed later.
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For instance, the bay window has changed shape through the years. When it was constructed the four-bedroom, two-story house was painted bright yellow and baby blue on its exterior, to resemble the exterior of 742 Evergreen Terrace. The house included exterior details from The Simpsons such as Bart's treehouse, a swing set, and a back yard barbecue. The house also has two bathrooms, and two front bay windows, again mimicking the cartoon house.
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The Baker, also known as Massala, is a historic apartment building located at Indianapolis, Indiana. It was built in 1905, and is a three-story, 10-bay by 12 bay, Classical Revival style brick building with Queen Anne style design elements. It has limestone detailing and features paired two-story bay windows on the upper floors. Note: This includes , , , and Accompanying photographs It was listed on the National Register of Historic Places in 1983.
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At the west end of the nave is a four-light window and a quatrefoil. Along each side of the nave are two half-dormer windows. The north aisle is in four bays, each with a two-light window; the south aisle has three bays with two two-bay windows and one three-bay window. The windows in the vestry and the chapel all have two lights, and the apse has three three-light windows.
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The top two floors of the main building have four bay windows with polygonal floor plans facing north and east; these are the only elements of the facade standing out. The top floor of the west facade steps back and opens onto a terrace behind a small balustrade. Above the limestone facade of the shop floor, a full-length copper-roofed canopy juts out. A groove under the canopy leaves room for shop signs.
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John Shedwick Development Houses (also known as the Lancastle) is a set of four historic rowhouses located in the Powelton Village neighborhood of Philadelphia, Pennsylvania. They were built in 1875–1876, and are built of brick, with green serpentine limestone facing in the Second Empire-style. They feature wooden first floor porches, projecting bay windows, and mansard roofs with dormers. Note: This includes It was added to the National Register of Historic Places in 1982.
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Wayne Hotel, formerly known as The Waynewood, is a historic hotel located at Wayne, Delaware County, Pennsylvania. It was built in 1906, and is a five- story, Tudor Revival building, with a two-story rear extension. It is built of brick and stucco with false Half Timbering. It features a one-story, wraparound porch with a semi-circular dining projection and two projecting bay windows extending from the second to fourth floors.
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Faena Art Center was built out of one of Argentina’s first big flour mills. In what used to be the mill’s old machine room, the main exhibition space has been rebuilt to retain the original details from the 1900s. The spacious, light-filled center, which is over 4,000 m2, is housed by soaring ceilings, semicircular arches, bay windows and other hallmarks of turn-of-the-century industrial architecture."Faena Arts Center" . BlackBookMag.com.
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The building is completely symmetrical and in the Art Deco style. It features a characteristic tower of cantilever bay windows towards each of the two wings, reminiscent of the curved cantilever balconies of the German Expressionist architect, Erich Mendelsohn. The facade of the building is of painted plaster with horizontal bands stretching the full length of the building. The approach to the entrance is via a mosaic stairway with an aluminium rail down the middle.
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Promenade Deck on the Olympic. The entrance to the aft grand staircase is in the foreground. The Promenade Deck encircled the whole of A-Deck and together with the middle part of the Boat Deck constituted the outdoor space for first-class passengers to enjoy the sea air and take exercise. Grand first-class public rooms with their large bay windows, like the smoking room and lounge, characterise the aft end of the Promenade.
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According to the AIA Guide to New York City, "[t]he articularted inset bay windows on Church Streets are a wonderful mannerism ... [that] give[s] the allusion of scanning the streets north and south, and add plasticity to the building." p.81 The interior features a relief executed in 1938 by artist Wheeler Williams and titled "Indian Bowman." See also: The building was listed on the National Register of Historic Places in 1989.
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The twin-turreted brick building is of the Romanesque Revival style. The two corner towers feature arched bay windows and a rear addition with a matching corbelled cornice was later added to the building. The architect of Leonard Hall is unknown, but many believe it could be Gaston A. Edwards, a Shaw faculty member and designer in 1910 of the Leonard Hospital. To save on construction costs, Shaw students made the bricks for the building.
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The Charles Hayden Memorial Library building is located adjacent to Building 2 along Memorial Drive. Built in response to the Lewis Committee findings, it originally housed all of the humanities faculty, although growth of these departments has since required more space. The building features large 2-story bay-windows overlooking both the Charles River to the south and Eastman Court to the north, as well as high ceilings in the library spaces.
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The facade is made of brick that is painted to mimic stone. The front of the villa, facing west, contains a square four-story-high tower attached to an octagonal three-story pavilion. The first and third floors of the octagon contain curved bay windows with balconies. On the first floor, there are porches on the north and south sides of the villa, covered by canopies that are supported by columns of the classical order.
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The House at 44 Linden Street in Brookline, Massachusetts, is a little-altered local example of Second Empire styling. The 1-1/2 story house was built in 1874 by Solomon Eaton on land that was owned for many years by Thomas Aspinwall Davis. It has classic Second Empire features, including a mansard roof, polygonal bay windows, and brownstone window arches. The only significant alteration is a sunporch on the left side.
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There are three large bay windows with stained glass dating to 1859 . These three windows by René Échappé depict various Dol bishops and under each of these depictions is a small medallion showing an event in that bishop's life. They were all executed in 1859 and take up three of the cathedral's many bays. The first of these windows features four lancets containing depictions of saint Budoc, saint Magloire, saint Samson and saint Génevé.
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Mrs Danvers has opened for Corin Tucker of Sleater-Kinney, God-Des and She, The Cliks and Hunter Valentine. They have also headlined the Boston Dyke March in June 2009. The band has received large amounts of praise within the LGBT community, most notably from Grammy Award nominated artist, Meshell Ndegeocello who stated "You have something to say and people wanna hear it". LGBT publications such as Autostraddle and Bay Windows have featured the band.
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At the time it was one of the most expensive homes ever built in the city. It has many features typical of Queen Anne revival style architecture including an asymmetrical facade, pediments over the porch and windows, stacked bay windows and a circular corner tower. Other houses built in the Queen Anne Style during this time include Bryn Mawr on Torbay Road, Waterford Manor on Waterford Bridge Road and Howard House on Garrison Hill.
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Maj. Henry A. Meetze House is a historic home located near Lexington, Lexington County, South Carolina. It was built about 1855, and consists of a two-story, rectangular main block, with one-story side wings and a rear ell. The vernacular Italianate dwelling features a hipped roof with bracketed eaves, one and two-story porticoes with cast iron decoration, and bay windows. Also on the property is the original wellhouse and several sheds.
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1912), the rear porch was enclosed with glass (c. 1917), a second bathroom was inserted above the kitchen, and a small second floor balcony was enlarged and covered to form a sleeping porch. The space under the rear porch was excavated to form a children's playroom and billiards room. Most notably, the second floor front (east) bay window – which was initially split between two bedrooms – was reconstructed as two separate bay windows in 1915.
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Many architectural styles have influenced the design of Brady Heights. Architects and builders used elements of Queen Anne, Prairie School, Victorian, Georgian Revival and Bungalow styles. Wood and brick are the most common exterior materials. The houses of Brady Heights are on a larger scale and of a more sophisticated design than those of adjacent neighborhoods. Bay windows with leaded glass, servants’ quarters, and broad porches suggest the elegance of earlier days.
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The corner structure is a four-storey, vaguely of the Arts and Crafts Movement, red-brick and early twentieth century, with Tudor-style projecting bay windows. There is a decorated iron three-dials clock on the Suffolk Street frontage. The building is protected and in a conservation area. The original structure was divided into definite areas: a “cocktail bar” in the corner for the gentry, a public bar off Suffolk Street, and a back bar.
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The Calkins House is a square, two-story, clapboarded, Italianate building with a symmetrical arrangement of doors and windows on the front facade. The first floor has a central entrance flaked by tri-sided bay windows. One-over-one sash window units are on the sides of the bays, an ornamental cornice is above and fielded panels are below. The main entrance is within a small porch with an arched molding at the top.
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They also installed a central oriel window and extra bay windows and had a hand in much of the interior work although there is panelling and plasterwork which date back to the 17th century. The landscaped grounds are also the work of the Reptons. They created the park, lake and woodlands and set out the terrace on the south of the house. An avenue of oak trees leads to the west front of the hall.
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Aborn Street is located northeast of downtown Wakefield, and is a short street in a residential neighborhood just east of Lake Quannapowitt. The house is a 2-1/2 story wood frame structure, set on a rise above a fieldstone retaining wall. It has irregular massing typical of the Queen Anne period. Its main part has a rough L shape, but it is studded with porches, bay windows, and an extended porte cochere.
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Between the two storeys are valances of timber lattice within broad timber frames. The ground floor is reached by two sets of concrete steps, that to the main entrance leading into the hall. On the ground floor there are two large rooms with deep bay windows accessed from this hallway and from the verandahs. These were the former dining and drawing rooms and have high plaster ceilings, ornate cornices and imported carved mantelpieces.
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They added bay windows to some of the rooms, expanded the service quarters to make space for a new ballroom, and built a porte-cochère at the principal entrance. Macpherson Grant spent her time salmon fishing and travelling, leaving the management of her Jamaican estates to her agents, Milne & Co in Elgin. She also made a will leaving all her wealth to the Scottish Episcopal Church, of which she was a supporter.
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Bedoire, pp 13-14. The centre of this rectangular Renaissance palace was the vaulted palace church, with surrounding rooms connected by open arcades and loggias. The choirs of the church possibly had ogive and rose windows like those at Vadstena Castle. Characteristic of the palaces built during this era were towers and pinnacles with adorned hoods, bay windows, arcades, and galleries and these were probably also prominent features of the Renaissance palace at Drottningholm.
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The Cleveland Abbe House stands northwest of the White House, on the north side of "I" Street across from James Monroe Park and near its junction with Pennsylvania Avenue. It is a three-story brick row house, built out of red brick and topped by a dormered gable roof. It is four bays wide, with the entrance in the leftmost bay. Windows are rectangular sash, with stone sills and splayed keystone lintels.
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The hotel has been greatly altered from its original form, including; the southeast breezeway having been bricked off and a room created and the second story bay windows covered in aluminum siding. The owner as of 2014 is a Westville man named Bud Rose. The hotel had been used as multi-unit housing until 2004, when Mr. Rose converted the entire downstairs into a personal residence. The upstairs twenty-one rooms are now vacant.
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In each wing there are seven round arches topped by rectangular bay windows. The refectory includes a rectangular space, covered by a vault in depressed arch. In the lateral wall are six windows, where there are visible traces of the original late 16th century albarradas- type tile. The staircase leading to the upper floor, flows from an accessible areas by three vaulted arches in two straight sections, that come together at an intermediate level.
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Early in the Victorian era, up to the 1840s houses were still influenced by the classicism of Regency styles. However the simplicity of Regency classicism fell out of favour as affluence increased and by the 1850s the Italianate style influenced domestic architecture which now incorporated varying quantities of stucco. From the 1850s domestic buildings also became increasingly influenced by the Gothic Revival, incorporating features such as pointed, projecting porches, bay windows, and grey slate.
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The building's design follows a Shingle Style architecture and its sidings are both shingle and clapboard. There are bay windows on the east and west faces, and rafters are partly visible. The building served as a real estate office. On February 9, 1999, the village approved a plan to allow the building to open as a 36-seat Italian restaurant under the co-ownership of two men, Jeff DiMarco and Rocco Panetta.
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The west side of the Fountain Court comprises the apartments, with a number of bay windows and window seats facing west and north across the park.Kenyon (2003), p.45. The Grand Staircase divides the apartments; restored between 2010 and 2011, the staircase would originally have had a substantial porch, similar to the one that survives in the Pitched Stone Court, and would have been a centre-piece of the Fountain Court.Kenyon (2003), pp.43, 45.
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In 1731 he built an impressive residence named Singleton House at Laurence Street, Drogheda."Houses of Yesteryear in Mell" Drogheda Independent 21/01/2005 It has been described as a three story mansion of red brick, with seven bay windows and magnificent oak-panelled interiors. It became derelict in the 20th century, and was demolished in 1989."Memories of Freeschool Lane" Drogheda Independent 10/09/2004 In Dublin he lived at Belvedere House, Drumcondra.
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The park features typical Bulgarian revival houses with two floors, bay windows, a clock tower, and a beautifully decorated house by Saakov featuring 21 windows. Using original instruments and following the old traditions, locals represent around 20 characteristics of the regional crafts such as wood-carving, pottery, coppersmith crafts, furriery, cutlery making, needlework etc. There are shops for souvenirs. There are numerous restaurants in the park where tourist could consume local Bulgarian cuisine.
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The drawing room in 1903 The drawing room, containing four bay windows of different sizes, is panelled with oak for its entire height of about . One of the upper panels, surmounted by its Corinthian entablature, is a frieze depicting a fig, grape, and pomegranate, each with foliage and blossoms. One of the lower panels, part of the dado in the same room, has a section of projecting mouldings. The upper panel is ; the lower, .
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The main dining room had alcoves with bay windows that provided some relatively private dining areas for the passengers. A banquet room was on the starboard side and two private dining rooms on the port side. A staircase led to a buffet area, below the main dining room, that was decorated in the style of an old English tavern. Seeandbee featured a main saloon on the promenade deck that extended almost in length.
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Period detailing is of a high standard throughout with diagonal chimneys, tessellated tiled path and hallway, leadlight front door, bay windows, timber wainscoting, fireplaces and elaborately moulded cornices, ceilings and roses. The resultant design is very distinctive and there is no similar house design within the Municipality of Randwick. The quality of the detailing and design suggest the use of an architect, although no conclusive evidence is available to substantiate this view.
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There is photographic evidence that a more elaborate porch once sheltered the entry. The building corners have paneled pilasters, and fenestration generally consist of paired narrow sash windows; there are several projecting single- story bay windows. The octagonal cupola features small windows with segmented- arch lintels. The interior has had some alteration, principally the removal of several walls to create larger spaces, and the closing off of an entry into the kitchen space.
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In the 18th century, a wooden mansion with two huge bay windows at two ends was built by a native family on the inner castle. Known as the "Kademoğlu Mansion", this typical Ottoman architectural house is a landmark of Fatsa. After its originally restoration by the Ministry of Culture and Tourism in 2009, the mansion is used as an ethnographic museum and a restaurant for regional cuisine under the name "Haznedaroğlu Mansion".
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" While reviewing the novel, Dana Rudolph of Bay Windows called it a story of "personal discovery," for both Dylan and Belle. Rudolph also stated that the book "explores the broader ramifications of homophobia and closetedness without resorting to stereotypes." She went on to declare it "an insightful, funny read about first love and first heartbreak." A review from Publishers Weekly stated that "the author's poetic prose ably captures her heroine's emotional upheavals.
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Hartwood Manor, also known as Old Foote Place, is a historic home located at Hartwood, Stafford County, Virginia. It was built in 1848, and is a 2 1/2-story, three bay Gothic Revival style brick dwelling. It has a rear ell added in 1967. It features a steeply-pitched, cross-gable roof; one-story, polygonal bay windows; pointed and square-arched drip moldings; modified lancet-arch windows; and deep eaves with exposed rafter ends.
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The overall shape of this huge house is rectangular, but many dormers, towers, and bay windows break up the shape. On the front and part of the west side of the house is a recessed porch with spindle railing and square columns. A stairway leads up to the porch on the southwest corner of the building. The walls of the house are brick under the porch, but wood siding on the rest of the house.
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The Durgin House is a historic house in Reading, Massachusetts. Built in 1872 by Boston businessman William Durgin, this 2.5 story wood frame house is one of the finest Italianate houses in the town. It follows a cross-gable plan, with a pair of small side porches and bay windows on the main gable ends. The porches are supported by chamfered posts on pedestals, and feature roof lines with a denticulated cornice and brackets.
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The Ficke Block is a four-story, brick structure built on a stone foundation. It features many details found in late Victorian architecture: rusticated, semi-circular window arches on the third floor, and flat stone lintels over the paired windows on the fourth floor recall the Romanesque style. A pair of two-story bay windows with embossed garland swags, wrought iron balconies, and ornate cornices reflect the Queen Anne style. The storefronts, however, have been significantly altered.
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Blaagaard buildings Located at the corner with Nørrebrogade, Alderstrøst was built in 1870 by Association of Craftsmen in Copenhagen to provide affordable housing for elderly, indigent members and their widows. The building at No. 8 (Blågårdsgade 8/Baggesensgade 16) is KTAS' former Central Nord (Central North. It was built in 1933 to design by Jens Inwersen. No. 29, the building with the canted bay windows located opposite Blågårds Plads, is from 1908 and was designed by Johannes Strøm Tejsen.
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The building's facade Rosenbaum Brothers Department Store (1849–1971) in its prime was one of the largest department stores between Pittsburgh, Pennsylvania and Baltimore, Maryland. Founded in 1848 in the City of Cumberland, Maryland along Baltimore Street, the Rosenbaum Department store once employed over 200 people. Their building was a , five story building with bay windows. Trimmed stone, anthropomorphic sculptures on the keystones, and lions heads along the roofline comprise a few of the decorative architectal details.
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Pevsner dismisses Aylesbury Workhouse as "Red brick, gabled, dull".Pevsner, Niklaus. The Buildings of Buckinghamshire Workhouses were frequently designed to be as austere and forbidding as possible in order to deter the undeserving. In fact Aylesbury's workhouse built of a mellow redbrick, with large bay windows and tall decorative chimneys was obviously designed by the architects Strethill Oakes Foden and Henry W. ParkerAylesbury Town Council - Workhouses in AylesburyCanterbury Workhouse to resemble an inviting Tudor manor house.
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Stained and painted glass windows depict the legend of Hungary's founding as well as important events in the nation's history and culture. The rear window depicts King Nimrod and his sons, Hunor and Magor, who pursued a white stag from the east to the fertile Danube plain. Descendants of Hunor became the Huns and those of Magor became the Magyars. The bay windows commemorate historic figures and events of the Middle Ages, Renaissance, and 17th and 19th centuries.
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On either side of this are octagonal turrets with cupolas and delicately pierced parapets. To the left of the hall is the former medieval kitchen with a balustraded parapet and buttresses. To the right is a range of parapetted rooms with a stepped buttress at the corner. The south front was plain, being the inside north wall of the original abbey church which was pulled down, but was rebuilt by William Talbot in 1828 to include bay windows.
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Most of the buildings use Classical Revival design features with symmetric facades, pilasters, keystones, and dentil and modillion cornices. Other architectural styles popular at the time, such as Gothic Revival and Second Empire are absent. The Blacherne has a few elements of Richardsonian Romanesque design, while a few bay windows show influence of Queen Anne style architecture in the United States. Tudor Revival architecture began its influence in the 1920s, with the Dartmouth and the Wyndham as examples.
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Consisting of two storeys, the exterior of this Victorian bracketed house is defined by narrow wooden clapboard. Alongside this feature, the house contains several design elements that reflect the typical style of Victorian houses. Accordingly, an entablature was placed above the front door and in the entrance-way, the architect added decorative stained glass windows which were placed alongside the interior door of the foyer. Double-bay windows with pediment also highlight the front of the house.
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Marston had the house built in Italianate style. It stood that way until 1898, when Hoard added Queen Anne elements, including the bay windows, the veranda, the Porte- cochère, and the rounded pavilion. The house was recognized by the National Park Service with a listing on the National Register of Historic Places on November 30, 1982. When the Merchants Avenue Historic District was recognized on June 13, 1986, the Hoard House was listed as a contributing property.
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Most original windows have been replaced with modern aluminium frames. Windows on the eastern and southern elevations are generally casements with two-light fanlights, positioned between brick pilasters; however the central bay windows have arched fanlights, with arched sandstone lintel cappings. Timber-framed, double-hung sashed windows survive in the rear verandah and balcony. The rear verandah has square timber posts, timber floor boards, a timber battened valance and a decorative timber balustrade of crossed members.
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Penn–Wyatt House, also known as the Hoffman House, is a historic home located at Danville, Virginia. It was built in 1876, and modified between 1887 and 1903. It is a two-story, stuccoed brick dwelling with Italianate and Second Empire style architectural elements. It features projecting bay windows, a central three-story entrance tower topped by a bell-cast mansard roof, brownstone quoining, a one-story porch with Ionic order columns, and a multi- gable roof.
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The house is a single-storey dwelling with an entrance hall, lounge, dining room, kitchen, scullery and pantry, guest toilet, three bedrooms, a play room, two bathrooms (one en suite), and a stoep. Outbuildings consist of a double garage, two rooms with a kitchenette, laundry, toilet and basin room. The house is built of red brick with a corrugated tin roof. The front elevation has curved bay windows and an arch to the entrance way, flanked by plain columns.
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Besides doors with decorated latches, Jharokhas, bay windows and cut brick works, the most noticeable feature inside old Dipalpur is the monastery of Lal Jas Raj, a guru much venerated by the local people. According to the legend, Lal Jas Raj was the young son of Raja Dipa Chand, the founder of Dipalpur. He sank into the earth due to a curse by his stepmother Rani Dholran. Raja Dipa Chand constructed this monastery in the memory of his son.
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Breslyn Apartments is a historic apartment complex located in the Spruce Hill neighborhood of Philadelphia, Pennsylvania. It was built in 1913, and consists of five three-story, brick and granite buildings with terra cotta and galvanized-iron trim in the Beaux Arts-style. Each building measures 38 feet wide and 98 feet deep. The buildings features large open porch-balconies with Ionic order columns, segmental-arch windows, bow and bay windows, and terra cotta piers with Corinthian order caps.
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The King Edward VII is a Grade II listed public house at 47 Broadway, Stratford, London. It was built in the early 18th century. It is opposite St John's Church and has original pedimented doors and early 19th-century bay windows. It was originally called "The King of Prussia", either in honour of Frederick the Great or else after King Frederick William IV, who visited the area in 1842 to meet Elizabeth Fry, the prison reformer.
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In 1854, merchant Adolphus Frederic Feez purchased a parcel of land at the tip of Kirribilli Point for £200. The land had been sliced off the grounds of adjacent Wotonga House, which now forms part of Admiralty House, but was then in private ownership. Feez built the picturesque Gothic-style structure now known as Kirribilli House – a twin-gabled dwelling or cottage ornée – on the land's highest spot. The house features steeply pitched roofs, fretwork, bargeboards and bay windows.
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Merrimon-Wynne House, also known as the Merrimon House and Wynne Hall, is a historic home located at Raleigh, Wake County, North Carolina. The house was built about 1875, and is a two-story, four bay, Italianate style frame dwelling with a cross-gabled roof and somewhat irregular massing. It is sheathed in weatherboard and features a Stick Style / Eastlake Movement front porch with abundant ornamentation. The house was remodeled and complementary bay windows added about 1910.
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As opposed to the modest, more dated, homes, the model homes all look similar due to "cookie cutter" architectural elements. Steepled roofs, bay windows, and double car garages, stand out as formal characteristics of urban sprawl building. The fanciful character of these model homes are exemplary of society's use of repetition and familiarity in construction as a means of creating a new, urban, identity. Using photo manipulation, Hayeur places these homes in different environments to give them new contexts.
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But there was good news for the club members recently voted to lease the building to ipohWorld, a heritage group dedicated to restore it, with a view to making it a tourist attraction. Today you will see their mission is complete including those curved bay windows. NB Historical details about the club prior to 1959 are taken from the adjacent club history, in Chinese characters, dated 5 May 1959, and written by club member Leong Kok An.
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The Schmidt House is a fine example of a Queen Anne style home that was popular in Davenport in the 1890s. It is typical of the simplified, middle-class interpretation of the style. It is a two-story, frame structure with a hip roof, lower projecting gables, and an irregular form. There is a front projecting gable-roof section and gable roofs extend over the two-story angled bay windows on the north and south elevations of the structure.
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The demolished north wing was widest in the centre, with narrower extensions at either end. The excavations revealed evidence that the central block had originally had a straight northern face, overlooking formal gardens further north, which had then been remodelled with bay windows. It was estimated that the Tudor building was perhaps six times the extent of the buildings still remaining. During the course of the excavation samples of 12th and 13th century pottery were found at various places.
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The Edward M. Hackett House is a historic house located at 612 East Main Street in Reedsburg, Wisconsin. It is designed in High Victorian Gothic style, with intricate bargeboards and bay windows. The house was built and originally owned by Edward M. Hackett, a lumberman, builder, and architect who also designed the Second Empire style City Hotel, now known as Touchdown Tavern. The Hackett House was added to the National Register of Historic Places on December 26, 1984.
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Rogers-Bagley-Daniels-Pegues House is a historic home located at Raleigh, Wake County, North Carolina. It was built about 1855, and is a two-story, three bay by two bay, Greek Revival-style frame dwelling with a low hipped roof and Italianate-style accents. It has a hip roofed porch with Doric order posts and bay windows. It was built by Sion Hart Rogers (1825-1874), a Congressman from and Attorney General of North Carolina.
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Brooklyn Hotel is significant for its facade and shopfront, which are typical of the period, with bay windows and a deep recessed verandah, the whole surmounted by a gable end with interesting stone trims. The top verandah is interesting in a picturesque manner flanked by two Ionic columns. The whole facade has high quality stone detailing. The awning forms an important part of this composition and the shopfront below, which is probably contemporary with the building, is unique.
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The house is constructed of wooden logs painted Swedish red contrasted by white windows and balcony. The roof is ridged and plated in slate. The house combines symmetrical and asymmetrical elements. The western side is symmetrical with three windows, both gables are asymmetrical with bay windows on the ground floor and balconies on the 1st floor and the symmetrical garden facade to the east has a dominating loggia porch with a large covered balcony on top.
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The former Mills Studio building is located Charleston's old city, on the south side of Broad Street just west of Church Street. It is a four-story masonry structure, built out of stuccoed brick. Its front facade is now commercial, with store fronts on the ground floor, projecting bay windows on the second and third floors. The interior is also reflective of its modern uses, having been converted into professional offices around the turn of the 20th century.
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Sasha Alyson (born May 22, 1952) is an American writer and businessman who started Alyson Publications in 1979. He later founded the Boston gay and lesbian newspaper Bay Windows (1983), the travel company Alyson Adventures (1995) and Big Brother Mouse, a literacy project in Laos. Alyson grew up in Berea, Ohio.Mccloy, Andrew P., Gay travelers get out in the open, Boston Business Journal, Dec 2, 1996 He recalls being discouraged from reading because the books were dull.
