"We spent our first married night here," at the TownHouse Galleria, Mr. Incontri explained, scrolling through his iPhone photo albums for an image of the couple's nuptial suite, whose plate-glass windows faced onto the Duomo plaza and the Palazzo Reale, where the two men were wed in a civil ceremony in May.
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The front was well proportioned and the back faced onto a lawn. The house fell into disrepair and was demolished in 1950. The area where it stood is now occupied by a car park. Access to the park was originally from Park Lane.
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The Domesday Book of 1086 lists the village as Ulfgarcote (cottage of Woolgar; or Woolgar's place). The toponym had become "Wolvercote" by 1185. Wolvercote housing faced onto its extensive commons, which provided much of the community's livelihood. Some residents still have ancient rights on the commons.
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Hilton hotel. The main station building was in true Victorian splendour. It was constructed in a Renaissance style using the best- quality red-faced bricks and Darley Dale stone, with space at the front for Hackney carriages, which was covered by a canopy. It faced onto the confluence of Mansfield Road and Milton Street for some .
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The rear of the structure has the form of a truncated pyramid. The stairway and the upper parts of the structure were deliberately destroyed in antiquity, leaving only the lower courses of stonework in place. The southeastern portion of the platform is the best preserved, where a talud wall stands to a height of . Structure 2 is believed to have faced onto the Northeast Plaza.
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88, explains how the importance of the hall had given way to that of the Great Chamber above. Over the centuries, the layout and use of rooms changed: drawing and dining rooms evolved on the ground floor. The original approach to the house would have been far more impressive than the picturesque approach today. The east front was then the entrance façade and faced onto a large entrance court.
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The eight towers along the wall are mostly "gap-backed", lacking walls on the inside of the towers, and originally included removable wooden bridges to allow sections of the walls to be sealed off from attackers. The two original entrances to the town were through the West and East Gates. The West Gate faced onto the harbour, and was also known as the Golden Gate, named after the principal gateway in the city of Constantinople.
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For the remainder of the nineteenth century the passenger rolling stock was ancient Highland Railway four-wheelers. The new Stathpeffer station was elaborately designed. Higginson describes it: > A gabled canopy, supported on cast iron columns, extended its full length > while inside extensive offices and waiting rooms were to be found. A bow > fronted gable, embellished with intricate bargeboards, served to relieve the > otherwise plain frontage which faced onto a wide and sweeping approach.
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The Great House of the town, later subdivided into smaller units, was built on Old Market Street in the mid-16th century for the Williams family. Its original entrance was at the rear of the present building, and faced onto gardens and meadows. Though much altered, the building retains many original features including chimney stacks and decorative plaster ceilings. The town market was moved from Twyn Square in 1598 to a location closer to the river, at New Market Street.
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The cupola from one of the Wren pavilions was removed and mounted on the stable block designed by James Gibbs. The cottage still stands today and is partially visible from London Road, beyond a tall brick wall from the same period. Other alterations to the house included the remodelling of the entrance (east) front where the portico, which had originally faced onto the former Aylesbury to Berkhamsted road through the park, was demolished and a new porte-cochère was built on the north front.
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This pilastered end house lends the Georgian terrace visual symmetry and gives the false impression that the truncated Georgian terrace was the intended final form of the street. Today Nos. 1 and 2 have been combined into a single house, which contains flats. The door to No. 1, which faced onto Nile Street, has been replaced with a window and the staircase inside No. 1 has been removed, so the flats in both houses are accessed via the door and staircase of No. 2. Nos.
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Later parts of Heron Park, such as Hawthorne and Bittern Avenues completed around 1981, were not built to the Radburn model. Because Fieldfare linked the Radburn-built houses and conventional houses of the new part, those houses in Swift and Woodcock which faced onto Fieldfare were re- named and re-numbered as Fieldfare. In 1975, contracts were signed for the construction of Heron Primary School, which opened in 1977. The Glevum Way Shopping Centre opened in 1981, with a Safeway supermarket and a handful of small shops.
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The West Gate faced onto the harbour, and was also known as the Golden Gate (); in the medieval period, this name would have evoked images of imperial Roman and Arthurian power, as it was the name of the primary gateway in the city of Constantinople. It was originally defended by a portcullis, but was modified with additional Gothic features in the 19th century.Taylor, p. 43. The East Gate formed the landward entrance to the town, originally overlooking the river Cadnant--the river is now culverted over.Taylor, pp. 41-2.
