The reception hall on the ground floor connects three rooms: the drawing room straight ahead, with views of the lake from twin bow windows; a dining room on the left, which fits a table that can seat up to 14; and a family room, also on the left.
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The original structure was constructed by Aurelian ca. AD 275 and included a double-arched opening surmounted by bow windows and two semi-cylindrical towers.
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Ralph Dutton. Hinton Ampner House. Ralph Dutton's bedroom was in the room with the bow windows to the left on the first floor. View of the garden created by Ralph Dutton at Hinton Ampner.
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The building features a brick exterior with terra cotta detailing, projecting bays and bow windows, and an arcade leading to a private courtyard. The building was added to the National Register of Historic Places on March 15, 1984.
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The south part of Bagnoles-de-l'Orne, which is called Belle Époque district is filled with superb bourgeois villas with polychrome façades, bow windows and unique roofing. This area, built between 1886 and 1914, has an authentic "Bagnolese" style and is typical of high-society country vacation of the time.
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During the period of Bulgarian National Revival, the town was heavily involved in the development of crafts. Houses from this period feature their own architectural design. The ground floors had irregular forms and housed craftsmen and traders. The upper floors featured wooden bow- windows, the roofs were covered with well-arranged rocks.
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At the top of the central portion is a casement window and a pediment. The other windows on this elevation are sashes. On this side of the house is a stone porch with Doric pilasters, between which are round arches, and has a moulded entablature. The southwest front contains two two-storey bow windows.
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On each side of the tower are two dormers, and in front of it is a porte-cochère. There is an extension on the left side of the entrance wing. The garden wing faces west, its outer bays projecting forward and containing two-storey canted bow windows. To the rear of the house are service wings, which incorporate a clock tower.
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Powderham Castle, east front, viewed from the deer park Powderham Castle, Devon, east (garden) front. The wing projecting forwards at the right contains the second library, built 1766–69. The central tower and flanking single-height bow- windows date from 1710–27. The tower in the corner-angle to the right and the main full-height range behind date from 1390–1450.
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In the 20th century, residential developments were built on the estate of Frescati, such as Frescati Park. Frescati Park partly incorporated Stable Lane, and the stable-houses were demolished to make way for it. It was built on woodland around Frescati, and comprised houses with bow windows, mirroring those of Frescati. When Lisalea House was demolished, its lands were incorporated into the Frescati Estate.
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The house is a large English Regency style mansion with a two-and- a-half story central block flanked by two-story wings which project forward. The exterior is constructed of brick, and covered with smooth stucco scored in a way to look like stone. The entryway features ionic columns. The rear of the house faces a semicircular terrace and features two-story bow windows.
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The Emersons had thirteen children, giving a reason for the increase in the house's size in the second half of the 18th century. It remained in the Emerson family only until 1820, and has passed through many hands since then. The square-facing bow windows are a late 19th century alteration. Some of the owners are known to have rented out rooms to tenants.
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Hinman Apartments is a historic apartment building at 1629-1631 Hinman Avenue in Evanston, Illinois. Built in 1904, the three-story brick building has six apartments. Architects Atchison & Edbrooke, who also designed Evanston's Ridgewood Apartments, designed the building in the Classical Revival style. The building's design includes a two-story portico supported by Ionic columns, bow windows on either side of the portico, and a dentillated cornice and parapet.
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33-61 Emerson Place Row is a set of historic rowhouses located at Buffalo in Erie County, New York. It is one of a rare surviving group of speculative multi-unit frame residences designed to resemble rowhouses in the city of Buffalo. It was built in 1893, by land dealer and speculator Benjamin B. Rice. The seven unit row features decorative shingle sheathing and two-story bow windows.
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Neither has led to any problems between the two households. 1823 or later – The Greek motifs were put into the drawing room and what is now the master bedroom on the 1st floor probably by General Sir Henry Wheatley (era of Byron, and schools then taught Greek). After 1858 the two drawing rooms were made into one. Lady Clinton put bow windows onto the front of the house.
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It is a relatively narrow frontage, with bow windows on three storeys. There is a metal canopy above the main first floor window, and a top balcony "almost as if it were in Brighton";John Newman, The Buildings of Wales: Gwent/Monmouthshire, Penguin Books, 2000, , p.187 there may originally also have been a canopy above the top window. The building has been extended substantially to the rear.