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Major buildings on the site include:- ;Yaralla Yaralla is a large asymmetrical two storey Victorian Italianate building with a 4-storey tower over the front door, smaller octagonal towers at its corners, verandahs and projecting bay windows at corners. It has an Indian influence to the verandahs. Ornamentation is confined to balconies and verandahs, including simple mouldings. ;Jonquil Cottage - Single storey Californian Bungalow style dwelling with a series of gabled roofs and prominent entry porch and tall chimneys.
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The front façade has towers with corner turrets, gargoyles and traceried windows; its garden front has mullioned bay windows and brick gable (facing roof walls) with crocketed heraldic beasts. Indoors, the main corridor is rib vaulted with staircase hall and a multi-storey wide bay window with stained glass of royal coats of arms. In the 1970s critic Jennifer Sherwood summarised its architecture as a "Nightmare Abbey". Hermon's only daughter was Frances Caroline Hermon who married Robert Hodge.
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In 1933, they opened a joint architectural practice in their home and began working mostly on residences, completing some 70 drawings before 1940. That year, Homer joined the navy and Pfeiffer established her own practice. Her style reflected English country homes and utilized bay windows in almost every design. Before her retirement in 1977, Pfeiffer completed over 170 residential designs, mostly in Connecticut, but she did two Arizona ranches, as well as a bank and a church.
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It is a listed building with bay windows in the bar and restaurant that offer panoramic views of the Orwell estuary. Pin Mill lies along the Stour and Orwell walk. There many signposted walks in the immediate area, including through the Cliff Plantation forest owned by the National Trust. Pin Mill can be reached at the end of a lane half a mile from the centre of Chelmondiston, which is serviced by the B1456 Ipswich-Shotley road.
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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.
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The house's new design was primarily Italianate, as the style was then nationally popular; its influence can be seen in the asymmetrical plan, the low hip roof with a bracketed cornice, and the arched windows. The house also exhibits a late Victorian influence in its more detailed elements, particularly the first-floor bay windows and the Gothic moldings on the second floor. The house was added to the National Register of Historic Places on October 1, 1979.
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A much smaller number have had their original sliding sash replaced with large "picture" windows or bay windows. In other cases, Victorian-era porch posts and ornamental details like brackets have been replaced with simple square posts or iron rod supports. Some roofs, which originally were metal (either raised seam, corrugated or a stamped pattern), have been replaced with modern composite shingle. A modest number of these early 20th century metal surfaces, which were corrugated or stamped pattern, survive.
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It is a three-storey brick and stone building planned along an elongated north-south axis, terminating in a projecting wing with bay windows at the northern end and a four-storey Italianate tower at the southern end. Decorative sandstone elements on the sills, pediments, chimneys and column capitals are used as ornamental features. The red brickwork is laid in Flemish bond with tuck pointing. The Principal's Flat forms a small wing to the south west of the tower.
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Emery (2006), p.174. The result, according to historian Anthony Emery, was "one of the finest" fortified manors in Cambridgeshire.Emery (2006), p.174. The gatehouse is dominated by a huge gateway, which, whilst it did not have a drawbridge or portcullis, provided considerable protection to the manor behind it.Emery (2006), p.185. The hall typified the 14th century fashion for improved lighting, with bay windows placed regularly along the line of the hall, and was decorated with wall paintings.
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The temple form is often referred to as being part of Greek revival architecture, however when it expanded to Utah it had some Gothic Revival attributes. Features of gothic architecture included in this form as apparent in Utah are: A steeper pitch to the roof, wall dormers, finials, bargeboards, and frame bay windows. There have been approximately six Gothic temple-form houses recorded in Utah, and this home stands as a historical representative of this style.
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In 1805 he employed the architect James Wyatt to remodel the house, which resulted in the removal of the gables and the addition of battlements to the parapets and bay windows at the corners, as presently exists. In 1838 he owned the additional estates of Melhuish, Hackworthy and Eggbeer,Burke's, 1838, spellings corrected and in 1810 Lampford (in the parish of Cheriton Bishop),Risdon, 1810 Additions, p.373 all adjacent to Great Fulford. His monument survives in Dunsford Church.
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The two outer doors are for the main door flats which originally had two floors, the ground floor and basement. Round the basement areas there are cast iron railings with arcaded detailing. The most prominent features of the facade are the twinned square bay windows in Walmer Crescent proper, rising from the basement past the first floor, providing a balcony for the top floor flats. The main elevation of the building curves gently round the crescent.
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Two similar glass windows are found in the central bay. Windows in the second floor are topped by eared granite lintels. The city built this firehouse in 1873-74 on land purchased from Daniel Waldo Lincoln, a prominent local landowner. Its architect is unknown; although the city paid the local firm of Earle and Fuller for design services related to fire stations in 1873, the building is stylistically different from the other firehouses built at the time.
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Solomon then turned his attention to transforming the house into a Victorian villa in the 1870s. In 1941 the building passed to the Daughters of the American Revolution and then to the Town of Oyster Bay in 1947. The Town Council decided to restore the building to the saltbox structure of the mid-18th century, and in 1959 the Victorian additions were removed, including bay-windows, porte cochere, skylights and the water tower. The museum is in two parts.
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The restaurant was located at 990 De Maisonneuve Boulevard West on the southeast corner of the intersection with Metcalfe Street. A three-storey brown brick building, designed in 1950 by Charles Davis Goodman, who as well designed the Jewish General Hospital and the Laurentian Hotel. Bens had a rounded front corner facing, green awnings, large bay windows and a large illuminated wrap-around sign. The restaurant was on the ground floor and two upper floors were rented.
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The John Jones House is a historic house at 1 Winthrop Street in Stoneham, Massachusetts. Built in 1874, it is a well-preserved example of a house with classic, yet modest, Italianate features. The two-story wood-frame structure is finished in clapboards, with a side-gable roof and twin interior chimneys. It has a three bay front facade, with bay windows flanking a center entry that is sheltered by a porch connected to the bay roofs.
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On acquisition by the University, the property was renamed The Manor House and converted for use from 1958 as a hall of residence by H W Hobbiss. Additional wings have since been added. Its use as a hall of residence ceased in 2007. Architecturally, it is in mock Tudor-style stone and brick, with timber-framing, projecting porch and carved bay windows probably by George Gadd who also designed some of the early Cadbury's factory buildings at Bournville.
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The work, symbolising the Hong Kong's property market where the accommodation is high-density, small and pricey, was selected at the Hong Kong & Shenzhen Bi City Biennale of Urbanism Architecture exhibition that year. The design includes tiled walls, wooden floorboards, bay windows, a television, air-conditioning, roof space from which to drive a few golf balls and a 5-horsepower outboard motor."Il était un petit... houseboat". Moteur Boat, Oct 2010, pp. 22–23 DeWolf, Christopher (17 January 2010).
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The carriage and stable structure contains numerous alterations from various periods, from the late 19th century through the 20th. These alterations illustrate its adaptation early on, for use as a residence. A doorway was cut into the wall connecting the attached 1840s cottage residence to the carriage house, so that now they are viewed as one residential building. Jefferis now presents with dominant gable over the entrance door with symmetrical bay windows, a verandah and french doors.
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It is a plain grassed walkway connecting the Raised Walk with the Pond Garden. The pond garden, seat garden and croquet lawn are interlinked, with aligned openings to form a vista from the bay windows of the Great Parlour and Great Chamber on the south front of the house over to the Sparkford plain. A short tunnel of hornbeams link the Pond Garden to the Vase Garden, where variegated weigela is underplanted with euphorbia and vinca.
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Chambers London Gazetter, p 78. Many of its houses are in or possess conservation area characteristics and/or features, including Dutch gables, high ceilings, spacious bay windows and other embellishments and additions which enhance domestic life. The post-war housing, generally in small schemes in Cannon Hill, has some of the better examples of spacious plots and such architectural elements, following the era of relatively modest wages, even among the intended middle class purchasers and occupiers, of interwar Britain.
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It was sold again in 1966 when it was converted to a duplex. The property has since changed hands several times. When constructed the house was rectangular in plan with a central projecting open front porch containing the entry steps and door to the south. The porch was flanked by bay windows and the house contained an entry hall, two bedrooms, kitchen, dining nook, living room, bathroom, sleepout verandah to the south east and laundry under.
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The architect of the station was Sophus Frederik Kühnel who was interested in the Italian Renaissance architecture and National romantic architecture which was starting at this time. These inspirations have played a role in the design of the building; constructed of red bricks on a lightly curved base of ashlar. The architectural inspirations is especially visible in the pointed gables, pointy-arched windows, bay windows and the pompous expression of the tower. The building also has characteristic green garages.
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The William Simonds House is a historic house at 420 Main Street in Winchester, Massachusetts. The two story wood frame house was built in 1877 by William Simonds, and is a good local example of Second Empire styling. It has the classic mansard roof, and a symmetrical three bay front facade. On the first floor, projecting bay windows flank the entry; their bracketed roof lines are joined to that of the wide porch that shelters the front entry.
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The second and third story facade is dominated by tall windows with fixed panes. The roof is covered with built-up asphalt. The Reid School was built as a modern education facility with ten classrooms, an auditorium, a central heating system, built-in electric clocks, drinking fountains, indoor plumbing, and an external fire escape system. The interior of the school is characterized by high ceilings, steep stairways, and large high-bay windows that provide natural light to the classrooms.
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As of 1983 it was still owned by his descendants. The 2½-story frame house is a combination of Neoclassical and a restrained version of the Queen Anne style known as Edwardian. The Edwardian influence is found in its asymmetrical massing, roof lines, bay windows, wraparound porch, gable ornamentation, roof cresting, and the leaded glass in the upper sash of the front windows. The Neoclassical influence is found in the window trim, cornice returns, and the Doric porch columns.
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Most medieval bay windows and up to the Baroque era are oriel windows. They frequently appear as a highly ornamented addition to the building rather than an organic part of it. Particularly during the Gothic period they often serve as small house chapels, with the oriel window containing an altar and resembling an apse of a church. Especially in Nuremberg these are even called (), with the most famous example being the one from the parsonage of St. Sebaldus Church.
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From its outside the slate roofed 2 storey structure is built entirely of stone consisting of 7 bay windows, 2 of which break forward under a pediments. The windows, although now boarded up have architraves and are sashed with glazing bars. The facade of the building was re-fronted in 1865 by Robert Adams to include a Porte-cochère which covers the entrance. This consists of 4 paired Doric columns between rusticated antae, entablature and balustrade.
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Stapeley House is a small country house on London Road (at ) which was formerly the seat of the Folliott family; it is listed at grade II. Dating originally from 1778, it has three storeys and five bays in red brick. It was altered in the late 1840s by Anthony Salvin, who added a classical stone frontispiece and canted bay windows, and also laid out the gardens. It has now been converted into offices.Pevsner, Nikolaus & Hubbard, Edward (1971).
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The building's design has been called a "Queen Anne splendor," a style represented by the Woolley House's massive bay windows and projecting roof masses. Like other early Wright works, the design is much more conventional than later high-style examples of Wright's Prairie School such as the Heurtley House. The New York Times quipped in a 1996 article that the "two-story frame house with a hip roof that could almost pass for the vernacular architecture of the period."Goldberger, Paul.
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"Francis J. Woolley House," Oak Park Tourist, excerpted from: Sprague, Paul E. Guide to Frank Lloyd Wright & Prarire School Architecture in Oak Park Oak Park Bicentennial Commission of the American Revolution [and] Oak Park Landmarks Commission, Village of Oak Park: 1986, . Retrieved June 25, 2007. On the home's southeast portion are its polygonal bay windows and due to a restoration the rough stone foundation walls are more enhanced than they once were. The original horizontal wooden clapboarding has been restored as well.
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Van Arkel designs are characterized by the frequent use of bay windows and loggias, as well as asymmetrically placed balconies, towers and domes. His design for the Helios building won third prize at the architectural competition of the 1900 World's Fair in Paris. Twelve of his buildings in Amsterdam were designated national monuments in 2001. The Asscher diamond factory has also been nominated for national monument status, and another 17 buildings in Amsterdam have been nominated to become municipal monuments.
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There are two double storey gabled projections which interrupt the verandahs on the front and western elevations, and a single one on the upper floor at the rear. These have bay windows with elaborate awnings and timber valances, and pierced barge boards on the gables. The hipped roof of corrugated iron incorporates the three gables, two chimneys and numerous ventilators. The external walls of the house are chamferboard while internal walls and ceilings are lined with beaded pine boards and feature cedar joinery.
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The symmetrical western elevation consists of a recessed central entrance, with bay windows to either side, flanked by projecting enclosed sleep-outs. The recessed central entrance, accessed via a quarter- turn concrete stair with landing, has a concrete canopy supported by stylised columns, and a metal balustrade. Each level above has a casement window, and the roof has a large curved parapet, higher than the adjacent parapet. The bays have mostly leaded diamond paned casement windows, concrete brackets, nib and hood surrounds.
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The site was excavated prior to construction and built into the hill on the western side. The central porch and ground floor of the Administration Building are of sandstone with the floor above of brick. The original slate roof has been replaced with clay Marseilles tiles, the typical chimneys of the complex remaining in position. It has an impressive facade with the gable end over the portico emphasising the central entrance balanced by the two-storey bay windows at each end.
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Sproul's Cafe is set on the east side of Main Street in Bar Harbor's busy downtown area. It is a 2-1/2 story wood frame structure with a Mansard roof (the steep part now clapboarded), clapboard siding, and a granite foundation. The west-facing ground floor has a recessed center entrance, flanked by plate glass windows, which also line the recess. The second floor has a pair of projecting bay windows, between which a screened porch with balustrade has been added.
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The Newell A. Whiting House is a historic building located in Onawa, Iowa, United States. Whiting was a hardware merchant and sawmill owner, who built this house for his second wife. It is a simple, yet a fairly pure, example of the Italianate style constructed in the mid-19th century. with The 2½-story brick house features bracketed eaves, wall dormers, tall, narrow windows with metal hood moldings, bay windows on the main floor, and a long side porch on the east elevation.
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The house is constructed from coursed rubble with ashlar dressings, it has a plain tile roof and all windows are sash design. The houses most striking features are at the east corner with the tall battlemented main tower and its attached even taller circular stair turret with conical roof. The tower has five storeys and features two storey oriel and bay windows. The south facing frontage is two storey with two further smaller conical turrets, it faces onto a large lawn.
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Solidity was to become an identifying characteristic of all Dods' buildings. The house design was published in the premier London architectural journal The Builder in 1906 and in Domestic Architecture in Australia by W Hardy Wilson in 1919. The external sheeting of the front wall was of pine chamferboards, in conventional fashion, but the wall itself was unconventionally blank. With the exception of corner bay windows and the front door and sidelights, there were no other openings in the front elevation.
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The remaining facade holds the main entrance, and contains both a recessed porch with shingled corners and another protruding porch. Above, the second floor has two large bay windows, and there is a large dormer above. On the interior, the main floor contains a large dining room and living room, along with a sun room, servant's dining room, kitchen, rear entry and stair hall, a kitchen pantry and a butler's pantry. The living room has a staircase which wraps around a fireplace.
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63 The mosque is "pint-sized" in comparison to other mosques "on the other side of the golden horn". The mosque was built in Neo-baroque style. In terms of the interior space, this mosque is modest in scale, though the inside is quite spacious with its wide, "high bay windows" which refract its reflection in water as well as daylight. Floral patterned frescoes adorn the inside of the singular dome, along with "niche-like" windows bordered by imitation curtains.
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The Spaulding House is set on the north side of Main Street, near Norridgewock's town center. It is a 1-1/2 story brick building, with a front-facing gable roof and a rear wood-frame ell, all set on a granite foundation. The south- facing front facade is three bays wide, with the entrance recessed in the right bay. Windows on the first floor are triple-hung sashes, with granite sills and lintels; there are also two windows at the attic level.
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Another daughter and coheiress married Robert Eyre and inherited Holme in 1658. The original entrance front to the south has three storeys and three bays, the central one projecting to create a full-height entrance porch, and the outer bays having canted bay windows to second-floor height. The windows are transommed and mullioned and the parapets are crenellated. To the rear is a plainer three-storey four-bay block and to the right a late 17th-century lower block of three bays.
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The Friedrich Block occupies a prominent location in downtown Holyoke, at the northwest corner of Main and Sargent Streets. It is a four-story brick structure with a diversity of Renaissance Revival styling on its street-facing exteriors. The ground floor is finished mainly in dressed brownstone, although it as also been significantly altered by its commercial tenants over the years. The upper floors are organized into groups of window bays set in brick, with intervening slightly-projecting bay windows finished in metal.
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The front (south) and east elevations of the house each have projecting polygonal bay windows topped by a cornice with paired brackets, a feature that is repeated in the main roof line. A gazebo with Stick style decoration is attached to a porch that extends across the east elevation. The house was either built or extensively altered for Charles S. Hall in about 1890. Hall, a native of Epsom, had engaged in a number of businesses, and eventually became the town's largest taxpayer.
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The two storey west wing was built in the 1790s and was modified internally and externally in 1891-92. The large room on the ground floor is of a similar size to the equivalent room in the tower house, while the first floor also has a large room of similar size along the length of the wing. Both these rooms have large bay windows added in 1892. Third floor rooms are smaller and feature dormer windows added in 1891-92.
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The Smith–Dengler House is a large Queen Anne–style mansion sided with clapboard on the first floor and wooden shingles above. It has an L-shaped plan and sits on a sandstone foundation. The house boasts multiple porches, bay windows, and an irregular roofline with multiple dormers. The house is significant as an unchanged example of a large house built for the elite mine agents and superintendents during the boom copper-mining years in the 1890s and early 1900s.
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Clarence Gate Gardens is a fine example of the Edwardian mansion blocks built in London at the beginning of the twentieth century. The seven storey, red brick apartments with stone dressings show a number of Arts and Crafts and Art Nouveau influences. Large and elaborate Dutch gables contain two additional roof storeys, with paired bay windows rising the full height of the buildings, joined by sinuous Art Nouveau railings. The blocks have segmental porch hoods supported on pairs of ionic columns.
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The stone is a bit unusual for Queen Anne, but the varied surface finishes, the bay windows, the 3-story corner tower, the asymmetry, and the complex roof are all typical of the style. If the shape of the house looks a bit abrupt for Queen Anne, it may be because it originally had broad porches wrapping around several sides, which have been removed. Inside are oak doors and stairs and maple floors. In the basement are rooms for vegetable and fruit storage.
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The site of the Steen House was originally an tract and is now . The American Craftsman house is a two-story wood-frame structure on a concrete foundation, surrounded on three sides by a concrete walkway. A separate garage is believed to have been one of the first automobile garages on the island. (Steen was the first on the island to order an automobile, but his delivery was delayed.) The house has two bay windows and a two-story bay.
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Further alterations were commissioned by Sir George Stucley in the mid-1800s. He engaged George Gilbert Scott and the building was remodelled to give a formal entrance through a new porch on the north end. Two bay windows were installed on the east frontage. Internally the drawing room and dining rooms were presented in a style similar to that found in the Palace of Westminster, each having fine wall panelling (Elizabethan in the dining room & entrance, linenfold in the drawing room).
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The shopfront with its awning, and its deeply recessed entries, is typical of the period, and one of the few remaining in original form in Sydney. The building is significant for its long and fascinating association with the Johnson organisation. The whole of the ground floor shop is significant, particularly for its openness and considerable ceiling height, and the spacious qualities of the upper floors, with their bay windows and verandahs, are also of note.SCRA, 1982: 99-100, 104-105.
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The Mather Inn is a four-story rectangular building, constructed of concrete and steel with a brick facing. The front facade is divided into three bays, with a two-story portico sheltering the entrance in the center bay. The varied fenestration on the front, including bay windows flanking the center entrance and dormers on the hipped roof, make the facade architecturally interesting. The public areas of the interior are panelled in pine, and include a sunken dining room and men's clubroom.
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The Edificio Aboy (also El Faro) is a private three-level residence located in San Juan, on the island of Puerto Rico. It is located in Miramar, an area of Santurce, which is a barrio of San Juan. Made of concrete with metal and wood details, the residence features large bay windows on all floors, and circular balconies that curve around a corner of the building. The is one of the best representations of Art Deco style on the island of Puerto Rico.
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Belvedere Terrace, built in 1852 for Mary Wagner, forms part of the east side of the road. It has four storeys, bow windows and balconies at first-floor level. Two blocks of flats now occupy the site of Belvedere House, demolished in 1965, but its cobbled flint garden wall survives. Various smaller-scale houses, some of which are listed, line Norfolk Road, which developed between the 1830s and the 1860s; canted bay windows and cast iron balconies are characteristic features.
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In 1980, work began on converting the hotel into condominiums, but the building caught fire during the renovation and burned down. In 1986, architect Stanton Eckstut was hired to design a new residence on the site, which incorporates architectural elements that pay tribute to the former hotel's copper patina details, terracotta façade, and corner bay windows. While the new building was under construction, the property was sold to the Jehovah's Witnesses and has been used to accommodate members of their headquarters staff.
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Secondary farm buildings stand north and east of the barn, and there is summer sleeping house south of the main house. The house has an Italianate exterior, with a bracketed entry hood, and bay windows with paneled corner boards and skirting. The interior of the main house has been completely modernized; the attached ell retains some 19th- century features. The early settlement history of the property is uncertain; an 1859 map of the area shows a house standing, ownership attributed to C. Reynolds.
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Buyers are able to choose their flat's layout from combinations of balconies, planter boxes and/or bay windows. Also, the internal lightweight concrete walls can be easily removed and reconfigured by owners.Property hunters, the wait is finally over, The Straits Times, 29 May 2004 New fire safety regulations were also drawn up by the Singapore Civil Defence Force which involved the use of elevators during any evacuation. The Pinnacle@Duxton is the first development to be affected by these regulations.
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Mikhaela Blake Reid (born June 1, 1980 in Lowell, Massachusetts) is an editorial cartoonist whose work has appeared in various alternative newspapers and magazines, including The Boston Phoenix, Bay Windows, Metro Times, and In These Times, and was also reprinted in Los Angeles Times. Reid frequently draws cartoons supporting LGBT rights. Reid worked as an information graphics designer at the Wall Street Journal, where one of the articles she worked on won a Pulitzer Prize. Currently, she's employed at United Media.
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The building's fenestration is similarly eclectic, including round and polygonal windows and colored-glass inserts next to angled muntins. Inside, the floor plan follows the asymmetry of the exterior trim. It has much of its original finish as well: herringbone-patterned oak panels below the front bay windows, plaster ceiling medallions and crown moldings in each room, light fixtures, staircase railing and narrow-strip oak flooring. Behind the house, on the property, is a modern garage added in the 1950s.
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The Croul–Palms house boasts irregular massing, contrasting materials, and a picturesque roofline, all details characteristic of Queen Anne style architecture. The house is 2½ stories, and is constructed from red brick on a rock-faced stone foundation. There are additional curved stone details, as well as stone banding and stone window hoods.Croul–Palms House from the state of Michigan The house has bay windows stretching the full three stories, and the multi-level roof boasts projecting gables and decorative chimney caps.
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The Evert Gullberg Three-Decker stands in Worcester's northeastern Lincoln-Brittan Square neighborhood, on the east side of Ashton Street. It is a three-story wood frame structure, with a cross- gabled gambrel roof. Distinctive elements include the large gambrel gables, front windows with stained glass sections, and the third floor porch, which is recessed behind a shingled arch. Original shingling on the walls, typically found in the skirting below the front bay windows, has been covered by modern siding.
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Building in 2015 Cliffside Apartments is a five-story, masonry building located on the cliff at Kangaroo Point overlooking Garden's Point and the City Botanic Gardens. The building is of load-bearing cavity brick construction finished alternately in face brickwork and cement render. Concrete construction is used in retaining walls and car parking structures on the southern side of the building. The northern elevation facing the Brisbane River is dominated by large hexagonal bay windows projecting from the corners of the building.
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Department of Culture, Heritage and the Gaeltacht. Retrieved 30 June 2019 on Green Street in the center of the town, it was built for a local enclosed order of Presentation Sisters, by the architect C. J. McCarthy in 1886. The original building consisted of a short and narrow nave, flanked by choir stalls, leading to an altar and three stained glass bay windows. The chapel underwent major refurbishment in the early 1920s, during the tenure of the order's Mother Superior Ita Macken.
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The Holland–Drew House is located at the southeast corner of Main and Holland Streets, northeast of Lewiston's central business district. It is a two-story brick structure, with a low-pitch hip roof that has a denticulated cornice. The front (west-facing) facade is three bays wide, with the center entrance sheltered by a portico supported by round columns in front and pilasters in back. The portico has a bracketed and dentillated cornice, details repeated on flanking single-story bay windows.
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In the yard there were the central room (iža), bridal room, barn, grain basket, henhouses, pigsties, etc. Central room had a hearth and could be seated by up to 12 people. For such a desolate and arid region, the village houses show major diversity: some are plain but the others have façade level porches, protruded porches, arches, upper floors, balconies, verandas (doksat), foundations shaped like a Cyrillic "Г" letter, passages, bay windows (erkeri), etc. Larger estates included shepherd's huts (bačija), haylofts, etc.
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Ratner announced the Brett Ratner Florida Student Filmmaker Scholarship at the Key West Film Festival in 2015. The $5,000 scholarship was awarded to “The Cook, The Knife and The Rabbit’s Finger,” which was directed by Agustina Bonventura and Nicolas Casanas. Ratner worked with international beverage brand Diageo to produce The Hilhaven Lodge, a blended whiskey named for his Beverly Hills estate. The bottle is modeled after the estate and features a wood cork, and the bottle is shaped to resemble bay windows.
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A castle gate, a small gatehouse, and a palas were erected nearby as well, opposite a series of farm buildings. The residential buildings have been preserved up to a height of several stories, at least along the outer walls. In some cases, plaster layers, bay windows, window frames, window alcoves and pointed arch portals are still visible. The main castle is separated by a high wall from the bergfried, a powerful defensive tower typical of castles in German-speaking area.
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The house had three main sections to it — the central area that was still in use, and an east wing and west wing that were generally closed off and unused. The following rooms appeared on-screen throughout the run of the original series: Foyer and main drawing room — This was the principal setting for much of the series. A grand stairway and mezzanine looks over the foyer and leads to the second floor. The parlor had large bay windows that overlooked the ocean.