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Rome is in the Lazio region of central Italy on the Tiber () river. The original settlement developed on hills that faced onto a ford beside the Tiber Island, the only natural ford of the river in this area. The Rome of the Kings was built on seven hills: the Aventine Hill, the Caelian Hill, the Capitoline Hill, the Esquiline Hill, the Palatine Hill, the Quirinal Hill, and the Viminal Hill. Modern Rome is also crossed by another river, the Aniene, which flows into the Tiber north of the historic centre.
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Accordingly, there were large warehouses (some of which still exist) built, which faced onto the main High Street and backed onto the Hunter River. For almost 20 years until the Victorian gold rush, Maitland was the second largest town in Australia. The arrival of the railway from Newcastle in the 1850s, coupled with the increasing silting of the river and larger ships spelt the end of the traditional river traffic. The first electricity connected in the area was to Maitland Town Hall in 1922, to the Hall's front light.
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This is the "Cragg Map" from the Lincolnshire Archives Office, catalogued as 2 Cragg 2/2/65. An extract is printed in , and a digital scan is available in , figure 6. An enclosure map completed in 1794 shows a small building at the site, set back slightly from the road and adjoined by a larger one to the north, which faced onto the street; the location and layout also correspond closely to the arrangement of the older parts of Nos. 31 and 33.. The map belongs to the Suffolk Record Office, Bury St Edmund's Branch, and is catalogued as HA 507/3/208.
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The first royal tomb in the Mundo Perdido was installed in this structure during the transition between the Late Preclassic and Early Classic periods. Structure 5D-87 is also known as the Temple of the Skulls (Templo de las Calaveras in Spanish). It is the third largest temple in the Mundo Perdido complex. A new version of this temple was superimposed upon a preceding version during the 7th century AD. This new version faced away from the Mundo Perdido and possessed a single room with five doorways that faced onto the adjacent Plaza of the Seven Temples to the east.
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An Arts and Crafts extension wing was built on the station in 1897, that faced onto Swallow Street. The Man in the Moon pub, adjacent to the station, was bought by the police receiver in 1931. The station closed in 1940 (along with nearby Marlborough Street Magistrates Court) to be replaced with an integrated West End Central Police Station at Savile Row, with the street being renamed Piccadilly Place. A subsequent rise in foot traffic around the area, and associated crime, led to the station being re-opened in 1966, with the street being renamed back to Vine Street in 1972.
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The village was laid out in an elongated ring with a stream along its centre axis The farm houses were located on the outer edge, the centre ground was originally left empty but eventually the artisans, shops and school took over this inner area. The main farmhouse gable faced onto the main road and the run of main buildings formed one side of an enclosed courtyard that was accessed through a main gate onto the street (see sketch layout). The family rooms faced the street, then horse, then cow stabling. The animals were stalled all year, too dry in summer to graze and snow bound over winter.
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The second floor accommodated five classrooms (three connected by folding partitions), bookkeeping and typewriting rooms, drawing room, and a teachers' room. Hat and coat rooms were on each floor and the building had a central main entrance hall and terrazzo stairs. The classrooms faced onto the streets (south-west and south-east) and circulation was via an verandah on the opposite side (north-west and north- east). Contemporary reports stated: the building would "appeal to the aesthetic taste, and the dimensions of the building [were] commensurate with the rapid progress of the city, besides being a valuable asset from an educational point of view".
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The corrugated iron roof has been reclad and no chimneys or roof vents are visible, but the majority of the down pipes and rainwater heads appear to be original. The building was originally designed with two principal entries, one for the Girls' School on the northern facade and one for the Boys' School on the western side. The Boys' School entry was designed as a projecting single storey porch with a hipped corrugated iron roof, plain brick walls along the sides and a triple arched entry to the front. The Girls' School entry faced onto James Street and was housed at the base of the projecting tower.
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Physically, the debtors' prison is a small building, measuring 18' by 30'; it is one story in height, three bays in length, and constructed of Flemish bond brick with glazed headers. Originally, the house formed the southwest corner of a 70-foot-square jailyard, and a small portion of the yard's original brick wall can still be seen projecting from the northeast corner of the building. A scar left by another portion of the same wall still exists on the northwest corner of the façade. Both ends, and the south façade of the house, are fitted with a two-course stepped water table; none is employed on the front wall, which at one time faced onto the jailyard.