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Its architecture is described as "derived from the innovative work of Henry Hobson Richardson. The stretching of the roof planes to form the porches, and the lifting of roof planes to form dormers are Richardsonian features as is the sculptured treatment of the shingled second story which has been modulated to create flared surfaces and bow windows." With It is also a contributing building in the East Anniston Residential Historic District.
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The residential edifice had two floors. The first floor was built of stone and separated into three identical rooms, the middle of which looked towards the yard; there was the door. The marble bases of the two columns which supported the second floor and parts of the staircase have been preserved. The second floor was with bow-windows and the room in the middle was probably open-air.
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The side wing, original frontage The tower is accented by four axially symmetrical bow windows reminding four smaller towers on the top. The placement of windows on the tower is obscure. They have the same shape (narrow with a pointed arc on the top) but they differ in size and a number in each storey. The most decorated ones are on the second floor, pointing to the importance of the floor.
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Regency houses were typically built as terraces or crescents, often in a setting of trees and shrubs. Elegant wrought iron balconies and bow windows were also fashionable. An instigator of this style was John Nash, whose most notable work in Bristol is Blaise Hamlet, a complex of small cottages surrounding a green. It was built around 1811, for the retired employees of Quaker banker and philanthropist John Scandrett Harford, who owned Blaise Castle House.
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It is a two-storey house (plus attic) and the concrete on the exterior has been rendered to resemble sandstone. At the rear, two storey wings (with half timbering to the gables) form a courtyard. To each end of the facade are double storey bow windows with multiple small panes, and these bows are surmounted by gables. Part of the works on Iandra were carried out/supervised by one Edward Giles Stone.
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Many buildings of the Regency style have a white painted stucco facade and an entryway to the main front door (usually coloured black) which is framed by two columns. In town centres the dominance of the terraced house continued, and crescents were especially popular. Elegant wrought iron balconies and bow windows came into fashion as part of this style. Further out of town the suburban "villa" detached house was popular in a range of sizes.
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The Lime Street front and the middle and right bays on the Skelhorne Street front contain bow windows on each of the top two floors. Between the floors is inscribed "CROWN" "HOTEL" in elaborate lettering. The top two floors of the left bay in Skelhorne Street are occupied by a complex panel containing, in three lines, "WALKERS ALES WARRINGTON". Each of the attics contains a lunette window over which is an elaborate architrave.
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The Building at 923-925 Michigan Avenue is a historic apartment building at 923-925 Michigan Avenue in Evanston, Illinois. The three-story brick building was built in 1916. Architect Robert De Golyer, who designed several apartment buildings in Evanston and Chicago, designed the building; he also moved into the building once it was complete. The building's design features bow windows, pilasters and a fanlight around the entrance, and a dentillated cornice.
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Carthy's Castle On the northern slopes is another ruined building, known as Carthy's or McCarthy's Castle.Healy, p. 53. This is all that remains of Dolly Mount – also known as the "Long House" and "Mount Pelier House" – a large hunting residence built by Henry Loftus, Earl of Ely towards the end of the eighteenth century. The building was originally two stories high with bow windows each side of the hall door, above which was the Ely coat of arms.
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Tarranalma is a large two-storeyed house built in rendered brick with a corrugated iron roof. The house is surrounded by wide verandahs on both floors, which are interrupted by four double-storey projecting bays featuring bow windows. On the ground floor the square core contains the drawing, breakfast, dining and billiard rooms around a central hallway. The hallway leads to the substantial service wing which includes the kitchen, two large pantries, two bedrooms and a bathroom.
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The tower has a square plan, it is about high, and on each side. It has recessed bow windows on three sides around the bottom. Above the window on the side facing King Street is a stone bust in a niche, and on the right face is a bronze relief, both of which depict Mrs Gaskell. At a higher level than the bust is an offset oriel window, and near the top of the tower are randomly projecting blocks.
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The > gaunt honesty of those projecting concrete frames carrying boxed-out bow > windows persists. It is not done at you and it transforms the surroundings > instead of despising them. This most craggy and uncompromising of London > buildings turns out to be full of firm gentleness. Current plans put forward by Lewisham Council are to demolish Milford Towers, as the estate has fallen into disrepair and the land can be better used to meet the needs of local residents.
