The streets were 70 feet wide, with 15-foot sidewalks and parkways, which were to be planted with palm trees and flowers. Ornamental electroliers were to be placed every 300 feet. Lot prices ranged from $1,000 to $2,500. Earlier, in 1907.
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The ceiling consists of three concave divisions > extending from wall to wall parallel with the front of the stage, gradually > rising upward, and separated by narrow panels or chords. It is crossed by > four bands of dark color, in which, as well as in the chords and fantastic > tracery of the decorations, are set numbers of lamps. From the ceiling, over > the parquet and near the boxes, depend three rich electroliers similar in > design to those throughout the house, formed by a centre fixture of > opalescent glass held in cast metal work, with four pendants of the same > shape hanging by chains attached to arms radiating from the stem of the > fixture. All the electroliers were specially designed by J. M. Wood, of > Chicago, the architect.
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This was the beginning of keeping the Hall intact without further damage. Work continues to restore the hall to its former splendor and provide adequately for use of the space as a recital hall. In 2001 the paintings lining the walls were removed and restored at the Art Institute. In the fall of 2002 the "electroliers" were recreated and installed, as well as a new HVAC system.
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The middle one of each three originally carried copper bronze electroliers with chains and Holophane reflectors. (Today, more numerous and bigger lights are fixed there.) The walls were originally largely of glass and painted in eau de nil or pale green, with a darker shade on the dado. The special dance floor was rock maple over concrete, and the acoustics were said to be "perfect". There was a further tiered seating area on the roof for 1,100 deckchairs facing the cast iron bandstand and linking the roof with the Downs.
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The font was also carved by Allen; it is movable and was designed by Ronald Porter Jones. When it was built, the church was wired for electricity. This supplied power for the series of copper electroliers in the nave, which are in Arts and Crafts style and made by the Artificers' Guild of London. The stained glass in the windows of the chancel, and in eight of the clerestory windows, was made by Morris & Co., based on designs by Edward Burne-Jones, and dated between 1901 and 1928.
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The Centre Hall, looking towards the Pipe Organ flanked by original electroliers, with Dippy the Diplodocus on tour January–May 2019. The construction of Kelvingrove was partly financed by the proceeds of the 1888 International Exhibition held in Kelvingrove Park. The gallery was designed by Sir John W. Simpson and E.J. Milner Allen and opened in 1901, as the Palace of Fine Arts for the Glasgow International Exhibition held in that year. It is built in a Spanish Baroque style, follows the Glaswegian tradition of using Locharbriggs red sandstone, and includes an entire program of architectural sculpture by George Frampton, William Shirreffs, Francis Derwent Wood and other sculptors.
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Internal elements include two stained-glass windows designed by Louis J. Millet, a mural by Oskar Gross, and four immense cast iron electroliers designed by Elmslie and cast by Winslow Brothers Company. and The officers of the National Farmers' Bank sought Sullivan out, in part because they wanted a fresh idea of a bank building that would suit their specific needs, and they felt that conventional bank architecture of the time would not meet those. The building Sullivan designed included a farmers' exchange room, where its clients might do business with each other, a women's consultation room, a conference room for the bank board, and the president's office. All of these rooms were richly decorated, with custom furniture.
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