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Numerous apartment buildings in Aspudden and Midsommarkransen were of his design; commissioned by the development company, . They are enclosed neighborhood buildings with ornate gables, bay windows and angled ceilings in a simplified Art Nouveau style, and give those areas their distinctive character.Bostadsrättsföreningen Lövsmygen They also commissioned him to design a sculpture for a water fountain in Aspudden. During the early part of the century, he designed eight villas in Nacka and the surrounding areas; one of which burned down in 1930.
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Rora Bar in the Roaring 20s at the Aurora Hotel in Worcester, MA. This place had a big jazz scene. The Aurora Hotel is a historic hotel building at 652-660 Main Street in Worcester, Massachusetts. The six story Classical Revival building was built in 1898 for Charles Stevens, son of a Worcester businessman, who was a lawyer and major landowner in the city. It features decorative carved stone panels, bay windows with pressed metal ornamentation, and a pressed metal cornice.
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The Hewitt House is located in the village of Enfield, at the northeast corner of U.S. Route 4 and Maple Street. It is a 2½-story wood frame structure, with a gabled roof, two interior chimneys, and clapboarded exterior. The house is three bays wide and two deep, with paired brackets in the eaves. The front facade is symmetrical about the main entrance, with paired windows in each bay on the second floor, and projecting polygonal bay windows on the ground floor.
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Dead brown leaves, shade, and shadows are everywhere. Then there is the creepy old house, that appears to have been built many years ago. It is an enormous, dark, antique home with two large bay windows on the second floor that look eerily like a pair of dark eyes staring down at the street below. While Josh proceeds to impatiently whine in protest over the family move and how tragic it is for him, Mr. Dawes welcomes the family into the home.
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The large mass of the buildings are varied by the use of shallow bay windows, inset balconies, and projecting horizontal balconies at the top floor, and the deep raves of the roofs (which are effectively just for show, with flat roofs used a patios behind). Like the architecture, the choice of planting heavily references the Hollywood Spanish style, with palms and cactus featuring throughout the complex, as well as vines and creepers which soften the greyness of the stucco finish.
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Alston's Corner occupies a landmark corner position, emphasised by an almost circular projecting oriel window on the corner, topped by a cupola. The street sides feature bay windows set within tall arched elements, separated by tall narrow windows, giving the building a vertical emphasis. The attic level and first floor feature green- glazed columnettes, and the fourth floor features half-domed balconettes with cast-iron railings, with Art Nouveau decoration below. Column capitals and the tops of piers also feature Art Nouveau detailing.
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The Ziepprecht Block is a historic building located in Dubuque, Iowa, United States. Completed in 1888, it is a fine example of transitional commercial Italianate architecture. with The three-story brick structure features a heavy projecting cornice and rounded pediment from the Italianate, with larger paired windows from the Second Empire style, and three-sided bay windows from the Queen Anne style. It is also one of a small number of double storefront blocks that remain in the downtown area.
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The house's exterior is complex; typical for Queen Anne houses. Key exterior features include a tower capped by a conical roof, bay windows, high gables with decorative woodwork, carved brackets and moulding, and a wraparound porch with grouped turned columns and spindlework valances. The home contains 20 intricately detailed rooms. Interior architectural elements include pocket doors, non-rectilinear walls and ceilings, detailed mantels, an intricate main stair with gas lamps placed on top of carved newels, and Victorian woodwork detailing throughout.
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Rockwood is a historic home and cattle / dairy farm located near Dublin, Pulaski County, Virginia. It was built in 1874–1875, and is a large two-story, Greek Revival style brick dwelling. It has a metal-sheathed hipped roof with a deck, interior brick chimneys, two-story semi-octagonal bay windows, ornamental metal lintels, and a Classical Revival wraparound porch added in the 1910s. The center section of the porch rises a full two stories on monumental Ionic order columns.
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Upon Carlyle's death in 1822 Shawhill was greatly enlarged and improved by Colonel Clark. In the 1870s John Stewart of the firm of Stewart Brothers, Clothiers, Kilmarnock and London, owned the estate. The Category B Listed house that exists today dates from 1820Love, Page 123 and has a large Doric porch, five bay windows at the front and five chimney pots on a single pediment above the front door. An older building of white-washed stonework is incorporated at the back.
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The building was designed by architect Frits Jensen. The period is notable for an architectural style which emulated French palace architecture with light, plastered facades, often with bay windows and a facade divided with pilasters and lesenes and decorated with festons, floral vines or reefs. The Aarhus Female Seminary is an imposing example of trend and one of only a few in the neighborhood. In 1932 it had become necessary to expand the school since new laws had made higher-education gendered schools illegal.
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Both were bay-window style with ASF Andrew-type four wheel trucks, National coiled spring bearings, and used Kaiser ship-type welded steel plate construction. They had swamp cooler air-conditioning and unusually wide bay windows. The windows in KS 1905 were slightly larger than those on KS 1918. Both cabooses were used on a regular basis and one caboose was always at the rear of loaded ore trains from Eagle Mountain to Ferrum and just behind the locomotives on the return trips to Eagle Mountain.
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The main floor consists of a foyer, parlor, dining room, kitchen, pantry, office, and powder room, while the second floor includes three bedrooms, a nursery, and bathrooms. The house includes a Colonial Revival style porch, bay windows in the parlor and master bedroom, and three chimneys. In October 2010, the Southern Paranormal and Anomaly Research Society (SPARS) conducted a paranormal investigation of the house in response to reports of paranormal activity by restoration workers.Ben Cannon, "Paranormal Group Hunts Home," Knoxville News Sentinel, 30 October 2010.
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Unlike Kildare House and Carton House, the Fitzgeralds did not commission Frescati House, but bought it and improved it; in the 1760s, they extended and enhanced it. They are said to have spent £85,000 on the house (equivalent to many millions of euro in 2016 terms). It tripled in size and received flanking wings and bay windows to take advantage of its sea views. It was at this time that the house was given its name, Frescati, a deliberate corruption of the Italian resort of Frascati.
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Fish, who is openly gay, is known for his slice-of-life/romance print comic, Cavalcade of Boys. Cavalcade has been released in trade paperback format . Comics by Fish appeared regularly in Boston LGBT newspaper Bay Windows and in Brazilian magazine DOM from 2007-2008. Fish ran the daily webcomic anthology Young Bottoms in Love, which was published by Poison Press in graphic novel form in 2006 and features work by comic artists such as Howard Cruse, Paige Braddock, Abby Denson, Robert Kirby and Jack Lawrence.
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John P. Jefferson House, also known as the Jefferson Tea House and YWCA Residence, is a historic home located at Warren, Warren County, Pennsylvania. It was built in 1890, and is a three-story, stone and shingled dwelling in a Richardsonian Romanesque style. It features a steep hipped roof, four tall chimney stacks, a semi-circular turret, porch supported by massive stone columns, and bay windows. Note: This includes The Jefferson House is currently occupied by the administrative offices of the Northern Pennsylvania Regional College.
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With this project, he initiated the creation of a cubist city. He used during these projects all forms of architecture that connect with the environment and nature: patio, balcony, terraces, winder gardens and bay-windows around trees and green spaces. Painter, like his father, Stanislas Lukasiewicz, architect of the mid-century in Warsaw, he had represented the environment to recreate it. He is the author of the footbridge and lifts that allow access to the Jardin Atlantique above the Gare Montparnasse in Paris (see architecture mobile).
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Then in 1885 she had her own "summer cottage" built next door - the subject of this article. That July the Geneva Lake Herald wrote: The 17,000+ square foot, 30 room, Queen Anne style mansion is a frame building, two stories tall plus attic. The roofline is complex, with gabled dormers, large corbelled chimneys, and a round corner tower with a witch's cap roof. Bay windows and an inset balcony add to the visual interest, and the upper surfaces are decorated with different patterns of wood shingles.
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Emerson Place is a historic townhouse complex located at Watertown in Jefferson County, New York. It was built in 1904 and is a two-story, flat- roofed, brick, nearly symmetrical set of eleven units in the Colonial Revival style. The long facade of the structure is articulated by a series of 3 two- story, projecting, three-sided bay windows; one at each end and a larger one near the center. See also: It was listed on the National Register of Historic Places in 2003.
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Sizes range from a single room that is 93 square feet (9 m²), a former maid's room, to a double room that is 273 square feet (25 m²), the largest double on campus. Room features include balconies, fireplaces, dumbwaiter shafts, secret stairwells, bay windows, embrasures, and turrets. At the request of Andrew Dickson White, the Risley Great Hall was constructed as a smaller scale replica of Oxford's Christ Church's own dining hall. According to campus legend, its gargoyles represent the fourteen stages of botulism.
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George G. Mason House is a historic home located at Webster in Monroe County, New York. The building was constructed in 1910 and is a large -story house that combines simple Queen Anne style massing and Colonial Revival style decorative features. The first floor is built of brick and above the house is sheathed in shingles. Prominent exterior features include the use of bay windows, a projected stair landing on the south elevation, and paired Corinthian porch columns supported on engaged piers in the balustrade.
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Stull wrote and collaborated on a number of songs. Segarini recalls that he and Stull wrote one evening in a neighbour's house. The romantic "White House" ("Do you think that you could be happy/ livin' by the sea/ In a white house with bay windows/ and a lawn that's gone to seed") was recorded on both The Wackers, "Wackering Heights" and The Butts Band, "Hear and Now" albums. Stull's storytelling song style is clear on the demo he cut with Tommy Bolin in 1971.
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The drawings for the palace were delivered in 1873 and construction work began in that year or in early 1874. Designed by an English architect, Thomas Henry Wyatt, it draws heavily on the Perpendicular English Gothic style and uses local stone. The position of the palace next to the sea is well expressed in its profusion of gazebos and bay windows. The plan was asymmetrical; giving the idea of an older house that had been restored and added to rather than a recent construction.
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These two houses are among about a dozen known in the state that have relatively high-style Greek Revival design. The northern house was first owned by Reuben Foster, and remained in his family until 1938, the family making few significant alterations beyond the addition of the bay windows. It presently houses professional offices. The Cleaves House has had a larger number of owners, including former Governor of New Hampshire Matthew Harvey and Mary Baker Eddy, founder of the First Church of Christ, Scientist.
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Cavalcade of Boys started as a 9-issue series, published by Tim Fish between 2002 and 2004. It was then collected in three books the following year, and finally in a 550-page graphic novel in 2006. Fish started an all-new, full-page weekly version of Cavalcade in Boston's LGBT newspaper, "Bay Windows", in summer 2007, which was ultimately compiled as the graphic novel Love is the Reason in 2008. Trust/Truth another stand- alone graphic novel featuring Cavalcade characters, was published in 2009.
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Alyson and his company were named "Publisher of the Year" by the New England Booksellers Association in 1994 and received the "Small Business of the Year Award" from the Greater Boston Business Council in the same year. In 1995, Alyson sold the business to Liberation Publications, publisher of the gay magazine, The Advocate. The new owner moved the offices to California (and later to New York) and renamed it "Alyson Books". Alyson also founded Bay Windows, a weekly gay newspaper in Boston, in 1983.
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The added wings were completed in face brick with plastered window dressings, bay windows, elaborate timber bargeboards with finials, Victorian brick chimneys and a decorative Gothic side porch on the western elevation. The gabled roofs are sheeted with corrugated iron. Macquarie Grove is complemented by outbuildings (a cottage residence/nursery and garage/studio) that enclose the rear garden. The property contains a number of significant cultural plantings including an established white cedar tree (Melia azedarach), Common holly tree (Ilex aquifolium) and mature camphor laurel tree (Cinnamomum camphora).
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In 1876 he engaged architect Ewan Christian to install bay windows and add decorative brickwork to give the house its current Jacobean appearance. He was elected as the Member of Parliament (MP) for Lewes at the 1874 general election, having unsuccessfully contested the seat in 1865 and 1868. He was the first Conservative MP to represent Lewes in the House of Commons since Henry Fitzroy had died in 1860. Christie was re-elected in 1880, and retired from Parliament at the 1885 general election.
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The Spann house buildings form an extruded rectangle plan, the only irregularities being the protrusion of bay windows to let in the views of the Hudson. The roof is a steeply pitched Gable, with Gable dormers on the north and south sides. In plan, Spann house is generally similar to its middle class Victorian counterparts. It has a porch that wraps around the south side to the front, a partially submerged lower level, a raised first level, two floors above that and an attic.
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The Hotel Gerard, also known as the Hotel Langwell and Hotel 1-2-3, is a historic hotel located in New York, New York. The building was designed by George Keister and built in 1893. It is a 13-story, "U"-shaped, salmon colored brick and limestone building with German Renaissance style design elements. The front facade features bowed pairs of bay windows from the third to the sixth floor and the building is topped by steeply pointed front gables and a highly decorated dormer.
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Immediately above the entrance are doubled tapering pilasters flanking a three-light window, all surmounted by a large cartouche decorated with strapwork. On the first floor of the central bay is a triple-mullion window, and above the parapet is a coat of arms. Flanking the centrepiece are two bays with diapered brickwork and single-mullion windows. The two ends of the south face are also set forward; they have canted, triple- mullion bay windows and are surmounted above the parapet by shaped gables with attic windows.
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It is a three-part window consisting of a large fixed center panel flanked by two smaller double-hung sash windows. The arrangement of windows on the facade typically creates a grid pattern, with some projecting out from the facade forming bay windows. The Chicago window combined the functions of light-gathering and natural ventilation; a single central pane was usually fixed, while the two surrounding panes were operable. These windows were often deployed in bays, known as oriel windows, that projected out over the street.
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The drawing room and dining room contain the best evidence of Dods internal refurbishment but also contain bay windows attributed to Stanley. Decorative elements like the fireplaces, timber fretwork to the entrance and the cupboard below the stair and upstairs details, including the dormers, have been attributed to Dods. Several outbuildings associated with the repatriation hospital were constructed during this period, including an open-air ward (1919), garage () and orderlies' quarters (1928). These are important to our understanding of how the place functioned as a hospital.
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The house was built by Thomas Marvin, a nephew of the founder of the United States Hotel, one of Saratoga Springs' early resorts. The exact date is unknown, but it was likely built in 1837, around the time of his marriage. Marvin at the time was co-owner of the hotel along with his brother, and the house faced the rear of the hotel across the square, originally called Marvin Square after the family. The front bay windows were added shortly after it was built.
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Of the frame houses, the most distinctive are the turreted Queen Anne located at 104 South Monroe and the unusual dwelling at 126 South Monroe, the home of architect Marcellus H. Parker. Parker's house is an L-plan structure with steeply pitched gable roofs, and two-story bay windows. The former Lake Shore & Michigan Southern Railroad depot is a single, story, seven bay long Late Victorian brick structure with corbelled brickwork. It has a high gabled roof with broadly overhanging eaves supported by massive timber brackets.
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The house was built 1803–07 by the Reptons for Charles Rogers in a picturesque castle style that was explicitly modelled on Richard Payne Knight's Downton Castle. John Repton designed an addition to the rear of the house in 1822. John Hiram Haycock added bay windows and his son Edward Haycock Senior remodelled some of the public rooms in a Tudorbethan style in 1833. Edward Haycock later added a Gothic dining-room extension, Romanesque-style porch and the castellated stable courtyard beginning in 1845.
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The rose-colored tiling of the kitchen was a feature added in honor of their head cook, Mary Rose Alvernas. The space provides ample natural lighting with large bay windows viewing out towards the Currituck Sound.Dunbar The staff dining room served the full-time servants that traveled with the Knights. There is very little known of the original décor or contents, besides the original light-blue wall coloring, and one documented piece of furniture—a mission-style china cabinet as well as a gas stove.
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The roof was originally clad with slate, but now has asphalt shingles. A pair of limestone-trimmed red brick chimneys sit atop the roof, complementing the facade. The front facade originally has banks of five tall side-by-side double-hung nine-over-nine windows. One bank was located in each of the two center bays and one more in each bay window in the bay above each. The bay windows had metal spandrel panels with raised center panels between the center bays’ upper and lower tiers.
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The placement of the ornaments changes each year, but in some places, the same ornaments are shown each year. For example, ("Half-moon Street") is always decorated with half-moon crescent shapes. The area always has ornaments of astrological signs, because the streets there are named after characters from Greek and Roman mythology. In ("White Village"), there are no ornaments—but red, white, and blue lamps, symbolic of the flag of the Netherlands, are placed on the bay windows, where they shine onto the white houses.
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House Plan 32 from "Convenient Houses with Fifty Plans for the Housekeeper"(1889) by Louis H. Gibson Originally built as a private residence, the Antelope Club is an example of Neo-Classical architecture. The facade includes Corinthian columns, bay windows, and a second-story balcony. Inside the club is a bar, dining room, game room, two meeting and event rooms, an office, and the Al Schilling Cigar Lounge. The wood-frame structure rests on a red brick foundation and was originally clad in wood clapboards.
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The eastern (rear) of the building, which once had wooden stairways and covered walkways for upstairs apartments. The Boesch, Hummel, and Maltzahn Block is a two-story structure located on the north side of New Ulm's main commercial thoroughfare, consisting of 6, 8, 10 and 12 Minnesota Street North. The street level facade has been remodeled several times over the years, but still maintains the cut stone dividing members. The second story facade features relief-laid brick and four, large copper-roofed bay windows.
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The buildings was designed according to these principles having a wide variety of shapes and producing visual effects through an assortment of volumes and materials. The old Coaticook station is representative of this architecture in particular by its rectangular plan with a rounded end, its complex roof, numerous protrusions such as bay windows and the conical roof porch as well as its elaborate and varied ornamentation. It is a good example of the use of completed picturesque principles in the architecture of railroad stations. Coaticook Station today.
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St. Joe Lead Company Administration Building, also known as the St. Joe Company Offices, Central Office Building, is a historic office building located at Bonne Terre, St. Francois County, Missouri. It was built in 1909 by the St. Joe Lead Company, and is a 2 1/2-story, "H"-shaped, Gothic Revival style brick building with granite trim. It features pointed arched entrances, bay windows and bi-chromatic decoration. (includes 13 photographs from 1983) It was added to the National Register of Historic Places in 1984.
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In the 1970s, the upper floors were sealed off, leaving only the basement, ground and mezzanine floors in use as retail spaces. In 1999-2000, architect Kenneth Edelstein was engaged to restore the building, with the help of conservation architect Nigel Lewis, and convert the upper floors to apartments. The oriel bay windows, cupola, cornice, balconettes and Art Nouveau decoration were reconstructed in lightweight pre-cast materials matching the original in appearance. The single rooftop mansard floor artist's studio was replaced with two mansard floors.
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The Gardner News Building anchors the northern end of Gardner's downtown commercial district, occupying a corner lot facing south at Vernon and Central Streets. It is a three-story brick structure, roughly trapezoidal in shape due to its lot configuration, and is adorned with sandstone and brick trim. Its main facade faces roughly south toward Central Street, and is roughly divided into three sections. The outer sections have two bays of windows on the third floor, and projecting bay windows on the second floor.
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250-254 Zholtovsky's favorite flat walls (no bay windows, no setbacks) and modest application of Florentine canon fit the purpose quite well. In 1948, 80-year-old Zholtovsky became the subject of a witch-hunt once again. With no apparent reason, small-time critics slammed his works and his role in education. Zholtovsky lost the chair of MArchI. In February 1949, a "professional round table" branded his Bolshaya Kaluzhskaya House as formalist, condemned Zholtovsky’s educational efforts, and virtually excommunicated him from practice for a year.
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In Islamic architecture, oriel windows such as the Arabic mashrabiya are frequently made of wood and allow viewing out while restricting visibility from the outside. Especially in warmer climates, a bay window may be identical to a balcony, with a privacy shield or screen. Bay windows can make a room appear larger, and provide views of the outside which would be unavailable with an ordinary flat window. They are found in terraced houses, semis and detached houses as well as in blocks of flats.
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Three of the home's four sides have bay windows and other windows are topped by limestone hood molds. The windows themselves show differing forms as well, including the double-hung sash windows on the second floor and the diamond-paned windows with colored glass in the sitting room. Sometime after 1918 the Lake–Peterson House underwent its only major alterations. An addition was added to the southeast portion of the home, it features a smooth stone finish and window groupings characteristic of late period Gothic Revival.
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The Richard House is a 2-1/2-story, brick, gable-roof, Queen Anne house with a rectangular side-gable front section and gable-roof rear ell. It sits on a masonry foundation, and additional stone trims the brick of the main section. The front facade has a slightly off-center, projecting structure containing slant-sided bay windows on the first and second stories with a gabled third story section cantilevered on top. The corner has a rounded, hip-roof dormer shaped like a turret.
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Nos. 1–11 stand at the north end of Bath Street. They are built in buff sandstone with grey-green slate roofs in two storeys. The frontage is asymmetrical and includes a variety of features, including two large plain gables with their upper storeys jettied on corbels, two smaller dormers with shaped gables, and three round turrets with conical roofs. The cottages containing dormers are set back from the rest, have bay windows in the lower storey, and small forecourts with wrought iron railings in front.
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The Minton tiled vestibule inside the front porch leads to the sitting room, drawing room, dining room and cedar staircase to the second floor. There are five bedrooms, some of which contain period features like bay windows and the original chain window sashes. All have marble fireplaces (there are seven in the house) cedar and mahogany joinery, and high ceilings. The main bedroom is huge, and it has two floor-to-ceiling windows leading to the balcony, a wall of built-in cupboards and a study annexe.
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Bay Windows; September 28, 2000, pN.PAG, 00p Wilbur said: This celebration of bisexuality in particular, as opposed to general LGBT events, was conceived as a response to the prejudice and marginalization of bisexual people by some in both the straight and greater LGBT communities. Wendy Curry said: On September 18, 2012, Berkeley, California became what is thought to be the first city in the U.S. to officially proclaim a day recognizing bisexuals. The Berkeley City Council unanimously and without discussion declared September 23 as Bisexual Pride and Bi Visibility Day.
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Many buildings were lost in the 1960s and 1970s, when Brighton's increasing regional importance encouraged redevelopment, but conservation movements were influential in saving other buildings. Much of the city's built environment is composed of buildings of the Regency, Victorian and Edwardian eras. The Regency style, typical of the late 18th and early 19th centuries, is characterised by pale stuccoed exteriors with Classical-style mouldings and bay windows. Even the modest two- storey terraced houses which spread rapidly across the steeply sloping landscape in the mid-19th century display some elements of this style.
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Curtain rod A curtain rod, curtain rail, curtain pole, or traverse rod is an device used to suspend curtains, usually above windows or along the edges of showers or bathtubs, though also wherever curtains might be used. When found in bathrooms, curtain rods tend to be telescopic and self-fixing, while curtain rods in other areas of the home are often affixed with decorative brackets or finial. Special poles can be made for bay windows or made by joining a number of straight and corner bends to fit the shape of a bay window.
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Thornbury was built between 1864 and 1865, when Frederick Mappin, the cutlery and steel magnate, commissioned the architects M.E. Hadfield and Son to design a new house for him. Mappin had previously been Master Cutler in 1855 and would go on to become Mayor of Sheffield in 1877/8 and a Liberal MP in 1880. Thornbury is a big bold stone house with curving two storey bay windows. It is in the Classical style with two wings, balustraded parapet and a steep pitched roof with tall chimneys and gables.
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With its swinging gables and protruding bay windows in the Renaissance style, the elegant five-wing building on the middle islet over the moat from the Mønttårn tower on the main building. Its south-facing portal, Møntporten, decorated with figures including Venus and Mars surrounded by musicians, is considered to be one of Denmark's finest. In 1621, Christian IV decorated the King's Wing with the Great Gallery overlooking the courtyard. The statues of the gods, decorating the two storeys, were crafted by Hans van Steenwinckel the Younger in Amsterdam and brought to Denmark by ship.
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The central bay and the arched main entrance are both surmounted with stone balconies. Inside the hotel, which was given Grade II listed status on 25 August 1977, is the Olympic Suite, a room measuring and high which is furnished with panelled walls and decorated ceilings taken from the RMS Olympic. The room consists of three and a half bays and three aisles, with bay windows on the north and east sides. The hotel also incorporates elements of one of Olympics staircases and a revolving door from the ship.
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Tillman Hall, originally known as Main Building, is a historic academic building located on the campus of Winthrop University at Rock Hill, South Carolina. It was built in 1894, and is a three-story, red brick building in the Richardsonian Romanesque style. The building includes a basement and attic, has a combination gabled and hipped roof configuration, projecting bay windows, and features a conical-roofed clock tower with open belfry. In 1962, Main Building was renamed Tillman Hall for Governor, Democratic U.S. Senator, and avowed white supremacist Benjamin Tillman.
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In March 2012, Microsoft blocked Windows Live Messenger messages if they contain links to The Pirate Bay. When a user sends an instant message that contains a link to The Pirate Bay, Windows Live Messenger prompts a warning and claims "Blocked as it was reported unsafe". "We block instant messages if they contain malicious or spam URLs based on intelligence algorithms, third-party sources, and/or user complaints. Pirate Bay URLs were flagged by one or more of these and were consequently blocked", Microsoft told The Register in an emailed statement.
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The Row House stands on the east side of 2nd Street, between Winthrop and Central Streets, and just west of Water Street, the city's main commercial thoroughfare. It is a long rectangular 2-1/2 story wood frame building, with a gabled roof and clapboard siding. It houses for essentially identical units, each three bays wide with the entrance in the left bay. Windows are sash, and the doors are framed by broad molding with square corner blocks, and a simple narrow entablature runs below the main roof.
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The 1901 house sits on the same limestone foundation as the 1884 house, but the frame structure is a different Queen Anne style design, 2.5 stories with bay windows, broad eaves, pedimented dormers, and a complex roof. On the southeast corner is a large one-story round veranda with its roof supported by seven Doric columns. The walls are clad in narrow clapboard, with bands of sawtooth shingles. Inside are parquet floors, a built-in china cabinet, a tiled fireplace, a mural, stenciling, and an ornate main staircase.
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A small vaulted door and a larger entrance flanked by two 16th century bastions with cannon holes are still visible. The remains of the manor buildings appear as a Lombard frieze, notably because of the bay windows on the upper level outside the western curtain wall, with their narrow semi-circular arches. To the west, a rectilinear curtain wall closes the lower courtyard while, in the east, a long wall is flanked by two towers. The castle has been the subject of consolidation works by the association Cunulmergrun since 2000.
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Glimmerstone stands on the north side of Vermont 131, about west of Cavendish's village center. It is a two-story stone structure, with a roughly L-shaped plan and a cross-gable roof configuration. The street-facing front is divided into four sections, the rightmost one projecting with a hooded gable and bay windows on the both levels. The second bay has a three-sash window group, with a steeply pitched gable dormer above, and the main entrance is in the third bay, sheltered by a gabled porch.