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The façade was faced with travertine. After a later restoration, the towers were enlarged, increased, and linked, through two parallel walls, to the preexisting Arch of Drusus. In AD 401-402 Emperor Honorius reshaped the gate with a single fornix and a higher attic with two rows of six bow windows each; it was also provided with an uncovered chemin de ronde with merlons. The bases of the towers were incorporated within two square-plan platforms, faced with marble.
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The palace is eclectic in style with clear Art Nouveau elements in its façade and a variety of ornamental elements like towers and columns. The style is also represented by its volumetric units given by the balconies, bow-windows, terraces and attics. Inside, the carved wooden copper- coated door stands out. The dining room has a unique renaissance-style fireplace built on marble and decorated with embossed medallions and braids, and above it, a fine linen tapestry from the 18th century.
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Ten pairs of "delightful" semi-detached villas, five on each side of the road, make up this mid-1840s development by Amon Henry Wilds. They are in the Italianate style with influences of Regency architecture, and have two bow windows with bonnet-style canopies above, stuccoed walls with extensive rustication, prominently bracketed eaves and cast iron balconies. The "charming" houses are set in spacious plots in a former bluebell wood. The street was completed over the course of three years from about 1845.
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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 1888, he asked his court architect, Albert Neumeister, to come up with proposals and suggested as examples Hatfield House and Knole House. Neumeister and Georg II eventually settled on a compromise design. Whilst the architect had argued for a completely new palace, Georg II insisted on adding or changing the existing structure. The result was a palace that used the basic Baroque structure, but was designed in the English Renaissance Revival style, featuring two-storied oriels, bow windows, numerous chimneys, and obelisk ornaments.
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In 1902, maximum building heights were increased to 52 meters. With the advent of elevators, the most desirable apartments were no longer on the lowest floors, but on the highest floors, where there was more light, nicer views and less noise. With the arrival of automobiles and the beginning of traffic noise on the streets, the bedrooms moved to the back of the apartment, overlooking the courtyard. The façades also changed from the strict symmetry of Haussmann: undulating façades appeared, as did bay and bow windows.
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Along the garden front, starting from the eastern end, were a loggia, the Big Room, a circular drawing room fronted by a broad bow window, a glass-domed hall known as the Winter Garden, a dining room fronted by another bow window, and a smoking room. The bow windows continued up the facade, and the circular drawing room was surmounted by a circular bedroom. There was a semicircular dip in the centre of the facade, probably in order to let light into the glass dome.
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The street is one block long and contains 40 small, single-family rowhouses, each on a lot about 24 feet wide and 40 feet deep. There were 20 different exterior styles based on various adaptations of architectural styles. Some of the features included Doric and Ionic wood pilasters, Gothic arches, Palladian windows, stained and leaded- glass fanlights, bay and bow windows, and various decorative woodwork. Alta Vista Terrace is found at 1050 West on the Chicago street grid, running north from Grace Street (3800 North) to Byron Street (3900 North).
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Sauvage and Weissenburger's three-story design for the villa represents the true flowering of Art Nouveau architecture in Nancy, with multiple bow windows and floral motifs covering the exterior. Majorelle himself produced the ironwork, furniture, and the interior woodwork, such as the grand staircase. Majorelle located his own personal studio on the third floor under a gabled roof, and included a huge arched window combled together with spandrels that evoke the branches of a tree or flower. Most of the floral motifs seen in the house use the forms of the monnaie-du-pape plant.
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Vernacular architecture in lower Normandy takes its form from granite, the predominant local building material. The Channel Islands also share this influence – Chausey was for many years a source of quarried granite, including that used for the construction of Mont Saint-Michel. The south part of Bagnoles-de-l'Orne is filled with bourgeois villas in Belle Époque style with polychrome façades, bow windows and unique roofing. This area, built between 1886 and 1914, has an authentic “Bagnolese” style and is typical of high-society country vacation of the time.