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Holmes' first exhibition was in 2000, at "Renewal and Regeneration" at Museum of Our National Heritage, Lexington, MA. She has also exhibited at Hess Gallery of Pine Manor College, Chestnut Hill, MA, and Harvard Medical School's Transit Gallery. Her work is in the public collections of the Museum of the National Center of Afro-American Artists, Boston Medical Center, Boston Arts Academy, Dana Farber Cancer Center and the Boston Children's Hospital. Holmes' "Crosswalks and Bus Stops" was installed at Northeastern University, in oversize glass windows that faced onto Parker Street and Huntington Avenue. The work was part of Northeastern's Public Art Initiative, a platform for artists from the local community and the world.
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The villa was built for Agostino Chigi, a rich Sienese banker and the treasurer of Pope Julius II. Between 1506–1510, the Sienese artist and pupil of Bramante, Baldassare Peruzzi, aided perhaps by Giuliano da Sangallo, designed and erected the villa. The novelty of this suburban villa design can be discerned from its differences from that of a typical urban palazzo (palace). Renaissance palaces typically faced onto a street and were decorated versions of defensive castles: rectangular blocks with rusticated ground floors and enclosing a courtyard. This villa, intended to be an airy summer pavilion, presented a side towards the street and was given a U-shaped plan with a five- bay loggia between the arms.
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To protect the occupants from noise and provide privacy, the only rooms that faced onto the decks were kitchens and dining rooms and the decks were sufficiently wide to allow milk floats to pass by. These looked onto a landscaped communal area intended for public use, containing play parks and trees were intended to be planted that would conceal the garage floor level and give the impression that the buildings floated at first floor level. Wilson, H. & Womersley, J. L. (1970). Hulme Redevelopment - Area 5: Descriptive Notes Similar to the Park Hill model, the estate was to contain shops, churches and public amenities to ensure that the population could exist free from traffic.
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Georges Huard, La Paroisse et l'Église Saint-Pierre de Caen, des origines au milieu du XVIe siècle, t. XXXV, Caen, Jouan, coll. « Mémoires de la Société des Antiquaires de Normandie », 1925 and became a Temple of Reason, and was from 1793 to 1795 used as a venue for the 'Culte de l'Être supreme', after which it was used for Catholic worship from June 4, 1795 to 1933.Georges Huard, La Paroisse et l'Église Saint-Pierre de Caen, des origines au milieu du XVIe siècle, t. XXXV, Caen, Jouan, coll. « Mémoires de la Société des Antiquaires de Normandie », 1925 Until around the mid-19th century, the eastern end of the church faced onto a canal that was then covered and replaced by a road.
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The Fountain of the Four Rivers Fontana dei Quattro Fiumi (Fountain of the Four Rivers) is a fountain in the Piazza Navona in Rome, Italy. It was designed in 1651 by Gian Lorenzo Bernini for Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. The base of the fountain is a basin from the centre of which travertine rocks rise to support four river gods and above them, a copy of an Egyptian obelisk surmounted with the Pamphili family emblem of a dove with an olive twig. Collectively, they represent four major rivers of the four continents through which papal authority had spread: the Nile representing Africa, the Danube representing Europe, the Ganges representing Asia, and the Río de la Plata representing the Americas.
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The towers were designed in the postwar corporate International Style, by Leslie M Perrott & Associates. The lead architect on the project was David Simpson,Telephone interview with David Simpson by Rohan Storey, 9 January 2020 developing the complex design for a large three storey podium containing car parking, with retail spaces that faced onto Flinders Street, and a new access to the station platforms. The development also featured a raised public plaza that occupied the important Flinders/Swanston intersection corner, designed to allow an open vista to St Paul's Cathedral and also function as a public square that was raised up from the noise and traffic of the streets below,Woodhead, B. (1964). Lower Yarra Concept Plan, Melbourne and Metropolitan Board of Works, pp 16 which Simpson later felt was not the most successful part of the design.
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Floor plan and section by Palladio, from I quattro libri dell'architettura, Venice 1570 The original Gothic palace was committed by Lodovico Thiene to Lorenzo da Bologna in 1490, with an East front made of bricks squared by angular lesenes worked at "diamond edge", with a portal by Tommaso da Lugano and a triple window (trifora) made in rose marble. In October 1542, Marcantonio and Adriano Thiene began to remodel their 15th century (Quattrocento) family palace in a grandiose project, which would have occupied an entire city block of 54 x 62 metres and faced onto Vicenza's principal artery (today's Corso Palladio). The rich, powerful and sophisticated Thiene brothers belonged to that great Italian nobility which could move with ease among Europe's most important courts; they therefore required a domestic stage adequate for the cosmopolitan expectations of their guests who might visit them. At the same time, as exponents of a well-defined, political faction in the city's aristocracy, they desired a princely palace to emphasise their proper role in the city itself, as the sign of their quasi-seigniorial power.
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