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The Pacesetter Gardens Historic District is a historic district encompassing twelve townhouses along South Lowe Avenue in Riverdale, Illinois. The townhouses were built in 1960 by Harry J. Quinn, a developer who constructed and advocated for multi-family housing. Prior to 1960, Riverdale was mainly a community of single-family homes; Pacesetter Gardens and another nearby development by Quinn diversified the city's housing and made it easier for lower-income residents to live there. Quinn, who was also an architect, designed the buildings, which feature simple exteriors with box bay windows and a horizontal emphasis.
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The Stone Farm is located in a rural setting in western Dublin on the north side of Old Marlborough Road west of East Stone Road, with a fine view north toward Stone Pond. It is a 2-1/2 story wood frame structure, with a gabled roof and clapboarded exterior. Its main facade is five bays wide, with bay windows on either side of the main entrance on the ground floor, and five sash windows arranged symmetrically on the second floor. A gabled wall dormer is centered on the front roof face.
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The Peter Herdic House is a historic home located at 407 West 4th Street between Elmira and Center Streets in the Millionaire's Row Historic District of Williamsport, Pennsylvania. It was built in 1855–1856, and is a 2 1/2-story, brick building, coated in stucco in the Italian Villa style. It features three bay windows on each floor and a distinctive cupola atop the roof. Peter Herdic was a notable figure in the early development of Williamsport, and served as its fourth mayor, beginning in the fall of 1869.
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Fritz Weidner's artistic style has evolved from Eclecticism to Art Nouveau, through three stages. When he arrived in Bromberg, his works were characterized by eclectic forms, with many Neo-Baroque decorative elements. The second step of his stylistic maturation begun in 1897, with noticeable move towards Historicism where one can perceive a freedom of the planning, a lack of facade symmetry, as well as an abandonment of the stucco decoration, in favor of a decorative arrangement of different architectural elements (e.g. window shapes, loggias topped with arcades, bay windows, balconies).
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The site was acquired in the 15th century by the Charnock family from the Knights of St. John of Jerusalem. The Charnocks built the original timber-framed house, around a small courtyard, about 1575-1600. In 1665, Margaret Charnock married Richard Brooke of Mere in Cheshire (son of Sir Peter Brooke), and they built the present grand but asymmetrical front range of brick with a pair of vast mullion and transomed bay windows. This front has a doorway with distinctly rustic Ionic columns, remarkable at such a late date.
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Cozad–Bates House, is the oldest and only surviving pre-Civil War structure in University Circle, Cleveland, Ohio, located at the Mayfield Road and East 115th Street intersection. It is historically known for its involvement in the Underground Railroad. Abolitionist Andrew Cozad built the house in 1853 for his son Justus L. Cozad, who in 1872 added an Italianate front to the structure. Architecturally, it is a rare surviving example of Italianate- influenced residential architecture in America at that time, which includes a hipped roof, curved bay windows, paired eave brackets, and prominent belvedere.
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The park's visitors center is located at the western edge of the park and consists of an art gallery, theater and video kiosk area. Large bay windows allow the cauldron and arch to be seen by visitors from inside the round glass and sandstone building, which also serves as a ticket office for the nearby stadium. The center's theater used to play a 10-minute film which looked back on the Games and their success. This film was displayed using three different screens and special effects such as fog and lights.
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The old Latin Carmelite church was converted into the Sarayönü Mosque, also known as the Orduönü Masjid (). Its exterior displayed arched Gothic architecture, while its interior reflected classical Ottoman architecture. The Sarayönü madrasa, a cemetery, a bazaar, law courts, a fountain, coffeehouses, an arsenal, a military hospital, coffeehouses, a Turkish bath and the Ottoman qadi's residence were built during the Ottoman period in the square. However, as the city's population grew, the military facilities were relocated outside the city and houses with classical Ottoman architecture, featuring bay windows were built.
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The Aurora Regional Fire Museum is a non-profit, tax exempt, educational institution located in Aurora, Illinois, USA. Its purpose is to preserve and exhibit the artifacts and history of fire departments in Aurora and the surrounding area, as well as to teach and promote fire safety and prevention. The museum is located in the old Central Fire Station of Aurora, which was built in 1894. It has bay windows, a decorative cornice, and an "onion-dome" and was asserted to be 'a model of its kind' when it was completed.
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The original main entrance is in the brick facade, which is two bays in width with sash windows in most positions. To the east is a 2-1/2 story wood frame section, with a gabled roof and a porch extending across its five-bay front. At the far eastern end is a three-bay single-story frame section, with what is now the main entrance flanked by picture and bay windows. Richard Strong, its builder, was prominent in civic affairs, serving as a town selectman, justice of the peace, and state representative.
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The Morse & Co. building is set on the northeast side of Harlow Street, just south of its crossing of Kenduskeag Stream and northwest of the city's central business district. It is a two-story masonry structure, finished in mortared brick-shaped stone on the first floor and stucco on the second. An arched opening on the left side of the front facade shelters the entrance, with three recessed bay windows to the right. The second story has corner pilasters and Beaux Arts panels flanked by oculus windows with decorative surrounds.
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Eden Park and Gribblehurst Park became lakes during heavy winter rain, as did the reserve land east of Sandringham Shops. After a heavy storm in 1919, locals recalled boating through the streets and floodwaters "flowing through the bay windows" of one low-lying house. Substantial development only came around 1925 with the construction of the tramline, resulting in the core of what is now the Sandringham Shopping Centre being built. Rows of evenly spaced streets spread on each side of Sandringham road and were lined with wooden Edwardian houses.
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Subsequent owners included Sophia Delany, Joseph and Martha Prather, Wallace and Sally George, Yvon and Ella Pike and Marcia McCann Ely and Northcutt Ely, who added electricity and indoor plumbing and eventually sold it to the Marshalls. The Marshalls also added two bay windows, a stone court, and changed the wooden porch to a more durable brick. Dodona Manor is unique among historic houses because over 90% of the furnishings and memorabilia in the house were owned and used by the Marshalls and were obtained from Mrs. Marshall's heirs.
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This building is probably the most traditional of Le Corbusier's mature works. The design was constrained by the narrow () and deep () configuration of the site and by strict zoning codes, which specified the parapet height, conformance to the existing street wall, and even the placement of the balconies and bay windows. Nevertheless, the architect's inventiveness is evident in the all-glass facades. Identical on both elevations, they were inspired by Pierre Chareau and Bernard Bijvoet's Maison de Verre, but Le Corbusier departed from Chareau's glass-brick-only prototype by the addition of transparent openings.
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Like the lounge, the ceilings and windows were raised above the level of the Boat Deck for increased height and the room was flanked by alcoves with bay windows, also in stained-glass. The floor was laid with blue and red linoleum tiles and the plaster ceiling was moulded with plaster medallions. In the centre of the far- back wall was a Norman Wilkinson painting, Plymouth Harbor, which hung over a coal-burning fireplace in white marble. This was the only real fireplace on board: the others were installed with electric heaters.
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Between 1759 and 1761, architect Henry Keene substantially enlarged and "Georgianised" the house, and built the east front with its canted bay windows and a central porch in the Tuscan style. Inside, the great hall has stucco panels, and three reception rooms with rococo chimneypieces. The 1980s conversion to a hotel was overseen by the architect Eric Throssell who created a new dining room in the style of Sir John Soane, by enclosing the former 18th-century open arcaded porch. The former semi-circular galleried entrance vestibule became an inner hall.
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The house is a traditional Charleston double house (i.e., four rooms per a floor at the corners with a central hall and staircase) but, unlike most, has matching two-story bay windows on the front façade, perhaps an early 19th- century alteration to an originally flat-faced building. It was the most expensive house sold in Charleston when it sold for $7.37 million in May 2009, overtaking the previous record holder, the Patrick O'Donnell House. It remained the most expensive house sold in Charleston until August 2015, when the Col.
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In the northeast corner of the courtyard is a 17th-century well house, which stands on the traditional site of the original tower that was destroyed in the Civil War. The inner courtyard has a west gateway, a great hall and kitchen on the north side, state rooms on the east, and living rooms on the south and west sides; it is mainly in two storeys. At the north east corner is a porch (this was formerly the site of a chapel). Bay windows project from the north and south sides of the great hall.
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The Hudson–Evans House is a three- story house built of red brick on a rough-cut stone foundation, designed in a French Second Empire architectural style with Italianate influences. The floor-plan is basically rectangular, but the elaborate two-story bay windows that grace both sides of the house minimize the severity of the design. Arched moldings top the windows in the home, and the mansard roof includes colored slate laid in a decorative pattern. The porch on the home was apparently added after the original construction.
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In 1907/1908 Countess Clara Matuschka-Greiffenclau had the buildings remodelled. She increased the height of the southern wing of the mansion by a third floor, added two towers with an onion dome, and enlarged the terraces and the bay windows at the Donjon. In 1975 Erwein Matuschka Greiffenclau took charge of the property, which was heavily in debt. Although an important figure in the emergence of a new or rediscovered style of high quality dry Rheingau wine in the 1980s and 1990s, he was not successful in reorganising his estate.
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This graceful structure with its unique carriage porch and conical bay windows is of special significance to the Oyster Bay Historical Society. The Society's home is a house museum on Summit Street called the Earle-Wightman House. It is named after two of its most famous residents Reverend Marmaduke Earle who came to Oyster Bay in 1801, and Reverend Charles Wightman who began his ministry here in 1868. Both men were pastors of this church when it had a Baptist congregation, and both served for over 55 years.
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Walls were removed, new doorways made, fireplaces blocked, internal partitions installed, concrete floors for toilets added and all stairs except one at the rear of no. 28-30 were removed or altered. Original details including dado panelling in the halls and dining rooms, and leadlight sidelights on the front doors were removed. Evidence of the original asymmetrical arrangement of bay windows at ground floor level was lost except in no. 24-26 and new load-bearing partitions were installed on the first and second floor levels above the dining rooms.
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The trees, which are deciduous, give an added quality to the richness of the facades and have considerable significance. The facades as a group have important landmark qualities with their location on the north-west corner of a major intersection, providing an entry point to The Rocks. Brooklyn Hotel is significant for its facade and shopfront, which are typical of the period, with bay windows and a deep recessed verandah, the whole surmounted by a gable end with interesting stone trims. The top verandah is interesting in a picturesque manner flanked by two Ionic columns.
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The street-facing southern facade is two bays wide, with projecting bay windows on the first floor, topped by bracketed cornices. The second-floor sash windows are topped by half-round transom windows. The house was designed by Portland architect Charles A. Alexander, and was built in 1855 for Captain Sylvanus Blanchard (1778–1858), a ship's captain and boatbuilder who was one of Yarmouth's leading citizens of the day. Blanchard lived in the house just three years, dying in 1858, and the house passed to his son, Sylvanus Cushing Blanchard (1811–1888).
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The basement was built from bricks and it has two massive vaults of 6x12m. The ground floor is arranged asymmetrically, consisting of three 4 x 9m, 2.5 x 4.5m and 7 x 7m chambers. The upper storey has six chambers: large 9 x 3m hall, two 5 x 5m symmetrically positioned rooms, forming bay windows over viewing the street, a 3.5 x 4m room and a 4 x 3m kitchen, with auxiliary room of 2.5 x 2.5m. Arrangement of rooms has remained unchanged despite of certain later partition works in the ground floor.
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The Loraine Building is a rectangular, six-story brick Georgian Revival structure, measuring 92 feet by 45 feet, with a flat roof. The front and side facades contain prominent wooden bay windows projecting from the second to the fifth floors. There are two projecting bay units on the front facade, separated by a set of one-over-one windows, and three projecting bay units on the side facade, separated by three sets of one-over-one windows. A metal, dentiled cornice runs across the top of the building.
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The four-storey tower at the south corner is recessed; the main building has a symmetrical façade composed of two projecting gabled wings with two-storey bay windows and a central recessed three-bay entrance wing. This has a porch in the form of a three-arched arcade, above which projects a wooden balcony. On the roof between the gables is a small dormer window with a curved gable on which is painted the year 1902 and the Savage family's monogram. Further back on the south side is a gabled single-storey conservatory.
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The William Sayers Homestead is a historic farmstead property at 110 Mabel Parkey Drive, near Ewing in Lee County, Virginia. The centerpiece of the farmstead is a two-story stone house, to which a two-story front porch and two-story frame addition was made in the 1890s. The main house exhibits high quality late Georgian styling, while the addition has Late Victorian massing, with projecting bay windows. The property also includes a barn, utility building, garage, corn crib, and chicken house, all of mid-20th-century construction.
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The chapter room was renovated in the second half of the 16th century. The work was probably done between 1550 and 1580 to accommodate growing numbers of visiting dignitaries, but may have been undertaken after 1580 due to the ban on public Catholic worship, or in preparation for the 1586 visit by the Calvinist governor-general of the United Provinces, Robert Dudley, 1st Earl of Leicester. The joists above the hall were raised and new corbels were put in. The former Gothic windows were raised and converted to bay windows.
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US border station and residences at West Berkshire, VT as seen in 1936 The United States station is a rectangular brick building, 1-1/2 stories in height, with a wooden-frame side gable roof. It is flanked on either side by four bays of garages, some of which have been enclosed and repurposed for other uses. A metal porte-cochere extends across one lane of roadway, providing shelter for arriving vehicles while they are processed. The main block has a three-bay facade, with large bay windows flanking a center entrance.
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The Imperial Hotel in Atlanta is one of the few remaining tall buildings from the city's construction boom in the early 20th century. The former hotel was opened in 1910, has 8 stories, and is representative of the Chicago school due to the flat roof and brick facade with grids of bay windows. It contains two historic Otis elevators. It was abandoned in 1980, added to the National Register of Historic Places a few years later, eventually converted to low- income housing, and is undergoing another round of renovations as of 2012.
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The Fathers made alterations to the house between 1965 and 1970. These included the demolition of the 1924 kitchen wing, and its replacement with another wing, the removal of the first floor bay windows, and the addition of some interior arch screens. A later addition saw the erection of a retreat centre abutting the south east side of the house. Subsequently, the Carmelite community in Brisbane met at a number of temporary locations until the Carmelite nuns at Ormiston built a meeting place called Avila on their grounds.
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The John Halloran House is a historic house at 99 E. Squantum Street in Quincy, Massachusetts. This two-family wood frame house was built in 1910 for John Halloran, a local police officer. It is a well-preserved Colonial Revival example of duplexes that were commonly built in the Atlantic neighborhood of Quincy, with a fine balustraded porch, and an entrance with long sidelight windows and oval window in the door. Bay windows project on the right side of the front, and a low hip-roof dormer projects from the roof.
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The north-west range dates from the early-16th century; the north-east range is of the late-15th century as is the great hall on the south side of the court. The double-height bay windows date from Bodley and Garner's remodelling for Morgan Williams. Alan Hall describes the inner court as having a "peaceful and domestic" appearance having been constructed in the more settled Tudor period under the later Stradlings. The exterior walls of the inner ward are decorated with a set of terracotta medallions or busts.
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The building was officially completed and opened in 1877 and has been continuously occupied since 1877. Areas in the building such as the Long Room are unique to the operation of Customs authorities (formerly at the upper level from 1877, and at present at the south end ground level). The building was designed by the Colonial Architect James Barnet, one of Australia's most distinguished architects. Barnet designed it in the Italianate Renaissance Revival design with strong references to the Venetian Palazzo in the cantilevered bay windows of the north facade.
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A new roof replaced the old one and the front staircase, which had been removed in the 1930s, was put back. The iron cresting is restored as are the red tin tiles over the bay windows. The west façade is “penciled” in the style of the period, meaning that the bricks are painted and mortar lines are traced in white on top. The east façade on Olvera Street, although not originally painted, had previously been sandblasted, a process which destroys the outer surface of the brick, making it porous.
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Eugen Jørgensen, who was both a partner in the development company and a member of the City Council, designed all the buildings along the street. They are built in a monumental National Romantic style, combining red brick and roof tiles with architectural details such as bay windows, orio windows, exposed timber framing, turrets and spires. The north side of the street forms one side of a triangular block which is completed by Møntergade and Gammel Mønt. The south side of the street is divided in two by Ny Østergade.
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Skirtings and architraves in particular are simple but generously proportioned. It is possible that some of the joinery and moldings currently painted were originally clear finished red cedar, or similar, which if re-instated would increase the visual richness of the interiors considerably. The walls and ceilings generally are lined with painted, tongue- and-groove, vertically-jointed timber, with either elaborate ceiling roses or coffers, bay windows, or decorative fireplaces used to elevate the character of the formal rooms. More simply treated rooms such as bedrooms and service rooms have been largely removed or remodelled.
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This elevation also has a number of smaller, faceted bay windows and a central, decorated bay window spanning two floors and housing a large sign inscribed "Cliffside". The large hipped roof is clad in terracotta tiles with a small brick chimney from the former incinerator. Timber casement windows with concrete sills are to be found throughout the building and many have concrete shades supported by concrete corbels projecting from the lintel. The main entrance to the building is from Lower River Terrace and is marked with an iron entry gate.
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Its decidedly three-dimensional massing, profuse ornamentation, and the combination of attached and semi-detached dependencies are distinctive. The facade porch, with its effusive decorative elements, and the bay windows in the east and south elevations emphasize the horizontal lines of the building and in part balance the predominant verticality of the tower and mansard roof. Three blocks west of the court square, the Barrow House is located in a formerly prestigious neighborhood, an area which still contains a number of large late-nineteenthcentury houses. The wealthy and prominent of Columbia reside here.
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Located in the city's original Sporting District, it was a three-story building with double-bay windows on the first and second floors, the house was equipped with 46 beds. The hospital was used exclusively for contagious diseases, and included a venereal clinic. Anna Wilson, Omaha's most notorious and very rich madam, willed the building to the city upon her death. The mansion had been built as a brothel, and city officials and the public openly argued whether it was appropriate for the city to accept it as a gift.
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It has several rare and highly decorative architectural features, including the verandahs surrounding the bay windows and their finely detailed verandah posts and brackets. These features, combined with the fine quality of interior finishes and fittings, including cedar joinery, internal pilasters and columns, and flooring of tessellated tiles give Eulalia considerable aesthetic significance. The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons. Its prominent location and mature plantings ensure that the entire site is a significant landmark in the area.
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The tripartite bay windows are neither full-height nor continuous: only the first three storeys have them, and they are offset to the right on the first and second floors. The first-floor windows sit between a curved cast-iron balcony and a verandah-style canopy supported on decorative brackets. On each house, the third floor has three small flat-arched sash windows; the centre window sits below a small cornice supported on corbels. ;5–20 Regency Square 5–20 Regency Square These sixteen houses form the greater part of the square's west side.
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Lisa Krinsky and Bob Linscott have been recognized on numerous occasions for their work with the LGBT Aging Project. In 2008, Linscott was recognized as the Person of the Year in the LGBT community by the Bay Windows Newspaper. Both Krinsky and Linscott were recognized by Boston Spirit Magazine in 2009 as People To Know. The project itself received the Somerville Cambridge Elder Services LGBT Award in 2009 and was featured on the front page of the October 9, 2007 New York Times with an article highlighting the struggle of LGBT elders.
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The retail section surrounds an atrium supported by a "grid of [...] dark blue" pillars. The exterior of Gaviidae Common I uses "fixtures [...] of bronze and dark green metal [and] clear glass bay windows". Other materials commonly found throughout the shopping mall include "Italian marbles, glass block and gold accents". The center atrium, featuring a "celestial design [that] is a graphic representation of Minnesota's Northern sky" is currently the "largest barrel-vaulted ceiling in the state"; additionally, a sculpture of a loon, designed by artists Deborah Sussman and Paul Prejza, is hung in the atrium.
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With a soaring pair of stacked bay windows, it is clad in white terra cotta, like Cass Gilbert's Woolworth Building of the same period. While apartment houses and commercial buildings dominated Gordon's practice in New York City, he did see more courthouse work, in Somerville and Hackensack, NJ, in Oakland, MD, in Ebensburg, PA, and in Wampsville and Cortland, NY. The significance of his role in the New York area may be inferred from the fact that his obituary in the New York Times failed to even mention the word "Texas".
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The Weizer Building was a brick and weatherboarded structure with a brick foundation and a tiled roof. Elements of metal and terra cotta were also prominent on the exterior. Three stories tall, the building featured a distinctive three-bay facade composed of brick interspersed with stone quoins, highlighted by the metal and terra cotta elements. Atop the facade, a clock occupied the central spot; it was framed by small towers on either side capping large bay windows, which occupied the second and third stories on the facade's side bays.
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Generally the building has high quality joinery and craftsmanship; several projecting bay windows are filled with etched and coloured glass panels and the external joinery is of fine quality. Internally the building generally has timber boarded floors, walls and ceilings. Occasionally the size or orientation of timber boarding varies indicating that much of the house may have been papered or otherwise lined internally when constructed. The interior is arranged around a central vestibule from which hallways lead to the principal entrance to the south and to the kitchen on the west.
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Fairholme Manor is a Designated Heritage building located in the Rockland neighbourhood of Victoria, British Columbia, Canada. It was built in 1886 on Rockland Hill, in a prestigious area known for its wealthy inhabitants, large lots and lush gardenscapes. It was constructed for the sum of $7,000 by contractors Hill and Conley and designed in an Italianate style by architect John Teague. The home's rambling, two-story symmetry; overhanging eaves with decorative brackets; narrow bay windows; and low-pitched, gabled roof are all features typical of this fanciful late 19th century style.
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These houses are typical of the early 20th-century developments in West Philadelphia, and are unified by rhythmic patterning of porch and gable features. The second story, projecting, semi-hexagonal bay is incorporated into this design, an element which defines the later rowhouses. The western reaches of West Philadelphia included miles of two-story rowhouses with bay windows above classical columned front porches. What resulted was a collection of Colonial Revival houses with Arts and Crafts influences, which reflect the sophisticated tastes of post-World War I Philadelphians.
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There are a series of tile-hung second floor bay windows to the west facade, with four low semi-circular arched entrances providing shared access for every pair of houses on the ground floor to the east facade. The second floor is jettied out from the first. To the western front a continuous slate hung roof overhangs the bays of the first floor; a finish also applied to the second floor wall to this facade. The eastern facade of the second floor is rough cast and overhangs the first and ground floors.
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The Ross Building is a historic commercial building at 700 South Schiller Street in Little Rock, Arkansas. It is a single-story masonry structure, whose front facade features five bay windows sheltered by awnings, and a high parapet with cornice above. A major extension to the rear is covered by a hip roof, and includes space historically used both by its retail tenants and as residences for owners and employees. The building was built in 1896–97, and originally housed a grocery store serving the area's predominantly German- American population.
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It reflects the popular Queen Anne style in its varied roofline and projected bay windows. The house originally featured a metal roof, likely provided by the Joseph Gardner Company. The interior was trimmed with oak and featured large rooms that could be accessed by opening pocket doors. As originally built, the Gardner house resembled Plan No. 32 in the book Convenient Houses with Fifty Plans for the Housekeeper (1889),Convenient Houses with Fifty Plans for the Housekeeper by Louis H. Gibson (PDF) published by Indianapolis architect Louis H. Gibson.
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The Boesch, Hummel, and Maltzahn Block is noted for being the most elaborately detailed Main Street commercial building in the area. Similar buildings are commonly stripped of features such as cornices and projecting bay windows over time and various renovations. The wide, four-storefront facade, resulting in repetition add to the structure's impact on the local streetscape. The building was originally designed to house commercial storefronts on the first level with apartments on the second; the building continued to be used in this way at the time it was listed on the NRHP.
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The Vendome and the St. Ives are a pair of historic residential apartment houses at 17-19 and 21-23 Chandler Street in Worcester, Massachusetts. The Vendome (17-19 Chandler) was built in 1898 by Judson W. Hall to a design by the noted local architectural firm of Barker & Nourse, on property where Hall previously had a house. The five story building is primarily faced in Roman brick, with pressed metal bay windows, sandstone lintels, and decorative sandstone panels. The St. Ives (21-23 Chandler) was built c.
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The Burbank–Livingston–Griggs House is built of grey limestone and features arched windows, a bracketed cornice with carved pendants, and a cupola topped with a finial. Other architectural elements include polygonal bay windows and Corinthian order columns supporting an entablature. The floor plan was open and spacious, with the first parquet floor in Minnesota as well as steam heat, hot and cold running water, and gas lighting. The rat-proof interior walls are lined with a layer of brick, providing an air chamber to insulate the house from the harsh winter cold.
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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.
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The north half is an unornamented vertical mass of purple-brown brick, flaring gently out at the base and top, with vertically continuous bay windows projecting out. The south half is vertically divided by brickwork at the base and rises to a large copper cornice at the roof. Projecting window bays in both halves allow large exposures of glass, giving the building an open appearance despite its mass. The Monadnock is part of the Printing House Row District, which also includes the Fisher Building, the Manhattan Building, and the Old Colony Building.
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The gaps were filled in between 1880 and 1885 when smaller terraced houses, mostly of two storeys and featuring the canted bay windows and decorative mouldings characteristic of Brighton's Victorian residential architecture, were built. Although building plots were mostly developed individually by small-scale builders, the Stanford family stipulated the general layout and appearance of the houses; builders could work to their own designs, but only within these limitations. The later houses were mostly built of cheap brick or bungaroosh—a low-quality composite material—which was then faced with protective render.
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A double storey verandah featuring decorative cast-iron posts, brackets, balusters and frieze, runs across the front of the house. On the upper floor there are five French doors with leadlight fanlights and on the ground floor the front door has leadlight fan and sidelights with the name Woolahra incorporated. There are bay windows on either side. On the ends of the front wing there are heavily moulded Renaissance style windows which contrast with the simpler Georgian sash windows along the sides and rear of the back wing.
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The building undergoing renovations, 2015 Toorak House is a substantial, Gothic-influenced, two storeyed sandstone residence with richly decorated interiors. It has steeply pitched shingle roofs and a single storeyed brick and corrugated iron wing attached to the rear. The house is impressively set within gardens containing mature trees and manicured garden beds, and sits on the crest of Hamilton Hill, commanding extensive views. The south, principal elevation has a strong formal presence, with a castellated square tower rising above the roofline flanked by two tall bay windows and steeply pitched dormer windows.