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The film's submarine design is unique in that it features an eight-window bow viewport that provides panoramic undersea views. In the novelization by Theodore Sturgeon, the windows are described as "... oversized hull plates which happen to be transparent". They are made of "X-tempered herculite", a process developed by Nelson. In the film, Seaview has eight bow windows in the exterior shots, but only four appear in the interior shots showing the lower level Observation Room (the four upper windows are implied to be out of frame, at the top of the Observation Room).
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In the seventeenth century, the "Bishop's Chamber" was created on the first floor, to the west of the great hall, and it survives largely intact. In the eighteenth-century, part of the ground floor was used for retail, and bow windows were added, which still survive. Otherwise, the façade generally survives as built, with an ashlar ground floor and a timber- framed, jettied upper floor. The doorway itself is a replacement, but the coats of arms above are from about 1670, and carvings of Saint Christopher and the Virgin and Child either side of the entrance also survive.
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With the coming of railways, sandstone could be easily transported over long distances and buildings began to be built of an attractive red sandstone, usually quarried at Lockerbie. A two-storey family house in the middle of the drive to St Peter's Cemetery at 1920 London Road is of red brick, rather than sandstone. More imposing is the line of four-storey red sandstone tenement flats, known as the Deer Park flats, built at the turn of the century along Tollcross Road, opposite Tollcross Park and running towards Parkhead Cross. These tenements have repeating, rounded, bow windows.
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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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Les Échelles du Baroque consists of a building apartment surrounding a circular plaza which, by its axial condition, encloses the project perspectives; behind this space, two clearly differentiated apartment blocks define two additional plazas: one elliptical and the other amphitheatre-shaped. The façades facing the elliptical plaza define an elliptical space as the Italian baroque plazas. For these façades the architectural team used a curtain wall with glass columns that add rhythm to the design and become the bow-windows of the apartments. The three buildings contain 274 apartments over seven floors with a basement level for car park (300 cars).
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The distinctive bow windows provide light into the building's interior spaces, and the combination of a granite facade for the lower floors and brick facade for the upper stories helps lighten the load placed on the internal steel framework. The north and south walls of tile are supported on steel cantilevers that carry the load back to the internal supporting structure. The versatility and strength of metal frame construction made the skyscraper possible, as evidenced by this structure, which reached the then-astounding height of 16 stories in 1891. Its architect was a pioneer in the development of tall buildings.
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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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The larger court will generally be less shaded by its own walls, and more exposed to hot winds; it may also be less sheltered by surrounding rooms. From both wind pressure and convection forces, the hottest air in the hotter court rises and escapes over the wall, pulling fresh air from the cooler courtyard through the into the hotter court. (bw version) The cooler court is replenished with air from the side (drawn through doors, evaporatively-cooled projecting bow windows, and small vents in the wall), or from above, which cools by contact with masonry and evaporative cooling. The thus has a strong cross-breeze from the cooler court.
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Numbers 1–6 have been dated to about 1860 and rise to three storeys (except numbers 1 and 6, which have an extra storey). Their individual detailing is slightly different, but pilastered doorcases, architraves, first-floor cast iron balconies and small pediments above the windows are common themes. Numbers 7–16 date from 1856–57 and are each of four storeys with a three-window range; there is a mixture of bow windows and canted bays. Many windows have architraves and cornices, and there are bow-fronted cast iron balconies at first-floor level (and to the second and third floors at number 8).
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The façades are characterized by bi-dimensionality and by a liniar-rectangular style, with only a few curvilinear elements: the six bow-windows covered by semi-caps above the main portal and the circular balconies on the edges. The main entrance is in the middle of the façade on Enescu street and is made up of four massive doors, protected by an architectural element made of glass and with an iron framing. This element, as well as the doors decorated with iron floral motifs are typical for the early 20th century style. The exterior is richly decorated, with colored mosaic panels, with relieved scenes and busts of Hungarians.
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The entrance hall was connected to the concourse on the first floor (AmE: second floor) by a staircase. The concourse was the first in Austria, comprised four platforms, large bow windows and was covered by a sturdy 23-metre wide construction of wooden beams held together by iron bands. A house between the two stations served as a restaurant, and was the only building to survive the re-building works on the following 110 years, although the two stations later received separate culinary facilities. During the boom of the Gründerzeit, a new and larger Südbahnhof was planned by Wilhelm von Flattich, and building was completed in 1874.