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As a freelance journalist, he has focused on environmental and LGBT issues and has written for numerous publications like Bitch and Curve magazines, SheWired.com and Windy City Times and Glamour From 2005-2009, Anderson-Minshall authored the syndicated column "TransNation," which ran in LGBT publications like San Francisco Bay Times, Windy City Times, and Boston's Bay Windows. In 2016, with his wife, Anderson- Minshall launched the editorial services company Retrograde Communications, which took over the editorial services for Plus magazine (for those affected by HIV) and HIVPlusMag.com from Here Media.
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Between 1897 and 1920, two one-story, one-room wings with bay windows were added to the east and west sides of the 1850s house. The property also includes a contributing two-story playhouse, a tenants' house, a stable, a spring house, a brick storage building, a smokehouse, a barn, a railroad waiting station, a dam, and a boatlock. The property was the summer home of George Stevens, president of the Chesapeake and Ohio Railroad from 1900 to 1920. and Accompanying photo It was listed on the National Register of Historic Places in 1987.
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In the process of the reconstruction, most of the work designed by Douglas and Fordham was demolished, leaving from their design only two shaped gables and semicircular bay windows. Plans for further enlargement of the house were prepared by Lomax-Simpson, but these were not built because of the outbreak of the First World War. The 1st Viscount Leverhulme died in May 1925 and the house was inherited by his son, William, 2nd Viscount Leverhulme. He died in May 1949 and the house passed to his son, Philip, 3rd Viscount Leverhulme.
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Bon Air, also known as the Adam and Susan Bear House and Bear Lithia, is a historic home located near Elkton, Rockingham County, Virginia. It was built about 1870, and is a two-story, central-passage plan brick dwelling with Italianate and Greek Revival style decorative details. It has a metal- sheathed, hip-and-deck roof, a rear two story ell, front and back porches, and two one-story bay windows on the front facade. Also on the property is a contributing two-level meat house/storage building.
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Based on British models, their use spread to other English-speaking countries like Ireland, the US, Canada and Australia. Following the pioneering model of pre-modern commercial architecture at the Oriel Chambers in Liverpool, they feature on early Chicago School skyscrapers, where they often run the whole height of the building's upper storeys. Bay windows were identified as a defining characteristic of San Francisco architecture in a 2012 study that had a machine learning algorithm examine a random sample of 25,000 photos of cities from Google Street View.
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The Hall contains a number of fine 17th-century plaster ceilings and chimneypieces. The ceiling of the Long Gallery was restored in two stages by Francis Johnson between 1951 and 1974. The plan attributed to John Smythson presents a square block with bay windows and a small internal courtyard. All of the display has been concentrated on the entrance facade, which includes many windows and many shaped projecting bays, two square flanking the central entrance, two semicircular at the ends of the projecting wings, and two five- sided around the corners.
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In the plan all four of the great bay windows at the corners of the main front are five-sided but in the building two are semicircular. The central bay of the east front has dropped out, the corner bays of the north front have become square, and the whole of the west front has been much altered. Also, the door of the porch is shown in the plan frontal instead of at the side. The Gate House These variations make it impossible that the plan could be only a survey of the house.
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In 1998, he introduced the bill that successfully repealed the state's sodomy laws, as well as a successful bill to grant hospital visitation rights to same-sex couples;"Michael Pisaturo, Rhode Island, 1996". outhistory.org. in 1999, he introduced a successful bill allowing residents of the state to designate any person, family member or not, as the planner of their funeral. In 1999, he announced that he was considering a run for the United States Congress in the 2000 Congressional election,"Openly gay RI state representative to make bid for Congress". Bay Windows, April 1, 1999.
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However this site is considered to form the minimum comfortable curtilage for the house. The retention of this site as a grassed tennis court is realistic both in physical and economic terms as the shortage of suburban courts has ensured that houses with one command a premium price, particularly in Mosman. The house is completed in the Federation Arts and Crafts style, the large, two- storey rambling house ground floor is in face brick, the upper level in timber shingles and the roof of terracotta. Features include bay windows, hoods and small pane windows.
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The roof is a series of timbered gables with battened ends and pebble dash finish. These gables are the work of Manson and Pickering, architects, and are in the Federation Arts and Crafts style embellishing Hunt's simple form by a series of projecting bay windows, and balconies. The south elevation fronting New South Head Road includes a rusticated large sandstone carriage porch, and the north elevation fronting Double Bay has a wide verandah with a colonnade of sandstone columns in the Doric order. Manson and Pickering added both of these features in .
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This profusion of large, mullioned windows, an innovation of their day, give the appearance that the principal façade is built entirely of glass; a similar fenestration was employed at Hardwick Hall in Derbyshire. However, despite the Dutch gables, a feature of the English Renaissance acquired as the style spread from France across the Low Countries to England, and the Gothic elements, much of the architectural influence is Italian. Statues of the Nine Worthies in niches on the piers of the Long Gallery (upper eastern facade) The windows of the second-floor Long Gallery are divided by niches containing statues, an Italian Renaissance feature exemplified at the Palazzo degli Uffizi in Florence (1560–81), which at Montacute depict the Nine Worthies dressed as Roman soldiers; the bay windows have shallow segmented pediments – a very early and primitive occurrence of this motif in England – while beneath the bay windows are curious circular hollows, probably intended for the reception of terracotta medallions, again emulating the palazzi of Florence. Such medallions were one of the Renaissance motifs introduce to English Gothic architecture when Henry VIII was rebuilding Hampton Court and supporting the claim that the English Renaissance was little more than Gothic architecture with Renaissance ornament.
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The Gág House stands in an residential area just southwest of downtown New Ulm, at the junction of North Washington Street and 3rd Street North. It is a 2-1/2 story wood frame building, with a complex roofline and exterior finished in a combination of wooden clapboards and shingles. Its front facade has a projecting gable section on the right, with a broad polygonal bay one story in height topped by a single sash window. The bay windows are interspersed with wooden panels, and a field of diamond-cut shingles is set below the upper window.
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Services at Fenway Health include medical and mental health, dental, eye care and pharmacy. Fenway also offers HIV prevention and health navigation services,Bay Windows: Ethan Jacobs, "HIV/AIDS prevention gets back on track," December 5, 2007, accessed January 18, 2011 and a Violence Recovery Program.Ethan Jacobs, "BPD seeks cooperation of club owners in reducing crime," July 2, 2008, accessed January 18, 2011 Fenway is also home to the National Institutes of Health-funded Center for Population Research in LGBT Health. The Fenway Community Health Center records are located in the Northeastern University Libraries, Archives and Special Collections Department, Boston, Massachusetts.
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The combination of the north side projecting bay windows, and the east side rectangular "Chicago windows" with movable sashes is representative of the two typical Chicago school window types. The building is prominently located on the southwest corner of State Street and Madison Street, with visibility increased by an offset in the alignment of State Street. The building is a critical component of a grouping of significant structures, including Carson Pirie Scott and the former Mandel Brothers Store, at what was once labeled the "World's Busiest Corner". The building was designated a Chicago landmark on March 26, 1996.
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The 1904 extension, consisting of isolation facilities and outpatients' accommodation, was in the Vernacular/Domestic style with half-timbered gables with jettying, prominent mullions and transoms to the bay windows, and a small tower. The new hospital, designed by Building Design Partnership, is in the form of an ark, and has a "nautical theme" appropriate to the seafront location. The exterior has curved corners and is clad in white precast concrete, intended to evoke the painted stucco which is closely associated with Brighton's seafront Regency architecture. The fenestration is irregular: many windows are at a low level to improve visibility for children.
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Kingswood Court is larger than and occupies a larger site than the surrounding houses in Kingswood Warren, except for the building Kingswood Warren mentioned above. Ernest Newton was its architect, in terms of size, its main range consists of 11 bays plus a 3-bay west service wing, symmetrically laid out with five bays as bay windows. Constructed from purplish red bricks laid in flemish bond with red brick dressings, it spans three storeys including a purpose-built servant area attic and is georgian in character. This enjoys preservation and upkeep today as a private care home with landscaped gardens.
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All internal partition walls have been removed and the building was used as a kitchen until recently and is now unoccupied. The Rosemount residence has a western wing constructed of English bond red facebrick relieved with stone sills and window dressings, multipaned leadlight windows and a dark facebrick base. It has a corrugated iron roof and bay windows to the north and to the west with battened and bracketed eaves and an elaborate timber entrance porch with seating to the north. The western bay window is protected by a narrow porch which provides entry to the semi detached kitchen.
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Inside the house, the rooms on the ground floor are typical of Victorian decorative arts with a parlour and dining room near the front of the house and a kitchen and pantry in the rear. Leading out of the kitchen is a narrow and modest stairway that led to a room that would have been reserved for the maid who worked in the house. The parlour also contains several attributes including "very large double bay windows, dentil mouldings, pocket doors, roundels, stained glass windows, four fireplaces, large handcrafted mouldings throughout and a handcrafted staircase." The main stairway is defined by unique details.
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The house was built between 1769 and 1770 for John Bateman, 2nd Viscount Bateman and was designed by the master carpenter John Phillips, who was the "undertaker" for the whole north-west corner of the Grosvenor estate.'Park Lane', in Survey of London: volume 40: The Grosvenor Estate in Mayfair, Part 2 (The Buildings) (1980), pp. 264-289, accessed 15 November 2010 The new house was built with one side facing Park Lane, the main entrance being from a courtyard which continued the line of Hereford Street. It had four storeys above ground, with bay windows extending through the floors.
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The majority of resources were built from the 1910s to the 1960s and incorporate Queen Anne, Bungalow/American Craftsman, Tudorbethan, Colonial Revival, Cape Cod (house), Ranch-style house, and Commercial building styles of architecture. The earliest houses are scattered along Northern and Central boulevards; 1940 to 1950s Cape Cod and Ranch houses line the cross streets. Architecturally, the earliest designs are Queen Anne style, dating to the early 1910s. The two-story dwellings have hipped or gabled roofs, wraparound porches, corner towers, bay windows, projecting wings, wood or simulated siding, shingles, decorative brickwork, and a wide range of window types.
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The Green catered to prominent white clientele, while the Carver served African American clientele. It was similar to the Dunbar Hotel in Los Angeles. The Blue Room was the dining room on the second floor and the basement held the nightclub called at one time The Onyx Club and later The Club Cobra where many famous, but unconfirmed musicians were reported to have played. In the 1950s, as part of a widening of Fair Oaks Avenue, the Victorian bay windows and turret on the southeast corner were removed from the building and similar structures were removed from other buildings to the north.
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The William W. and Elizabeth J. Ainsworth House, also known as the Catholic Worker House and the Dingman House, is an historic building located in Des Moines, Iowa, United States. Ainsworth was a Des Moines businessman who was engaged in various professional occupations. His wife Elizabeth took title to this property in 1886, and they built this 2½-story, frame, Queen Anne house in what was then the suburban community of North Des Moines. It features a hip roof, intersecting gables, a front porch, an enclosed porch in the back, and 2-story bay windows on the south and east elevations.
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He now undertook some commissions for fairly major country houses, such as Rhug, Caerynwch and Nanhoron; rectories, including Newtown and Llandyssil in Montgomeryshire, and the workhouses at Morda outside Oswestry and Forden near Montgomery.R Scourfield and R Haslam "The Buildings of Wales: Powys; Montgomeryshire, Radnorshire and Breconshire" Yale University Press 2013, 112–3 His work is typified by the use of large bay windows and the use of “wrap-round” or half “wrap-round” verandas. He was influenced by the villa designs in Italianate style that was developed by John Nash, who had designed Cronkhill close to Attingham Park in 1805.
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Roux-Spitz was born 13 June 1888 in Lyon. The son of an architect, he entered the École des Beaux-Arts, Lyon in the studio of Tony Garnier and then became a student in the workshop of Gaston Redon and Alfred Henry Recoura at the National School of Fine Arts in Paris. He won the Prix de Rome in 1920. He moved to Paris on his return from Rome in 1924. Influenced by Auguste Perret, he made a characteristic building of his style - with bay windows to 3 sides on the front - at 14 Guynemer street in Paris.
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Also on the upper level, in front of the vestibule leading to the house, three doors open onto the grand foyer, with three bay windows opening the view out on place Neuve. The grand foyer with, on the right hand side, the little foyer and, on the left hand side, the little salon, are the piano nobile of the main façade. The enfilade effect of the three spaces in the grand foyer is magnified by the subtle visual interplay of reflections from several oversized mirrors. The grandeur of the foyer recalls the Louvre's famous Galerie d’Apollon in Paris.
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Significant Sites and Structures, 163. Bay windows project from all facades except the north. They have narrow round- arched one-over-one double-hung sash windows with stippled corners scored to give the appearance of quoins serving as surrounds, becoming segmental arches with projecting keystones; a fleur-de-lys carved from Sing Sing marble is on the front stone. Above them a bracketed cornice with broad eaves sets off the flat roof; on the second story they are echoed by a tripartite window with a projecting continuous stippled surround and otherwise similar treatment to the first-floor windows.
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Rita Hester (November 30, 1963 – November 28, 1998) was a transgender African American woman who was murdered in Allston, Massachusetts on November 28, 1998.'Remembering Rita Hester' November 15, 2008, Edge Boston In response to her murder, an outpouring of grief and anger led to a candlelight vigil held the following Friday (December 4) in which about 250 people participated. The community struggle to see Rita's life and identity covered respectfully by local papers, including the Boston Herald and Bay Windows, was chronicled by Nancy Nangeroni. Her death inspired the "Remembering Our Dead" web project and the Transgender Day of Remembrance.
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2 Barrack Street is a distinctive seven-story building constructed in 1892 by the architectural firm Sheerin & Hennessey, a firm that made a considerable contribution to the character of Victorian and Edwardian Sydney. The building previously served as principle offices for notable companies including Gordon & Gotch and Mauri Bros & Thompson. The building occupies and enhances a corner site in a precinct dominated by buildings of this type which served Darling Harbour as a working port. Rendered stucco masonry walls are deeply grooved with a variety of decorative motifs including fluted brackets, bay windows, pediments and swags.
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The Parlour Fireplace Though the Reception Room and Parlour are in the original Tudor core of the house, they underwent major renovations by the Henleys to present them as fashionable Georgian rooms. The Reception Room shows a beam where the original external south wall stood, but was knocked through to incorporate the loggia and extend the room as far as possible. The Parlour has a mixture of Georgian Deal panelling and original Tudor oak panelling, and an original moulded plaster ceiling. The Parlour also has niches and hybrid door/windows where the 19th Century extensions were made, blocking off bay windows.
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There were also external and internal modifications made to the 18th century west wing. The internal modifications included enlarging ground floor and first floor rooms by removing internal walls, enlarging windows, creating west-facing bay windows and stripping the plasterwork in the ground floor room of the tower to make the original stonework a feature. Externally the west wing was made to look grander with the addition of angle turrets and dormer windows. There was further major expansion of the building at this time with the addition of a north wing which resulted in the formation of an inner courtyard.
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The estate with its longitudinal residence plan is composed of articulated volumes covered in roofing tile, that includes two- storey lateral wings and central single-storey main body decorated in blue azulejo tile. Along with the lateral wings, the two-storey high building is encircled by a patio and includes bow windows (semi-circular bay windows) on the second level. On the central rectangular portion are seven Gothic-style French doors, surmounted by a semi-circular pediment. The Baron of Glória extensively remodelled the palácio, in the Art Nouveau style that included the elaborate azulejo tiles over the facade, along with Moorish features.
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It was originally built for Judge Chapman in 1875 and christened "Woodside", though it has been known throughout much of its history as "Castlamore". This imposing structure sits on the slopes of the Dunedin Botanic Gardens close to the University of Otago, and is an exercise in restraint. The castle atmosphere is there, almost a Scottish baronial castle, but the battlements are merely hinted at by stepped gables. Large bay windows, allowing light to flood in, again merely hint at the Gothic; one has to study them closely to perceive that they consist of a series of lancet type windows.
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View of Longleat by Jan Siberechts, 1675 Thynne supervised Seymour's planned great house on a hill called Bedwyn Brail at Great Bedwyn in Wiltshire, intended to replace his ancestral seat of Wolf Hall. The house was unfinished when Seymour fell from power, but a correspondence survives, dated between November 1548 and June 1549, which shows Thynne directing the plans. He also played a part in the building of Seymour's Somerset House in London. At Longleat, Thynne took thirty-seven years to design and build his own great neo-classical house with four facades, Doric, Ionic, and Corinthian pilasters, and regularly spaced bay windows.
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But the potential of Ellis's design was not lost on all of his contemporaries. John Wellborn Root studied in Liverpool as a teenaged boy, being sent there by his father to be safe from the American Civil War following the Atlanta Campaign (1864). In all likelihood, he studied the then brand new Oriel Chambers and put the lessons learnt to good use when he developed into an important architect of the Chicago School of Architecture, exporting Ellis' ideas across the Atlantic. Long rows of bay windows (of which oriels are a special type) characterise some of Burnham and Root's 1880s American skyscrapers.
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More importantly, Oriel Chambers, and Ellis's building at 16 Cook Street, Liverpool, are amongst the precursors of modernist architecture for another reason. In addition to the extensive use of glass on their facades, both boast metal framed glass curtain walls towards the courtyards which makes them two of the world's first buildings to include this feature. Both buildings rely on H-section iron columns at the perimeter, which support the floors and cladding. Ellis's method for cladding was not adopted by Burnham and Root though: their Monadnock Building of 1891 has its distinctive bay windows still set in load-bearing brickwork.
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The second floor has three different windows—a northern window with shutters similar to the windows on the front but no pediment, the middle one a small square window with a sill too long on one side, and on the south one with a larger lower pane than upper, dropping below the gable's roofline. The south elevation has two double-decker bay windows, one smaller than the other. Both are five-sided, set with six one- over-one double-hung sash augmented by a rectangular panel beneath them. At the corners are pilasters with square capitals, like the front verandah's columns.
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According to Bay Windows, a "Massachusetts Superior Court judge ruled that the tape was illegally acquired and therefore an invasion of privacy against those individuals present, who were never told they were being recorded." Greg Carmack suggested that the question might have been planted by those making the recordings. In October 2008, MassResistance employee Michael Olivio was arrested for disorderly conduct at a school after parents became concerned about his taking many pictures of their children. When questioned by police, he explained that he was filming footage for a documentary, but mistook an elementary school for a high school.
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The Kansas City Southern Railway Caboose No. 383 is a historic railroad caboose in Centennial Park near Arkansas Highways 59 and 72 in Gravette, Arkansas. It was built in 1952 by the Louisiana and Arkansas Railroad, a division of the Kansas City Southern Railway, and served the latter until 1990. It was given to the city of Gravette in 1991, which had the vehicle restored and placed in the park. The caboose illustrates advances in caboose design, because it was built with bay windows rather than a cupola for observing the train, a change necessitated by increasing large loads being carried.
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The John Buckingham House stands in a densely built residential area northwest of the center of Newton Corner, on the north side of Waban Street opposite Hovey Street. Its lot is fronted by a low stone retaining wall, which continues to a posted drive on the adjacent property, where the house's original carriage house is located. The house is a 2-1/2 story wood frame structure, with a bell-cast mansard roof with fish-scale slate shingles and segmented-arch dormers. The cornice is denticulated, and there are single-story projecting bay windows on both sides, topped by bracketed roofs.
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Believing that the design of the SRA building was supposed to transfer the advanced ideas, architects Stevanović and Đorđević created the design which did not rely on the previous designs in terms of its spatial and functional composition. Large sized building, which takes over the entire plot, was designed with the apartments and stores for rent and with richly оrnamented Art Nouveau decorated passages. In dealing with the facades, the authors did not completely abandoned the academic models of designing; they modernized one symmetrical, three-part division of facade canvas by introducing rounded corners, additionally emphasized with semi- circular bay windows.
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From 1989, as part of the Grands Projets of François Mitterrand, the building underwent a $10 million renovation by architect Antoine Stinco, resulting in about 12,700 square feet of exhibition space spread across three floors. The formerly walled-in reception hall was transformed into an atrium- like open area flooded with natural light from large bay windows, allowing views of the neighboring Tuileries Gardens, Place de la Concorde, and Eiffel Tower. The top floor features a series of galleries lit by skylights.Michael Kimmelman (2 July 1991), A Paris Museum Reopens in a New Guise New York Times.
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The usable area of the offices in the central section was halved and used as living quarters (Wohnraum) and a club room (Klubzimmer). In the wings, the dormer windows facing the tracks were replaced by bay windows, the open balcony on the street side was closed in by windows and all the chimney tops were replaced. The fourth modification took place in 1967 during the Deutsche Bundesbahn era and had the widest reaching consequences for the architectural style of the building. The preservation of the old structure took a back seat in favour of a simple functional design.
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On 15 October 1917 the federal government opened a train ferry service from Cape Tormentine to Port Borden, giving importance to the Sackville railway junction. In 1905 the ICR undertook to build a replacement station building, opening the new -storey station in 1907. It was constructed of locally quarried plum and olive coloured sandstone and was located adjacent to the original ICR wood station structure overlooking the Tantramar Marshes and Sackville Harbour. The new station building is a long, low rectangular block with a bell-cast hip roof and projecting bay windows on both the track and Lorne Street sides of the structure.
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It is unclear when Manor Property Group first owned the building, however a planning application for its redevelopment was submitted in March 2005 which was to form part of the company's ambitious 'Manor Point' project. Plans included the full restoration of the original building which would incorporate a call centre, as well as the incorporation of a new glazed canopy to replace the current concrete one. Additional bay windows would also be added, highlighting the original stonework. Despite planning approval being given for the project, little, if any work, has been carried out on the building since that time.
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The upper floor is an impressive space with exposed timber trusses which span the width of the building. The gable ends of the exterior are expressed internally in the timber-lined ceiling. The exterior has two differing expressions, the eastern and western elevations having an "institutional" appearance in comparison to the more domestically-scaled southern facade designed as the entrance (previously the headmaster's residence). The eastern and western elevations are symmetrical compositions of gabled bays and paired windows, while the southern elevation features a -storey entry portico with a gable end on the wall above, flanked by bay windows with small tiled roofs.
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The buildings significant to Majorna are the three storey buildings where the first storey is built in stone and the topmost two are built of wood, called Landshövdingehus. They were frequently built in Gothenburg during the late 1800s and early 1900s. In Majorna they represent a flat, urban neighborhood, with tree lined avenues, courtyards, small shops in the ground floor of the buildings, and details that testify of the fine craftsmanship put into the bay windows, brick arches and the forged steel railings. A large number of the buildings still remains, but in some areas they have been replaced by newer constructions.
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The first four floors of the facade along Madison and LaSalle streets are made of the original marble facade from the Otis Building, the previous building on this site. The remainder of the facade is a dark cobalt blue with details in bright green. The east wall has two additional distinguishing features, a "zipper" of bay windows that run from the 19th floor to the top, and a semicircular indentation that runs from sidewalk level to the seventh floor. Moriyama & Teshima Architects designed this building, making it the tallest building in Chicago designed by a Canadian architecture firm.
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Except for the facade (south elevation), which was laid in stretcher bond, the walls were laid in common bond. The center bay of the facade projects forward and has a tower, another design element typical of the Second Empire style. A heavily ornamented round arch defines the entrance to the enclosed porch at the base of the tower section. The east and west bays are set back one more than the other; the former has a covered one-story porch with carved posts, spandrels, and balustrade while the later has bay windows with round-head, one-over-one windows.
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In December 2006, an independent tracking agency ranked Manhunt as the largest LGBT-targeted site online, surpassing long-time leader Gay.com. In April 2008, Crutchley revealed to Bay Windows that Manhunt has more subscribers outside the U.S. than in the U.S. In mid-2008, Manhunt made video chat available to members after popular request. In August 2008, Manhunt launched OnTheHUNT, a companion video-hosting site dedicated to filming actual Manhunt members having sex. To distinguish itself from competitors, OnTheHUNT boasted unlimited video lengths and used its own members as models instead of gay-for-pay actors.
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Located adjacent to the church on the west is a three-story rectory. Built in 1905 at a cost of $6,000, it is a rectangular brick building that rests on an ashlar foundation; it is covered with a slate roof. Three bays wide on the front and four long on the sides, it features gables on the front and sides, a large verandah-style front porch, and two bay windows. Individuals enter the house through an ornate recessed front door, which is ornamented with details such as an elliptical fanlight with a keystone, a bevelled window, and recessed sidelights.
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The O'Rielly House is a two-story, hip-roofed building with a brick first floor and shingled frame second floor. It is rectangular in plan, with bay windows on the north and west elevations on either side of a corner porch which is oriented at 45 degrees to the rest of the house. The windows are wood-framed double-hung units; those on the first floor are set in arched openings with stone sills and some have ornamental stained glass panes. A two-story frame addition was constructed at the rear of the house sometime in the 1920s.
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Wide verandahs line three sides of the building and on the principal facade where the two corners of the face of the building are punctuated with bay windows, this is reflected in the projecting line of the verandah. The hipped roof of Oonooraba also reflects these bays with the addition of small hipped partial pyramidal roof forms over the bays. The bull nosed verandah awning of Oonooraba is supported on turned columns with curved brackets, paired toward the principal entrance of the house. Above the columns are frieze panels, comprising diagonal latticework flanking a central section of vertical battening.
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Medieval bay windows at the southern side Extensive renovation works commenced in the late 1960s; lasting more than 35 years. In the 1990s, the castle began to be used as a place for weddings and cultural events. In 1974, a monument by the sculptor Stojan Batič dedicated to the Slovene peasant revolts (especially to the Slovene peasant revolt of 1515 and the Croatian and Slovenian peasant revolt of 1573) was erected in the vicinity of the castle. The Ljubljana Castle funicular, a funicular railway to the top of Castle Hill, was built in 2006 and began service on 28 December 2006.
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Wooden fences with a garden hedge were also placed around every house. The houses to the north of the area (north of the Beeches Road between the Walsall and M6) were by contrast privately owned. These are mostly blocks of semi-detached houses with generally more decorative features, including large circular bay windows on the upper and ground floor, stained glass front doors and windows, and in most cases both a front and back reception room. At the rear of most houses in the Walsall Road and Booths Farm Road area, the houses were built with long rear access 'right of ways'.
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Boehm and Coon hired prolific New York City architect Gilbert A. Schellenger to design the building for the specific requirements of diamond merchants and jewelers. The building was of fireproof construction, with a cast-iron and steel frame, and hollow-brick floor arches. The frame and floors were made unusually strong in order to accommodate the heavy safes required by the trade, large windows provided ample daylight, augmented by gas and electric lights, and the facade was ornately decorated. Constrained by the narrow lot, Schellenger emphasized the building's slenderness with three slim brick colonnettes flanking the large bay windows on the building's face.
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The Anderson Brothers Store is a 1-1/2 story vernacular wood frame structure, with a single-story wing to the north and an attached barn to the rear. The main facade, facing east, has a projecting section with bay windows flanking a recessed entrance, topped by a shallow hip roof. The front-facing gable roof has a large cross gable on the south side, and the wing to the north has a flat roof and false front. The long south side of the building has a second entrance about half way, and several irregularly spaced windows.
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A large glass hot-house was added at the south-west corner of the house in 1819 which has since been demolished. Later in the 19th century the same side of the house received two semi-circular bay windows, the work of the second Sir Henry Halford, who was also responsible for laying out a small formal garden. The rococo decoration in the south wing is probably of this period. In 1912 and the following years the balustrade and parapet were removed and additional dormer windows were provided, and in 1960 parts of the house were converted into five self-contained flats.
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In Coney Hall's early days London Transport refused to provide a bus service, and a free private coach service connected the estate to the nearest railway station, Hayes. The quality of the new houses was not always that high, with a mortgage strike by Elsy Borders of 81 Kingsway in 1937 sparking sympathy strikes elsewhere, and contributing ultimately to an improvement in the legal standing of mortgage payers. During World War II Canadian troops were billeted at Coney Hall. The area contains typical suburban architecture of two-storey houses with polygonal bay windows and half-timbered gables.
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The Theodore Payne House was designed by William Curlett and his brother-in-law Theodore Eisen The authors give the date of completion as 1882. in a blended Victorian style, with Stick, Eastlake, and Queen Anne elements. It is the last of several mansions along its section of Sutter Street, and one of the few surviving upper-class houses from before the 1906 earthquake and the ensuing fire. It was built with modern conveniences including heating, hot and cold running water, and indoor toilets, and had a porte cochère (now removed), many bay windows, and an open octagonal candle-snuffer turret.
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The house is set in a predominantly residential area just west of Worcester's central business district, on the north side of William Street. It is a 2-1/2 story wood frame house, with a slate hip roof, slightly projecting central gabled pavilion, clapboard siding, and a granite foundation. Its front facade, facing south, is three bays wide, with single-story polygonal bay windows flanking the entrance. The entrance, set in the projecting pavilion, is sheltered by a porch that extends between the near corners of the flanking bays, with supporting square columns, arched openings, and a low balustrade.
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Both the Lombardy and the Brittany were built in 1885 according to designs by Samuel Hannaford; at that time, his independent architectural practice was gaining great prominence in the Cincinnati metropolitan area. Among the distinctive elements of the Brittany's architecture are the massive chimneys on each end of the building. The exterior of the building is covered with decorative pieces, such as a comprehensive cornice with boxed pediments, plentiful brick pilasters and corbelling, and prominent bay windows. In 1980, the Brittany Apartment Building was listed on the National Register of Historic Places, due to its well-preserved historic architecture.
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The buildings at the east end of the boulevard, on the north side, consists of the new Frederiksbjerg School and between Kroghsgade and Lundingsgades one block of 4½ story picturesque buildings with bay windows and towers in the corners. On the south side are N.J. Fjordsgade School and Ingerslevs Boulevard School. Along the western end of the boulevard, on the south side, are 3 city blocks built between 1928 and 1930 which marked the end of revivalism in Aarhus. The north side is characterized by the Neoclassical St. Luke's Church and a Neo-baroque city block by Axel Høeg-Hansen.
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The ground floor has a U-shaped timber verandah with a corrugated iron roof which has been enclosed with flyscreen to the west and glazing to the east. The main entrance comprises a flight of stone stairs guarded by a pair of lifesize marble lions, leading to an arched opening at the foot of the tower. The marble landing is inset with the word TOORAK. The east and west elevations of the sandstone house comprise two gables with tall bay windows; the southern gabled bays step out to align with the external face of the verandah.
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From first floors upwards, the style is connected to eclecticism, dating back to the 3rd quarter of the 19th century. The original project aimed to put the atlantes to support portals and a richly adorned attic. Eventually, the result has been limited to a modest decoration in the style of classicism. In 1883, the building was raised to its current size: it has been designed by architect Carl Stampehl who introduced the three-sided bay windows. Carl Stampehl, at that times, had already realized few other buildings, especially in Długa street (12, 24, 32, 34, 35, 46).
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King & Lewis designed the Hotel Pontchartrain in the modern architectural style, with contemporary French interiors, and employing angular bay windows which provides every room with views of the International Riverfront and the city. The Pontchartrain was originally intended to have a twin tower, on the other side of the plot, but it was never built. The Hotel Pontchartrain was dedicated on July 24, 1965, the 264th anniversary of the founding of Detroit. It was built on the site of Fort Pontchartrain, Detroit's first permanent European settlement, built in 1701, which later became known as Fort Detroit.
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The heavy, half-round terracotta tiled roof, together with the curvaceous, bell-like chimney that sits upon a large square base are dominant features of the exterior. The principal elevation has a projecting porch with a short arcade of three arched openings, decorative metalwork and twisted, "barley sugar" columns. Bay windows are located to either side of the porch, each has a tiled roof, planter boxes supported on corbels that sit at sill level and ornamental leadlight windows in an octagonal honeycomb pattern. A loggia with twisted columns and tile capping links the house and garage and has been enclosed by decorative screens with an arch motif.
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Stadswandeling de Pijp, I amsterdam (Dutch)"Huis met de Kabouters", Kunst in de openbare ruimte, Amsterdam Stadsdeel Oud Zuid (Dutch) The facade is made of brick interspersed with sandstone elements, and features three wooden bay windows. The facade is decorated with a variety of ornaments, including gnomes, putti and eagles. The gnomes along the edge of the roof, each measuring two and half metres in height, appear to be tossing a ball back and forth. According to local legend, the ball switches hands from one gnome to the other at midnight daily or, in other versions, only on New Year's Eve or on the 29th of February in leap years.
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The glazing produced an iridescent effect which reflected sunlight in a visually pleasing way, and also coped better than bricks with sea-spray and other weathering effects. The houses were originally built with bow windows, but after critics argued that this spoilt the visual effect of the concave curve of the crescent, they were replaced (except at numbers 12 and 14) by canted bay windows with three sides. A parapet, running above numbers 7–10, has the painted legend . When the painter of the lettering, a Mr Leggatt, leant back to check his work, he fell off his ladder and was fatally impaled on the metal railings below.
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At a subsequent date the corner bays were moved to the front, the central pediment porch was removed and two gables were constructed over the relocated bay windows. Internally, the walls were sheeted with innovative narrow, vertically jointed pine boards and the ceilings with pressed metal of Art Nouveau design. The service wing at the rear projected to the west at right angles to the main house, and contained kitchen, two pantries and a ground level washhouse. It had a blank wall to the street, relieved only by two oval-shaped windows to the kitchen itself, but opening onto a latticed verandah at the rear.
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Peculiarities of this arrangement include the position of the kitchen, between the refectory and the calefactory, and of the infirmary above the river to the west, adjoining the guest-houses. The abbot's house, one of the largest in all of England, is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell. It was built in the mid-12th century as a modest single-storey structure, then, from the 14th century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and large fireplaces. The great hall was an expansive room .
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The building was designed to appear from the road as a stately city mansion. Seen from the garden at the back the Stoclet Palace "becomes a villa suburbana with its rear facade sculpturally modelled by bay windows, balconies and terraces" in the words of architectural historian Annette Freytag, which gave the Stoclet family a building with "all the advantages of a comfortable urban mansion and a country house at the same time." Freytag, Annette, "The Stoclet Frieze" in Adolphe Stoclet died in 1949, and the mansion was inherited by his daughter-in-law Annie Stoclet. Following Annie's death in 2002, the house was inherited by her four daughters.
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These three generations of Townes appear to have been subsistence farmers, although Henry appears to have supplemented his income by engaging in the manufacture of shoes. Henry Towne sold the property (now ) to his son Hiram, who was principally in the lumbering business, but continued to maintain the farm. It is during his ownership that a number of the surviving outbuildings were built: a windmill and water tower were built in the first decade of the 20th century, but a henhouse, cottage, and camp house have not survived. He also made some modifications to the farmhouse, adding bay windows and a single story porch to its front.
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One of five moated buildings in the parish including the court to the west, this is the tallest extending for more than half to three storeys. Altered in an ornate style the ashlar structure has embattled angle bay windows rising through just two storeys to left end.Smallfield Place Smallfield Place has at its core a Jacobean manor built c. 1600 by Edward Bysshe's father on a land, the earlier promised a gift of some small field or piece of land in return for services rendered by John de Burstow during the reign of Edward III in the Hundred Years War to a fellow army knight Lord Burghersh.
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Towards the end of his career Staal eventually evolved into a disciple of the Neue Sachlichkeit (New Objectivity, or the International Style), a development that can be seen in his housing blocks constructed in the Apollolaan, Beethovenstraat, Corellistraat and Bachstraat sections of Amsterdam. His buildings on the Apollolaan/Beethovenstraat are particularly characteristic of his turn towards the New Objectivity with their large, tight bay windows, as are the single-family houses he designed on the even-numbered side of the Corellistraat. They contrast markedly with the earlier residential structures he built on the JM Coenenstraat. Staal became an important figure in the history of Dutch modern architecture.
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The building consists of two wings and is in the Tudor Revival style with the stone for the external walls being quarried locally at the Bole Hills quarry at Crookes with the smooth dressing stone around the entrance and windows coming from Stoke Hall at Calver. The building originally had a small ornamental wooden cupola over the entrance hall but this was removed in 1956 after it was deemed to be unsafe. The building is small but quite striking with its large bay windows and distinctive entrance which consists of a portico with six Ionic columns with a curving staircase leading to it. British Listed Buildings.
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King Edward the Seventh. La Chambre le Roi at the time of Richard III extended for the whole of the first floor of the Inn, with the two mullioned bay windows for both ground and first floors, that can be seen here, at each end of the room. In 1812, Lord Brownlow sold his property in Grantham to William Manners, including another pub, The Angel Inn, which had taken its name from stone carvings of angels on the front of the building. The gateway arch of the Angel Inn, as it stood in the 19th century, was older than the rest of the front of the building.
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Miss Riga at 2, Smilšu Street to the left. Recognised as one of the most beautiful masterpieces on facades of Art Nouveau buildings in Riga During the golden age of Art Nouveau of the early 20th century several buildings with a fascinating abundance and variety of decorative motifs typical for this new style were designed by Pēkšēns. Examples are the houses at 6, Strēlnieku Street, 13, Kaļķu Street and 2, Smilšu Street built in 1902. The peculiarity of the latter lies in the fact that an every single window decoration is different, and under the bay windows are hermas—supports as sculpted upper bodies.
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The outer bays have polygonal bay windows on the ground floor, topped by a low-pitch roofs with Italianate brackets, and the center bay has a pair of entrances, sheltered by a hood supported by three large Italianate brackets. Center Street was one of the first streets to experience residential development due to the expansion of the Arlington Mills, located to the west on the banks of the Spicket River. It lies in what is now the Arlington Mills Historic District, the area immediately to the west along Stevens Pond of the Spicket River. The mills employed thousands of workers who lived in Lawrence and Methuen, but owned comparatively little housing.
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Charles Busby was part of an architectural partnership (with Amon Wilds and his son Amon Henry Wilds) which gave Brighton much of its character in the 19th century. They met high demand for residential, ecclesiastical and public buildings of all types in the rich, fashionable town by producing elegant designs which combined contemporary architectural expectations with imaginative devices (such as prominent cornices, bold bay windows and columns with decorative capitals) in a distinctively "powerful and assertive" style. Busby has been described as the best architect of the three, having already achieved much by the age of 20. He moved to Brighton in 1822 and joined Amon and Amon Henry Wilds.
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The contours of the building are jagged, emphasizing the Gothic form and giving Hart House the profile of a true academic institution of that time period. A variety of intimate details can also be found in the interior. Below grade, backstage, at the rear wall of the theatre, there are scars formed by service ammunition, giving the building a sense of character. There are also elements forged into the walls of the building, like the first occupants of the house, who are remembered on the south façade, as well as carvings over the bay windows of the map room which depict the principal units that were stationed there during the war.
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The entrance to the tower is guarded by a pair of stone lions carved at the beginning of the 19th century. They were brought to Kraków from the Classicist palace of the Morstin family in Pławowice during the renovations of 1961–1965, during which the bay windows on the second floor of the tower were incorrectly reconstructed by a local TV personality, architect Wiktor Zin. Over the entrance is the original Gothic portal with the city coat-of-arms and the emblem of Poland. For many years the basement beneath the tower has been used as the performance space called the Stage beneath the Town Hall of the renowned Teatr Ludowy.
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In 1886, Abram Griffith built a fine Victorian residence of Italianate architecture upon of land in Cacheville, CA (now Yolo). This High Victorian Italianate residence exists as the grand dame of the homes in the town, sitting on the edge of the commercial district on a large spacious lot on the bank of the Cache Creek, just outside Woodland. The residence boasts prominent bay windows, keystone arched, sash windows throughout, scrolled brackets at the eaves and classical corinthian columns complete the ornamentation. What came to be known as the Griffith Mansion, the residence was built upon the ancient site of an Indian burial ground.
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Wickham was an assistant producer of the 1960s British television show Ready Steady Go!, and was fashion consultant for the short-lived The Mod's Monthly magazine, first issued in March 1964 by Albert Hand Publications, and edited by Mark Burns. However she is probably best known as the manager of well-known pop/soul acts Dusty Springfield and Labelle."Belles of the Ball" , Dustin Fitzharris, Bay Windows, 29 October 2008 Wickham co-wrote (with Simon Napier-Bell) the English lyrics to Springfield's only British No. 1 hit, "You Don't Have to Say You Love Me", adapted from the Italian song "Io che non vivo senza te".
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This runs east–wast across the slope of the hill, and has private gardens on the site of the former windmill which moved to Albion Hill in 1837. Most construction work took place in 1846–47, but the 23-house terrace and its gardens were not finished until 1851. The houses combine the Regency-style "gaiety and exuberance" with the "charm and vigour" of Victorian architecture, and the use of angled bay windows set below tented canopies is a late example of this distinctive local practice. Each house is built as a villa, mostly with a three-window range shared across two neighbouring houses (the middle window is blank).
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The catamaran Voguéo III at Charenton-le-Pont The STIF ordered four catamarans to serve the route, designed by the Yacht Concept company, although they were delivered six months late . These were named Voguéo I, Voguéo II, Voguéo III, and Voguéo IV. They were built at La Rochelle in the naval shipyards of Fountaine-Pajot, the world leader in ferry catamarans. The boats kept to the IRIS 37 design, with modifications demanded by STIF, in particular enlargement of the bay windows, changes to the seating and the stern open back. The two naval architects Michel Joubert and Franck Darnet, designed these boats, being and sitting in the water.
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Into the early twentieth century, this congregation was one of only two churches in York Township, along with a Congregationalist congregation founded in 1833. Built of brick, the church is a Romanesque Revival building divided into four bays on the sides and three on the front. Tall windows fill the side bays and the left and right bays on the front, while a tower projects forward from the middle bay. Windows and the main entrance pierce the ground floor of the tower, with a wheel window and normal windows on higher stories; thanks to its spire, the tower is the tallest section of the building., Ohio Historical Society, 2007.
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This building is part of a cohesive group of late 19th to early 20th century buildings and facades near the inter-section of Pitt and King Streets. The octagonal tower, capped with a domed cupola roof, forms a dramatic counterpoint to the nearby high rise buildings, and the building is a prominent corner landmark viewed from King Street against the backdrop of the MLC Centre. The building has four storeys of masonry construction and has a recessed corner tower and projecting angled bay windows to levels 1 and 2, topped with decorative iron work as in the main parapet. The building has excellent Victorian detailing, and is well designed and proportioned.
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Janssen also designed many fine residences, including the country estate of George Calvert (1912); the Lee L. Chandler House (1924) in Shadyside; Elm Court, the estate of B.D. Phillips in Butler, Pennsylvania (1929); as well as Fox Chapel's Frank B. Ingersoll House (1931) and La Tourelle, the Edgar J. Kaufmann house (1923). Janssen received many Kaufmann commissions over the years. The prevailing architectural motif of these Benno Janssen homes was a picturesquely irregular configuration of buildings rambling around a central courtyard. Other features these homes shared include: complex slate roofs with many gables, large groups of rectangular windows, rich oriel and bay windows, interesting chimney treatments, and intricately carved stone detailing.
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The Gainsboro Branch of the Roanoke City Public Library, also known as the Gainsboro Library, is a historic library building located in the African- American neighborhood of Gainsboro in Northwest Roanoke, Virginia. It was built in 1941–1942, and is a one-story, seven-bay, L-plan Tudor Revival style brick building. The library provided African American residents of Roanoke's segregated Gainsboro neighborhood with a library facility where children and adults could pursue self-education with advice and assistance from competent and dedicated librarians. and Accompanying photo The deep slate roof and large bay windows give the library building a home-like appearance, as does the high ceilings and large rooms.
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There are many historic buildings along the road, many of them listed. On the corner of the market square, the Sparkasse am Markt is a gabled building reconstructed in 1958 by Eberhard Gildemeister who made use of a Baroque facade originally located at 31B, An der Schlachte. The facade was built by the stonemason Theophilus Wilhelm Frese in 1755 with bay windows, a wigged upper gable and Rococo decorations. Sparkasse am Markt The Kontorhaus am Markt stretching from No. 2 to No. 8 consists of a group of buildings designed by Richard Bielenberg and Josef Moser in the Neo-Renaissance style and completed in 1912.
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The third and fourth floors each have two slightly projecting polygonal bay windows, with the bays separated and flanked by pilasters topped with limestone cartouches. The fifth floor has round-arch windows with terra cotta surrounds and swag panels, and is topped by band of dentil moulding and a pressed metal cornice. The building was constructed in 1900 to a design by Fuller & Delano, a prominent local firm. It was built for William Dexter, a prominent local real estate developer who owned the adjacent buildings; according to building permits it was intended as an annex to those, but it is substantially more architecturally sophisticated.
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The slope of the site was used to advantage so that no more than one and a half flights of stairs had to be scaled to gain access to any one of them. Plumbing connections were housed in a special duct with access from outside the building so that maintenance and repairs could take place without bothering the tenants. A caretaker's quarters was part of the original design, as was the provision of lock-up garages. The building was designed in the popular interwar style of English Revival or Tudor Revival with elements such as eaves and bay windows having a half-timbered appearance.
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Leacock is a Brutalist structure comprising precast load-bearing concrete panels on the exterior, each containing a sealed window. Three different moldings are used for the panels, with the one containing the largest opening used for the central bay windows on the north and south facades, the next largest on either side of those bay openings, and the smallest on the east and west facades. Concrete pillars with hexagonal horizontal sections support the structure above the first two storeys, which unlike the upper floors contain walls made almost entirely of glass. These walls allow a great deal of natural light into the lower floors where students gather to attend lectures.
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Government House, Melbourne completed in 1876. The Italianate style was immensely popular in Australia as a domestic style influencing the rapidly expanding suburbs of the 1870–1880s and providing rows of neat villas with low-pitched roofs, bay windows, tall windows and classical cornices. The architect William Wardell designed Government House in Melbourne—the official residence of the Governor of Victoria—as an example of his "newly discovered love for Italianate, Palladian and Venetian architecture." Cream-colored, with many Palladian features, it would not be out of place among the unified streets and squares in Thomas Cubitt's Belgravia, London, except for its machicolated signorial tower that Wardell crowned with a belvedere.
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Prestige features, such as bay windows, may be more prominent in the end terraces; either fitted to the end houses alone, or used on both storeys rather than just the ground floor. As there is side access to the end houses, their main 'front' doors are often relocated to the ends walls and may be enclosed in a small porch, while the central houses have their door opening directly to the exterior. Terraces of this style appeared throughout the UK, from the suburbs of cities to small villages. A common instance was around the newly developing branch line railway stations, often as the first 'modern' houses in a newly connected village.
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The building style first began to appear in the 1890s, initially in neighborhoods like Woodlawn and then North Lawndale, and Lake View, and continued through 1930s with two major approaches in design. The first style, between 1890 and 1905, was Romanesque in nature with arches and cornices. This initial style and the choice of grey limestone occurred as the city rebuilt and grew in economic power after the Great Chicago Fire in 1871, though the buildings were designed for a wide range of socioeconomic classes. The second style was predominately built in a Neoclassical design incorporating smoother limestone blocks featuring columns and bay windows.
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The bay window gained favor with many railroads because it eliminated the need for additional clearances in tunnels and overpasses. On the West Coast, the Milwaukee Road and the Northern Pacific Railway used these cars, converting over 900 roof top cabooses to bay windows in the late 1930s. Milwaukee Road rib-side bay window cabooses are preserved at New Lisbon, Wisconsin, the Illinois Railway Museum, the Mt. Rainier Scenic Railroad and Cedarburg, Wisconsin, among other places. The Western Pacific Railroad was an early adopter of the type, building their own bay window cars starting in 1942 and acquiring this style exclusively from then on.
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The dining room, accessed from a breezeway at the rear of the entrance hall, has rendered walls with timber wainscoting and an ornate coved and panelled ceiling that is lined with diagonal tongue and groove boards. The room, which overlooks both courtyards, is embellished with stained glass windows in arched openings, elaborate timber lintels over the entry doors, built-in timber furniture, two fireplaces and bay windows in arched recesses. Circulation throughout the building is via the extensive verandahs and colonnades, all of which are now enclosed. The southern ends of the courtyards, once open, are now blocked off by two brick bathroom wings with storage areas underneath.
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The house stands on the west side of Main Street (Massachusetts Route 28), between Linden and Gerry Street. Just to its north stands the nearly identical Onslow Gilmore House. It is a 2-1/2 story wood frame structure, with an L-shaped floorplan that includes a porch in the crook of the L. The porch originally sheltered a double door, but part of the porch has been enclosed, and the original door replaced by a single smaller one. The house has also been clad in aluminum, but much of the Italianate detailing, including bracketed cornices, ornate window lintels, and ornately boxed bay windows, has been retained.
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Among the most significant elements of its architecture are details such as a bracketed cornice, some courses with corbelling, and a belt of sandstone, plus larger elements such as significant rectangular panels on the facade and massive bay windows. Inside, many original details have survived to the present day, such as elaborate balusters in the halls, the wainscoting on the corners of the rooms, and the plain fireplace mantels. From their construction in 1885 until 1947, the apartments were owned by the family of Ulrick Bauer, a local greengrocer. Both historically and in the present, they have been used both for residential purposes and as the location of a specialty store.
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The kitchen had built-in cupboards; the bathroom had a laundry chute connecting to a cupboard in the laundry beneath the house; the lounge opened onto the entry hall through 4 large glass paneled doors; the lounge and main bedroom were wallpapered; other walls throughout the house were lined with vertical tongue and groove boards; and the living room had a plate rail. The house was originally painted cream with dark green to the bay windows. Uanda is currently the only identified work of architect and potter Nellie McCredie. The career of Nellie McCredie is typical of the careers of women who entered the architectural profession prior to World War Two.
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The building has bands of red brick and ashlar, oriel and canted bay windows, corner turrets, expansive gables and an entrance set between Tuscan columns and below a pediment. French Convalescent Home on Brighton seafront resembles a château. ;French Convalescent Home, De Courcel Road, Brighton (1895–1898; Grade II- listed) Built at Black Rock on behalf of the French government, this building's curious French Renaissance Revival styling makes it appear "out of place on Brighton's seafront" (which consists almost exclusively of stuccoed Regency-style buildings). Described variously as "drab", "gauche", "chateau- like" and "interesting", it was closed in 1999 and converted into luxury flats.
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Slightly later photographs, thought to have been taken during the Wilsons' residence and therefore prior to 1885, reveal that the core had been rendered and bay windows to the two front rooms (at the southeast and southwest corners of the house) had been added. These matched in design the bay window of the earlier timber section on the north side of the house. By this period, three terraces on the southern (front) side of the house had been established, with concreted steps leading to each. It is understood that the lower terrace contained a croquet or tennis lawn, on which a portable dance floor and marquee could be erected when the Wilsons entertained.
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This is an impressive example of Art Deco style architecture which includes two-story bay windows and pilasters, bands of glazed terra-cotta panels and a female figure holding a torch. This image was a standard Montgomery Ward logo known as the “Spirit of Progress.” The building suffered a major fire on December 20, 1936 but was renovated and the business thrived until Montgomery Ward went out of business in the early 1980s. The entire building was remodeled into offices in the 1980s and currently houses a variety of businesses including In Home Services of Central PA, United Cerebral Palsy, Snowflake's On The Square Christmas Shop, and the Mifflin- Juniata Arts Council.
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The Bain building is a two-story five-by-five bay structure with the Second Empire's signature mansard roof, surfaced in polychrome slate. Its foundation is built into surface that slopes toward the creek, requiring steps to access the building through its front facade, where a central entry to the upper floors is flanked by separate, three-part storefronts themselves consisting of doors flanked by large bay windows. The roofline is decorated with a bracketed and panelled cornice, echoed in smaller, less ornate scale above the storefronts. The five windows on the second story give way to three dormer windows on the roof, pierced by chimneys at the center of the north and south elevations.
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Downing had advocated the Picturesque as the ideal mode for his favored type of house, which integrated more seamlessly with its natural surroundings than houses built in the Greek Revival and Federal styles popular earlier in the century. After his death, Withers, who had worked for him following his emigration from his native England, was seen along with occasional collaborator Calvert Vaux as Downing's heir and successor. Maple Lawn, designed in the "villa" form Downing thought best as a country home for a man of "means", expresses his theories with its careful placement amidst the trees and view of the river. The bay windows and porches on the house further connect the house to the landscape.
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Cover of The Completely Unfabulous Social Life of Ethan Green Orner began creating The Mostly Unfabulous Social Life of Ethan Green in 1989, when he was working as a political cartoonist for the Concord Monitor in New Hampshire. The strip debuted in 1990 in Bay Windows, a Boston LGBT newspaper. It was unusual at the time as "one of the first comics to portray gay men everywhere from the bedroom to the family dining room" The strip was carried by nearly 100 LGBT newspapers and alternative weeklies. Orner retired the strip in 2005, when it was adapted into a feature film of the same title, which received a limited national cinematic release.