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The Wick on Richmond Hill, London Mary Hayley Bell wrote four plays: Men in Shadow (1942), Angel (1947), Duet for Two Hands (1945), and The Uninvited Guest (1953). She also wrote the novel Whistle Down the Wind (1959), co-wrote the screenplay and story of Sky West and Crooked (1966) (released as Gypsy Girl in the United States), and wrote additional dialogue for Scott of the Antarctic (1948). Whistle Down the Wind was made into a film in 1961 (starring daughter Hayley Mills) and an Andrew Lloyd Webber musical in 1996. Its title is believed to have been inspired by the sound of the wind around the bow windows of The Wick, the family's home on Richmond Hill, London.
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The combination of partly recessed sashes and bow windows is characteristic of Brighton's Regency-era residential developments. The Queen Anne Revival-style housing popular in Hove in the late 19th century had its own window pattern: two-part sashes with many panes on the upper section, separated by wider glazing bars than those used in earlier years. Casement windows were popular on interwar Tudor Revival houses, as at Woodland Drive (a conservation area) in West Blatchington; and steel-framed Crittall windows are found in interwar Modernist buildings such as Embassy Court and the Moderne-style mansion flats at 4 Grand Avenue, Hove. Elaborate doorcases and porticos with Classical-style details are seen on many 19th- century houses, especially those built in the Regency era.
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Marbury Hall is a small Regency hall in white stuccoed brick with stone dressings, located off Hollins Lane at , on rising ground overlooking Marbury Big Mere. The entrance front has two bow windows, each three bays wide, flanking a central recessed porch. Built for the Poole family in around 1805–10, the hall is listed at grade II.de Figueiredo P, Treuherz J. Cheshire Country Houses, p. 252 (Phillimore; 1988) ()Images of England: Marbury Hall (accessed 19 May 2010) A timber-framed farmhouse adjacent to the hall dates from the 17th century, and is also listed at grade II.Images of England: Old Farmhouse at Marbury Hall (accessed 20 May 2010) The grade-II-listed gatelodge, on Hollins Lane at , dates from 1876 and is thought to be by Thomas Lockwood.
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Between the TV version's first and second seasons, the Seaview miniatures were extensively revised. Dated May 1965 the drawings penned by William Creber (who also designed the Flying Sub itself) stated "modifications to be applied to all miniatures." The number of bow windows was reduced from eight on two levels of four each to a single row of four (actually two with a dividing girder.) This then matched the interior set with the exterior miniatures but with the added detrimental effects of a more bulbous frontal appearance and a reduction in apparent overall size of the vessel. The Control Room, previously located on an upper level, was moved forward on a lower level ahead of the conning tower, to connect directly with the Observation Room, and a large hangar bay was added to the bow, beneath the Observation Room/Control Room combination.
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The Old New York Evening Post Building is the former office and printing plant of the New York Evening Post newspaper located at 20 Vesey Street between Church Street and Broadway in the Financial District of Manhattan, New York City. It was built in 1906-07 and was designed by architect Robert D. Kohn for Oswald Garrison Villard, who owned the Post at the time, and is considered to be "one of the few outstanding Art nouveau buildings" ever constructed in the United States. The fourteen-story, stone-veneer building is "reminiscent of the buildings that line the boulevards of Paris", and was not copied from an existing building."Old New York Evening Post Building Designation Report" New York City Landmarks Preservation Commission (November 23, 1965) It features three tall bays of cast-iron framed bow windows, separated by pale limestone piers.
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2–3 Pavilion Buildings is a "very stylish and well-detailed" Neo-Georgian building by John Leopold Denman, produced during a prolific period of the mid-1930s when he was responsible for several similar buildings in Brighton. The three-storey building is constructed of handmade brown and red bricks and Portland stone and has a symmetrical façade with eight bays to the upper storeys and nine at ground-floor level. The latter has a central entrance recessed under a flat- arched doorway with a glazed tympanum is flanked by an arcade of three "attractive" and "delicate" round-arched timber bow windows on each side, also with glazed tympana, and further entrances in the outermost bays. Above one of these outer doors is a plaque displaying the coat of arms of the Borough of Brighton; above the other is the coat of arms of the Borough of Hove.
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