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The top storey is in the form of an attic, and the treatment of the windows is different: they are on a moulded cornice, and some are arched. On the floor below, the windows are surrounded by Vitruvian scroll patterns, and at the storey below that they are flanked by pilasters which hold up an entablature and small pediment. A cast iron balcony surrounds the first-floor bay windows and is supported by the top of the Doric-columned entrance porch, which has a stuccoed balustrade. According to one writer, "the heavy emphasis of [these] porches give[s] the square an air of respectable solidity"—as do the heavy doors with their recessed panels, moulded ornamentation and decorative fanlights.
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The Ann Halsted House is a house located at 440 W. Belden Street in the Lincoln Park community area of Chicago, Illinois. Designed in 1883 and built by 1884, the house is the oldest surviving residence designed by Dankmar Adler and Louis Sullivan. The brick house is designed in the Queen Anne style, which can be seen in its pointed bay windows and the detailed brickwork on the cornices and chimneys on the sides of the house; however, the front of the home reflects a French influence. Sullivan's influence on the home's exterior can mainly be seen in the dormers at the front and back and in the pediments on the sides.
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During their residency canted bay windows were introduced to the front of the wings which, along with their accompanying mullions and transoms, have been described by Pevsner as "a remarkably early instance of Elizabethan revivalism". It was also around this time that the "crude gothic porch" of Holcroft's was moved to the ground floor. At this date the house came into the hands of the Cholmondeley family (later Lords Delamere). Mary Cholmondeley (1562–1625), a powerful widow with extensive properties in the area, bought the abbey as a home for herself when her eldest son inherited the primary family estates at Cholmondeley. In August 1617, she entertained James I and a stag-hunting party at Vale Royal.
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Among them, there are the southern and eastern facades with bay windows that reveal the bay view. There are also rooms for the Shah and his family on the second floor. The smooth surface of the large stone planes of the palace is shaded by alternating rows of masonry, differing in color, width and texture, as well as the "shebeke" aura – stone gratings in small light apertures. There were daily-life objects, coins of the XII-XV centuries, copper utensils, weapons and decorations of the XIX century, musical instruments of the XV century found during the archaeological excavations both on the territory of the palace complex and in the territory of the historical center of Icheri-Sheher and Shirvan.
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Detail of the sculpted form of a head of a woman, with mask of a lion, over one of the windows in the northeast of the building The rectangular building plan, consists of three floors separated by friezes and decorated by differing stonework. The main elevation in the east, consists of six bodies, separated by pilasters, characterized by the type of treatment: simulating a rustic ground floor and turning into double pilasters on the upper floor. With open spans and regular rhythm, the bodies are differentiated by different fenestration sculptures. The standard windows on the ground floor are framed by straight lintels, as are the bay windows on the 1st floor, with similar framing.
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A second block, oriented to face Monument Square, was attached to this house in the 18th century, as were smaller additions to its east side. A number of alterations have been made to the house, notably the addition of bay windows to the western facade, part of an adaptation of the structure for retail uses. The house was built for the Reverend Daniel Ellison, the first settled minister in Hollis, and stands on land that was part of the ministerial parcel set aside when the town was planned. Ellison at first occupied a log cabin, which burned in April 1744, and the oldest portion of this house was built in preparation for the arrival of his bride.
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By 1883 Warry Street had been extended north to Gregory Terrace, onto Raff's allotment 258. Alexander and Elizabeth Raff had seven children, six of whom survived to adulthood. In August 1893, one of the daughters, Margaret Cumming Raff, married Mr T.C. Woolnough, in a ceremony held at Grangehill. It is thought that during the 1880s or 1890s a verandah was added to both stories of three sides of the house, and that bay windows were added to four of the principal entrance elevation. On Alexander's death on January 26, 1914, the house was left in trust to his eldest son, James, who enabled the Red Cross to use it after the First World War as a convalescent home.
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All the other windows on this floor are 3×5 sashes; those on each side of the central window have triangular pediments, while those in the lateral bays have horizontal architraves. The top storey has seven 3×3 sash windows; the central three have scrolls similar to those on the south front, while the surrounds to the lateral two windows on each side are plainer. Part of an ornately carved, painted and gilded, chimneypiece with female figures on the sides, and a coat of arms in the middle On each side elevation there are central canted bay windows. The middle floor has arched windows on the west front, while the corresponding windows on the east front are blind.
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Great Fulford House in 2015, view from south-east Great Fulford House, view from south-east. 1780 watercolour, British Library.See similar view in 1776 drawing by Francis Towne (1739–1816), Tate Gallery, London The later remodelling by James Wyatt in 1805 replaced the gables with battlements and added full height bay windows at the corners Tudor main entrance to courtyard pierced through east front, Great Fulford House. Beyond is the front door leading to the great hall in the west wing. Above is an Elizabethan (16th century) relief sculpted panel showing the arms of Fulford of nine quarters within a strapwork surround with supporters two Saracens Great Fulford House, east front Great Fulford House, west front.
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Painted houses with bay windows in the Old Town Aerial view by Walter Mittelholzer (1919) In or around 1007 Emperor Henry II moved St George's Abbey from its former location on the Hohentwiel in Singen to Stein am Rhein, at that time little more than a small fishing village on the Rhine. This was in order to strengthen his presence at this strategic point where major road and river routes intersected. He gave the abbots extensive rights over Stein and its trade so that they could develop it commercially. In this they were very successful, and Stein am Rhein rapidly became a prosperous town which in the 15th century was briefly granted reichsfrei status.
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The architecture of the Austin Home is inspired by the second empire architectural style combined with elements of later Victorian and Edwardian style. The exterior features that it is known for are its bay windows, its brick and stone terrace, the brick chimneys, and the botanically themed carved keystones. The estate ground's oldest building is a wood stable from the mid-19th century, which was attached to the old coach house, and was once used as a gardener's shed until the end of the 1920s. The interior of the house showcases the Victorian and Edwardian components through its floating staircase in the central hall, high baseboards, ceiling medallions, plaster crown mouldings and hardwood floors.
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The C. A. Belden House, a Queen Anne Victorian in the Pacific Heights section on Gough Street Between Clay and Washington Streets. The house is on the National Register of Historic Places in San Francisco. The architecture of San Francisco is not so much known for defining a particular architectural style; rather, with its interesting and challenging variations in geography and topology and tumultuous history, San Francisco is known worldwide for its particularly eclectic mix of Victorian and modern architecture. Bay windows were identified as a defining characteristic of San Francisco architecture in a 2012 study that had a Machine learning algorithm examine a random sample of 25,000 photos of cities from Google Street View.
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The great room has additional doorways leading to the dining room and the southwest bedroom, and it has a fireplace that shares the same chimney as one in the southwest bedroom. The southwest bedroom has a south-facing window, a doorway to the kitchen, and a separate bathroom at the southwest corner of the house with closet space and windows facing south and west. The kitchen has a double doorway leading into the dining room and a door leading to the back porch on the room's southwest corner. The kitchen has bay windows overlooking the porch, a pantry closet in the room's southeastern corner, and features a late-19th to early 20th Century cast iron gas stove.
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Brooks insisted that the building have no projections, for which reason the plan did not include bay windows, but Aldis argued that more rentable space would be created by projecting oriel windows, which were included in the final design. The Monadnock's final height was calculated to be the highest economically viable for a load-bearing wall design, requiring walls thick at the bottom and thick at the top. Greater height would have required walls of such thickness that they would have reduced the rentable space too greatly. The final height was much dithered over by the owners, but a decision was forced when the city proposed an ordinance restricting the height of buildings to .
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Situated on a rising ground, the house greatly resembles a Norman chateau; it is built of brick with stone quoins and parapets. The core of the house dates from about 1600 and is square and three storeys high; the saloon occupied the first floor, and was lighted by large bay windows. Wings project in a line from the centre of each corner of the house, and communicate, by doors on each floor, with the central building. At some distance from each wing, yet opposite to them, are small square towers that were once connected by walls with the main building; but the walls have been removed, or fallen, and the towers now stand alone.
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Rainbow smiles on Youth Pride, Ethan Jacobs, Bay Windows, 5/17/2007, New England. After years in the hospitality industry and a four-year stint holding various administrative positions at Harvard University (including a year as Project Manager to the Office of the President and Provost under former President, Larry Summers) Mehran began pursuing a career in standup comedy in 2007. He has toured with Maz Jobrani's Brown and Friendly Tour and in his first year competing, ranked in the top 8 in the Boston International Comedy Festival. As of 2010, Khaghani hosts a monthly standup comedy show at Mottley's Comedy Club in Faneuil Hall, Boston called "The Mehran Show," building each showcase around a different theme.
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77 Howard Street is located in southwestern Reading, on the north side of Howard Street between West Street and Sigbee Avenue. The neighborhood in which it stands was, at the time of its construction, called "Scotland Hill" after a group of Scottish immigrants who lived and socialized nearby. The house is a 2-1/2 story wood frame structure; although it has a basically rectangular massing, it has a complex appearance, with a turret on the left, bay windows on the front facade, and a large front gable on the right side of the hipped roof. The gable is decorated with scalloped shingles and has a small recessed window above a projecting oriel window.
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The entrance to the Porch The main rooms vary in size due to the recessions of the bay windows but the main feature of the interior is the Long Gallery, which runs the length of the main front; it is covered by a wagon-roofed, richly plastered ceiling. The "great chamber." now divided into two, was placed on the first floor above the parlour. Even though the house has been through many renovations, a great deal of 17th-century fittings still remain such as carved woodwork, plaster and alabaster. Robert Smythson heavily influenced Burton Agnes Hall, however comparing the Smythson plan with the house as built it is clear there are several differences.
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Fenway's involvement with advocacy and HIV/AIDS research led to its 1994 selection by the National Institute of Allergies and Infectious Diseases as one of eight sites recruiting participants for the first clinical trials of an HIV vaccine. In 2001, Fenway launched The Fenway Institute, a national interdisciplinary center dedicated to ensuring cultural competence in health care for the LGBT community through research and evaluation, training and education, and policy and advocacy. left Fenway's current Ansin Building home at 1340 Boylston Street in Boston opened its doors in 2009.Bay Windows: Ethan Jacobs, "Fenway dedicates new headquarters," May 9, 2009, accessed January 18, 2011 At ten stories and , it is the largest LGBT health and research facility in the United States.
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The Farnam Mansion - circa 1880 Constructed in the Italianate style, the mansion's exterior features a low-pitched roof, projecting eaves supported by large decorative cornice brackets, tall windows with ornate pediments, bay windows at the north and south sides of the house, and a wrap- around porch at the north and east sides. A square belvedere is situated above the east side of the mansion. It has a mansard roof and a trio of arched windows on all four sides. The front entry of the mansion features a pair of arched mahogany doors with windows, hand-carved panels, and rare ornamental bronze doorknobs made by the Metallic Compression Company of Boston, which feature a highly stylized dog's face and paws.
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Hengerer's overall body of work remains traditional and conservative, but he was able to incorporate modern trends in respects of materials, and details of style and decor, while always remaining faithful to the existing built character of the region. Between 1898 and about 1905 he was drawing inspiration not only from the Gothic and Renaissance revivals, but also from the growing interest in craft traditions. Deeply inset windows, sharply contoured details and bold shapes acknowledged dignified bourgeois traditions, while he was able to resist the fashion for endless glazed brickwork and superfluous attachments. From 1904, with the Theodor Fischer increasingly influential across southern Germany, Henegerer's own later work took a more patriotic-romantic direction, with bay windows, arcades and half timbered effects.
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The Bader-Jaquette and Westwang Houses and Rental Property in 46 and 36 5th Ave. W. in Kalispell, Montana was listed on the National Register of Historic Places in 1994. The listing included three contributing buildings. According to the NRHP nomination, > The two-story Bader/Jaquette House has typical Queen Anne features including > the hipped roof with lower cross gable, the pent roof enclosing the front > gable, the recessed second-floor porch, the full front porch, the two-story > cutaway bay windows on the front gable, the stained glass and leaded glass > windows, the pediment at the entry, the two-story bay window on the south, > and the varied siding (wood shingles on the second floor and clapboard on > the first floor).
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Addams sold in 1804 to John Atkinson (High Sheriff of Staffordshire in 1828) and thereafter the house had a series of owners and tenants including Sir Thomas Fremantle Bt, his brother in law Sir James Fitzgerald Bt, and from 1851 Samuel Pole Shawe (High Sheriff in 1855). In 1884 Henry Cunliffe Shawe sold the house and of the estate to Albert Octavius Worthington ( High Sheriff in 1889) of the Burton on Trent brewery company Worthington & Co. Worthington extended the estate and enlarged and improved the house about 1884. The wings were raised to two storeys and bay windows added, and new a southern wing and a northern service wing were created. The estate was broken up and sold in 1950.
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The vertical separation is highlighted by two dominant semi-circular porticos above which there are low-relief contoured bay windows and hanging eaves. In the center of the facade on the third floor, there is a long balcony and there are two other shorter ones on the sides of the wings on the fourth floor. All the balconies are enclosed and set on massive high-relief corbels. The magnificence of the facade is enhanced by the placement of a wide variety of types of windows: architraves, semi-circular single pane, dual pane and triple pane windows, along with a wealth of two-dimensional and unusual ornamentation along the window frames, on the capitals of the pilasters, and on the fascia and cordons of the roof.
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Although the facade of this Italianate structure has disappeared, the north and south sides of the original building are visible; on the north are three deeply projecting bay windows, and on the south, a two- story loggia. In 1918 the residence was vacant, so the Sisters of Nazareth purchased it for $75,000 as the site of the college they planned to open in Louisville. The fact that this house is one door north of Presentation Academy, also operated by the Sisters, was fortunate. As successive owners occupied the mansion, they added such treasures as a hand-tooled leather ceiling from Florence for one parlor, ebony mantels, and a large hand-carved hat-rack, which Mr. Buchanan purchased at the New Orleans Exposition.
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The work was a concrete cast of the inside of the entire three-story house, basement, ground floor and first floor, including stairs and bay windows, but not the roof space. After Whiteread took possession of the building in August 1993, new foundations were created to support the new concrete. Internal structures such as sinks and cupboards were removed, holes in the walls filled and the windows covered, to prepare a continuous internal surface that could be sprayed with a debonding agent, then a layer of locrete coloured light grey, and then a final layer of concrete reinforced with steel mesh. The builders left through a hole in the roof which was then sealed, and the external brick-built structure was removed.
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Harriet Beard is long credited as the visionary of Orielton who created and extended the grand house on the hill. She was a wealthy widow who had made her fortune on the goldfields of Hill End when she took ownership of Orielton. In 1871, Beard was recorded to have held a third of the share in three highly lucrative finds. An investment for that year alone returned nearly £60,000 to Beard.As reported in Southern Mail (Bowral, NSW : 1889 - 1954), Friday 24 December 1937, page 5 She undertook an extensive scope of work over many years, which doubled the size of the previous homestead to 26 rooms in total, including adding broad wrap-around verandahs, separate servants’ quarters, and bay windows overlooking the grounds.
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The original building was constructed in the 1720s by Rawleigh Dawkin (later Rawleigh Mansel), son of the squire of Kilvrough in Gower, and on his death passed to his brother Mansel Dawkin (later Mansel Mansel). It was improved in 1780 by the addition of the bay windows and then Swansea architect, William Jernegan, later added the western part of the frontage for Ralph Sheldon, MP. In the 1820s the house was remodelled by Charles Baring of the London merchant banking family. He added an extra floor to Rawleigh Dawkin’s house and a parapet running the whole length of the south front. In 1831 the house was bought for £3,800 by Lewis Weston Dillwyn, owner of the Cambrian Pottery in Swansea.
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Each office is divided into two parts—one for the MSP, with a floor space of 15 square metres (160 sq ft) and another part for their staff, which has a floor space of 12 square metres (130 sq ft). The most distinctive feature of the MSP block are the unusual windows which project out from the building onto the western elevation of the parliamentary complex, inspired by a combination of the repeated leaf motif and the traditional Scottish stepped gable. In each office, these bay windows have a seat and shelving and are intended as "contemplation spaces". Constructed from stainless steel and framed in oak, with oak lattices covering the glass, the windows are designed to provide MSPs with privacy and shade from the sun.
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After Friedrichshafen became the first city on Lake Constance to have a railway connection in 1847, the Württemberg Southern Railway was extended by 1849 from the city station to the port to allow the direct transhipment of goods from the boats onto trains, significantly reducing transport costs. In 1850, the first harbour terminal was added to the east pediment of the former salt warehouse (Salzstadel) and customs office. A train ferry service was established to the east of the port station in 1869 to connect with the railway from Romanshorn to Zürich, which was opened in 1855. A new building with a half-timbered facade and bay windows facing the lake was built in place of the first simple station in 1885/86.
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The central entry, which has a panelled timber door with glass sidelights and fanlight assembly with the name GRANGEHILL in the fanlight, is surrounded by vermiculated sandstone quoining and is flanked by bay windows to either side which projects from the face of the wall. These bays have tall sash windows, with the southern bay incorporating a multi-paned glass door. The first floor verandah walls are finished in scribed render, and had similar early bays which have been removed, but evidence of their form can be seen in the verandah floor boards and ceiling sheeting. The southern bay has been replaced with a sliding aluminium framed glass door, and the northern bay has been replaced with a pair of timber framed French doors.
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A day room typical of the hospital, with large bay windows to let as much sunlight in as possible The hospital's main hall The County Authority of East Sussex decided to build a new asylum at the turn of the twentieth century because of problems of overcrowding at the Haywards Heath Asylum, formerly the Sussex County Asylum. To this end the County Council purchased the Park Farm estate, a short distance from Hellingly village and railway station, from the earl of Chichester for £16,000. Construction began in 1898 and the new asylum was built to a compact arrow plan by George Thomas Hine, consultant architect to the Commissioners in Lunacy. The hospital opened on 20 July 1903 at a total cost of £353,400.
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The dominant styles by this time were Queen Anne and Richardsonian Romanesque. An example of the latter, which was known for its turrets, towers and bay windows, was the Conrad house at St. James Court.Thomas and Morgan, pp. 68-77 The Hillebrand house is one of several residential high rises in Old Louisville These styles became less prevalent in the 1890s as the remaining southern portions of Old Louisville, between Ormsby and the House of refuge, were filled in, predominantly with buildings in the Chateauesque and Renaissance Revival styles. This included one of Old Louisville's most famous sections, St. James Court, developed starting in 1890 and envisioned as a haven for the upper class, and was completely occupied by 1905.
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Kuklick, p. 73 it was still a clear shot in from 20th Street over the low, wall in right. The view from the roofs, the bedroom bay windows, and even the porch roofs on 20th was as good as from some of the seats inside the park: Pathé News, Universal Newsreel and Fox Movietone News even set up cameras at 2739 North 20th as part of their World Series coverage.Kuklick, p. 74 The numbers involved in this cottage industry were considerable: a rooftop bleacher could hold up to 80 people, with 18 more in the bay window of the front bedroom and more even on the porch roof.Westcott, p. 113 Viewers on the block could number up to several thousand for important games.
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The bay windows also were probably added at this time. In the late 1890s and early 1900s the house was occupied sequentially by tenants E. B. Bland, manager of the BISN Company; John F McMullen; and William Gray of Webster & Co. Building detail, 2015 By 1903 pastoralist James Henry McConnel of Cressbrook in the Brisbane River Valley, had occupied Shafston House as his family's town house. Title to the property was transferred to him in 1904 and in that year he commissioned noted Brisbane architect Robin Smith Dods to undertake a third renovation of the house. Dods' contribution appears to have been the elaborate timber work in the front hall and the two main public rooms (drawing and dining rooms) and likely the windows in the dormers.
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One of the core ideas of Brutalism was to produce a rich individual user experience while creating a sense of equality and spatial democracy. The use of precast concrete panels containing sealed windows was the manifestation of these ideas, as their repetitiveness and identicality erase any kind of spatial hierarchy. In contrast, the interior walls are made up of different concrete textures in order to have a unique experience for each individual. The use of 120-degree angles can be seen throughout the design of the Leacock Building, such as in the guardrails of the staircases, the bay windows protruding from the tower and the layout of the extension and Leacock-132, which can be understood when viewing Leacock from above.
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By the late 14th century, Thaxted was at the centre of the local cutlery trade. It is thought that the Guild of Cutlers contributed to the cost of the building, which the listed building details prepared in 1967 suggests, was completed between 1390 and 1410. However, dendrochronology indicates that much of the timber used in the building actually dates to the late 15th century. The design made extensive use of jettied timber framing: on the ground floor the building was arcaded to allow markets to be held; the first floor, which jutted out over the pavement on three sides, featured four small gothic windows on each side and the attic floor, which jutted out further, featured two small bay windows on each side.
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The Exploratorium campus includes of publicly accessible open space. This includes the plaza facing on the Embarcadero, the connector bridge between Piers 15 and 17 where Fog Bridge # 72494 is installed, the south apron of Pier 17, and the east and south aprons of Pier 15. This public space overlaps with the Outdoor Gallery, and includes some notable exhibits, such as the Aeolian Harp (an expanded version of the original installation by Doug Hollis on the roof of the Exploratorium at the Palace of Fine Arts, first created in collaboration with Frank Oppenheimer in 1976) and the Bay Windows (visitors spin disks filled with samples of Bay mud, sand, and gravel gathered from five distinct regions of the Bay itself).
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Woodfall was tried for printing the letters and accused of seditious libel, but went free after the judge decided in favour of a mistrial. His grandfather Henry Woodfall invented the characters Darby and Joan. In 1767 Mr John Dawes, a City stockbroker, acquired a lease of the whole house and adjoining grounds. He added bay windows to the tower and in a significant change he demolished the entire south range of the old Canonbury House and on its site built the houses now numbered 1–5 Canonbury Place overlooking the garden. At some unspecified date, probably in the 1790s, a handsome small mansion for which no records survive was built adjoining the tower, partly filling the west side of the old manor house court.
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A bay window caboose at the Illinois Railway Museum In a bay window caboose, the crew monitoring the train sits in the middle of the car in a section of wall that projects from the side of the caboose. The windows set into these extended walls resemble architectural bay windows, so the caboose type is called a bay window caboose. This type afforded a better view of the side of the train and eliminated the falling hazard of the cupola. It is thought to have first been used on the Akron, Canton and Youngstown Railroad in 1923, but is particularly associated with the Baltimore and Ohio Railroad, which built all of its cabooses in this design starting from an experimental model in 1930.
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The bay windows of the Great Parlour and Great Chamber on the south front This was added to the south of the Great Hall in the early 16th century to provide a small intimate room where the family could eat in private away from the servants. Above it is the small Oriel Bedroom, probably originally a dressing room for the Great Chamber as its only entrance is via that room. At the same time that the oriel room and bedroom were added, rooms were added or remodeled to the south of the Great Hall: the Great Parlour with Great Chamber above, and the Little Parlour with Little Parlour above. John Lyte, the builder, placed his coat of arms on the outside of the building.
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On 1 November 1884, the city of Aachen started a contest among German architects for the purpose of rebuilding the City Hall. Out the 13 submitted draft designs, the first prize went to Aachen architect Georg Frentzen, who in 1891 was commissioned to rebuild the building and its towers. The restoration of the inner rooms was performed under the leadership of Joseph Laurent. In 1895, the sculptures depicting the Knight Gerhard Chorus and Johann von Punt (Aaachen's mayor from 1372 to 1385) were reinstalled in the bay windows on the back side of City Hall while the eight shields depicting the coat of arms of medieval nobility (Margarten, Berensberg, Roide, Hasselholz, Surse, Wilde, Joh Chorus, and Zevel) were remade in the spandrels.
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Christian commented in his own list of works that the house had 'brought many others in its train'. His work at Glyndebourne, East Sussex in 1876 for William Langham Christie (1830–1913) involved encasing the original Tudor house in a new Tudor style brick exterior with large bay windows added to give more light to the interior. Malwood (1883–84), a house Christian designed near Minstead in Hampshire (not to be confused with Castle Malwood which is a different house) was built for the Liberal statesman Sir William Harcourt (1827–1904) and shows the influence of the architect Norman Shaw's 'Old English' style. Christian designed the building for its setting in the ridge-top clearing of a wood, close to the ancient earthworks of an Iron Age hill fort.
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The overmantel of the Scottish sandstone fireplace that is flanked by carved kists, or log storage chests, is dominated by a portrait of poet Robert Burns that is copied from an original by Alexander Nasmyth which hangs in the National Portrait Gallery of Scotland. Above the portrait is the cross of St. Andrew, Scotland's patron saint. The bronze statuettes on the mantel near an arrangement of dried heather are miniature replicas of heroic statues at the gateway to Edinburgh Castle and represent the 13th-century patriot Sir William Wallace and the 14th century freedom fighter, Robert the Bruce, both of whom were popularized in the movie Braveheart. Medallions in the bay windows represent the coats of arms of the four ancient Scottish universities: Glasgow, St. Andrew's, Aberdeen, and Edinburgh.
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The flats on the site of Abbey House Abbey House, Cirencester was a country house in the English county of Gloucestershire that developed on the site of the former Cirencester Abbey following the dissolution and demolition of the abbey at the Reformation in the 1530s. The site of the dissolved abbey of Cirencester was granted in 1564 to Richard Master, physician to Queen Elizabeth I. Dr. Master died in 1588, and it was probably either his son, George, or more probably his grandson, Sir William Master, who demolished the old monastery buildings and constructed the house depicted in an engraving of c.1710 by John Kip. This early 17th-century house was five bays square, with a projecting three-storey porch and two bay windows on the entrance front facing Dollar Street.
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The five-story, 75,000 square foot British International School of Chicago, Lincoln Park campus The 75,000 square foot, five-story campus for British International School of Chicago, Lincoln Park was designed for an enrollment of up to 650 students and a 70-person staff. The campus features an architectural framework of columns and beams, a curving exterior, prominently placed bay windows, and high-ceiling gym on the upper floors. The building features more than 40 learning spaces, including an indoor and outdoor physical development space, robotics and science labs, a maker space, dance studio, library, a STEAM corridor meant to bridge different areas of learning, and roof deck with views of the downtown Chicago skyline. It is located in the 60642 area code and part of the 27th Ward represented by Alderman Walter Burnett, Jr.
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His buildings coupled with their often accompanying gardens by Gertrude Jekyll, while in a style thought of as "olde world" would not be recognisable to inhabitants of the 16th century. The Bakken Museum in Minneapolis, Minnesota, built 1928–1930 Following the First World War many London outer suburbs had developments of houses in the style, all reflecting the taste for nostalgia for rural values. In the first half of the 20th century, increasingly minimal "Tudor" references for "instant" atmosphere in speculative construction cheapened the style. The writer Olive Cook had this debased approach firmly in her sights when she attacked, "the rash of semi-detached villas, bedizened with Tudor gables, mock half-timber work, rough cast and bay windows of every shape which disfigures the outskirts of all our towns".
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In 1941, Virginia Weddell hired architect William Lawrence Bottomley and purchased antique stone columns from the Spanish Duke of the Infantado to reconstruct an ancient Spanish loggia on the southwest elevation of the house. Bottomley was able to incorporate the existing parapets, finials and pierced railings and posts from the north library bay windows into the loggia design, with a ceiling, reconstructed from a sixteenth-century house on the grounds of a manor in Knole, Kent, England. Wall tiles were used which indicated the use of gunpowder on the original property. Bottomley, however, was quite critical of his own work and believed his loggia was too symmetrical and lacking in the quality of picturesqueness and romance that the rest of the house displayed and proposed an octagonal stairway be added on the outside corner.
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The outer bays and center bay are topped visually by large round-arch panels, with polygonal bay windows on the first and second floors of the outer bays, and on the second floor above the entrance in the center. The building's cornice has brick corbelling, with built-out bracket-like brickwork articulating the arched panels. The building was constructed about 1890, on land belonging to Robert Allyn, a local real estate developer whose own house stood on the same lot to the north. Of the two six-unit apartment blocks built by Allyn (the other is at 39-41 Spring Street, built about five years earlier), it is the more architecturally interesting, probably drawing inspiration from the 1875–76 Cheney Building in Downtown Hartford, which is an H.H. Richardson design.
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It closed as a cinema during World War II when it was requisitioned for use in the war effort, and reopened in 1946. The venue was closed in 1970, when a projector caught fire in the upper tiers and the entire wood structure of the interior collapsed, although the flames did not spread to the large space of fly tower. The walls and main structure were unaffected by the internal damage, and so, after basic remodelling inside (the suspended ceilings still conceal a cavernous balcony and roof space above), it reopened as the Carleton Club, a huge 'black box' with multi-bars suited to dance and social events. Various restaurants also occupied the front part of the original theatre floor, where ceiling to floor bay windows directly look out on Morecambe Bay.
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In 1976, the Erie Lackawanna was combined with several other railroads to create the Consolidated Rail Corporation, who continued maintenance of the New Jersey and New York Line for the next seven years, until the newly formed New Jersey Transit took over the station in 1983. On March 17, 1984, the station building, now 114 years old, was added to the New Jersey Register of Historic Places and by that June, the station was added to the National Register of Historic Places. The station building was restored in 2001 by contractors from Jablonski Building Conservation Incorporated in Midtown Manhattan, who had experience restoring train stations. The building conservation repainted the old station's wooden siding yellow and the bay windows to a brand new brown on the station's ground-level platform.
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Canadian Swimmers Strike Out in Athens CANOE – SLAM! 2004 Games Swimming : Rock bottom Tewksbury and Martina Navratilova read the Declaration of Montreal at the opening ceremonies of the World Outgames. Tewksbury became a prominent advocate for gay rights and gay causes in Canada and the world.Disrupting Queer Inclusion: Canadian Homonationalisms and the Politics of Belonging. UBC Press; September 18, 2015. . p. 103–. On May 16, 2003, Tewksbury joined the board of directors for the 2006 World Outgames in Montreal and was named co-president. He was a panelist at the 2003 National Gay and Lesbian Athletics Conference in Cambridge, Massachusetts, on a panel of LGBT Olympians that also included rower Harriet Metcalf and high jumper Brian Marshall."GLAF convention brings gay athletes to Boston". Bay Windows, March 27, 2003.
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Some of the changes included the addition of exterior glass walls and display areas for the department stores, some small specialty retail space in the renovated lobby area, and large exterior rounded, corner glass bay windows and lighted "fins" on the North Michigan Avenue and side street exterior walls of the mall. These last additions broke up the boxy nature of the original architecture and added some dimension and scale to the monolithic marble walls. The interior fountain between the escalators leading from the North Michigan Avenue lobby were also updated with a tiered "pop jet" fountain with cascading waterfalls and balls of water, controlled by computer-based choreography. The Rouse Company acquired the center in 2002 during the breakup of the then Dutch-owned Urban Shopping Centers.
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The bay windows are very large and the glass pane of the sash windows are actually curved - an added example of the sumptuous fitout of this residence. The hall is panelled in wood supplied by Gillow and Sons (the royal cabinet makers), who also supplied all the furniture for the house. The contents of the house were sold off at public auction in 1888; remarkably none of the Gillows furniture has ever subsequently been identified despite it all being stamped by the company - the only remaining piece is the built-in coat stand in the hall. Williamson had dreamed of creating a family dynasty with this estate as its symbol, however following the stock market crash in 1886 Williamson was forced to sell this property, which was subsequently divided up for development.
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However, despite the increased population, the area still maintains a bit of small-town atmosphere, with relatively low house turnover. A real estate broker who grew up in the area said that in Windsor Terrace, "everybody says hello" to each other, and a real-estate feature in The New York Times stated that "residents look out for one another at all hours of the day." There is more on-street vehicle parking in Windsor Terrace than in nearby, more populous neighborhoods. The area's lack of traffic lights, due to low traffic volumes, make Windsor Terrace feel like a small town, as do well- maintained one-family houses, some with covered balconies and stained glass windows; other houses with "bay windows, both rounded and faceted"; and yet other "clapboard Italianate" houses with multicolored cornices.
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Walpole's Gothic house at Strawberry Hill was begun in 1749, expanded in 1760, and completed in 1776. Thus the comparatively early date of 1765 for Tong Castle to be erected in this fairly rare style would today have made Tong of the highest architectural grading class. The crenellated towers and pediments coupled with the paned, rather than traditional Gothic leaded, windows crowned by ogee curves are typical of this style, as too are the generous bay windows with circular windows and cruciform motifs in the upper levels. The later 19th-century Gothic tended to be more ecclesiastical and sombre in mood, with dark rooms lit by lancet windows while the earlier Gothic had larger windows and a "joie de vivre" of design not found in later versions of the style.
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Lawson's particular skill was mixing various forms of similar architecture to create a building that was in its own way unique, rather than a mere pastiche of an earlier style; having achieved this, he then went on to adapt his architecture to accommodate the climate and materials locally available. Local stone and wood were particular favourites of his, especially the good quality limestone of Oamaru, and these were often used in preference to the excellent bricks equally available. Small Gothic Lancet windows were often avoided and replaced by large bay windows, allowing the rooms to be flooded with light rather than creating the darker interiors of true Gothic buildings. Larnach Castle has often been criticised as being clumsy and incongruous, but this derives from the persistent misinterpretation of Lawson's work as Scottish baronial.
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Lower Kingswood Church of Jesus Christ and the Wisdom of God Interior showing chancel section of above church Sidney Barnsley rebuilt the Church of Jesus Christ and the Wisdom of God at Lower Kingswood, Surrey, in 1891 in the free Byzantine style. He used red brick and stone in various patterns, e.g. chequer work, herringbone and basketweave, and a plain tile roof. He installed a single unit aisled nave and chancel; an east end with polygonal apses, the outer ones as angled bay windows; imposing west front; a large planked and studded door with scalloped metal framing under round arch with inscription; a stone dressed diocletian window above the narthex under a pent roof; and round headed lancet windows on other façades and in the apses of the east end.
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In 2006, a writer for the Boston LGBT newspaper Bay Windows accused JHOP of bigotry against the gay community, citing their practice of praying that same-sex marriage would not be legalized. In 2008, a group of Christians regularly met for prayer meetings on a street in the Castro District, a largely gay neighborhood of San Francisco. In November 2008, shortly after California Proposition 8 was passed, they were so endangered, the group had to be escorted out of the Castro District under the protection of the San Francisco Police Department riot police after being surrounded by a threatening crowd drawn from nearby bars. Initial media reports did not identify the affiliation of the group, although the Justice House of Prayer later claimed that members of their San Francisco location were the group in question.
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The area's character derives from its "tight urban form" and lack of 20th-century redevelopment, resulting in a homogeneous streetscape of mostly residential buildings in long terraces; its steeply sloping land; and the swathes of trees and gardens which can be seen in long views into the area, which help to "define the unaltered Victorian streetplan" when seen from a distance. Roundhill Crescent "both curves and changes height dramatically along its length". The houses, which on the northwest side of the road are not a continuous terrace and which date from the 1860s to the 1880s, vary in height and the extent of their architectural detailing; canted bay windows and original cast-iron balconies feature prominently. Some pairs of semi-detached villas of the 1860s survive on Richmond Road.
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Scott Street Flats, viewed from the river bank below, 2015 In August 1924, the year she opened her practice, Elina Mottram designed a block of four flats at Moray Street New Farm for her client Frank Elliot and called for the tenders for the constructed building with specific requirements for reinforced concrete. Elina designed a Tudor revival style residence for Zina Beatrice Selwyn Cumbrae-Stewart (an impassioned community worker whose husband Francis William Sutton Cumbrae-Stewart later became the registrar of the University of Queensland). Later called the Scott Street Flats it is one of the two remaining of Mottram’s architecture that still stands. These units boast of views to the Brisbane River and modern community- friendly walkways that were stylish during the 1920s with its use of wide bay windows and a distinctive view across to the Brisbane’s Custom house.
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In 1559 William had a new floor inserted at gallery level in the Great Hall, and added the two large bay windows looking onto the courtyard, built so close to each other that their roofs abut one another. The south wing was added in about 1560–62 by William Moreton II's son John (1541–98). It includes the Gatehouse and a third storey containing a Long Gallery, which appears to have been an afterthought added on after construction work had begun. A small kitchen and Brew-house block was added to the south wing in about 1610, the last major extension to the house. Fireplace in the Parlour with plasterwork overmantel displaying the royal arms of Queen Elizabeth I, circa 1559 with Caryatids on either side The fortunes of the Moreton family declined during the English Civil War.
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At number 3 North Street, next to the main coach office, stood a small shop unit measuring ; a contemporary illustration showed it to be a squat two-storey building with large bay windows. Smith Hannington acquired it in 1808, but the circumstances are uncertain: he either bought it from a debt-ridden business associate, or already part-owned it and gained the whole share when the co-owner died. The shop was operated as a drapery business in 1802 by the Constable brothers, who were notorious in Brighton for claiming to be able to fly from one end of Ireland's Pleasure Gardens to the other, and James Ireland himself (who had various business interests as well as his Gardens) was apparently involved as well from 1806. Hannington opened a drapery shop under his own name at 3 North Street on 25 July 1808.
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Built in the 1870s, each street features its own unique architectural design, while sizes vary from two-up two-down houses, to double-fronted homes with between 6 and 8 bedrooms. Beaconsfield Street houses have bay windows with two separate first floor windows, on Cairns Street first floor windows are singular, Jermyn Street houses have pointed door arches and dormer windows and in Ducie Street, houses were built double-fronted with dormer windows on the now demolished south side. Houses within the streets also differ between each other since refurbishment, such as in Cairns Street, where some homes have additional rear rooms or an open plan on the ground floor. Houses in the westernmost part of Beaconsfield Street were built with a mansard roof and dormer window to the front, representing a significant change in the character of such houses since the mid-1860s.
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North side of 34th Street South side of 34th Street In Baltimore, Maryland, Miracle on 34th Street is a display of holiday lights that takes place annually on the 700 block of 34th Street (between Chestnut Avenue and Keswick Road) in Baltimore's Hampden community. The display, which involves the residents of most of the houses on the block (with three-story rowhouses on the north side of the street and two-story ones with second-floor bay windows on the south side), started in 1947 (the same year that its namesake movie debuted), and takes place between late November and late December. The location becomes a major attraction for visitors from all over the area.HighBeam The display prominently features Christmas trees of varying styles, trains, animated figures, Walt Disney cartoon characters, Hanukkah menorahs, artwork, and other various symbols of the holiday season, including a sea of Santas and Frosty the Snowmans.
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The Clark House is home to our administrative offices and the Albert P. Terhune Library, which houses an extensive collection of books, maps, directories, exhibit panels, and other ephemera primarily from northern New Jersey dating from the last three centuries. Dr. James Henry Clark, Jr. (1853-1945) and his wife Carrie Schenck (1859-1901) built the two and a half story Queen Anne style house at 108 Orange Road in 1894 on land that was part of the original three-hundred acres Jasper Crane (1605-1681) had willed to his sons Azariah and Jasper, Jr. Dr. Clark’s father was an Army surgeon during the Civil War. His first cousin, Abraham Clark, was a signer of the Declaration of Independence and a descendant of the signers of the Mayflower Compact. The home has four bay windows and a large porch running across the full length of the entrance.
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The most influential period for the Castle came in 1427 when, alongside the duties involved in administering the Palatinate-Mosbach, Otto I assumed the guardianship of his nephew Louis IV (Ludwig IV) and held the regency by default while his brother Louis III was too weakened and ill to rule upon his return from a crusade to Jerusalem in 1427. Otto I's nephew was still a minor and did not reach the age of majority until 1442. Starting in 1448 the sphere of influence of the Palatinate of Mosbach and its residence once again expanded when Otto I inherited half of the territory of the extinct Palatinate-Neumarkt and purchased the other half from his brother Stefan (Stephen), establishing a further residence in Neumarkt. The castle's present-day appearance largely stems from renovation carried out in 1898, including bay windows, half-timbered walls and transverse gables.
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Following the departure of the McCraes, who resided at the homestead from 1844 to 1851, the interior structure of the house remained unchanged during the Burrell's seventy four year habitation, apart from the addition of two bay windows. They resided at the homestead from 1851 to 1925. John Twycross, a Burrell descendant, who had stayed at the house often as a child was able to point out the previous functions of each room, seventy five years later, such as where his bed had stood in the present child's bedroom, where his aunt Kate had roasted scallops in the open fireplace of the kitchen, as well as the location in the dining room of the Broadwood piano that had been dropped into the sea during transportation to "The Seat" and had thereafter been difficult to tune. Kate Burrell died in 1925 and the Williams family purchased the house in 1927.
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The honour was presented to him in a room at the inn, later to be known as the Nelson Room, and he addressed the crowds from one of the bay windows on the first floor.Farlow, R and Trumper, D (2005) Ludlow and South-West Shropshire page 86 During the Napoleonic Wars, Lucien Bonaparte, younger brother of the French Emperor, and his family were imprisoned at Dinham House in 1811. In 1832 Dr Thomas Lloyd, the Ludlow doctor and amateur geologist, met Roderick Murchison at Ludford Corner to study the rocks exposed along the River Teme and on Whitcliffe, advancing Murchison's theory for a Silurian System that he was to publish in 1839. Immediately above the topmost layer of the marine rock sequence forming Murchison's Silurian System was a thin layer of dark sand containing numerous remains of early fish, especially their scales, along with plant debris, spores and microscopic mites.
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KPMB choose to re-clad the building in limestone in order to match the facade of the Lillian Massey building, in addition to scaling the museum to blend with the Annesley Hall's bay windows to the south of the museum The exterior facade of the museum is made of Indiana limestone, black granite, and glass The redevelopment also saw the construction of a third floor to the building, increasing the building's size by . The third floor included facilities for a 50-seat restaurant, a L-shaped outdoor terrace, and a exhibition gallery. Renovations to the interior of the existing building included a redesigned lobby features a long white oak reception desk, designed to draw guests into the museum; and renovations to its three galleries, educational facilities, and the museum's gift shop. Exhibit space within the museum was also increased, with the architectural firm placing an emphasis on highlighting the vitrines and pieces within them, as opposed to creating spaces for large receptions.
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Next came the Cliftonville estate, which filled the gap between Brunswick Town and Brighton. Two-storey semi-detached stuccoed villas in the Italianate style, often with canted bay windows, characterised the early part of the estate—the long north–south roads between Church Road and the seafront. Cliftonville (now Hove) railway station opened to the north in 1865, stimulating further development in a similar style. A railway architect, F.D. Banister, designed most of Cliftonville, including number 42 Medina Villas (his own home during the 1850s) and three surrounding houses, whose Jacobethan red-brick exteriors and curved gables contrast with the surrounding villas. The West Brighton estate's rapid development began in 1872 on land bought from the Stanford family, the area's largest landholders. Until the Stanford Estate Act of Parliament was passed in 1871, no houses could be built on the land, despite tremendous pressure for growth; within 12 years, were developed and Hove's housing stock had trebled.
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Other projects dating from the years of the partnership in respect of which it is not always clear which of the partners took the lead include St John's ("die Johanneskirche") in Gießen and St. Peter's ("die Petrusskirche") in Frankfurt - both of which were Evangelical churches. In 1891/92 Grisebach built himself a home, incorporating a studio-workshop, known today as the Villa Grisebach, at Fasanenstraße 25 in Berlin-Charlottenburg. Close by he built another house, at Fasanenstraße 39, featuring a "Bremen-style" front gable, and using the ideas of his client Richard Cleve, who also had incorporated various pre-fabricated elements, sourced primarily from The Netherlands, such as reliefs, bay-windows and pillars. Grisebach's best known building must be the "Wiesenstein House" ("Haus Wiesenstein") in the hamlet of Agnetendorf (as it was known before 1945) in Lower Silesia, built in 1900/01 for Gerhart Hauptmann, in which the writer lived for the rest of his life.
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Gradually, due to the increase in consumption, it was once again necessary to carry out new and important work on the power station in order to expand and complete the low pressure boiler room. The program created by the CRGE consisted in expanding one industrial nave that would accommodate three new low pressure boilers and purchasing one new generating set. Thus, throughout 1922 a study was conducted regarding the installation of boilers number 7 and 9, and the possibility of these operating with pulverised coal, which ended up proving unsuccessful, since in boiler number 6 the tests carried out to implement this process produced unsatisfactory results. Nonetheless, pulverised coal would still be used in boiler number 11. The “new boiler room”, as it was called, grew southward, toward the Tagus River, with the facade facing the river and remaining unfinished, temporarily closed off with a sheet of zinc and a metallic structure imitating the bay windows on the opposite side.
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Types include the eyebrow window, fixed windows, hexagonal windows, single-hung and double-hung sash windows, horizontal sliding sash windows, casement windows, awning windows, hopper windows, tilt and slide windows (often door-sized), tilt and turn windows, transom windows, sidelight windows, jalousie or louvered windows, clerestory windows, lancet windows, skylights, roof windows, roof lanterns, bay windows, oriel windows, thermal, or Diocletian, windows, picture windows, Rose windows, emergency exit windows, stained glass windows, French windows, panel windows, double/triple paned windows, and witch windows. The Romans were the first known to use glass for windows, a technology likely first produced in Roman Egypt, in Alexandria ca. 100 AD. Paper windows were economical and widely used in ancient China, Korea and Japan. In England, glass became common in the windows of ordinary homes only in the early 17th century whereas windows made up of panes of flattened animal horn were used as early as the 14th century.
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More than 10,000 same-sex couples married in Massachusetts in the first four years after such marriages became legal on May 17, 2004. Approximately 6,100 marriages took place in the first six months, and they continued at a rate of about 1,000 per year.CNN: Deborah Feyerick and Sheila Steffen, "Same-sex marriage in Massachusetts, 4 years later," June 16, 2008 , accessed March 13, 2011 On the fifth anniversary of the Goodridge decision, Mary Bonauto, who argued the case for GLAD, said that state agencies were cooperating fully with its requirements, noting that exceptions occurred in programs that received federal funding and were therefore subject to the restrictions of the U.S. Defense of Marriage Act (DOMA).Bay Windows: Ethan Jacobs, "Five years on, mostly smooth sailing for marriage equality," November 19, 2008, accessed March 19, 2011 , same-sex marriages was made legal across the US when the Supreme Court ruled in Obergefell v.
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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.
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The younger Charles Shaw Lefevre inherited from his father and entered Parliament as the (Whig) Member for Downton, Isle of Wight, in 1830. After the Reform of Parliament, he became the MP for North Hampshire to which he was returned unopposed from 1832 until his retirement in 1857. He showed an interest mainly in agricultural affairs, particularly the heated topic of corn prices, and he chaired a Commission on Agricultural Depression 1835-36. Charles and Emma Shaw Lefevre undertook two further phases of work to the manor house: by 1840 square bay windows had been added to the east and west fronts, and outside, a formal Italianate balustraded terrace had been wrapped around the east and south fronts; by the 1850s, the whole of the south-east corner of the house had been thrown out to create a fine library (a scheme that possibly involved Edward Blore, whose diaries record visits to Heckfield Place in December and January 1846-47Transcript of Blore’s account book, by John Physick, Catalogue of the drawings of Edward Blore (2 vols) Unpublished MSS, National Art Library).
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Layout for a Model New England Town, by Ida Annah Ryan In 1907, Ryan showed five examples of her work at the Boston Architectural Club Exhibition: Camp at Litchfield, NH, Cottage Made From a Stable, Sewage Pump House at Crescent Park, Cottage at Violet Hill, Waltham, and Inexpensive Two-Family House at Waltham Highlands.Year Book, by Boston Architectural Club The two- family house is a large Spanish Revival stucco structure with double height bay windows, hip roof, overhanging eaves and a double height triple-arched entry porch that is a precursor of Ryan's work at 1114 Massachusetts Avenue, St. Cloud Florida; located at 228-240 Hammond Street the double-house is still in good condition more than a hundred years later. Ryan became the first woman to earn a master of science degree from MIT and also the first woman in the United States to receive a master's degree in architecture. In 1907, Ryan was awarded a traveling scholarship of $1200, the highest prize that the Architectural Department could confer on one of its graduates.
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The John M. and Elizabeth Bates House No. 4 is a historic house in Lake Oswego, Oregon, United States. It is the fourth and final residence designed by architect Wade Pipes (1877–1961) for his friends John and Elizabeth Bates, and the penultimate and finest commission of his career. In it, Pipes designed not only the building but also the landscape, furnishings, and interior finishes, representing the culmination of his work as a pivotal figure in the Arts and Crafts movement in Oregon, while also giving a nod to the Northwest Regional style. Built in 1954 on a lot fronting Oswego Lake, it is distinguished by clean, flowing lines, attention to its setting, a rubblestone wall buffering it from the nearby street, one of Pipes' signature bay windows, a central courtyard, and other features.. The house was added to the National Register of Historic Places in 1990.. By 2018, most of the house's significant features were either significantly deteriorated or gone altogether, including the complete loss of Pipes' custom furniture and built-ins.
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There are a few apartment buildings, including Windsor Tower, a 10-story building that was downgraded from 22 stories after community objections; a 73-unit, seven-floor rental building that opened in 2015; and a condominium tower at 279 Prospect Park W, a former paint factory storage building that posed as a bank in the 1975 movie Dog Day Afternoon. The houses are of varying types, including some small one-story clapboard houses that have attics and date to the neighborhood's development; larger two-story houses with basements and some wood framing on the exterior; and attached brick townhouses with either flat facades with normal-sized windows or curved facades with bay windows, both with two floors and a basement. The neighborhood is mostly residential, with some commerce along Prospect Park W, Prospect Avenue, and Fort Hamilton Parkway. The latter two corridors have seen an increased commercial presence since the 2000s, but these new stores are mostly family-owned businesses, with the exception of a Walgreens and a grocery store in the area.
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The buildings he designed in the central business district reflect such diversity, though typologically they did not differ substantially, consisting mostly of monumental office blocks that ranged from 3 to 10 stories in height and often dominated their sites. These included such works as the Rialto Building (1892), an impressive Romanesque Revival structure punctuated by bay windows and large projecting cornice; the Mercantile Club Building (1891), an asymmetrical, picturesque Romanesque/Gothic Revival structure with a roofline punctuated by tall gables and thin spires; the Neoclassical Curlee Clothing Company Building (1899); and the massive 424-room, ten-story Planter's House Hotel, at the time one of St. Louis' premier lodging establishments, which opened in 1894.Simmons, 2-3 In 1901-02 he completed the National Bank of Commerce, a towering eleven-story French Renaissance skyscraper that housed 198 offices; sculptural lion heads from its interior are now on display at The Wolfsonian-Florida International University in Miami Beach. Taylor developed close contacts with the newspaper industry in St. Louis, which probably contributed greatly to his success during this period and into the new century.
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"Don't dismiss Romney, gay Republicans say" Bay Windows Laura Kiritsy, October 24, 2002 Romney said, > Basically I see the provision of basic civil rights and domestic partnership > benefits [as] a campaign against Tom Finneran. I see Tom Finneran and the > Democratic leadership as having opposed the application of domestic > partnership benefits to gay and lesbian couples and I will support and > endorse efforts to provide those domestic partnership benefits to gay and > lesbian couples. In November 2003, the Massachusetts Supreme Court ruled that the Massachusetts State Constitution requires that same-sex marriage be permitted under law; in response this time, Governor Romney supported a state constitutional amendment to forbid such marriages but which also would have legalized civil unions. Opponents of same-sex marriage "argued that the court's ruling was not binding and urged Romney to ignore it," but "Romney did not want to trigger a constitutional crisis" and followed the court's ruling while seeking to pass a constitutional amendment to ban same-sex marriage. He moved to limit the scope of the ruling, utilizing a obscure 1913 law that technically barred marriages in Massachusetts for out-of-state residents if the marriage “would be void” in their own home state.
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On 21 October 1896 The North Queensland Register reported that Daking-Smith's new residence, one of the finest in the town, was approaching completion. The position of the building, facing the corner, was apparently designed to secure an expansive outlook, while increasing privacy. The building's style, the bungalow, was seen as the most suitable for the local climate, and features mentioned at the time included: a handsome flight of front steps; a spacious verandah with cast iron railings; glass front and rear doors, both with sidelights; an arch in the hallway and one between the dining and drawing rooms; cedar cornices and an embossed stamped paper frieze in the dining and drawing rooms; two floor-to- ceiling bay windows to the front verandah; varnished interior woodwork; three large bedrooms in the main building; ventilation tubing from the ornamental panels in each ceiling, with an iron ventilator on the roof; and bedrooms on either side of the latticed back verandah, separated from the main building. There was also a separate pantry, on piles set in vessels of water, off the rear verandah; and the kitchen wing included the kitchen, a bathroom and three bedrooms (counting the bedroom on the south end of the rear verandah).
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